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 WC1X 9EW
Tel: +44 (0)203 9477 650
To support and improve our ability to teach, research, and to engage with a much wider public, The Courtauld embarked on Courtauld Connects in the autumn of 2018. Courtauld Connects is a major development and transformation of our home at Somerset House and necessitated 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 10-15-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 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 The Courtauld’s seminar rooms and lecture theatres at the Vernon Square campus, and in front of works of art in museum and gallery collections and at sites in London and beyond.
The courses focus intensively on topics taken from a broad range of periods, from medieval to contemporary art, and of regions, from Europe and North America to China, Brazil and South Asia. Classroom sessions are combined with the close study of individual objects during visits to galleries, museums and other sites, and sometimes include 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. Most tutors will 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.
Students are encouraged to take up a number of special Summer School privileges.
All our participants have access to the Library throughout the Summer School period, from 6 July – 31 July, for reference. The Library Staff have kindly offered to give brief introduction sessions each week, 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. Summer School students are further welcome to use the library for reference from 1 September – 2 October. Please note that the library will be closed from 1-31 August inclusive.
Summer School students are further invited to participate in our enriching framework programme: On Monday afternoons, after classes, a select group of our PhD students will give insight into their work and its relevance to art history, and we hope you will engage in lively debate with them.
As in 2019, Plenary lectures are offered to the whole of Summer School on Thursday afternoons, after classes, and are followed by drinks receptions. On Friday afternoons, we will mark the end of each teaching week with a shared event, alternating between music recitals and film screenings. Please note that you (plus one guest) may come to any of the four plenary lectures and any of the recitals and film screenings, irrespective of the week in which you study with us.
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.
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 fresh fruit, oatmeal, salads, nuts and heat-up meals. Two microwave ovens are put at your disposal; plates, glasses and cutlery are also available. A self-service coffee machine is 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 several supermarkets and a large number of independent and chain sandwich bars in walking distance, as well as several more sophisticated eateries. The course pack you will receive on arrival will contain a sheet (and map) with suggestions of where to eat and shop in the vicinity.
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 2020.
Duchy House is located on the Strand near Somerset House and offers a wide range of rooms with access to a shared kitchen. There are excellent travel links with 5 underground stations and several bus stops nearby. Duchy House is within walking distance of major attractions such as Somerset House, The Lyceum Theatre, South Bank London, Covent Garden, Leicester Square and Oxford Street.
Participants will receive a discount on Duchy House if they present their Unique Booking Reference number.
To check availability, or to make a booking please contact firstname.lastname@example.org
or contact our Residential and Room Booking Officer: +44 (0)20 3947 7595
There are several other student halls of residence nearer to our Vernon Square campus, of which two are listed below. N.B. we have no personal experience of these halls and cannot offer any recommendations:
Urbanest halls of residence at Canal Reach, King’s Cross, are a 20-minute walk away from Vernon Square. For availability and rates, please follow this link https://uk.urbanest.com/locations/kings-cross
The Gardens offers facilities in Bloomsbury, behind the Brunswick Centre, in walking distance of around 20 minutes to Vernon Square. For availability and rates, please follow this link 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, a number of seminar rooms on the first and second floors, and a reception space and small open-air terrace on the top floor. 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. 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 (specifically c.1550–c.1750) Flemish easel painting and graphic art. 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. More recently he has taught courses in art history for the University of Edinburgh. His co-edited book Ad vivum? Visual Materials and the Vocabulary of Life-Likeness in Europe before 1800 was published by Brill in 2019.
George Bartlett is an AHRC CHASE-funded PhD candidate in the department of 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, and he co-taught the Summer School course ‘A World in Pieces: Medieval Mosaics’ with Liz James in 2019.
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 The Healing Presence of Art (2012). Richard’s most recent book, Face to Face: Interviews with Artists was published in 2015, and the latest exhibition he curated, ‘Young Bomberg and the Old Masters’, opened at the National Gallery in November 2019 (to 1 March 2020).
Maggie Crosland is a PhD candidate at The Courtauld Institute of Art, 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 immediations. Maggie has previously held research positions at the J. Paul Getty Museum and the Art Institute of Chicago.
Tom Day teaches at the University of Edinburgh where he recently completed a PhD on art and moving-image practices in the post-war era. His work has been published by the Scottish National Gallery of Modern Art and in the journals Incite! and Short Film Studies. Tom is currently completing two book projects: a co-edited collection on the relationship between Pop Art and Experimental Film, and a monograph entitled 100 Film and Video Artworks. His broader art-historical interests include American art after 1945, especially Pop, Minimalism and New York’s avant-garde Downtown scene. From September 2020 Tom will be a Terra Foundation Postdoctoral Fellow at the Centre for American Art at The Courtauld.
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 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. 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 (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 Kate Grandjouan lectures in early-modern art at The Courtauld and at Northeastern University at the New College of Humanities in London. She completed her doctoral studies at The Courtauld. Her research interests mainly focus on British art in the long eighteenth century. She has received fellowships from the Paul Mellon Centre for British Art in London and from the Lewis Walpole Library (Yale University) in Connecticut. Her publications in French and English include articles on William Hogarth, Thomas Rowlandson and Henry Bunbury. She is currently completing a book entitled Hogarth’s French.
