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Summer School 2021 – Online

Our lecturers

Lecturers' Biographies

Summer School 2021 - online

Dr George Bartlett completed his AHRC-funded PhD in Art History at the University of Sussex in 2020, where he also teaches modules on Late Antique and Middle Byzantine art. His thesis was supervised by Professor Liz James and is entitled ‘What’s in a name? Images of Christ inscribed with epithets in Middle and Late Byzantine art, c. 1000-1453’. In 2014-15, he studied at The Courtauld for an MA in Byzantine and Islamic art, which was jointly funded by the Courtauld Friends and the Stravros Niarchos Foundation. He has taught art history courses to students from widening participation backgrounds at the National Gallery, London and is currently a visiting lecturer for the MA in Art Conservation at West Dean College.

Dr Michael Carter is a medieval historian and art historian. His research is focused on monasticism, especially in the period c.1300-1540. He has a doctorate from The Courtauld where he was a postdoctoral fellow. Since 2015 Michael has been senior properties historian at English Heritage, contributing to major new interpretations at monastic sites of international significance, including Battle, Hailes, Rievaulx and Whitby. Michael has published widely, outputs including a monograph on the art and architecture of the Cistercians in late medieval England, an edited volume for the British Library on ruins and the English antiquarian and literary imagination and over 30 scholarly articles and book chapters. His current research is focused on relics and medieval monastic ghost stories.

Dr Mehreen Chida-Razvi is an art historian specializing in the art and architecture of Mughal South Asia. She teaches courses and lectures on Islamic and Indo-Islamic art at universities and museums in London and Oxford, is the Managing Editor for the Khalili Collection of Islamic Art, and is an Assistant Editor for the International Journal of Islamic Architecture. She obtained her PhD from SOAS, University of London, has published extensively on aspects of Mughal art, architecture and urbanism, and has shared her academic expertise with wider audiences through programming on BBC, documentaries, literary festivals, podcasts, and as an expert lecturer on cultural tours.

Emily Christensen is a PhD candidate at The Courtauld, supervised by Professor Gavin Parkinson. Her dissertation examines the themes of Orientalism in the works of Russian artist Wassily Kandinsky, with a focus on his trip to Tunisia and the broader visual culture in which he lived and worked. She is an Associate Lecturer at The Courtauld, teaching on European modernism.

MaryKate Cleary is an art historian and lecturer specializing in modern art, the history of the art market and collecting, provenance research and cultural property issues in the Nazi era. She is completing a PhD in art history at the University of Edinburgh, where her research focuses on the Galerie Paul Rosenberg and the transnational market for Modern Art in the inter-war era. MaryKate has lectured extensively, including as an Adjunct Professor at New York University, and held roles at MoMA, the Art Loss Register, Sotheby’s, artnet.com and the Jewish Museum. She has a BA in German Literature, and an MA from The Courtauld.

Maggie Crosland is a PhD candidate at The Courtauld, where she is studying with Dr Alixe Bovey and Professor Susie Nash. Her dissertation research examines fourteenth-century illuminated prayer books from France and the Burgundian Netherlands through the themes of function and adaptation. She is an Associate Lecturer at The Courtauld, where she has taught seminars on Gothic art, and is a former editor-in-chief of The Courtauld’s postgraduate journal immediationsMaggie has previously held research positions at the J. Paul Getty Museum and the Art Institute of Chicago.

Ambra D’Antone is a PhD candidate at The Courtauld and Tate Modern, supervised by Professor Gavin Parkinson and Dr Matthew Gale. Her thesis analyses the emergence and significance of Surrealism in the Levant region, with a focus on Turkey and Syria, as an instance of translation. She is the Editor-in-Chief of immediations no. 17 (2020), The Courtauld’s Journal of Postgraduate Research.

Dr Tom Day is a Terra Foundation Postdoctoral Fellow at The Courtauld’s Centre for American Art where he is working on a co-edited collection of essays entitled Pop Cinema (under consideration with Edinburgh University Press) examining the relationship between Pop art and experimental forms of cinema and television. He was previously a Postdoctoral Fellow at the Paul Mellon Centre for Studies in British Art/Yale Center for British Art where he completed a research project on the relationship between television and sculpture: ‘Making it Function Differently: TV Sculpture’. He is also currently completing a monograph, 100 TV Artworks, for Bloomsbury Academic/British Film Institute and from October 2021 will be offering a special option MA at the Courtauld: ‘“Drop Dead” New York: Art, Film and Activism Downtown, 1971-1992’.

