THE COURTAULD
NEWS
ISSUE NO. 38 AUTUMN/WINTER 2015
2 The Courtauld news issue 38 AUTUMN/WINTER 2015
CONTENTS
COVER STORY
FROM THE DIRECTOR
4
ACADEMIC LIFE
REIMAGINING UTOPIA FOR THE 21ST CENTURY 5
WHEN ART MEETS SCIENCE 6
HISTORY OF DRESS 8
8
OPENING NEW SENSES TO ART 10
FROM UCKFIELD TO PERSEPOLIS 12
GALLERY AND COLLECTIONS Alexander the Great visits the
bottom of the sea in a diving-bell
(in the Romance of Alexander),
Northern France, around
1290–1300 book illumination and
gold on parchment, 26,0 x 18,8 cm
© Staatliche Museen zu Berlin,
Kupferstichkabinett / Jörg P. Anders.
This artwork will be featured as part
of Botticelli and Treasures from the
Hamilton Collection. Learn more
about this exhibition on page 15.
Managing Editor
Kary Kelly
Executive Editors
Isabella Panattoni-Wallace
and Hymie Dunn
BRUEGEL IN BLACK AND WHITE 14
BOTTICELLI AND TREASURES FROM THE HAMILTON COLLECTION 15
AUF WIEDERSEHEN STEPHANIE BUCK
16
INTERWEAVING THE COURTAULD’S CONNECTIONS 18
A TREASURED GIFT 19
20
INSTITUTE NEWS ERNST GOMBRICH AWARDED BLUE PLAQUE 20
THE COURTAULD AND THE CATWALK 22
STIRLING WORK 24
LITERARY LOVE 25
BUILDING A FUTURE
26
THE REAL VALUE OF VOLUNTEERING
28
EWB CALLS FOR SUPPORT
29
14
Designed by
MB&Co Limited
12
10
24
The Courtauld news issue 38 autumn/winter 2015 3
26
ALUMNI SUMMER CELEBRATIONS
30
STATESIDE FUN
32
ACHIEVEMENTS AND APPOINTMENTS 33
NOAH HOROWITZ TALKS ABOUT HIS NEW ROLE 34
JORDAN CARTER JOINS THE WALKER ART CENTER 38
LET’S GET DIGITAL 40
ART OUT OF BOUNDS: AN ADVENTUROUS ALUMNA’S JOURNEY 42
PUBLICATIONS 44
KEEP IN TOUCH 45
OBITUARIES 46
30
PUBLIC PROGRAMMES
STRENGTH TO STRENGTH 48
WELCOME STEPHANIE CHRISTODOULOU 50
A NEW VENTURE FOR The Courtauld’S EDUCATION PROGRAMME 51
SUPPORTING THE COURTAULD
HELLO KARY KELLY 54
The Courtauld Berliners 56
New beginnings 58
Goodbye Kate Knight 59
FRIENDS MAKE A DIFFERENCE 61
A RECORD BREAKING YEAR! 62
Legacies 64
THANK YOU
65
56
33
4 The Courtauld news issue 38 AUTUMN/WINTER 2015
From the director
An optimistic look ahead…
L
ooking ahead to 2016, I see that
there is real cause for optimism.
This optimism is reflected in a fresh
‘look’ for the News, which we hope
is the beginning of an evolution for this
publication. We are excited about further
changes to its look, feel and content over
the coming issues.
2016 will be the 500th anniversary of the
publication of Thomas More’s Utopia,
which set out his optimistic vision for an
ideal society. The Courtauld is excited
to be partnering Somerset House in
a year-long site-wide exploration and
celebration of this quincentenary. At
page 5, Alixe Bovey describes some of
the related initiatives upon which we will
embark, and more information about the
project as a whole can be found at utopia.
somersethouse.org, a website created by
Courtauld alumnus Jeremy Deller.
The coming year promises, too, to continue
The Courtauld Gallery’s roll of celebrated
and insightful temporary exhibitions. Over
the holiday period, do ensure that you visit
the current shows Bridget Riley. Learning
from Seurat and Soaring Flight. Peter
Lanyon’s Gliding Paintings (both closing
17 January). Then look out for Bruegel in
Black and White (page 14) and Botticelli and
Treasures from the Hamilton Collection
(page 15), both of which will open in
February 2016, and respectively will
provide exciting opportunities to see
works reunited and juxtaposed, and rarely
displayed in the UK.
‘An optimist sees the opportunity in every
difficulty’. So said Winston Churchill. At
page 22, read about fashion historian and
theorist, Dr Valerie Steele, who in receiving
the award of The Courtauld’s Honorary
Doctorate in July, described the initial
resistance she found to her ambition to
study her PhD on a fashion topic. That
she persisted in pursuing the topic has
resulted in her tremendous achievements,
and in the opening of the field to rigorous
scholarship, so that her career trajectory
runs in parallel to the development of the
study of the history of dress into an area of
serious academic pursuit.
Looking back even further to the birth
of the study of the history of artistic
production as a whole, page 20 describes
the recent award of an English Heritage
blue plaque to Ernst Gombrich, whose
pioneering work in the first half of the 20th
century popularised the history of art,
and whose own life story bears testimony
to the optimism in the face of adversity,
his presence in the UK having been
necessitated by the extremes of the Nazi
regime in his native Austria.
Alumnus Noah Horowitz was recently
appointed Director Americas, Art Basel,
Miami, and at page 34, readers will find
his interview with our more recent alumna
Gemma Rolls-Bentley. Here he looks to the
future and discusses his enthusiasm for
the work of ‘digital native’ artists,
highlighting among others the
acclaimed Rachel Rose, another
Courtauld alumna, whose
recent installation at Frieze
2015 was the subject of very
high praise.
And returning to the future of
The Courtauld, we welcome
Dr Kary Kelly as Director
of Development: Kary has
an exciting role to play in
shaping the future of The
Courtauld, and touches upon
some of her aims in her piece
at page 54. A cause for optimism
if ever there was one!
May 2016 be a year of great success
for all of you who form part of the
‘warm’ Courtauld community Kary
describes.
My very best wishes,
DEBORAH SWALLOW
MÄRIT RAUSING DIRECTOR
The Courtauld news issue 38 autumn/winter 2015 5
ACADEMIC LIFE
Return to
Contents
Reimagining Utopia
for the 21st Century
I
n 2016 The Courtauld will be working with
Somerset House Trust and King’s College
London to celebrate the 500th anniversary
of the publication of Sir Thomas More’s
Utopia. More coined the term ‘utopia’ (from
Greek components meaning ‘no place’) in a
text which describes the religion, politics, and
social order of an insular society, as much to
critique the prevailing conditions of Tudor
England as to propose an alternative. The
Utopia season consists of a public programme
that looks back to Thomas More, and to
subsequent efforts in the past and present
to articulate utopian ideals in the verbal,
visual, and performing arts and will include
exhibitions, talks, events and workshops.
As part of this season, The Courtauld will
be devoting its Spring Friends’ Lecture
Series to the theme ‘Utopia: Constructed’,
in which architectural historians and
practitioners will explore responses to
utopian ideals in the built environment.
The spring Showcasing Art History season
organised by The Courtauld Public
Programmes team, will be picking up
this theme further by investigating the
perception and representation of the
universe, as well as of the theological
dominions of hell, purgatory and paradise, so
vividly imagined under the constant threat of
death. The social and political spaces of late
medieval Europe will be explored, including
the different realms of men and women,
urban and rural, rich and poor, along with
depictions of good and bad governance.
