The Courtauld Institute of Art is the foremost centre in Britain for the study of art history and conservation and enjoys an international reputation. The Courtauld is based in the central London location of Somerset House, one of the capital’s grandest and most famous neo-classical buildings, which was designed by Sir William Chambers in the late eighteenth century. The Courtauld’s rooms are rich in historical associations, being originally designed for, and inhabited by, the Royal Academy and other learned societies.
Contact us at:
The Courtauld Institute of Art
London WC2R 0RN
Tel: 0044 (0)203 9477 650
The world-famous Courtauld Gallery collections range from the thirteenth century to the present day. Best known for its outstanding collection of Impressionist and Post-Impressionist art, the Gallery also includes medieval ivories, 14th-century gold ground paintings, Italian Renaissance paintings and wedding chests, beautiful examples of the work of Lucas Cranach and Pieter Bruegel, and a significant collection of paintings and drawings by Pieter Paul Rubens, as well as sketches and paintings by Tiepolo, Goya and Gainsborough. Moving into the 20th century, the Gallery has an important collection of Fauve and German Expressionist paintings on long-term loan, and owns works by Walter Sickert, Ben Nicholson, Graham Sutherland, Anthony Caro and Richard Long.
To support and improve our ability to teach, research, and to engage with a much wider public, The Courtauld is undertaking Courtauld Connects, a major redevelopment and transformation of our home at Somerset House, from the autumn of 2018. This project will necessitate the temporary closure of the Gallery, and, during Phase Two, the relocation of the Institute; there will be some disruption to ‘business as usual’, but likewise there will be an exciting opportunity to renew our teaching, to introduce new strands, formats and personalities. Once completed, Courtauld Connects will transform our experience of teaching, learning and working at Somerset House through state-of-the-art teaching spaces, improved access to, and facilities within, our Gallery and Library and the digitisation of our varied collections.
For further information on Courtauld Connects please visit courtauld.ac.uk/connects or email firstname.lastname@example.org
Class size, teaching methods and learning resources
The programme offers 24 courses, each of which runs for a week from Monday to Friday. The courses have limited numbers, with groups kept to a maximum of 16 and, in some cases, fewer students.
Classes are held in The Courtauld Institute of Art seminar and teaching rooms, in the lecture theatre and in front of works of art in museum and gallery collections and at sites in London and beyond.
The courses focus intensively on a range of topics that examine broad themes from medieval to contemporary art, combined with the close study of individual objects. They involve lectures, visits to galleries, museums and buildings, often with privileged access to collections. No written work is set although there is suggested pre-course reading. The classes offer plenty of opportunity for discussion and questions and aim to be both scholarly and enjoyable.
Short courses students have their own dedicated space on our Virtual Learning Environment (VLE). The VLE will contain a range of learning resources, such as reading lists, glossaries and historical summaries, selected texts for advance or future reading, and lists of useful websites. The quantity and nature of this material will vary from tutor to tutor and we cannot foresee what will be available for each course. Some tutors may upload powerpoints of their talks, but others may not wish to, or may not be able to provide these owing to copyright issues with some images and/or the unpublished nature of ongoing research. For these reasons we ask students not to use recording devices.
Gallery and library access, and other special benefits
Students are encouraged to make use of The Courtauld Gallery and of The Courtauld’s other unique facilities.
From 9-13 April, all Summer School students (including those taught in July) will have access to the Book Library. The Library staff have kindly offered to give two brief induction sessions on Monday 9 April, and to open from the earlier time of 9.30 am during Summer School, so that participants have a chance to consult the library before the start of classes at 10.00 am, and after classes until 17.30 pm. All Summer School students are further welcome to use the library for reference after the end of the spring term from 26 March to 17 April, excluding the period 29 March – 3 April, when the Institute is closed over Easter. It is expected that Summer School students in July will also have the usual access to the library during their courses; however, at the time of publication the packing and removal schedule for the library, in preparation of works relating to Courtauld Connects, has not yet been confirmed; a definitive answer should be available early in 2018. Please note that in 2018 there will be no library access during the rest of July, August and September.
While on a course students have full access to The Courtauld Gallery during opening hours. Monday afternoons are particularly designed to give you an opportunity to get to know our Gallery in depth: Courtauld postgraduate students will offer a choice of 45-minute gallery talks on selected aspects of the collections, after which Summer School participants are invited to explore the Gallery further until it closes at 18.00.
