Susie NashDeborah Loeb Brice Professor of Renaissance Art
Susie Nash came to The Courtauld in 1993 and has taught here on the art of northern Europe in the late medieval and renaissance period ever since. Susie has worked and published on illuminated manuscripts, sculpture, textiles, metalwork and panel painting from across northern Europe, including Spain. She is interested in how art was made, used and viewed, in the value and meaning of materials and their colour, combining evidence from primary archival and theological sources, with the physical and technical examination of the work itself. Current research projects include the production, purpose and status of inventories at the french courts c. 1360-1500; sculptural processes and practices, especially polychromy, and photography of sculpture; art produced for the courts of France c. 1400 especially for the Duke of Burgundy in Dijon at the Chartreuse de Champmol; Claus Sluter, Jean Malouel and the Early Netherlandish painter the Master of Flémalle.
Susie is currently (2014-15) the Head of the Research Degrees Programme.
On research leave 2015-16
- Emma Capron, ‘Patronage, Function and Reception of Paintings in Fifteenth-Century Avignon’
- Lydia Hansell, ‘Patronage of a Prelate: Artistic Provisions for the Religious Foundations of Cardinal Jean Rolin (1408-1483)’
- Harriette Peel, ‘The Image of the Child in Late-Medieval Flanders’
- Rosamund Garrett, ‘Faire and Goodly Hangings: The Life of Christ and the Virgin Tapestry at Canterbury Cathedral’
- Anna Koopstra, ‘Inventing Realities, Picturing Salvation: Making, Meaning And Patronage Of The Paintings Of Jean Bellegambe (C.1470-1535/36’
- Emily Pegues, ‘Jan Borreman and Sculptural Practice in the Burgundian Netherlands c. 1479-1520’
- Ann Adams, ‘Spiritual Provision and Temporal Affirmation: Tombs of the Chevaliers de la Toison d’Or from Philip the Good to Philip the Fair’
- Nicola Jennings, ‘The Chapel of Contador Saldaña at Santa Clara de Tordesillas: New proposals about the chapel and its role in the fashioning of identity by an early fifteenth-century court converso’, 2015
- Douglas Brine, ‘Piety and Purgatory, Wall mounted memorials from the Southern Netherlands’, 2006
- Melena Hope, ‘Painted Chapels and Oratories in the Households of Fifteenth Century France’, 2009
- Mayumi Ikeda, ‘The Fust Master: Illuminator of the First Mainz Presses’ 2010
- Samantha Darell, ‘Mother of Pearl Carving In Europe’, c. 1350-1500. 2013
- Susie Green ‘The iconography of the Tree of Jesse in Northern Europe c. 1400-1550’, 2014
- Late medieval art of all media in Northern Europe and Spain c. 1350-1500
- Materials, their supply, trade, cost, properties and meaning
- Imagery, agency, and the making of meaning in religious works
- Sculptural polychromy
- lnventories from the French courts c. 1370-1420
- Technical art history
- The visual historiography of Art History
Books and edited books
- Late Medieval Panel Paintings. Materials, Methods, and Meaning (London, Paul Holberton, 2011)
- Trade in Artists’ Materials. Markets and Commerce in Europe to 1700, co- editor with Jo Kirby and Joanna Cannon (London, Archetype publications, 2010).
- Northern Renaissance Art ( Oxford, Oxford University Press, 2008).
- ‘No Equal in Any Land’. André Beauneveu, Artist to the Courts of France and Flanders. (London, Paul Holberton Publishing in association with Musea Bruggee/Groeningemuseum, 2007).
- Between France and Flanders: Manuscript Illumination in Amiens in the Fifteenth Century. The British Library Studies in medieval Culture (London, British Library and Toronto, University of Toronto Press, 1999)
Essays, articles and reviews
- ‘Les retables de Jacques de Baerze et Melchior Broederlam: Documentation, fabrication et signification’, in Les retables de Champmol et leur restauration (Dijon, Musee des Beaux Arts, 2014)
- ‘Erwin Panofsky’s Early Netherlandish Painting’ in The Books that Shaped Art History ed. R. Schone and J. P. Stonard, (London, Thames and Hudson, 2013), pp. pp. 88-101
- ‘Pour couleurs et autres choses pris de lui…the supply, cost, acquisition and employment of painters materials at the Burgundian court c. 1375-1415′ in Trade in Artists Materials (see above).
- ‘‘The Lord’s Crucifix of Costly Workmanship”: Colour, Collaboration and the Making of Meaning on the Well of Moses’ in Circumlitio. The Polychromy of Antique and Late Medieval Sculpture, ed. V. Brinkmann, O. Primavesi and M. Hollein (Frankfurt am Main, 2010), pp. 356-381
- ‘Claus Sluter’s ‘Well of Moses’ for the Chartreuse de Champmol Reconsidered’. Part I The Burlington Magazine, December 2005, pp. 798-809; Part II The Burlington Magazine, July 2006, pp. 456-69; Part III’, The Burlington Magazine, November 2008, pp. 724-741
- ‘The Parement de Narbonne, Context and Technique’, in C. Villers, ed., The Fabric of Images, European Paintings on Fabric Supports, 1300-1500, (London, Archetype Press, 2000
Other current/ongoing professional activities
- Head of Research Degrees Programme at the Courtauld
- Courtauld representative on the Consortium of the Humanities and the Arts South-east England (CHASE) Management Board
- Trustee of the Caroline Villers fellowship
- Member of the International Advisory Board for the Department of Conservation and Technology
- External examiner for the BA in Art History at the University of York and the MA in Art History at the University of East Anglia
- External Examiner for PhDs at universities in the UK, Europe and the US.