Finally, speakers will explore new modes
of representation, notably the illustrated
printed book, and of the publication and
illustration of Utopia itself.
In the autumn, The Courtauld Gallery will
be presenting a display entitled A Civic
Utopia: France, 1760–1843, which brings
together an outstanding selection of
architectural drawings of public buildings
and public spaces in France spanning
the years from the late Ancien Régime
to the Napoleonic period and the early
years of King Louis-Philippe. The display
explores the idea of a ‘scientific’ city, in
which rational, hygienic and symbolic
expressions of civic life established a
pattern for the improvement of society.
Focusing on the spaces of everyday life
rather than grand and largely unbuilt
urban schemes, the display will feature
important architectural drawings for a
wide range of new public buildings and
settings, including city markets, exchange
halls, prisons, parks, abattoirs, hospitals
and cemeteries.
DR ALIXE BOVEY (PHD 2000)
HEAD OF RESEARCH
Ambrosius Holbein,
1516. Frontispiece
from the first edition
of Thomas More’s
Utopia by kind
permission of the
British Library
6 The Courtauld news issue 38 AUTUMN/WINTER 2015
ACADEMIC LIFE
WHEN ART
MEETS SCIENCE
Traditional and cutting-edge scientific methods
applied to the study of paintings at The Courtauld
A
B
A
n intensive programme of
research took place over the
summer in the Department of
Conservation and Technology to
examine paintings using a state-of-the-art
X-ray fluorescence scanner (MA-XRF) on
loan from the University of Delft.
The Courtauld is amongst a very small
number of institutions to have had the
opportunity to use this pioneering tool
of non-invasive technical analysis. The
results have provided new information
about the methods and materials used
to paint a few of the masterpieces in The
Courtauld Gallery’s collection, including
information about their context of creation
and condition, which will have a significant
impact on future research by art historians
and conservators.
C
Technical art history, which requires close
material examination of works of art,
is an important area of research in the
department. It includes the application of
technology based on scientific methods to
identify painting materials and how they
were used by the artist. The remarkable
development of imaging techniques in the
past decade means that it is increasingly
possible to penetrate the surface of the
painting and see what lies beneath.
The wide array of techniques now available
to conservators was made clear during the
recent restoration of the Gallery’s majestic
full-length Portrait of Don Francisco de
Saavedra (1798) by the Spanish artist
Francisco Goya. The treatment was
carried out in advance of the exhibition
Goya: The Portraits, which opened at the
Portrait of Don
Francisco de
Saavedra, 1798, by
Francisco de Goya
y Lucientes (The
Courtauld Gallery).
(A) Photograph;
(B) X-Radiograph;
(C) Infrared
Reflectography
The Courtauld news issue 38 autumn/winter 2015 7
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Contents
National Gallery in early October and
where the painting can now be seen in its
full glory. Preliminary to treatment of any
work is a full technical examination. The
first step is usually X-radiography, which
has been carried out in the department
since 1932. It can reveal changes in the
composition, as well as information about
the condition and physical history of the
painting. The contrast in the radiographic
image is produced where the paint or
other materials absorb X-rays and thus
appear white on the film. This is particularly
the case with materials containing heavy
elements, such as the lead in lead white
pigment or the mercury in the vermillion
that Goya used to paint the flesh of his
sitter. The X-ray of the Goya portrait also
shows that the canvas is composed of
four pieces of fabric of varying sizes, sewn
together at the left edge of the painting.
Lead white paint was used to conceal
the seam. Also notable in the radiograph
are the broad strokes used to brush the
ground layer all over the bare canvas and
the lead white used to create highlights in
Saavedra’s coat and neck scarf.
Employed in conjunction with
X-radiography is infrared reflectography,
a technique that penetrates the paint
surface to reveal the underdrawing and has
been in use since the 1960s. Applied to
the Goya portrait, this technique revealed
the presence of a dark paint around the
sitter’s head, which is not visible in the final
composition. Goya used it to block out this
crucial area of the composition and paint
the sitter’s features, probably from a drawn
study. In the final layer, Goya used an even
coat of brown paint to blend this area with
the rest of the composition.
The MA-XRF scanner loaned to The
Courtauld this summer is the most recent
development in imaging technology. It
allows us to identify many of the pigments
based on their elemental composition,
including lead (Pb) and mercury (Hg),
suggested by the initial x-radiography,
thus confirming that Goya used lead
white and vermilion pigments to create
the warm flesh tones of the sitter’s face.
The presence of elemental iron (Fe) and
manganese (Mn) suggests that umber
pigment was used for the background,
while the black paint used for the sitter’s
trousers was identified as bone black,
composed of calcium phosphate, indicated
by the concentration of elemental calcium
(Ca) and phosphorus (P).
The gathering of all this evidence and the
insight it provides into Goya’s working
practice highlight the complementary
nature of traditional imaging techniques
and recent technological developments,
such as the MA-XRF scanner. As the data
collected over the summer continues to be
analysed, the results of the scanning of a
number of other Gallery pictures, including
Manet’s A Bar at the Folies-Bergère,
Déjeuner sur l’herbe and Gauguin’s
Nevermore, will no doubt shed new light
on their making and meaning.
SILVIA RITA AMATO, TECHNICAL ASSISTANT, WITH
HEAD OF DEPARTMENT, PROFESSOR AVIVA
BURNSTOCK (PGDIP 1984, PHD 1992), DEPARTMENT
OF CONSERVATION AND TECHNOLOGY
Pb
Hg
A
B
C
Ca
Fe
Mn
D
E
F
(A) Detail of the
face of the sitter;
(B-F) Corresponding
elemental maps of
lead (Pb), mercury
(Hg), calcium (Ca),
iron (Fe) and
manganese (Mn)
8 The Courtauld news issue 38 AUTUMN/WINTER 2015
ACADEMIC LIFE
History of Dress
Fashion Magazines Widen Study of
Modern & Contemporary Visual
Culture at The Courtauld
Dr Rebecca Arnold
explains how a new
donation of fashion
magazines will add to
RICH COLLECTIONS OF
THE HISTORY OF DRESS
DEPARTMENT, AND why
they will soon be
accessible to students
and researchers in
The Courtauld Book
Library’s Special
Collections.
Magazines from the collection including a November 1935 edition of Delineator
The Courtauld news issue 38 autumn/winter 2015 9
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W
e are very lucky in the History
of Dress department to have
wonderful collections that
we can use for research and
teaching. These span rare books – as seen
in our recent display Dress Historiography:
500 Years of Fashion Books – textiles
from the Harris Collection, and a wide
selection of fashion journals. It is these
magazines that have proved perhaps of
greatest fascination to my students, and,
I must confess, to me! Jemima Klenk (MA
2011) organised, catalogued and looked
into their conservation the summer after
she graduated. Since then my BA and
MA seminars have been enriched by
original copies of Gazette du Bon Ton,
and Journal des Dames et des Modes, as
well as 1930s and 1940s copies of Vogue
and Harper’s Bazaar. Being able to study
these magazines first hand – just part of
our rich holdings – is so valuable. Not
only do they give insight into attitudes
towards women, beauty and fashion of the
period, they contain wonderful examples
of contemporary illustration, by Georges
Lepape for example, and photography
by Cecil Beaton and many others. We are
therefore able to develop a rounded view
of visual culture through comparisons with
The Courtauld’s other collections.