At the end of each week of courses there is a plenary lecture given by an eminent guest speaker in The Kenneth Clark Lecture Theatre at The Courtauld. Following the lecture there is a farewell party, which in 2018 exceptionally takes place in the Courtauld Gallery on each of the Fridays, 13 April, 6 and 13 July. Summer School students are invited to attend all the plenary lectures and parties and may also bring a guest to both events at no extra charge.
Any student who attends either four Summer School courses in one year or six courses over three years is eligible for a Short Courses Certificate, signed by the Director. Certificates are made out in September after Summer School and will be posted to your home address. If you would like us to mark your achievement in this way, please send a note – by
e-mail or in person – to Jackie Sullivan at email@example.com by 1 September, with details of the courses you have attended.
Accommodation at The Courtauld
While Summer School courses are non-residential, you may wish to take advantage of The Courtauld’s student residence for accommodation if you are studying with us during the week 9-13 July, or if you are looking for a place to stay in London in the period from 8 July 2018 to 16 September 2018.
Duchy House is located just 150 meters from The Courtauld, making it the perfect location for Summer School participants. It contains a range of standard single rooms, single and double en-suite rooms, and twin rooms, with prices ranging from £75 – £100 per night.
Duchy House has the following features:
• 64 study rooms with WiFi throughout.
• 24-hour staffing to provide assistance for all guests.
• Furnished kitchens for self-catering with a range of crockery and cutlery provided.
• Daily room servicing and cleaning from our Housekeeping Team.
• Free on-site laundry services for all guests.
• Secure swipe card access and 24-hour CCTV coverage within the building.
• Open between Sunday 8th July 2018 and Sunday 16th September 2018.
To check availability, or to make a booking, you can search our rooms using the following link: www.courtauld.ac.uk/duchyhouse-airbnb
Alternatively, please contact our Residential and Room Booking Officer;
T: +44 (0)20 3947 7595
or E: firstname.lastname@example.org
Advice for students with reduced mobility
The Courtauld Institute of Art boasts a unique and atmospheric location in the Grade 1 listed, historical building of Somerset House. However, because of its setting, The Courtauld currently does not have full disabled access to all of its study areas. Most of the teaching rooms are accessible to those with mobility issues but others, such as the Conservation Studios where part of the ‘Introduction to Art History’ course and course 1 of Summer School will be taught, unfortunately are not. There are a number of steep staircases to be negotiated. While all courses go on visits outside The Courtauld, Summer School courses 3, 4 and 18 include more extended walks. There are a couple of steps also to The Courtauld Gallery Print Room, where aspects of the ‘Introduction to Art History’, and of Summer School courses 6, 10, 12, 13, 14, 19 and 22 are likely to be taught. Other lecturers may also decide to visit the Courtauld’s print room, or include extended walks into their course outlines nearer the time and we will alert all prospective students as soon as we have this information.
Please note that we may not be able to accommodate any access requirements unless you communicate these clearly at the time of booking. Therefore, please inform us as soon as possible and at least a month in advance of the course if you require a fully accessible teaching space. And where possible, apart from the ‘Introduction to Art History’, which cannot be relocated, and Summer School courses 6, 10, 12, 13, 14, 19 and 22, which make use of The Courtauld Gallery Print Room, we will strive to arrange it.
Please also bear in mind that most Spring Courses and all Summer School courses include visits to museums, galleries and other sites within London, its surroundings or nearby cities and therefore a certain degree of physical activity. Likewise, all Study Tours require a fair amount of walking and getting around towns and sites, in some circumstances on uneven or otherwise difficult terrain.
If you have any doubts whether a particular course or tour is suitable for you, please contact us for further information.
Dr Thomas Balfe is an art historian specialising in early modern (c.1550–c.1750) Flemish easel painting and graphic art. To date his research has focused on seventeenth-century animal, hunting and food still-life imagery. He received his MA (2009) and PhD (2014) from The Courtauld, where he has worked as Associate Lecturer since 2010. He has also taught for Warwick University and the City & Guilds London Art School. Currently he is co-editing a book on the term ad vivum and its relation to images made from or after the life.
