Archive of 2019 Courses
Please note: the 2020 Programme will be available to view from early December. Precise details will follow nearer the time.
The Courtauld Institute of Art is the foremost centre in Britain for the study of art history, conservation and curating and enjoys an international reputation.
Contact us at:
The Courtauld Institute of Art
London WC2R 0RN
Tel: 0044 (0)203 9477 650
Archive of 2019 Courses
Please note: the 2020 Programme will be available to view from early December. Precise details will follow nearer the time.
To support and improve our ability to teach, research, and to engage with a much wider public, The Courtauld is embarking on Courtauld Connects from the autumn of 2018. Courtauld Connects is a major development and transformation of our home at Somerset House and will necessitate the temporary closure of the Gallery, and the relocation of the Institute to our temporary campus at Vernon Square, Penton Rise, London WC1X 9EW.
Vernon Square is a newly refurbished, educational facility formerly used as a school and university campus. Situated between King’s Cross, Clerkenwell and Bloomsbury, Vernon Square is at the heart of a thriving cultural and business community and is well served by public transport, around a 10-minute walk from either King’s Cross/St Pancras or Angel underground stations, and with numerous bus routes along Penton Rise. The British Library, Sadler’s Wells Theatre and the Foundling Museum are all in easy walking distance, as is Angel and Islington’s vibrant High Street, and the British Museum and Central St Martin’s are around 20 to 25 minutes’ walk away.
Class size, teaching methods and learning resources
The programme offers 32 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 Vernon Square, The Courtauld Institute of Art’s seminar and teaching rooms, in the lecture theatres 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 classical antique 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.
Summer School students are further invited to participate in each week’s enriching framework programme: on Monday afternoons, after classes, a number of our PhD students will give insight into their latest research and its relevance to a chosen field in art history and beyond, and we hope you will engage in lively debate with them. On Tuesdays and Wednesdays after classes, we shall have a music recital of works with appropriate reference to The Courtauld Gallery collections, curated and introduced by Dr Charlotte de Mille, and an art film screening, curated and introduced by Dr Barbara Knorpp respectively. Based on widespread feedback, we shall move the plenary lectures, given by eminent guest speakers, and the subsequent receptions to Thursday afternoons, so that those of you who join us from further afield can make a timely get-away to airports and train stations after classes on Fridays. Please note that you can come to any event during the month, irrespective of the course you are taking.
A schedule of the frameworks programme may be found by clicking here.
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 firstname.lastname@example.org by 1 September, with details of the courses you have attended.
Morning and afternoon tea and coffee will be provided free of charge, if you are in the Institute. In addition, a ‘micro-market’ within the Common Room space on the third floor will provide a broad range of healthy eating options including fresh fruit, oatmeal, salads, nuts and low-calorie heat-up meals. A microwave is put at your disposal. A high-quality self-service coffee machine is also provided and can be accessed anytime. Payments are cashless (contactless and chip and pin; no cash transactions are involved). You can simply help yourself to the products you want before paying at a self-service scan kiosk.
There are also a large number of independent and chain sandwich/snack bars in and around both King’s Cross/St Pancras and Angel stations, as well as several more sophisticated eateries. You will be given some suggestions of where to eat in your course pack on arrival.
Summer School courses are non-residential but you may need accommodation while in London.
Our Duchy House student accommodation, near Somerset House, will remain available to short courses attendees during the summer of 2019 at rates unchanged from 2018.
To check availability, or to make a booking please contact email@example.com
or contact our Residential and Room Booking Officer: +44 (0)20 3947 7595
Other student accommodation near Vernon Square includes:
Urbanest halls of residence at Canal Reach, King’s Cross, offering a selection of en-suite rooms with 50mbps broadband and WI-FI, and with access to a shared kitchen and living area. The halls are located near King’s Cross/St Pancras International and Granary Square, and are a short, 20 minute walk away from Vernon Square.
For information and to book, contact urbanist.com/kingscross, tel: +44(0)20 7042 7890, email: firstname.lastname@example.org
The Gardens offers brand new facilities in the heart of Bloomsbury, behind the Brunswick Centre, a 13 minute walk to Vernon Square. Rooms will be available from Wednesday 26 June 2019 until the first week of September. Please follow the link below for more information about the Garden Halls.