Dr Michael Douglas-Scott is an Associate Lecturer at Birkbeck (University of London), and specialises in Italian painting and patronage.  He has lectured extensively on the Italian Renaissance.  He lived in Italy for many years and has published articles in Arte VenetaThe Burlington Magazine, and the Journal of the Warburg and Courtauld Institutes.

Dr Katie Faulkner has an MA and PhD from The Courtauld, where she works as an Associate Lecturer and tutor for The Courtauld’s Young People’s Programme. An expert in nineteenth-century sculpture and dress, Katie has taught courses on Victorian art at The Courtauld, Birkbeck and the University of Warwick and has also lectured for the Pre-Raphaelite Society, the Henry Moore Institute and the Royal Academy of Arts. Her recent publications include journal issues on nineteenth-century art and masculinity, a chapter on St George’s Hall in Liverpool in a book on Sculpture and Decorative Arts for Bloomsbury Press and she is editing a book of primary sources on nineteenth-century sculpture for Taylor and Francis. Katie also teaches for the educational charity, The Brilliant Club, delivering university-style tutorials in state schools and at Arcadia University’s College of Global Studies in London.

Dr Barbara Furlotti is Associate Lecturer at The Courtauld. From 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. As a Marie Curie Fellow at the Warburg Institute (2012-15), Barbara worked on her book Antiquities in Motion: From Excavation Sites to Renaissance Collections (Getty Publications, June 2019). She co–curated the exhibition Giulio Romano: Art and Desire with Guido Rebecchini (Mantua, Palazzo Te, 6 October 2019–6 January 2020) and has published extensively on the history of collecting, display practices and the art market.

Dr Antonia Gatward Cevizli completed her PhD at the University of Warwick, specialising in cultural exchange between Italy and the Ottomans in the fifteenth century.  During her undergraduate degree in art history and Italian and her MA in art history, she studied in Siena and Venice.  She has taught art history at Sabancı University, Istanbul. Antonia is a Course Leader at Sotheby’s Institute of Art and also teaches on the Victoria and Albert Museum year course.  Her publications have focused on cultural and diplomatic exchange between Italy and the Ottomans.

Dr Kate Grandjouan is a lecturer in Art History at the New College of Humanities in London and a tutor in Art History at the Institute of Continuing Education, University of Cambridge. She gained a PhD in eighteenth-century British art from The Courtauld where she subsequently taught. Her post-doctoral research has been supported by fellowships from the Paul Mellon Centre for Studies in British Art and the Lewis Walpole Library at Yale. Her work has appeared in British Art Studies, Eighteenth-Century Studies and The British Society of Eighteenth-Century Studies and Studies in Ethnicity and Nationalism. A chapter in Satire and the Multiplicity of Forms: 1600 – 1830: Textual and Graphic Transformations is forthcoming with Manchester University Press.

Dr Lydia Hansell received her undergraduate degree in Classics from the University of Oxford before completing an MA and AHRC-funded PhD at The Courtauld. Lydia’s PhD, supervised by Professor Susie Nash, focused on Burgundian ecclesiastic patronage. Her recent research will be published in conjunction with an exhibition to be held in Autun, Burgundy in summer 2021. Lydia is an Associate Lecturer at The Courtauld where she has taught and lectured on BA and MA courses on medieval and Renaissance Art.

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 is included in Contesting British-Chinese Culture (Palgrave, 2018). Katie is currently working on an edited volume about abstraction in modern and contemporary Chinese art.

Dr Amanda Hilliam completed her AHRC-funded PhD on Carlo Crivelli in 2020. Her thesis, undertaken at the National Gallery and Oxford Brookes, was a comprehensive account of Crivelli’s artistic practice and its devotional functions, informed by the results of fieldwork in the Marches and technical analysis conducted by the National Gallery’s Scientific Department. Amanda previously held positions at the National Gallery of Art in Washington D.C. and Sotheby’s London. She has published and lectured on Crivelli, and her work has received awards from the Gladys Krieble Delmas Foundation, the Italian Art Society, the Sir Denis Mahon Foundation, the Getty Foundation and the Samuel H. Kress Foundation.