Janine Catalano is a London-based art and food historian, with a particular focus on modern and contemporary art. A native New Yorker who went to university in Philadelphia, she then completed a Masters at the Courtauld, where she specialised in the subject of food in Surrealism. Janine has published widely on the relationship between food and art, participated in conferences, and featured in conversations at Tate and on BBC Radio 4. In addition to her teaching activities at The Courtauld, the Victoria and Albert Museum, and various London galleries, she designs and leads research-based culinary events and tours.
Dr Mehreen Chida-Razvi is a Research Associate in the History of Art department at SOAS, and a specialist on the art and architecture of Mughal South Asia. She lectures on Islamic and Indo-Islamic Art in university colleges in London and Oxford, is an Assistant Editor for the International Journal of Islamic Architecture, and has consulted on a documentary on the Taj Mahal. As Honorary Secretary of the Indian Art Circle at SOAS, Mehreen organises a monthly lecture series devoted to all aspects of Indian art. She has published on many aspects of the Mughal Empire and is currently writing a book on the Mughal Emperor Jahangir’s mausoleum.
Dr Richard Cork is an award-winning art critic, historian, broadcaster and curator. Formerly Art Critic of the Evening Standard and The Times, and Slade Professor of Fine Art at Cambridge, Richard was a judge for the Turner Prize and curated major exhibitions at Tate, the Hayward Gallery, the Barbican Art Gallery, the Royal Academy and other European venues. His many acclaimed books include Michael Craig-Martin (2006); Wild Thing: Epstein, Gaudier-Brzeska, Gill (2009), and a pioneering history of western art in hospitals, The Healing Presence of Art (2012). His latest book, Face to Face: Interviews with Artists was published in 2015.
Dr Charlotte de Mille curates the music programme for The Courtauld Gallery. With the Courtauld’s Public Programmes department, she co-authored the acclaimed museum learning programme ‘Animating Art History’, a joint initiative with Central St Martin’s and the University of the Creative Arts. A Courtauld alumna (PhD 2009), she has taught at The Courtauld and at the Universities of Sussex, of St Andrews, and of Bristol, where she is Honorary Research Associate. Charlotte is editor of Music and Modernism (2011), co-editor of Bergson and the Art of Immanence (2013), and has contributed to several books and journals.
Dr Barbara Furlotti is Associate Lecturer at The Courtauld Institute of Art. She completed her PhD at Queen Mary University, London, in 2009. In 2009-2010, she held a post-doctoral fellowship at the Getty Research Institute in Los Angeles, where she was involved in the research project The Display of Art in Roman Palaces, 1550-1750. In 2012-2015, she was a Marie Curie Fellow of the Gerda Henkel Stiftung at the Warburg Institute, where she worked on her book-project on the market for antiquities in sixteenth-century Rome. She has published extensively on the history of collecting.
Dr Kate Grandjouan has a PhD from The Courtauld (2010) where she subsequently taught eighteenth-century British art. She is an independent scholar currently working on a publication with the provisional title Anglo-French Encounters: Graphic Satire and National Identity in the Eighteenth Century, c.1688-1815. Her research has been supported by post-doctoral fellowships from the Lewis Walpole Library (Yale University) and The Paul Mellon Centre for Studies in British Art. She has written many scholarly articles and reviews in English, published in British Art Studies, Eighteenth-Century Studies and the British Society of Eighteenth-Century Studies and two forthcoming publications in French. For more information see kgrandjouan.com
Professor James Hall is Research Professor at the Winchester School of Art, University of Southampton. A former art critic of The Guardian, he contributes to many publications, including the Times Literary Supplement. He has lectured at many museums and universities, and has appeared on radio, including Start the Week. He has written several critically acclaimed books: The World as Sculpture (1999); Michelangelo and the Reinvention of the Human Body (2005); The Sinister Side: How Left-Right Symbolism Shaped Western Art (2008). His latest prize-winning book, The Self-Portrait: A Cultural History (2014) has been translated into five languages.
Dr Katie Hill is Programme Director of the MA in Modern and Contemporary Asian Art at Sotheby’s Institute of Art, London. She has lectured extensively and worked closely with a number of contemporary Chinese artists as a curator and writer, conducting the ‘In Conversation’ with Ai Weiwei for his Sunflower Seeds installation at Tate Modern (2010). She co-authored The Chinese Art Book (Phaidon, 2013) and her chapter on Chinese art duo Mad For Real will appear in On Contesting British-Chinese Culture (Palgrave, 2017). Katie is currently working on an edited volume about abstraction in modern and contemporary Chinese art.