You can find further information here: https://london.ac.uk/staycentral
Advice for students with reduced mobility
THE CAMPUS AT VERNON SQUARE
Vernon Square is an impressive building that has always served as an educational setting. It was built as a school by the London City Council in the early twentieth century and has more recently served SOAS, University of London as a second campus.
The building offers two large lecture theatres, and nine seminar rooms on the first and second floors, and a reception space. It is fully accessible, with step-free entry, single-level flooring, disabled toilets, lift access to all rooms, and free on-site parking for blue badge holders.
Please bear in mind that 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. If you have any doubts whether a particular course is suitable for you, please contact us for further information.
Dr Kate Aspinall is an independent historian, writer and artist. Based in London, her research is focused on British visual culture since 1900. She recently wrote about the artist David Bomberg for British Art Studies, and she is working on a book about drawing in twentieth-century Britain. An Arts Society accredited lecturer, she has worked for the Roy Lichtenstein Foundation and the Feliks Topolski Studio and is a former trustee of the Association for Art History. Kate has degrees from the University of St Andrews, The Courtauld and the University of East Anglia.
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 worked as an Associate Lecturer from 2010. He is currently a Teaching Fellow at the University of Edinburgh. His co-edited book on the term ad vivum and its relation to images made from or after the life will be published in 2019.
George Bartlett is an AHRC CHASE-funded PhD candidate in the department for Art History at the University of Sussex, where he also teaches modules on Late Antique and Middle Byzantine art. His thesis, supervised by Professor Liz James, is entitled ‘What’s in a name? Inscribing Christ with epithets in later 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. Since 2017, he has also taught art history courses to students from widening participation backgrounds at the National Gallery, London.
Dr Niamh Bhalla completed her PhD at The Courtauld in 2014, entitled ‘Social Histories of the Last Judgement in Byzantine Art’. Her academic interests lie in the classical and medieval traditions of the Mediterranean and her work explores the concrete social roles that works of art assume. Niamh has considerable teaching experience at both undergraduate and postgraduate level and is currently Course Leader and Lecturer at the New College of the Humanities in London. She also coordinates research projects at The Courtauld and the Victoria & Albert Museum.
Dr Mehreen Chida-Razvi is a Research Associate in the Department of the History of Art & Archaeology at SOAS. She specialises in the art and architecture of Mughal South Asia. Mehreen also works for the Khalili Collection, is an Assistant Editor for the International Journal of Islamic Architecture, and is Course Tutor for Indian and Islamic art courses at SOAS and the Victoria & Albert Museum. Mehreen has taught and published widely in her field. She is currently finalizing a book chapter for a volume on Marian Iconography, is guest-editing a volume of the journal South Asian Studies, and writing a book on the Mughal mausoleum of Emperor Jahangir.
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 pursuing a PhD in the History of Art 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.
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.
Tom Day teaches at the University of Edinburgh where he is also pursuing a doctorate on art and moving-image practices in the post-war era, notably the links between Pop Art and various strains of underground and experimental filmmaking in 1960s Europe and the USA. His broader art-historical interests include American art after 1945, especially Pop, Minimalism and New York’s avant-garde Downtown scene. His work has been featured at prominent international conferences and symposia. Tom holds a BA and an MA in Film Studies and Art History from the University of Sussex.
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. She was Visiting Scholar at Lingan University Hong Kong in the autumn of 2018. 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 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 curates international exhibitions of Russian art, most recently Revolution: Russian Art 1917-1932 at the Royal Academy in London (2017). She is currently working on an exhibition on Malevich and Kandinsky in Paris. Natalia’s latest book, Art for the Workers: Proletarian Art and Festive Decorations of Petrograd 1917-1921 was published in May 2018 and the Russian translation of her biography of Nikolay Punin was published in October 2018 in Moscow.
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 Veneta, The Burlington Magazine, and the Journal of the Warburg and Courtauld Institutes.
