Courtauld Books Online - The Courtauld Institute of Art

Courtauld Books Online

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Courtauld Books Online

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Courtauld Books Online is a series of online scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. The series consists of discrete books, shaped by a rigorous academic peer-review process. It is an open-access series, freely available to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation.
Series Editor: Alixe Bovey
Managing Editor: Maria Mileeva

Courtauld Books Online Advisory Board:
Paul Binski (University of Cambridge)
Thomas Crow (Institute of Fine Arts, New York University)
Michael Ann Holly (Starr Director Emeritus of the Research and Academic Program, Clark Art Institute)

If you are interested in proposing a title for this series, please contact

Collaboration and its (Dis)Contents: Collaborative Practices in Art, Architecture and Film since 1910

edited by Meredith A. Brown and Michelle Millar Fisher

Collaboration has been a component of art making for centuries—from ancient Greek potters and painters to nineteenth-century photographers Hill and Adamson to the contemporary Raqs Media Collective—yet it remains a complex topic for art historians of all periods. Taking its cue from Sigmund Freud’s 1929 publication, Civilization and its Discontents, in which he wrestled with tensions between the individual and society, Collaboration and its (Dis)Contents focuses on collaboration and its influence on the history of modern and contemporary art, architecture and film through transatlantic discussion, exchange and publication. The resulting collection authored by historians of art, architecture, theatre and film alongside practicing artists explores not only what constitutes collaboration in modern and contemporary art globally but also explores the possibilities created by collaborative historical research in a field that relentlessly privileges the traditional single author. This project is a timely contribution to the growing art historical debates around collaboration and collectivity and their relationship to modernism, feminism, Marxism and contemporary practice, provoking wider discussion of how collaborative practice is valued in the humanities.

Gothic Ivory Sculpture: Content and Context

edited by Catherine Yvard

The study of Gothic ivory carving has been given a new impetus in recent years through the launch in 2010 of the Gothic Ivories Project at the Courtauld Institute of Art, an online catalogue of gothic ivory carvings from public and private collections around the world.

From 700 objects initially accessible in 2010, the corpus has now grown to a staggering 5100 pieces, thus by far exceeding the 1328 pieces comprised in Raymond Koechlin’s seminal Les Ivoires gothiques français published in 1924. The development of this online catalogue, accessible to all and bringing together objects from nearly 400 different collections as well as unlocated pieces, has had a profound impact on research in the field, raising new questions and providing unprecedented means to answer them. To showcase this wave of new research, two conferences were organised by the Courtauld Gothic Ivories Project: Gothic Ivory Sculpture: Old Questions, New Directions, co-organised with the Victoria and Albert Museum on 23-24 March 2012 and Gothic Ivories: Content and Context, in partnership with The British Museum on 5-6 July 2014. While selected papers from the former were published as a special issue of The Sculpture Journal (Spring 2014), it is particularly pertinent that the second publication to come out of this conference series should be in a digital format, thus fostering a two-way dialogue between the Gothic Ivories Project website and Courtauld Books Online.

In response to the theme of the 2014 conference, the opening section of papers places the artefacts in their original context through close examination of the objects and analysis of primary sources, with a focus on the 13th and 14th century. The second section turns to the late 15th and early 16th century when the production of ivory carvings, while still adhering to some older models, undergoes changes and ventures into new territories, both in terms of function and iconography. The final section offers a rich panorama of the particular taste for ivory developed by collectors all over Europe in the 19th and early 20th century. Finally, a thought-provoking epilogue addresses the question of gothic ivory sculpture in the age of digitisation and 3D printing.

Continuous Page: Scrolls and Scrolling from Papyrus to Hypertext

edited by Jack Hartnell

Scrolls encompass in one sweep the oldest and the most contemporary ideas about images and image-making. On the one hand, some of the most enduring artefacts of the ancient world adopt the scroll form, evoking long-standing associations with the Classical tradition, Eastern and Middle Eastern cultures, theatrical oration, and the word of the law. Yet today, scrolling is also the single most common interaction between people and their digital media: fingers routinely swipe across trackpads and touch-screens through reams of infinite hypertext. In between these two extremes too, we find a plethora of different artists and craftsmen turning and returning to the medium, from medieval medical treatises and Japanese emakimono to 19th-century wallpaper or Jack Kerouac’s continuously-typewritten draft of On The Road.

This group of 14 essays constitutes the first systematic attempt to approach the subject of the scroll from an interdisciplinary standpoint. Incorporating contributions from an internationally renowned group of scholars, the scope of its chapters is testimony to the enduring nature of the scroll form, addressing material from the ancient world to the twenty-first century, and from Asia, Africa, the Middle East, Europe, and the Americas.

Importantly too, this book will not only use the unique format of Courtauld Books Online to present scholarly contributions to this emergent field in a fresh and dynamic way. It also seeks to use the continuous page of the online publication to present a group of digitised scroll objects related to the book’s essays—either within chapters or as interludes from them—in complete, scrollable form for the reader, along with commentary, annotations, and translations written by book’s contributors. In so doing, this book represents an innovative direction in the study of material culture, interlacing scholarship and digitised historical artworks in a single, accessible volume.

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