Dr Nicola Jennings has an MA and a PhD from The Courtauld, where she is currently an Associate Lecturer, while also working as Curatorial and Research Associate at Colnaghi, London. She previously held positions at the National Gallery and at City University, London. Nicola is a specialist in late-Gothic Spanish art, with a particular research interest in the connections between immigrant French and Flemish and local Spanish artists in fifteenth-century Iberia, and in the works they produced for prominent converts from Judaism. Her writings include contributions to monographs on Lorenzo Mercadante and Alonso Berruguete, and various articles and book chapters based on her thesis.
Dr Lucy Jessop studied at the University of Reading (BA) and at The Courtauld (MA and PhD). Lucy is a senior architectural investigator for Historic England in York. She has taught widely on aspects of post-medieval British architecture at the Courtauld, UCL, Birkbeck, City and Reading universities, as well as designing and teaching courses for Historic England at Oxford and Leicester. She is currently working on projects concerning military buildings in North Yorkshire, the model industrial village of Elsecar in South Yorkshire and the city of Sunderland.
Dr Zehra Jumabhoy is a critic, curator and art historian specializing in modern and contemporary South Asian art. She obtained her PhD on Indian art and nationalism from The Courtauld, where she is Associate Lecturer and co-organises the seminar series Contemporaneity in South Asian Art. In India, she was editor of Time Out Mumbai’s Visual Art section and subsequently Assistant Editor at ART India. Her book, The Empire Strikes Back: Indian Art Today, was published by Random House (2010). She is a regular contributor to Artforum International, ArtReview Asia and London Correspondent for ART India. Zehra also lectures at Sotheby’s Institute of Art in London.
Dr Jerzy J Kierkuc-Bielinski obtained his PhD from The Courtauld in 2005. He subsequently worked on the British Museum 2008 exhibition and catalogue The American Scene: Prints from Hopper to Pollock and from 2007 to 2015 was the exhibitions curator at Sir John Soane’s Museum where he curated some thirty shows. From 2015 to 2017 he was the Curator of The Iveagh Bequest, Kenwood and is now a regional curator, London and South East, for the National Trust. His publications include George Scharf: From the Regency Street to the Modern Metropolis; Stadia: Sport and Vision in Architecture and Peace Breaks Out! London and Paris in the Summer of 1814.
Dr Caroline Levitt is Associate Lecturer and Graduate Diploma Programme Co-ordinator at The Courtauld, where she obtained her PhD in 2008. She specialises in late nineteenth- and early twentieth-century French art and literature, with particular research interests in Surrealism, in relationships between text and image and in artists also working in media such as tapestry, ceramics and stained glass. She has written various articles and contributed to books including Phaidon’s The Art Museum (2011) and Art in Time (2014). She is working on a monograph about artists who have owned books and drawn over them, in the context of a history of the avant-garde.
Dr Livia Lupi obtained her AHRC-funded PhD in 2016. She taught at the University of York between 2014 and 2016, and was a fellow at The Warburg Institute in 2017. She has published on the fourteenth-century Italian painter Altichiero da Zevio, and is now preparing a monograph on the representation of architecture in fourteenth and fifteenth-century Italian painting. She is also active as a translator: in 2017 she co-translated Sebastiano del Piombo’s letters to Michelangelo for the exhibition Michelangelo & Sebastiano at the National Gallery.
Nicola Moorby is an independent curator, writer and lecturer specialising in British art of the nineteenth and early twentieth centuries. An alumna of the University of York (BA) and of Birkbeck (MA), she was formerly a curator and researcher at Tate Britain. Nicola curated several exhibitions, including most recently, Turner and the Sun (Winchester Discovery Centre and Willis Museum and Sainsbury Gallery, Basingstoke, 2017). She has contributed to numerous publications on J.M.W. Turner, was co-editor and author of How to Paint Like Turner (Tate Publishing 2010) and is currently part of the team preparing Tate’s online catalogue of the Turner Bequest. Nicola is an Art Society (NADFAS)-accredited lecturer.
Dr Natalia Murray is an alumna of the Academy of Fine Arts in St Petersburg and of the Hermitage Museum (PhD) and obtained another PhD from The Courtauld, where she is Associate Lecturer in modern Russian art. Natalia also lectures at the National Art Fund, is Head of education at GRAD (Gallery for Russian Art and Design) and curates international exhibitions of Russian art, most recently Revolution: Russian Art 1917-1932 at the Royal Academy in London. She is the author of The Unsung Hero of the Russian Avant-Garde: The Life and Times of Nikolay Punini (2012) and is working on a new book on post-revolutionary festivals in Petrograd (forthcoming 2018).