Dr Katherine Faulkner has an MA and PhD from The Courtauld, where she works as Associate Lecturer and as a tutor for the 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 lectured widely. Her recent publications include articles on nineteenth-century art and masculinity, a chapter on St George’s Hall in Liverpool for a forthcoming book for Bloomsbury Press and she is working on a book project on nineteenth-century sculpture and photography. Katie is art history editor for the Open Library of Humanities and for MAI, an online journal of feminist art and visual culture.
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 at the Warburg Institute, where she worked on her book-project Antiquities in Motion. From Excavation Sites to Renaissance Collections, which will be issued by the Getty in March 2019. She has published extensively on the history of collecting, display practices and the art market.
Dr Kate Grandjouan received her PhD in eighteenth-century art from The Courtauld in 2010 with a thesis supervised by Professor David Solkin. As Associate Lecturer at the Courtauld she has lectured widely on eighteenth-century British art, at undergraduate and postgraduate levels (including with T.J. Clark) and for Public Programmes. Her post-doctoral research has been supported by fellowships from the Paul Mellon Centre in London and the Lewis Walpole Library (Yale University) in Connecticut. Kate’s research interests focus on print-making, national identity and cosmopolitan networks, and her articles and reviews have been published in scholarly journals. Two forthcoming articles relate to her book which is provisionally entitled ‘Hogarth’s 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 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.
Liz James is Professor of Byzantine Art at the University of Sussex where she teaches courses on Late Antique and Byzantine art. She has published on a variety of Byzantine topics, ranging from women to mosaics and between 2007 and 2011, she organised an International Network looking at the composition of Byzantine glass mosaic tesserae. This brought together art historians and glass scientists to explore together what the glass of tesserae – the cubes used for making mosaics – can actually tell us about the mosaics themselves. Liz is an alumna of the Universities of Durham and Birmingham (BA, MA) and of The Courtauld where she obtained her PhD with a thesis on light and colour in Byzantine Art.
Dr Nicola Jennings has an MA and a PhD from The Courtauld, where she is currently an Associate Lecturer; she is also Director of the Colnaghi Foundation, 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 Zehra Jumabhoy is a UK-based writer, speaker and art historian. She was the Steven and Elena Heinz Scholar at The Courtauld, where she completed her doctorate and is an Associate Lecturer, specializing in modern and contemporary South Asian art. She co-organizes Contemporaneity in South Asian Art, a public seminar series at The Courtauld’s Research Forum. Her book, The Empire Strikes Back: Indian Art Today, was published by Random House, London, in 2010. She guest-curated The Progressive Revolution: Modern art for a New India (14 September 2018 – 20 January 2019), at the Asia Society and Museum, New York City, which was inspired by her PhD on the intersection of Indian art with nationalism.
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 Barbara Knorpp is an anthropologist with a special interest in film history and a Visiting Lecturer at Goldsmiths. She was a Teaching Fellow in Museum and Cultural Heritage Studies at University College London, is now a tutor at Open City Docs and teaches on a master course in Visual Anthropology, Media and Documentary Practices at the University of Münster, Germany. In 2017 she published a book on African Film Cultures: Context of Creation and Circulation (Cambridge Scholar Publishing) in collaboration with Winston Mano and Añulika Agina. Barbara works with the British Film Institute and the Royal Anthropological Institute on collaborative projects.
Dr Elizabeth Kutesko is an alumna of The Courtauld, where she obtained her PhD in 2016, and a Lecturer in Cultural Studies at Central Saint Martins. She is the author of Fashioning Brazil: Globalization and the Representation of Brazilian Dress in National Geographic (Bloomsbury, 2018) and has published an article based upon her research in the Brazilian Fashion Special Edition of Fashion Theory: The Journal of Dress, Body and Culture (November 2016). Her research interests are Latin American bodily practices and the intersection between fashion, cultural identity, representation and power.
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 Buildings of England series. After a period as a lecturer for the Open University, she returned to The Courtauld in 2006 to do an MA, followed by a PhD (completed 2015) on Sacred Spaces: English Sacristies, Vestries and Treasure Rooms, 1066-1300. Lesley has published articles and has lectured at a number of institutions, including The Courtauld, the University of East Anglia and the Barnes Foundation, Philadelphia.
