Éowyn Kerr-Di Carlo

Education

• 2014-present, PhD Candidate, The Courtauld Institute of Art
• 2012-2013, MA in History of Art, The Courtauld Institute of Art
  Funded by: Broad Art Foundation and Courtauld Scholarships
  Special option: ‘Artists and Friars: the Renewal of Painting in Assisi and Siena in the Thirteenth and Fourteenth Centuries’
• 2000-2003, MA and Certificate of Advanced Study in Art Conservation, SUNY Buffalo State College
  Funded by: Andrew W. Mellon Fellowship and SUNY Research Foundation Scholarship
• 1995-1996, PG Certificate (Corso di Perfezionamento), University of Florence
  Subject: La scienza per la conservazione dei beni culturali
• 1995-1996, PG Diploma in Art Conservation, SACI, Florence
  Funded by: Jules Maidoff Scholarship
• 1988-1992, BA in Fine Arts, San Francisco Art Institute
  Major subject: Printmaking

Teaching

• 2019 Autumn term, Graduate Teaching Assistant, The Courtauld Institute of Art, Foundations Course Lectures (Classical and Byzantine Art, The Middle Ages, Renaissance Art, Early Modern China, European Architecture)
• 2008-2014, Adjunct Faculty/Lecturer, American University of Rome
  Lecturer and instructor of undergraduate courses on the History of Art and the Conservation and Restoration of Cultural Heritage
• 2005-2006, Course Coordinator and Academic Advisor to the Conservation Department, Lorenzo de’ Medici Institute, Tuscania
• 2003-2004, Adjunct Faculty, SACI, Florence
  Thesis Advisor and Lecturer for the Post-Baccalaureate program in Art Conservation

Professional experience

Print Room Assistant (curatorial support), The Courtauld Gallery, London, 2017-2018

Contract Paintings Conservator, Katherine Ara Limited, London, 2010, 2011

Samuel H. Kress Conservation Fellow, Medieval and Renaissance Galleries Project, Victoria & Albert Museum, London, 2006-2007

Associate Paintings Conservator, Steven Prins and Company, Santa Fe, 1999-2000, 2002,2004, 2005, 2006

Collections Docent for the Sir Harold Acton Collection, Villa La Pietra, New York University, Florence, 2004-2005

Contract Paintings Conservator, Matteo Rossi Doria/Centro di Restauro Studio Barbabianca, Rome, 2004-2005

Research, Special Collections and Archives, Utah State University (conducted in Florence), 2004

Graduate Intern in Paintings Conservation, North Carolina Museum of Art, Raleigh, 2002-2003

Research interests

• Technical art history
• Italian art between 1280-1480
• Artistic networks
• Historic painting practices
• Illuminated manuscript production
• Ecclesiastical and monastic patronage
• Materials use and relationships (particularly relationships between the techniques of painting, manuscript illumination, metalwork, stained glass, leatherwork, embroidery)

Conference papers

• ‘The cartolai connection: assessing the artistic networks of Florentine manuscript production at the turn of the fifteenth century’, Annual Postgraduate Symposium, The Courtauld Institute of Art, London, 8-9 October 2020
• ‘Networks and Allegiances: a brief look at the painter-illuminators of Sant’Egidio c. 1420’, Giotto’s Circle, The Courtauld Institute of Art, London, 3 June 2019
• Session chair, ‘Workshops and Artistic Methods’ at Conversing and Connecting Over Time, Annual Postgraduate Symposium, The Courtauld Institute of Art, London, 16 May 2019
• ‘A brief study of the painter-illuminators at Sant’Egidio c.1420’ at New Dialogues in Art History, The Warburg Institute, London, 27 February 2019
• Session chair, The Colors of Paradise: Painting Miniatures at Italian Convents, ca. 1300-1700, 5th Annual Jane Fortune Conference, co-organized by the Medici Archive Project and the Museo Nazionale di San Marco, Biblioteca di San Marco, Florence, 11-12 October 2018
• ‘Santa Maria degli Angeli or not? Considering Florentine artistic networks and the painter-illuminators of Fitzwilliam MS 30’ at Medieval Collaborations, 22^nd Annual Medieval Postgraduate Colloquium, The Courtauld Institute of Art, London, 4 February 2017
• ‘Making the Cardinal’s Missal: Looking anew at the Circle of Lorenzo Monaco and the Illuminators of Fitzwilliam MS 30’ at MANUSCRIPTS in the MAKING: Art and Science, The Fitzwilliam Museum and Departments of Chemistry and History of Art, University of Cambridge, Cambridge, 8-10 December 2016
• ‘Lorenzo Monaco and the Missal of Cardinal Acciaiuoli: Patronage, Production and the Painter-Illuminators of Early Renaissance Florence. A work in progress.’ at Leuven-Lille-London study group Annual Conference, The Courtauld Institute of Art, London, 1 April 2015
• Session chair, Movement in Medieval Art and Architecture, 20^th Annual Medieval Postgraduate Colloquium, The Courtauld Institute of Art, London, 7 February 2015
• ‘Gold, Glass and Light: The Franciscan vision in representations of the stigmata’ at the Association of Art Historians 40^th Annual Conference, Royal College of Art, London, 10-12 April 2014
• ‘Accounting for Taste: Retaining an Historic Restoration from a Sienese Accounts Book’ at the American Institute for Conservation of Historic and Artistic Works, 36^th Annual Meeting, Denver CO, 21-24 April 2008
• ‘Concepts of authenticity as related to a 15^th century Florentine Cassone panel in the V&A Museum’ at Art, Conservation and Authenticities: Materials, Concept, Context, 2^nd Annual Conference, ICON Scotland and University of Glasgow, Glasgow, 12-14 September 2007

Publications

• ‘Making the Cardinal’s Missal: Looking anew at the Circle of Lorenzo Monaco and the Illuminators of Fitzwilliam MS 30’, in Manuscripts in the Making: Art and Science, edited by S. Panayotova and P. Ricciardi. London and Turnhout: Harvey Miller/Brepols, 2017
• ‘Gold, Glass and Light: The Franciscan vision in representations of the stigmata’, in Colour and Light in Ancient and Medieval Art, edited by C. Duckworth and A. Sassin. Farnham: Ashgate, 2017
• ‘Concepts of authenticity as related to a 15th century Florentine cassone panel in the V&A Museum’ in Art, Conservation and Authenticities: Material, Concept, Context, edited by E. Hermens and T. Fisk. London: Archetype Publications, 2009
• ‘Accounting for Taste: Retaining an Historic Restoration from a Sienese Accounts Book’, AIC Paintings Group 36th Annual Meeting post-prints, Denver, 2009
• ‘Renaissance Painted Cassoni’
, V&A Conservation Journal, No. 56, Spring 2008
• ‘The Not So Secret Formulas of Jacques Maroger: An Investigation of the Manufacture and Use of Maroger Mediums’, ANAGPIC Conference post-prints, Cambridge, 2004