The collection was accumulated during
Stella Mary Newton’s time as Head of the
History of Dress, and then built upon when
Aileen Ribeiro took over from her in the
1970s. We have also had an exciting recent
donation, from Terence Pepper, who just
retired after forty years as Senior Curator
and then Special Advisor on Photographs
at the National Portrait Gallery. Terence
has very generously given us some rare
American and Swiss 1930s magazines, as
well as some copies of British Vogue and
Elle from the 1980s and 1990s to fill in gaps
in our existing holdings.
One thing that has needed to be looked
into though, is how accessible the
magazines are, both for our students and
for external scholars who wish to study
fashion journalism and magazine culture.
At the moment the journals live in two
cabinets up in the heights of the West
Wing, and can only be accessed when the
room is not being used for teaching, and
when my assistant Lucy Moyse (MA 2012,
PhD candidate) is free to supervise their
A selection
of magazines
currently being
transferred into
Special Collections,
including some
recent donations
study. The Book Library has come to our
aid though; we have been talking to Vicky
Kontou, Assistant Librarian, Acquisitions
and Collections Development and Lluís
Tembleque Terrés, Assistant Librarian,
Serials and E-Resources, and they have
been incredibly helpful in planning to
transfer our magazines and fashion plates
into their Special Collections, where they
will be reunited with the rare books on the
history of dress.
This is wonderful news, I am sure you will
agree. It will take some time to achieve as
space must be prepared and conservation
issues addressed, as well as making
sure they are available for my seminar
classes when needed during the autumn
and spring terms. We are thrilled by this
move, which will consolidate our already
impressive holdings in the subject area
and add to the existing books and online
resources The Courtauld has on fashion
and dress history.
DR REBECCA ARNOLD (MA 1993)
OAK FOUNDATION LECTURER IN THE HISTORY
OF DRESS AND TEXTILES
In the last edition a portrait photograph was
incorrectly titled Stella Mary Newton. It was
in fact a portrait of Dr Rebecca Arnold.
10 The Courtauld news issue 38 AUTUMN/WINTER 2015
ACADEMIC LIFE
OPENING NEW
SENSES TO ART
The first Sackler Research
Forum Postdoctoral Fellow,
Dr Irene Noy, tells us why she
is so excited to be able to
continue her research
into the study of art
through senses other
than sight.
The Courtauld news issue 38 autumn/winter 2015 11
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Contents
My specific
focus was
on the link
between the
visual and
the aural and
what it means
in terms of
gender and
the hierarchy
of senses.
T
he Sackler Research Forum
Postdoctoral Fellowship was
introduced this year at The
Courtauld and I am extraordinarily
honoured to be its very first fellow. The
Sackler Fellowship gives me an incredible
opportunity to continue my research and
develop projects in my area of expertise.
This is a particularly important fellowship for
me as I am seeking to establish an academic
career. I am also very pleased that the
Sackler Fellowship has enabled me to stay
at The Courtauld – an institution I grew very
fond of during my studies for a PhD. I am
hugely enthusiastic about the mission and
programmes of the Sackler Research Forum,
where over the course of my PhD I convened
various projects such as ‘Art History and
Sound’ and ‘Sound Art Curating’, and thus
I am particularly delighted to renew my
involvement with the heart of The Courtauld.
Under the wonderfully encouraging
supervision of Dr Shulamith Behr and with
generous support from the Marie-Louise
von Motesiczky Charitable Trust, I recently
completed a doctorate entitled Sound Art,
Gender and the West German Context. I
examined works from the 1960s to the 1980s
created by mainly female artists who were
born and grew up in Germany. My specific
focus was on the link between the visual
and the aural and what it means in terms of
gender and the hierarchy of senses.
My fascination with senses other than
sight in an art context has been part of my
journey as an art historian and perhaps even
beforehand. The ability to communicate
in four very different languages made
me particularly alert to the diverse links
between sounds and their meaning which
permeated my research and ultimately
writing. Both are of course personal and
political. My passion for art history and the
attempt to expand its parameters from
a visual into an aural and later to a fully
sensorial discipline is probably also to do
with my early exposure to playing a musical
instrument, singing in a choir, dancing,
attending drawing classes and spending
quite a lot of time by the sea. The title of
my Masters dissertation at the University
of Bonn, Tate Modern: Art Perception in
the Turbine Hall, is indicative of my early
intoxication with and critical reading of art
practices and institutions that consciously
experiment with sensorial perception. In
fact, my professional involvement with
institutions such as the Berlin Biennale and
Bonn Museum of Modern Art made it clear
that the increasing use of technology by
art galleries and artists to mediate various
senses meant that the way I examine
artworks had to adapt as well. Particularly in
the period of my research, art could not be
simply visual and although I tremendously
enjoyed my studies of art history in a
country that gave rise to the discipline,
namely Germany, I felt the limitations of
such a practice. When I travelled all the
way to the University of British Columbia
and came across research into sound
pollution and the compositional method
that arose from that in Vancouver in the
1970s, I understood that as an art historian
I could greatly benefit from opening
my ears as much as my eyes. This later
became a vital component of my PhD
thesis at The Courtauld.
As the Sackler Research Forum
Postdoctoral Fellow I am excited to work
closely with the Head of Research, Dr Alixe
Bovey. In addition to preparing my thesis
for publication, I aim to take an active role
in the Sackler Research Forum community.
I initiated a project entitled What Sense is
there in Art? The Politics of (Multisensory)
Experiences, and hitherto I organised a
few visits to temporary exhibitions across
London that dealt with various aspects of
art and senses and experimental curating.
These and future events will form the basis
of an online presence that will document
diverse experiences of art with a conscious
attention to the senses and the stakes
involved in such conscious experiences.
This form of dissemination will make
this project accessible to the academic
community as well as to the general public.
Alongside these activities I will be pursuing
my research further, expanding into a
comparative study between art produced
in Germany and in the UK during the 1970s
and 1980s, while working on additional
collaborative publications and giving
papers at conferences. All of this has been
made possible by the Sackler Fellowship
and I am grateful for the experience
enabled by it as well as having wonderfully
welcoming colleagues.
DR IRENE NOY (PHD 2015)
SACKLER RESEARCH FORUM
POSTDOCTORAL FELLOW
12 The Courtauld news issue 38 AUTUMN/WINTER 2015
ACADEMIC LIFE
FROM UCKFIELD
TO PERSEPOLIS
Earlier this year,
Courtauld MA student
Natasha Morris was
awarded a travel grant to
Iran by the British Institute
of Persian Studies. Now in
pursuit of her doctorate,
she will at last have the
opportunity to visit the
country whose art she has
been studying since 2011.
As well as studying for
her PhD, Natasha is also a
regular arts contributor
to the Guardian for
its international news
section.
T
nice buildings, Iran has some of the finest
examples of what is possible with bricks
and mortar that you will ever see: from the
magnificent Imam Reza Shrine complex in
Mashad to the kaleidoscopic interior of the
Nasir al-Mulk mosque in Shiraz. My cousin
quizzed me, perplexed: ‘How did a girl
like you, from Uckfield – no offence – get
interested in Iran of all places?’ Probably
precisely because I’ve spent most of my life
in somewhere like Uckfield. The lure of the
Persian charm born of poetry, roses and
nightingales is a tough one to resist.