Dr Matthew James Holman is a specialist in American modernism and the institutional history of the Museum of Modern Art. Matthew completed his PhD at University College London in 2020 after periods as a Visiting Scholar in Research at Yale University and the Smithsonian Institution, and as a Fellow on the Terra Foundation for American Art Residency in Giverny. In 2017/28 he received a Studentship from the Leverhulme Trust to spend a year at the John F. Kennedy Institute for North American Studies in Berlin, where he convened a course on the history of the American avant-garde. Matthew teaches at UCL, the Slade School of Fine Art, and Queen Mary University of London.

Dr Zehra Jumabhoy is an UK-based art historian, curator and writer specialising in modern and contemporary South Asian art. She was the Steven and Elena Heinz Scholar at The Courtauld, London, where she completed her doctorate and continues to be an Associate Lecturer. She curated British artist Yinka Shonibare’s site-specific installation, Justice for All, at Singapore’s Old Parliament House (January 2020) to coincide with the Singapore Biennale. Zehra has just been awarded the prestigious Curatorial Research Grant by The Paul Mellon Centre for Studies in British Art for 2021/22. This Grant facilitates the exhibition Imperial Subjects: (Post)Colonial Encounters between South Asia and Britain, scheduled for Swansea’s Glynn Vivian museum in 2022.

Teresa Lane is undertaking CHASE-funded doctoral research at The Courtauld on representations of the Trinity in English art between 950 and 1150. She is supervised by Professor John Lowden and Professor Alixe Bovey. Her research explores sources of artistic inspiration, particularly contemporary theology, coupled with the movement of artists between England and continental Europe. She is an Associate Lecturer at The Courtauld specialising in Medieval art and lectures at the Victoria & Albert Museum. Prior to joining The Courtauld Teresa was a solicitor in a City law firm and worked in legal publishing.

Dr Charlotte de Mille is a specialist in modern French and British art, with a particular interest in the intersections between art and music.  Following her PhD at The Courtauld (2009), she has taught at The Courtauld, and at the Universities of Sussex, Bristol and St Andrews. Charlotte is currently a mid-career Fellow at the Paul Mellon Centre for British Art. She has published widely in her field and was the editor of Music and Modernism, c. 1849–1950 (2011), and the co-editor of Bergson and the Art of Immanence (2013).  Charlotte curates The Courtauld Gallery’s music programme, and has been collaborating closely with the Public Programmes department for many years.)

Dr Lesley Milner spent her childhood in the shadow of Lincoln cathedral, where her passion for medieval art originated.  She began her career by working as a research assistant to Professor Sir Nikolaus Pevsner for the publications in the Buildings of England series. After working as a lecturer for the Open University she returned to The Courtauld to do an MA, followed by a PhD (2015), entitled Secret spaces: English sacristies, vestries and treasure rooms, 1066-1300.  Since gaining her PhD she has published articles and presented papers at a number of prestigious national and international institutions. Lesley’s book Secret Spaces: Medieval Religious Treasure Houses is to be published by Brill Academic Publishers.

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 where she worked on the exhibition Watercolour (Tate Britain, 2011). Nicola has curated several exhibitions on J.M.W. Turner including Turner and the Sun (Winchester Discovery Centre and Willis Museum and Sainsbury Gallery, Basingstoke, 2017). She has also contributed to numerous publications on the artist, 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 Arts Society accredited lecturer and has recently appeared as an expert on television and radio.

Dr Natalia Murray gained a BA and MA in art history at the Academy of Fine Arts in St Petersburg, and a PhD at The Courtauld.  She is a writer, teacher and curator specialising in late nineteenth- and early twentieth-century Russian and Western European art and is the curator of the Royal Academy’s major exhibition Revolution. Russian Art 1917-1932 (2017).  Natalia is currently working on several new exhibition projects in Moscow and Paris, while also teaching as an Associate Lecturer at The Courtauld.  She has published widely in her field; her most recent book, Art for the Workers: Proletarian Art and Festive Decorations of Petrograd 1917-1920 was published by Brill in May 2018.

Dr Geoff Nuttall specialises in the art and history of Lucca, and wrote his PhD thesis at The Courtauld on the role of Lucchese silk merchants as patrons and purveyors of luxury goods at the end of the Middle Ages.  He has recently edited a book on the Florentine artist, Filippino Lippi, contributing a chapter on Filippino’s Lucchese patrons.  In 2014 he was a fellow of the Huntington Library and Art Collection San Marino, and in 2017 was Scholar-in-Residence at the Dutch Institute for Art History (NIKI) in Florence. Geoff is currently working on the book, The Merchants of Lucca, and the chapel of the Lucchese in Paris.