Dr Mellie Naydenova-Slade did her undergraduate degree at Cambridge and obtained her MA and PhD from The Courtauld, writing her doctoral thesis on the subject of the Holy Kinship – the extended family of Christ. Mellie has taught on medieval art and architecture at The Courtauld, at Birkbeck (University of London), the University of Kent and Sotheby’s Institute. A post-doctoral fellowship at the Mellon Centre for Studies in British art has supported her forthcoming book based on her doctoral research. Her publications have focused on English medieval art and have reflected a particular research interest in wall paintings and manuscript illumination.
Dr Geoffrey Nuttall is Associate Lecturer at The Courtauld, teaches at the Victoria and Albert Museum and is an experienced study tour leader. His doctorate from The Courtauld investigated Lucchese patronage across Europe between 1370 and 1430. He has published articles and book chapters about Lucca and is currently preparing his thesis for publication. He has been a fellow at the Huntington Library in San Marino, California and a scholar in residence at the Dutch Institute in Florence (2017).
Dr Lois Oliver studied at Cambridge University and The Courtauld, writing her doctoral thesis on ‘The Image of the Artist, Paris 1815-1855’. She has worked as a curator at the V&A and the National Gallery, organising a series of exhibitions, including Rebels and Martyrs: the Image of the Artist in the Nineteenth Century (2006). Currently Associate Professor in Art History at the University of Notre Dame (USA) in London, and Associate Lecturer at The Courtauld, she writes audio and multimedia tours for clients including the National Gallery, the Royal Academy and Tate, and has appeared on TV for the BBC and Channel 5.
Dr John Renner is Associate Lecturer at The Courtauld, teaching courses on late medieval and early Renaissance Italian art. His research focuses on the art of the Franciscans in Italy. John read history at Oxford and went on to pursue a career in international journalism and broadcasting with the BBC World Service before returning to academia to take an MA in art history at Birkbeck, and a PhD at The Courtauld. In 2011 he was awarded a research fellowship at the Dutch Institute for the History of Art in Florence. John is also a Visiting Lecturer at the Victoria and Albert Museum.
Dr Maria Alessia Rossi is the Samuel H. Kress Postdoctoral Researcher at the Index of Medieval Art at Princeton University. She earned her PhD in 2017 from The Courtauld. Before taking up her current post, she taught at The Courtauld and worked for adult education institutions in London. She has written on fourteenth-century Byzantine artistic production and patronage and is now working towards a monograph focusing on the proliferation of Christ’s Miracle Cycle in monumental art in the Byzantine Empire and the Serbian Kingdom.
Dr Tim Satterthwaite graduated in English from the University of Oxford, and went on to develop a successful career as an editor, writer and theatre director, before taking an MA in art history at the University of Sussex (2009). He completed his PhD at The Courtauld in 2015, writing on European photo-illustrated magazines of the 1920s. He is now a lecturer in History of Art and Design at the University of Brighton and associate lecturer at the University of Chichester. Tim Satterthwaite’s first book, Modernist Magazines and the Social Ideal, will be published by Bloomsbury in 2019.
Dr Niccola Shearman has a background in German studies and teaching. Having completed a PhD on the modernist art of woodcut in Weimar Germany at The Courtauld in 2017, she is currently Associate Lecturer both here and at the University of Liverpool. Niccola is also a regular contributor to The Courtauld’s Gallery learning programmes. She specialises in German and Austrian art and ideas of the early twentieth century, and her academic papers and publications reflect a further interest in the psychology of vision.
Dr Rachel Sloan is Assistant Curator of Works on Paper at The Courtauld Gallery. She earned her PhD from The Courtauld with a thesis on Symbolism and artistic exchange between France and Britain. Rachel worked at the J. Paul Getty Museum, Los Angeles, and the Santa Barbara Museum of Art before returning to The Courtauld in 2012. Exhibitions she has curated at The Courtauld Gallery include Regarding Trees (2016) and A Dialogue with Nature: Romantic Landscapes from Britain and Germany and Master Prints from the Courtauld Collection (both 2014).