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 Catherine Howe studied at the University of Leeds (BA) and at The Courtauld (MA 2014, PhD 2018), and taught BA and MA courses on modernism and Surrealism at The Courtauld. Her public lectures have included contributions to our Showcasing Art History series. Catherine contributed to the exhibition Queer British Art: 1861-1967 at Tate Britain (2017) as a curator and writer, and wrote an essay for the Centre Pompidou exhibition Francis Bacon: Books and Painting (2019). She is currently a research assistant at Barbican Art Gallery and a consultant for the Roy Lichtenstein Foundation, while working on a book on Bacon and a volume of his collected writings.
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 Zehra Jumabhoy is a writer, speaker and curator specialising in Modern and Contemporary South Asian art. She is currently an Associate Lecturer at The Courtauld, where she is teaching on the MA programme. She is the author of The Empire Strikes Back: Indian Art Today (London, 2010) and, with Boon Hui Tan, The Progressive Revolution: A Modern Art for a New India, (New York, 2018). She is currently working on two books for Lund Humphries on Contemporary South Asian art, including a volume on Shahzia Sikander.
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.
Teresa Lane is undertaking CHASE-funded doctoral research at The Courtauld Institute of Art on representations of the Trinity in English art between 950–1150. She is supervised by Professor John Lowden and Dr Alixe Bovey. Her research explores the sources of artistic inspiration, including contemporary sermons, church councils and theology, coupled with the exchange of ideas and the movement of artists between England and continental Europe. She is an Associate Lecturer specialising in Medieval art and a former editor-in-chief of The Courtauld’s postgraduate journal immediations. Prior to joining The Courtauld Teresa worked in legal publishing and as a solicitor in a City law firm.
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 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 Josephine Neil is an independent researcher and visiting lecturer. She was awarded with exceptional commendation for her doctorate in Art History and Theology, an examination of apophatic spirituality in Caravaggesque painting and how it relates to perceptions of divine presence and action. She has accumulated considerable curatorial experience in some of the UK’s most prominent art galleries and museums, published with LMU Munich on ‘Contested Forms’: Exploring the Limits of the Sacred Image, and has been awarded grants for research in Rome and Naples and as a visiting scholar at the University of Melbourne and the National Gallery of Victoria.
Dr Geoffrey Nuttall is an independent scholar specializing in early Renaissance Lucchese art and patronage. He teaches widely and is an experienced study tour leader to various Italian destinations. Geoffrey’s has published several articles on Lucca and is currently preparing the book of his Courtauld PhD thesis, Lucca at the Dawn of the Renaissance, as well as co-editing a book on Filippino Lippi. He has held prestigious fellowships at the Huntington Library in San Marino, California (2014), at the Dutch Institute in Florence (2017), and in 2020 will be at the Cini Foundation in Venice to research the activities of the Lucchese in the Veneto around 1400.
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, Royal Academy, Royal Collection and Tate, and has appeared on TV for the BBC and Channel 5.
Dr Camilla Pietrabissa holds a PhD from the Courtauld Institute of Art, and is currently an Associate Lecturer at Università Luigi Bocconi in Milan, Italy. For the Courtauld Gallery, she curated an exhibition of French drawings in 2016. In 2018, she was a research fellow at the German Centre for Art History in Paris, and in 2019 she was a post-doctoral fellow at the Fondazione 1563 in Turin. Her publications examine the image of landscape and the representation of cities in the long eighteenth century, with a particular interest in painting and drawing in France and Italy.
Dr John Renner is an Associate Lecturer at The Courtauld, teaching courses on late medieval and early Renaissance Italian art. His research and publications focus on the art of the Franciscans in Italy. He 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 College and a PhD at The Courtauld. A past recipient of a research fellowship at the Dutch Institute for the History of Art in Florence, Dr Renner is also a Visiting Lecturer at the Victoria & Albert Museum and a Fellow of the Society of Antiquaries.
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 at Middlesex University. 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 May 2020.
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 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). An independent art historian and curator since 2013, she curated Nikolai Astrup: Painting Norway (London, Oslo, Emden, 2016-2017) and Alfred Sisley (Greenwich CT and Aix-en-Provence, 2017), and is preparing another Astrup exhibition to be shown in the USA, Norway and Sweden in 2020 – 21.
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, the Universität Münster and the Universität Frankfurt. 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.
Dr Richard Williams completed his doctorate at The Courtauld Institute of Art and was awarded a post-doctoral fellowship by Yale University. Following this he was a specialist in Northern Renaissance art in the History of Art 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.
Fees and Booking
The fee for all courses in the Summer School is £565.
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 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). 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 start of the course or tour. 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 to cancel. 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 or tour. We strongly recommend that you take out insurance to cover expenses for travel and accommodation, should you have to cancel, and it is advised that you also seek cover for the course fee, if you cancel less than 8 weeks before the start of the programme.
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.
Representative course timetable
09:30 Registration and coffee 10:30 Welcome address by the Director or Dean and Senior Public Programmes staff 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
Tuesday to Friday
10:00 Lecture 11:15 Coffee 11:45 Lecture 13:00 Lunch (not provided) 14:30-16:30 Lecture or site visit 16:30 Coffee (if you are at the Institute) 17:00 Plenary Lecture (Thursdays) followed by a drinks reception (from 18.00)
Music Recital or Film Screening (Fridays)
These are average timings. Some tutors may decide to shift refreshment breaks slightly, and some visits may take place in the morning, or last for a whole day.
Teaching for all our courses and tours 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.