Admittedly, it’s not an easy country to have
fallen for logistically, and Iran presents a
mystery to most. In conversations about what
I study, I’ve had people say ‘Iran, I thought
that it was just a desert, but it actually has
some nice buildings doesn’t it?’ Never mind
It was The Courtauld that first spurred
my interest in this part of the world, then
by extension to the whole of the Middle
East. In 2011, during the second year of
my undergraduate course, I took the new
and experimental, autumn term option
‘Contemporary Art of the Arab World
and Iran’. I fell in love. Having found my
passion but lacking a dedicated avenue,
I took every class that looked remotely
beyond the myopia of ‘the West’. When
the time came to apply for an MA,
however, I was in luck. Serendipitously
there appeared ‘Persianate Painting’,
a new option taught by Dr Sussan
Babaie, which offered the art historical
insight into the heritage of the new art
I had so feverishly poured over as an
his summer, I met with the editor
of ReOrient magazine, Joobin
Bekhrad, now a Tehran expat based
in Canada. Bending his ear about
the struggles I have had over the past year
obtaining a visa for Iran, I ask him what
titbits he can give me about his homeland.
‘They absolutely love Chris de Burgh
out there’ he says smiling, ‘Lady in Red
follows you around whilst you walk down
the street.’ This wasn’t exactly the insight
that I was expecting. It also didn’t help to
challenge the idea that, culturally, Iran is
stuck in a kind of time warp, cut off from its
natural development around the time of
the 1979 revolution, perpetually stuck with
a naff eighties soundtrack.
Natasha Morris (MA)
with Dr Babaie and
Ashkan Sahihi at the
British Museum
19th-century mural
paintings added to
the entrance portal
in the 17th-century
Hammam of Ganj
Ali Khan, a public
bathhouse in Kerman
The Courtauld news issue 38 autumn/winter 2015 13
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View of the the
royal mosque in the
Maydan or public
square, Isfahan.
17th-century
Safavid period
undergraduate. Working with Sussan
was continuously fascinating. The
material we approached was so lightly
touched; it would entice and even
challenge the most established art
historian. I ended up continuing on
to a PhD. Sussan says, triumphantly,
that she has sent me backwards, doing
my groundwork before the lure of the
contemporary, as I’m now firmly dug into
the grit and glamour that encompassed
the Qajar era of the 19th century.
Ultimately it feels strange to spend so
much time reading, thinking about, and
looking at a country in which I have yet to
set foot. At times, access to Iran felt almost
impossible. With Foreign Office restrictions
looming over me, I spent months trying,
unsuccessfully, to get a reply from
language courses in Iran. I was calling
out into the ether using email addresses
acquired from salubrious looking websites
that had been mocked up on Microsoft
Paint. I fed pages of Farsi in scrawled felttip pen through an old fax machine hoping
it would reach Isfahan.
However, a couple of months following my
encounter with Joobin, the doors of access
were suddenly opening. Two days after
the British Embassy dusted itself off again,
I got an email saying that my application
for a visa had been successful. As Foreign
Secretary Philip Hammond lounged
successfully on the balcony in Tehran, I
no longer needed to listen to the number
ones of 1986 whilst reading Hafez with a
heavy heart. In the new year I venture to
Iran. The journey will hone my language
skills, enable me to carry out key research
in museums and collections and finally
allow me to meet the country that I have
got to know through its art over the past
couple of years.
NATASHA MORRIS (MA 2014)
CHASE PHD SCHOLAR 2015-18
14 The Courtauld news issue 38 AUTUMN/WINTER 2015
GALLERY AND COLLECTIONS
Bruegel in
Black and White:
Three Grisailles ReunitED
D
espite his status as the seminal
Netherlandish painter of the
16th century, Pieter Bruegel the
Elder (c.1525–1569) remains an
elusive artist. Fewer than forty paintings
are ascribed to him. Thanks to the bequest
of Count Antoine Seilern, The Courtauld
Gallery is fortunate to own two exquisite
cabinet paintings by Bruegel, both signed
and dated: Landscape with the Flight into
Egypt (1563) and Christ and the Woman
Taken in Adultery (1565).
The focus of the one-room exhibition,
running from 4 February to 8 May 2016,
will be the latter work, an unusual relieflike composition painted in grisaille. The
special display will present, for the very
first time, The Courtauld panel alongside
Bruegel’s only two other known grisailles,
Pieter Bruegel, Christ
and the Woman
Taken in Adultery,
1565
The Courtauld news issue 38 autumn/winter 2015 15
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The Death of the Virgin (Upton House,
National Trust) and Three Soldiers (The
Frick Collection, New York). The gathering
of these three exquisite masterpieces can
only take place at The Courtauld Gallery
as our own panel, Christ and the Woman
Taken in Adultery, is barred from travel by
the terms of the bequest.
Botticelli and
Treasures from the
Hamilton Collection
The three panels will be complemented
by comparative material, including after
prints and contemporary replicas, as well
as other independent grisailles in order
to shed light on the significance of this
curious technique. Of special interest will
be the copy of Christ and the Woman
Taken in Adultery (Alte Pinakothek, Munich)
painted by Pieter’s son, Jan, who inherited
the painting upon his father’s death. The
display will also provide the opportunity
to confront an additional grisaille genre
scene, The Visit to the Peasants (Lugt
Collection, Paris), the attribution of which
has oscillated between Pieter and Jan
for the past century. A small publication
accompanies the display and will showcase
new technical discoveries.
A
This examination on Bruegel’s grisailles
represents a continuation of The Courtauld‘s
long-standing commitment of organising
exhibitions that use a masterpiece from
its collection to illuminate a specific
aspect of Western art. It will also provide
an opportunity to highlight the Gallery’s
wonderful holdings of works on paper
by Pieter Bruegel the Elder and his
contemporaries, on display during the
same period in the Gilbert and Ildiko Butler
Drawings Gallery. So prepare for a Bruegelrich winter!
DR KAREN SERRES (MA 1999, PHD 2004)
SCHRODER FOUNDATION CURATOR OF PAINTINGS
18 February – 15 May 2016
new exhibition of work by Sandro Boticelli (1445
–1510) will open at The Courtauld Gallery in
February 2016, having travelled from Berlin where
it opened on 16 October 2015.
Organised in collaboration with the Kupferstichkabinett,
Berlin, this exhibition will bring back to the United
Kingdom some of the greatest of the former Hamilton
treasures, including thirty of Botticelli’s exquisite Dante
drawings. The drawings will be accompanied by an
extraordinary selection of illuminated manuscripts, many
from the time of Botticelli. These include the monumental
Hamilton Bible. Acknowledged to be one of the most
important illuminated manuscripts in the world, this
splendid princely volume is depicted in Raphael’s portrait
of Pope Leo X. This will be the first time the Hamilton Bible
returns to the UK since its sale from the Duke of Hamilton’s
selection to the Kupferstichkabinett in 1882.
Dated to around 1480–95 and drawn on vellum, Botticelli’s
Dante drawings are very rarely exhibited or lent. This
exhibition will provide an exceptional opportunity for
audiences in the United Kingdom to see a representative
collection of the great Renaissance master’s interpretation
of one of the canonical texts of world literature. Ten
drawings will be included from each of the three parts of
the Divine Comedy, charting Dante’s imaginary journey
through Hell, Purgatory and Paradise.
The exhibition will be accompanied by a fully colourillustrated catalogue and coincides with Botticelli
Reimagined at the V&A, due to open on 5 March 2016.
16 The Courtauld news issue 38 AUTUMN/WINTER 2015
GALLERY AND COLLECTIONS
Paul Holberton with
Dr Stephanie Buck
and Dr Rachel Sloan
colour proofing
Auf Wiedersehen
Dr Stephanie Buck,
Curator of Drawings
A
fter nine years we are saying
to goodbye to our wonderful
colleague and friend Stephanie
Buck, who is taking up the
directorship of the Kupferstich-Kabinett in
Dresden, one of the premier collections
of prints and drawings in her native
Germany. Stephanie has become so
integral to The Courtauld Gallery and
so fully embodies our great drawings
collection that it is hard for any of us to
envisage the Gallery without her. I still
vividly remember interviewing Stephanie:
we were encouraged at having seen a
number of excellent candidates and then
Stephanie came in and wiped the slate
clean. There was simply no way that we
could have appointed anyone else. It was,
nonetheless, an inspired decision.