Professor Frances Spalding is an art historian, critic and biographer, with a specialist interest in twentieth-century British art. She became the Professor of Art History at Newcastle, where she taught from 2000-2015, and, after a year as Editor of The Burlington Magazine, is now Emeritus Fellow of Clare Hall, Cambridge. She established her reputation with Roger Fry: Art and Life (1980) and her art-historical writings include lives of Vanessa Bell, John Minton, Duncan Grant, Gwen Raverat and John and Myfanwy Piper, the survey British Art since 1900, a centenary history of Tate, and books on Whistler, Prunella Clough and the Bloomsbury Group.
MaryAnne Stevens is a historian of 18th– to early 20th-century art, with particular research interests in the arts of Britain, France and the Nordic countries. Following a career in the academic world, she joined London’s Royal Academy of Arts as Director of Academic Affairs, establishing the Learning Department and Architecture programme, professionalising the Collections, Library and Archive and serving as Acting Secretary (2005-2008). She curated numerous major exhibitions, including Vilhelm Hammershøi: The Poetry of Silence (2008). Since 2013, she has been an independent art historian and curator; her most recent exhibition was Nikolai Astrup: Painting Norway (London, Oslo, Emden, 2016-2017).
Fees and Booking
The fee for all courses in the Summer School is £555.
The Summer School Course fee includes expert tuition, all admission charges to temporary exhibitions and permanent collections, the cost of group travel for half- or full-day excursions outside Greater London, and considerable print-room and handling-session charges where appropriate. Also included is tea and coffee in the mornings and, if you are in the Institute rather than out on a visit, also in the afternoons, refreshments on Monday and a Gallery party on Friday, a Courtauld Gallery tour and free access to the Gallery all week, a library tour and free use of the library while on a course in April 2018 and during the holidays following the spring term, and it is hoped also in the two weeks of July. Not included is travel to and from The Courtauld and to destinations within Greater London.
Any income generated by the Short Courses is used to support the work of The Courtauld Institute of Art in order to advance the study of art history and conservation.
CANCELLATION POLICY – SUMMER SCHOOL AND STUDY TOURS
If you need to cancel your place, we will refund the full fee (minus a £40 cancellation charge) provided that you cancel at least 8 weeks before the course/tour commences. If you have to cancel after that date but more than 4 weeks before the start of the course/tour, we will refund 50% of the course fee. For cancellations less than 4 weeks prior to the start of the course/tour, no refund will be payable.
We do whatever we can to ensure that the courses/tours take place as advertised but we reserve the right to make changes or cancellations. In the unlikely event that we cancel any course or tour we will offer you full repayment of your fee.
Unforeseen circumstances may force you to curtail or cancel your course. We strongly recommend that you take out insurance to cover expenses for travel and accommodation as well as for the course fee should you have to cancel less than 8 weeks before the start of the course. As we are unable to recommend individual insurers, we would ask you to undertake your own research.
Unless your country of residence has a reciprocal arrangement with the UK that entitles you to free medical care, we urge you also to take out medical insurance to cover you during your visit to London.
Morning and afternoon tea and coffee will be provided free of charge by our caterers, Leafi, if you are in the Institute. The Leafi team has worked at The Courtauld Institute of Art and Gallery since 2010 and prides itself on its ‘honest home cooking’, making use of local and seasonal, quality ingredients. We are pleased that lunches at discounted student rates will be available for Spring Courses and Summer School students throughout the week.
Provisional course timetable
9.30 Registration and coffee 10.30 Welcome 11.00 Course introductory lecture 12.45 – 2.00 Lunch (not provided, food at subsidised student prices available all week in The Courtauld Institute’s Student Café) 2.00 – 4.00 Lecture 4.00 – 4.30 Refreshments 4.30 – 5.30 Gallery talks and admission to the Gallery until 6pm
Tuesdays to Fridays
10.00 Lecture 11.15 Coffee 11.45 Lecture 1.00 Lunch (not provided; food at subsidised student prices available all week in The Courtauld Institute’s Student Café) 2.30 – 4.30 Site visits 4.30 Tea (if you are in the Institute) 5.00 Plenary Lecture (Friday only) 6.00 Party (Friday only)
Site visits may take place in the morning or may last a whole day.
Some visits may start at 2pm and last until 4pm.
All Summer School and Study Tour teaching is conducted in English. A good command of the language is necessary to follow the lectures, seminars and visits and to benefit from written course materials.