Dr Paula Nuttall gained her BA and PhD at The Courtauld.  Her research focuses on artistic relations between the Netherlands and Italy, on which she has published widely, notably From Flanders to Florence: The Impact of Netherlandish Painting, 1400-1500 (Yale, 2004).  She has co-curated and advised on exhibitions, including Firenze e gli antichi Paesi Bassi (Florence, Palazzo Pitti, 2008), Face to Face: Flanders, Florence and Renaissance Painting (San Marino, The Huntington Library and Art Collection, 2013) and most recently Van Eyck: An Optical Revolution (Ghent, Museum voor Schone Kunsten, 2020), contributing to the respective catalogues. Paula is Director of the V&A Medieval and Renaissance Year Course, and as an Associate Lecturer at The Courtauld, taught on the Italian Renaissance MA from 2015-2018.

Dr Lois Oliver studied English Literature at Cambridge University, and art history at The Courtauld, completing an MA in Venetian Renaissance Art and writing her doctoral thesis on The Image of the Artist, Paris 1815-1855. She worked at the Harvard University Art Museums before joining the curatorial team at the V&A and then the National Gallery where she co-curated the major exhibition Rebels and Martyrs: the Image of the Artist in the Nineteenth Century (2006) and a series of touring exhibitions. Currently Associate Professor in art history at the University of Notre Dame in London, she has also taught undergraduate courses at The Courtauld. Lois writes audio and multimedia tours for clients including the National Gallery, Royal Academy, Royal Collection, and Tate, and has appeared on TV programmes for the BBC and Channel 5.

Dr John Renner is an Associate Lecturer at The Courtauld, teaching Italian art of the later Middle Ages and early Renaissance. He read History and French at Oxford, and subsequently worked in journalism and broadcasting before taking an MA in art history at Birkbeck College, University of London, and a PhD at The Courtauld, with a doctoral thesis on the changing imagery of St Francis of Assisi in the thirteenth and fourteenth centuries. His research, conference papers and publications explore the inter-relationship of aesthetics, theology and politics in early Franciscan art. As well as teaching at The Courtauld he lectures widely elsewhere, including for the V&A Academy and the London Art History Society. A past recipient of a Research Fellowship at the Dutch Institute for the History of Art in Florence, he is also a Fellow of the Society of Antiquaries of London.

Dr Niccola Shearman is a freelance lecturer in twentieth-century German and Austrian art. Currently completing a year of teaching full-time at the University of Manchester, she worked previously as Associate Lecturer at The Courtauld, where she gained her PhD on the modernist woodcut in Germany (2017). In addition to a focus on print histories in Germany, her research interests include the psychology of vision, especially the work of Gestalt scientists in 1920s Berlin. Academic articles have concerned approaches to the woodcuts of Ernst Barlach and Lyonel Feininger, and religious themes in the work of Oskar Kokoschka. She writes regular book reviews and has translated a number of books.

Dr Matthias Vollmer is Adjunct Professor at the Freie Universität Berlin European Studies Programme. He studied art history, philosophy and orientalism at the Freie Universität Berlin and wrote his PhD thesis on medieval book illustration. Matthias teaches interdisciplinary seminars on medieval and Renaissance art, as well as courses on modern art at the Freie Universität Berlin, the Universität der Künste Berlin, the Universität Münster and the Universität Frankfurt. He currently researches the principles of visualisation in art and science.

Dr Giulia Martina Weston holds a PhD from The Courtauld, where she has been Associate Lecturer since 2016. She is Consultant Lecturer at Sotheby’s Institute of Art and a member of several editorial boards. She has published on various aspects of Renaissance and Early Modern art and society. She authored the monograph Niccolò Tornioli (1606-1651). Art and patronage in Baroque Rome (2016), and coedited the volumes I Pittori del Dissenso (2014) and ‘A tale of two cities’: Rome and Siena in the Early Modern period (2020). Her forthcoming book focuses on Salvator Rosa’s afterlife and influence in Britain.  She has lectured for the London Art History Society, the Lincoln College, University of Oxford, and the Paul Mellon Centre.

Dr Richard Williams completed his doctorate at The Courtauld and was awarded a post-doctoral fellowship by Yale University. Following this he was a specialist in Northern Renaissance art in the art history department at Birkbeck, University of London. More recently he has been appointed Learning Curator at the Royal Collection and is based at Windsor Castle. His published research focusses on art in England and other regions of Northern Europe in the fifteenth and sixteenth century.

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