In the years that followed Stephanie not
only delivered everything that we had
hoped for but completely re-invented
her position and recast The Courtauld’s
approach to its drawings collection.
Under her hand the stewardship of the
collection has undergone the most striking
transformation imaginable. 1,400 drawings
in acidic mounts were remounted; a
series of marvellous scholarly exhibitions
were organised, including Michelangelo’s
Dream, The Young Dürer, and Goya: The
Witches and Old Women Album, each
accompanied by authoritative catalogues;
the Master Drawings exhibition took
place at the Frick Collection; collaborative
international projects were undertaken with
the Morgan Library and the Kunsthalle,
Hamburg; teaching from the collection
increased dramatically; the IMAF Centre
was established, with its visiting curator
scheme, seminars and study days all
adding to the vibrant life of the study room.
The Courtauld news issue 38 autumn/winter 2015 17
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And then in early 2015 we inaugurated the
new Gilbert and Ildiko Butler Drawings
Gallery whose central location, refinement
of execution and intellectual ambition
are characteristic of what Stephanie has
managed to achieve for and with the
drawings. At the heart of all this has been
her profound belief in drawings and an
ambitious view of the role that they can
play in an institution such as ours. Her
achievements have been the result of an
immense personal and professional drive
and an uncompromising commitment to
ensuring that The Courtauld performs at
the level of excellence demanded of us by
the collection itself.
Many friends recognised Stephanie’s
abilities and enabled her to exploit
the opportunities which she identified
and created: Martin Halusa, Walter
Feilchenfeldt and the International Music
and Art Foundation, The Gilbert and Ildiko
Butler Foundation, Katrin Bellinger, Diane
Nixon, Lowell Libson, Elke and Michael
von Brentano, and an anonymous patron in
memory of Melvin R. Seiden, to name just
a very few. With their support Stephanie
has put drawings at the heart of The
Courtauld Gallery and made our drawings
department one of the most dynamic of its
kind anywhere. It is a remarkable legacy.
She has been an inspirational colleague
and I owe her an enormous debt of thanks
for everything that she has helped the
Gallery achieve over the course of this
proud decade.
DR ERNST VEGELIN VAN CLAERBERGEN
(PGDIP 1993, MA 1994, PHD 1999)
HEAD OF THE COURTAULD GALLERY
Dr Stephanie Buck
in the Gallery
18 The Courtauld news issue 38 AUTUMN/WINTER 2015
GALLERY AND COLLECTIONS
Interweaving The
CouRtauld’s Connections
D
r Ernst Vegelin van Claerbergen,
Head of The Courtauld Gallery,
was recently invited to give a
talk at the Braintree District
Museum at a reunion event held for former
Courtaulds employees. Over forty past
employees came to share their memories,
photographs and stories of working
across the district for the world famous
textile company Courtaulds. Museum staff
and guests were fascinated to hear from
families of whom several generations had
worked for the company to those that were
the last few employed before local sites
closed. In turn, guests were delighted to
hear Dr van Claerbergen talking about
the development of Samuel Courtauld’s
collection of impressionist art and his
role in the creation of the Institute. Those
attending heard how Samuel Courtauld
acquired his private collection of works
during the 1920s and later donated much
of his collection to the public, alongside
Former Courtaulds
employees sharing
reminiscences at
Braintree District
Museum
other collectors of the time, to create the
collection at The Courtauld Gallery. Also
in attendance were Robert Rose, Museum
and Town Hall Manager, Claire Willetts,
Collections Manager at Braintree District
Museum, Henrietta Hine, Head of Public
Programmes at The Courtauld Institute
of Art, Deborah Swallow, Director of The
Courtauld Institute of Art, and Mr George
Courtauld.
From left to right:
Robert Rose,
Henrietta Hine,
Professor Deborah
Swallow, George
Courtauld, Dr
Ernst Vegelin van
Claerbergen and
Claire Willetts
The Courtauld news issue 38 autumn/winter 2015 19
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A Treasured Gift
The drawing’s provenance
links it beautifully with
the other Guercinos in the
collection.
A
mong the treasures of The
Courtauld Gallery’s collection is
a ravishing group of drawings
by Guercino (1591–1666). This
highly successful Baroque artist from
Bologna was a compulsive draughtsman
who not only developed his painted
compositions on paper but also brilliantly
captured scenes from everyday life. He
was evidently attached to his drawings
and kept them in his studio rather than
selling them. Their bravura penmanship
and use of wash make them instantly
recognisable as well as highly sought
after. The Courtauld’s Guercinos number
more than 30 sheets, all of which were
bequeathed by Sir Robert Witt.
To date this internationally important
group has lacked an example of one of
Guercino’s much admired head studies.
These were based on close observation of
nature, some tipping towards caricature
through the exaggeration of a detail of
physiognomy. Wonderfully, this gap has
now been filled with the gift of a splendid
and entirely characteristic drawing of
a man, executed around 1635–45. It is
presented by Lowell Libson, a great
supporter of the drawings collection, in
honour of Dr Stephanie Buck’s inspired
curatorship. Guercino sketched the
figure with a few quick pen lines and, by
distributing some broadly applied wash,
transformed the untouched paper into
areas of light. With a few confident pen
strokes he gave the man a wonderfully
wiry moustache.
The drawing’s provenance links it
beautifully with the other Guercinos in
the collection. It comes from the artist
and collector Sir Thomas Lawrence and
was bought in 1932 by Sir John Witt, Sir
Robert’s son. When Stephanie joined The
Courtauld nine years ago her first project
was to work on the exhibition Guercino:
Mind to Paper, in collaboration with the
Getty Museum. This marvellous gift,
undoubtedly one of the most important
additions to the drawings collection in
recent years, brings things full circle in
the most gratifying way imaginable. Our
heartfelt thanks go to Lowell Libson for his
very remarkable generosity.
DR ERNST VEGELIN VAN CLAERBERGEN
(PGDIP 1993, MA 1994, PHD 1999)
HEAD OF THE COURTAULD GALLERY
Guercino (Giovanni
Francesco Barbieri),
Study of a Man,
pen and brown
ink, 210 x 145 mm.
Presented by Lowell
Libson in honour of
Dr Stephanie Buck
20 The Courtauld news issue 38 AUTUMN/WINTER 2015
INSTITUTE NEWS
ERNST GOMBRICH
COMMEMORATED
WITH BLUE PLAQUE
O
n 15 October an
English Heritage
blue plaque to Ernst
Gombrich, whose
writing has inspired so many
Courtauld students, was unveiled
at the house where he lived
for almost 50 years, no.19 (now
no.13) Briardale Gardens in
Hampstead, London. The plaque
is the first ever awarded to an
art historian, and recognises
Gombrich’s outstanding contribution to
his field, and as a populariser of history
and art history.
The blue plaques scheme was designed to
draw attention to the connections between
people and places. Gombrich moved to
Briardale Gardens with his wife Ilse and their
son Richard in May 1952, and died there
in November 2001. Gombrich chose the
house as he admired the work of its architect,
Charles Quennell, and there he welcomed ‘an
endless stream of students and colleagues,
friends and admirers, from many countries’.