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 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 & 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 journalism and broadcasting before returning to academia to take an MA in art history at Birkbeck, and a PhD at The Courtauld. A past recipient of a research fellowship at the Dutch Institute for the History of Art in Florence, John is also a Visiting Lecturer at the Victoria & Albert Museum.
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 University of Chichester. His research interests include contemporary art, and art and vision science. Tim Satterthwaite’s first book, Modernist Magazines and the Social Ideal, will be published by Bloomsbury in 2019.
Dr Niccola Shearman is Associate Lecturer at The Courtauld. With a background in German studies and teaching, she completed a PhD on the modernist art of woodcut in Weimar Germany in 2017 at The Courtauld. Teaching in the field of German and Austrian art of the early twentieth-century, her research interests also include the psychology of vision, especially the work of Gestalt scientists in 1920s Berlin. She has published articles on the subject of German printmaking and on the art of Oskar Kokoschka.
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).
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 exhibitions were Nikolai Astrup: Painting Norway (London, Oslo, Emden, 2016-2017) and Alfred Sisley (Greenwich CT and Aix-en-Provence, 2017). She is curating another Nikolai Astrup exhibition to be shown in the USA in 2020.
Dr Rachel Stratton is an art historian and curator whose interests include twentieth-century British and American art, and relationships between art and science. She completed her PhD in 2018 working on Scientism and Semantics in 1950s British Art and is currently working on postwar art and exhibition history in the USA. Rachel has taught on numerous courses at The Courtauld and has curated exhibitions funded by the Wellcome Trust and the Arts Council of Great Britain. She has organized public engagement workshops and panel discussions at institutions including the South Bank Centre; Science Museum, London; and the Ashmolean Museum, Oxford.
Dr Matthias Vollmer is adjunct Professor at the Freie Universität Berlin European Studies Programme. He studied History of Art, 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 and the Universität Münster. He currently researches the principles of visualisation in art and science.
Dr Giulia Martina Weston has a PhD from The Courtauld, where she has been Associate Lecturer since 2016. She is Consultant Lecturer at Sotheby’s Institute, and a member of several editorial boards. She authored the monograph Niccolò Tornioli (1606-1651). Art and patronage in Baroque Rome (2016), and co-edited the volumes I Pittori del Dissenso (2014) and ‘A tale of two cities’: Rome and Siena in the Early Modern period (in press). She is currently writing a book on Salvator Rosa’s influence in Early Modern Britain.
Fees and Booking
The fee for all courses in the Summer School is £555.
The Summer School Course fee includes expert tuition, course readings on the VLE, hand-outs, 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 are tea and coffee each day, in the mornings and, if groups are not out during visits, also in the afternoons; refreshments on Monday and a party on Thursday; a framework programme of research presentations, film screenings and music recitals; a Library tour and free use of the Library while on a course and during the holidays following the summer term and during September (N.B. the Library is closed in August for stock-taking). 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 commences. If you have to cancel after that date but more than 4 weeks before the start of the course, we will refund 50% of the course fee. For cancellations less than 4 weeks prior to the start of the course, no refund will be payable.
We do whatever we can to ensure that the courses take place as advertised but we reserve the right to make changes or cancellations. In the unlikely event that we cancel a course 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.
Provisional course timetable
09.30 Registration and coffee 10.30 Welcome 11.00 Course introductory lecture 12.45 – 14.00 Lunch (not provided) 14.00 – 16.00 Lecture 16.00 – 16.30 Refreshments 16.30 – 17.30 Insights: selected PhD students present and discuss their research
Tuesdays to Fridays
10.00 Lecture 11.15 Coffee 11.45 Lecture 13.00 Lunch (not provided) 14.30 – 16.30 Site visits 16.30 Tea (if you are in the Institute) 17:00 / 17:30 Music Recital/Film Screening (17:30) (Tuesdays/Wednesdays)
Plenary Lecture (17:00) (Thursdays)
18.00 Party (Thursday)
Site visits may take place in the morning or may last a whole day.
Some visits may start at 14.00 and last until 16.00.
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.