Somewhat surprisingly, the house’s interior
was filled with musical scores rather than art;
Gombrich was never a collector, reasoning
that the best was available to him to enjoy at
the National Gallery.
His most popular work, The Story of Art,
was published in 1950, shortly before he
moved to Hampstead, and
has been translated into 34
languages and is in its sixteenth
continuous edition. Its birth
was by no means easy; pushed
for time, Gombrich tried to
return the publisher’s advance
for it. His key academic texts
are well-known to Courtauld
graduands: Art and Illusion:
A Study in the Psychology of
Pictorial Representation (1960)
and The Sense of Order: A Study in the
Psychology of Decorative Art (1979). His
children’s book A Little History of the
World, published in 1935 in Austria, was
only recently translated into English but
has charmed another swathe of readers
young and old.
Through his work at and Directorship
of the Warburg Institute, Gombrich’s
association with The Courtauld was closer
than a simple crossover of specialism
and research interests. He served on the
Governing Board of The Courtauld in the
1970s and 1980s, and was a close friend
and colleague of many of the faculty here.
The blue plaque is a direct result of his
influence at The Courtauld, having been
nominated by alumni Odel Allsop (BA
2003, MA 2004) and Libby Ayres (BA 2003).
LIBBY AYRES (BA 2003)
PA TO PROFESSOR DEBORAH SWALLOW
E.H. Gombrich at
Briardale Gardens
© Pino Guidolotti
The Courtauld news issue 38 autumn/winter 2015 21
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22 The Courtauld news issue 38 AUTUMN/WINTER 2015
INSTITUTE NEWS
Valerie Steele’s
outstanding
contribution to
the field of fashion
theory and history
was recognised by
The Courtauld.
© Aaron Cobbett.
The Courtauld
AND THE CATWALK
Dr Valerie Steele, fashion theorist,
awarded The Courtauld’s
Honorary Degree
The Courtauld news issue 38 autumn/winter 2015 23
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Steele
commended
The
Courtauld’s
‘exceptionally
important’
role in
developing
the history
of dress as
a respected
field of
academic
study
T
he Courtauld’s annual Presentation
Ceremony inevitably presents
a very specific set of sartorial
challenges for graduating students.
Many of us will recall grappling with the
question of combining an essentially
medieval form of dress with contemporary
garments, and thereafter the not entirely
comfortable sensation of wearing
heavy robes on a hot July afternoon in
the narrow pews of St Clement Danes.
Since graduation gowns were originally
‘designed’ for men, the challenge for
ladies is especially punishing. And selfexpression is difficult, its only real outlet
being footwear.
As mentioned in previous issues of the
News, 2015 marks the fiftieth anniversary
of the teaching of the history of dress at
The Courtauld. It was therefore timely that
at this year’s ceremony the Institute should
honour someone whose contribution to
that field is singularly outstanding:
Dr Valerie Steele, Director of The Museum
at FIT (New York), founder editor of the
journal Fashion Theory, author of A Queer
History of Fashion (2013); Fetish: Fashion,
Sex and Power (1996) and Fashion and
Eroticism (1985), and curator of many
significant dress exhibitions, such as Dance
and Fashion (2014); Shoe Obsession (2013);
Daphne Guinness (2011); Gothic: Dark
Glamour (2001) and The Corset (2000).
As Professor Deborah Swallow pointed out
in bestowing the honour on 6 July, it is no
coincidence that the development of dress
and fashion history over the last twentyfive years runs in parallel to Steele’s career.
Steele described in her acceptance speech
how, when she first expressed an interest in
writing her PhD thesis at Yale on a fashion
topic, she faced the bewilderment of her
supervisors who felt that such a pursuit
was ‘un-academic’. Since that moment
she has tirelessly pioneered an approach
to the study of dress which is grounded
in art history and material culture studies,
and which has led to a fundamental shift
from fashion history as a mere subject
area, to fashion studies as a discipline in
its own right. Steele was honoured for this
and for her extraordinary contribution to
curation and museology as head of The
Museum at FIT, and through her use of
Fashion Theory as a forum for debate
about new museology in relation to dress
exhibitions and collections. As Dr Rebecca
Arnold of The Courtauld points out,
‘Valerie has been energetic in connecting
fashion’s previously separate spheres and
to enhancing art history’s expanded field’.
In receiving the award, Steele commended
The Courtauld’s ‘exceptionally important’
role in developing the History of Dress as a
respected field of academic study.
Steele naturally appeared not to have
struggled with her choice of outfit to
complement the robes of a recipient of the
Hon. D. Litt. of the University of London.
Since the ceremony The Courtauld has
gifted her the cap she wore on the day. In
her own words: ‘It is SO much better than
the one that goes with my Yale robes’.
Over 260 students received the BA, MA,
research degrees and Graduate Diplomas
from Professor Sir Adrian Smith, ViceChancellor of the University of London,
at the Presentation Ceremony on 6 July.
Hollie Drinkwater, who won the prize for
Best Undergraduate Dissertation 2015 for
her essay Material in Context: The Amber
Head of Christ in the Wallace Collection
Pax, recalls the day and reflects upon her
time at The Courtauld.
Hollie (left)
celebrates her
degree with
her best friend,
Giovanna Culora,
also BA 2015. ©
Hollie Drinkwater
‘Receiving the prize for Best
Undergraduate Dissertation was a
wonderful surprise and a huge honour.
I was completely overwhelmed when I
heard the award follow my name; walking
up to receive my degree in front of my
professors and my family and friends is
a moment I will never forget. That my
24 The Courtauld news issue 38 AUTUMN/WINTER 2015
INSTITUTE NEWS
best friend also received an award for her
dissertation made the occasion all the
more memorable, and it was very special
to share this moment with her.
I think The Courtauld is incredibly special
and a unique place to study. I have not
only been able to develop my passion for
art while studying here, but have gained
cherished friendships with my fellow
students and esteemed professors along
the way; I certainly wouldn’t have come
this far without them and I would like to
thank them for their constant support. My
ambition for the future is to continue to
develop my passions for medieval art and
conservation, and to return to academic
study to pursue these interests in 2016;
The Courtauld will always remain a part
of my academic journey and I very much
hope I will return to study here at some
point in the future!’
The News wholeheartedly congratulates
Hollie and indeed the entire class of 2015
on their very great success, and wishes
them an exciting future as graduates of
The Courtauld.
LIBBY AYRES (BA 2003)
PA TO PROFESSOR DEBORAH SWALLOW
Sir Angus Stirling
being awarded his
Honorary Fellowship
by James HughesHallett, Chairman
of The Courtauld
Institute of Art
STIRLING WORK
Sir Angus Stirling awarded Honorary Fellowship
S
ir Angus Stirling’s connection with
The Courtauld goes back to 1968,
when he enrolled here on a diploma
course. Since that time Sir Angus has
remained a supporter in a number of guises
throughout his distinguished career in the
arts (Deputy Secretary General, The Arts
Council of Great Britain; Director General,
National Trust). Sir Angus was a governor
of The Courtauld from 2002 to 2014, a
trustee of the Samuel Courtauld Trust from
1983 to 2013, and until very recently was
Chair of The Courtauld Connects Steering
Group. For this commitment, and for
his tireless support, he was awarded the
Honorary Fellowship of The Courtauld at
the Presentation Ceremony on 6 July. In
receiving the Fellowship he said, ‘There
is no honour that could give me greater
pleasure and pride than that you have
bestowed upon me. I have been fortunate
to work with several organisations wellknown for their contribution to British
cultural life. But none of these possesses
quite the same extraordinary qualities
that distinguish The Courtauld … The
most significant of these is the universal
dedication to the pursuit of excellence [for
which] The Courtauld stands as a bright and
steadfast beacon’.
We thank Sir Angus utterly sincerely for all
that he has done and continues to do for
The Courtauld.
LIBBY AYRES (BA 2003)
PA TO PROFESSOR DEBORAH SWALLOW
The Courtauld news issue 38 autumn/winter 2015 25
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LITERARY LOVE
ANOTHER SUCCESSFUL YEAR!
at source is paramount. Secondly, our
students and staff have the opportunity
to obtain valuable texts at reasonable
prices. Thirdly, there is a wonderful
reciprocal arrangement with the library
where we are able to sell books surplus to
their requirements and also replenish the
holding with new and missing titles, this
year valued at some £550 (book sale value).
T
he first week of the academic year
has now become synonymous
with the Institute foyer being
transformed by the book sale
and several hundred boxes of books.
Thousands of books are crammed onto
tables, chairs, window ledges, the floor and
anything that is sturdy enough to take the
weight. The challenge is to display, as far
as possible, all of the fabulous donations
received for the purpose each year whilst
leaving room for ‘navigation’.
This annual event has become so much
more than just a book sale and the main
source of this is the incredible quality of
books that our donors, internal as well as
external, provide so generously every year.
It is always such a pleasure to unpack the
boxes and find so much treasure. This year
the sale raised £18,287 in only five days,
some £600 more than 2014, which lasted
three days longer.
As already stated, this is more than a book
sale, with so many areas of direct benefit
to The Courtauld. Firstly, the takings go
towards the student travel grants with little,
if any deductions, as we are all volunteers
who give the time to put this show on the
road. The importance of student travel
cannot be underestimated – the incredible
experience of researching and viewing
There is also the wonderful buzz and
energy that the sale itself generates in
the foyer – an inspiring start to the new
academic year. The general public provides
another source of joy and vital income.
We have some regulars and each year we
have new visitors from many corners of the
UK and also from abroad. It would be so
wonderful to receive even more custom
from the public, and I’m convinced that if
we received more press to promote this
sale then we would sell out. If you have
any thoughts on how we can get more
publicity email Isabella.panattoni-wallace@
courtauld.ac.uk.
Finally I would like to say a huge thank
you to everyone who contributed, from
buying a book to helping run the event,
your support is imperative to the success
of this sale.
EVA-MARIE BARKER (MA 2007)
LEAD COURTAULD BOOK SALE COORDINATOR
26 The Courtauld news issue 38 AUTUMN/WINTER 2015
INSTITUTE NEWS
BUILDING
A FUTURE
STUDENTS’ UNION PRESIDENT
Greg Wilkinson highlights
some of the problems facing
today’s students and tells us
how he would like to make
the Institute more outward
looking.
I
would like to think that,
during the three years of
my undergraduate degree, I was an
avid student, although perhaps I was
not seen in the library as often as I should
have been. I did, however, dive into
extracurricular activities, including putting
on a Courtauld play (not a common
occurrence), a production of Twelfth Night,
which seemed to be a success possibly
because of the liberal amounts of crossdressing. Outside the Institute I worked for
the Canal and River Trust for a year before
moving on to Borough Cheese Company
in the eponymous market, selling Comté
and Gouda.
The transition from student to Students’
Union President was relatively smooth.
I had already spent some time on the
Students’ Union committee and thanks to
the framework set up by my predecessor,
Hetty Uttley, I didn’t find it difficult
adapting to the workings of The Courtauld.
However, becoming President has clarified
for me the dire situation some of our
students now face. You have to admire the
courage of those students who, having
seen a tripling of fees, still go on to apply
in numbers greater than ever. Braver still
are those who apply to London universities
where so-called student ‘housing’
companies provide rooms at extortionate
prices, including single-bed rooms
reaching up to £395 a week. Fortunately
Duchy House and other accommodation
sourced by The Courtauld remains a
cheaper option in an ocean of overpriced
and often neglected properties. When
coupled with rising living costs, students
are facing financial hardships before they
have even graduated.
During my time as Students’ Union
President, I would love to address all of
The cast of the
student production
of Twelfth Night
(Students’ Union
President, Greg
Wilkinson is seated
centre, wearing a
black wig)
The Courtauld news issue 38 autumn/winter 2015 27
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the issues that face our students today. Of
course with a relatively short time in office
I can only lay foundations on which my
successors can build.
These foundations are based on the
unique relationship between our
undergraduates and postgraduates. We
welcomed our new contingent of BAs very
recently, starting with the BA Reception
held in the Gallery on 26 September. After
that we hosted a week full of events for our
students to settle in, including a boat party,
a tour of Kenwood House, and an Autumn
Ball at the University Women’s Club. This
relationship shows what really sets The
Courtauld apart from other universities.
The lines between undergraduate and
postgraduate, first, second and third
year blur gradually until it is difficult to
distinguish students by year. This united
front that Courtauld students present will
be vital in the struggle to assert the rights
of students to study free from fear of
financial ruin.
Students fully
embracing their inner
thespian
it onto University Challenge for the first
time in its history, and TEDx Courtauld was
set up, hosting speakers from across the
world. This gave us a small glimpse into
just what we could achieve if we looked
outwards. If I can look back at the end of
my Presidency and say that we replicated
and built on these successes then I think
I will be satisfied with my tenure. We are
already reaching out to other universities
and hopefully The Courtauld Students’
Union can once again play its part as an
assertive and influential organisation.
GREG WILKINSON (BA 2015)
PRESIDENT OF THE STUDENTS’ UNION
However, whilst this integration between
years has been fantastic for our students,
it has drawn us apart a little from the rest
of the London universities. The air of
mystery that this has created is somewhat
enjoyable but it denies us our place in
University of London circles. My aim is to
reverse this insularity and become a much
more extroverted student body. During my
BA second year a Courtauld team made
WELCOME TO
The Courtauld
O
n a beautiful Saturday evening at the end of September, The Courtauld
Gallery opened its doors to welcome new undergraduate students, parents,
grandparents, and friends into the Institute’s family. Director Deborah
Swallow and Courtauld Association Committee Chairman Stuart Lochhead
led the evening, meeting and greeting new students and their parents. Guests enjoyed
private access to the Gallery, including a preview to Bridget Riley’s, Learning from
Seurat exhibition. The Students’ Union President, Greg Wilkinson, gave a fantastic
speech, sure to energise the newest Courtauld class. The event was a huge success and
left guests with smiles on their faces, goodies in their bags, and art in their hearts.
RACHEL MCKINLAY
EVENTS MANAGER
28 The Courtauld news issue 38 AUTUMN/WINTER 2015
INSTITUTE NEWS
THE REAL VALUE
OF VOLUNTEERING
REBECCA NEWELL COMPLETED A BA
IN ART HISTORY AT THE COURTAULD
BEFORE GOING ON TO DO AN MA IN
CURATING. NOW A FULL-TIME MEMBER
of staff at the National Army
Museum, she credits volunteering
as a key attribute towards
securing her role as the museum’s
Public Information AND Outreach
Curator. Here she recommends
that current Courtauld students
do the same.
I
graduated from the MA Curating course
in 2010 after completing my BA the year
before. The four years I spent at The
Courtauld were rich with opportunities,
both inside and away from the Institute,
academic and professional.
I began volunteering and interning during
the first year of my undergraduate studies,
invigilating and ‘running’ at pop-up
exhibition openings and notably closer
to home in The Courtauld’s Marketing
team. The experience was invaluable in
bringing me closer to the Gallery team,
in providing new perspectives on the
teaching collection, and in growing my
understanding of the varied roles played
in exhibition making.
My internship experiences afterwards
ranged from curatorial placements at
the Barbican Art Gallery, the Wallace
Collection and the V&A to more
contemporary projects like setting up new
spaces for artists in Newham, curating
white spaces in Bermondsey and Kentish
Town, and looking further afield at
mixed typography museum collections.
I undertook about 15 placements in all
over about five years. The Courtauld
Institute sets a recognisable standard
that helps start a conversation with other
organisations. I will be eternally grateful for
that and the openings it has afforded me.
In the midst of a few concurrent
placements I was a part-time collections
care volunteer at the National Army
Museum from 2011–12, when the skills I
had acquired really crystallised and the
right moment emerged. I was offered
the job I still have as a curator – I am cocurating a new permanent gallery during
a really exciting time of Heritage Lottery
Fund supported museum redevelopment.
My varied research and work around
historical and contemporary art and the
armed forces continues to be hugely
rewarding.
The one piece of advice I offer current
students is to start the relevant placements,
volunteer roles and internships as early as
possible when it doesn’t feel too much like
an additional pull on time and you aren’t as
financially constrained as post-graduation.
There’s no denying that museums and
galleries look for additional experience and
‘value-added’ when considering graduates
and it simply is not acceptable to claim
no relevant work experience in the sector.
Once you have your university timetable
you will have a clear idea of how much time
you can dedicate to it. Working in this way
can give you key exposure to powerful
members of arts and cultural organisations
The four years
I spent at The
Courtauld
were rich with
opportunities
The Courtauld news issue 38 autumn/winter 2015 29
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and it is a great way to learn new skills
quickly and expand your network.
We still have some great volunteer
opportunities at the Army Museum that
range from the transcribing of journals,
personal letters and official documents to
getting really hands on which collections
care to exhibition research and outreach
engagement. Sometimes thinking outside
the box is critical.
REBECCA NEWELL (BA 2009, MA 2010)
CURATOR, NATIONAL ARMY MUSEUM
EWB CALLS FOR SUPPORT
The EWB team,
2014. Photo
courtesy M.Winter
Photography
N
ow in its twenty-fourth year, the
East Wing Biennial (now referred
to familiarly as the EWB) is just
around the corner for the current
cohort of Courtauld students. Taking
place within the Institute, this project is
a rite of passage for undergraduates in
which they are given an opportunity to
curate their own exhibition. Founded in
1991 by Joshua Compston, the EWB has
evolved into a fully-fledged contemporary
art exhibition that has boasted works
by Gilbert & George, Damien Hirst and
Howard Hodgkin. The upcoming edition
due to open on 29 January 2016 is entitled
Artificial Realities and seeks to explore the
limbo between virtual and tangible worlds.
With artists such as Marco Maggi,
Yonatan Vinitsky and Clive Barker
already on board, an array of sitespecific installations, sculptures, scents,
photographs and paintings will interact
with the space in a way that mimicks the
tradition of the EWB itself.
The East Wing Biennial Committee is
looking for support and sponsorship so
please contact us at eastwing.collection@
courtauld.ac.uk if you can help in any way.
For more information on the project and
to follow our progress please visit:
eastwingbiennial.org
30 The Courtauld news issue 38 AUTUMN/WINTER 2015
ALUMNI
SUMMER
CELEBRATIONS
E
arlier this summer many of us
gathered at Whitechapel Art Gallery
for The Courtauld Association
Summer Party. Held on the first day
of the triennial London Open exhibition we
felt it fitting to curate the party with a British
theme. Music was selected to include the
finest British bands from the 1920s to the
present day and the food served reflected
English cuisine. We even invited Chelsea
Pensioners to enjoy the soirée! I had only
been in post for three months prior to the
event, and was excited to see exactly what
a proper Courtauld party was like. It didn’t
disappoint. Every room was filled with
sounds of energetic chatter, alumni reuniting
and talking about the art that surrounded
them. It was heart-warming to see each
room come to life. Every conversation was
fascinating; I really enjoyed learning more
about those of you that were able to attend.
Of course, an event of this size would never
have been achieved without the stalwart
efforts of the Summer Party Committee.
Led by chairman Stuart Lochhead
(BA 1994), the committee members –
Christopher Griffin (BA 2007, MA 2008),
Alexander Kader (BA 1984), Jerzy Kierkuc-
The Courtauld news issue 38 autumn/winter 2015 31
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Bielinski (BA 1999, MA 2001, PHD 2005)
and Sarah Moulden (BA 2006, MA 2007)
– worked incredibly hard to support all
the preparations leading up to the event.
Thank you to the committee and all of you
who made it such a brilliant evening.
As I reflect on my first five months I’m
filled with delight to have met so many of
you. The Courtauld Association is a truly
passionate and unique network of worldclass professionals and I count myself so
lucky to get to work with you. Whether
you are trying to snap up a book during
the book sale, attending an exhibition or
enjoying the latest Frieze breakfast lecture
you always make the time to talk to me
about the alumni programme. I know I have
only been here for a short time so far and I
look forward to meeting even more of you
in the future. Please don’t forget that you
can always contact me. My email address is
[email protected] I’ll look forward to hearing from you!
ISABELLA PANATTONI-WALLACE
ALUMNI RELATIONS MANAGER
Guests enjoying
themselves at
The Courtauld
Association
Summer Party;
a photobooth
provided
entertainment
for those not
camera shy
32 The Courtauld news issue 38 AUTUMN/WINTER 2015
ALUMNI
STATESIDE FUN
A
t the start of September I had the
pleasure of hosting the annual
alumni and students party with
Harry Hutchinson, Co-Director
of Aicon Gallery, who graciously lent his
hip downtown space on Great Jones
Street in NYC. Attendees were treated
to two exhibitions of paintings in the
gallery: one by contemporary artist Abir
Karmaker entitled Uncanny Space and the
other by modern artist Jamini Roy entitled
Living Folk. Alumni and new students
mingled while sipping Pimm’s and other
British inspired cocktails. After a welcome
speech, the students listened to alumni
discuss their experience at the Institute,
their subsequent career trajectories and
received advice and tips on living abroad. American students are growing in number
year by year and make up an important
portion of the student body at The
Courtauld. The students in attendance
share a wide range of scholarly interests
and are enrolled in courses such as
Reframing Italian Renaissance Art: From
Masaccio to Michelangelo; Persian
Painting and Transcultural Vitality; and
Curating the Art Museum. BETSY THOMAS (MA 1999)
US ALUMNI CHAIR
Lianna Fox (MA
2013) and Megan
Liberty (MA 2013)
standing in front of
Sun II 2015 by Abir
Karmaker
Professor Ivan
Gaskell (MA 1978,
PhD 1991) with
his wife and a new
student in front of
Sun IV 2015 by Abir
Karmaker
Left: Bill Ambler
(PGDIP 1991, MA 1992),
Betsy Thomas and new
student Sophie
Lambert standing in
front of Sun II 2015
by Abir Karmaker
Right: Betsy Thomas
and Harry Hutchinson
(BA 2006)
Mary Kate Cleary
(MA 2010), Preeya
Seth (BA 2006) and
Janine Catalano
(MA 2007)
Below: Aurica
Kastner (MA 2010)
chats to the group
about her time at
The Courtauld
The Courtauld news issue 38 autumn/winter 2015 33
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ACHIEVEMENTS AND APPOINTMENTS
T
he Courtauld network grows
bigger and stronger every year.
We’re always pleased to hear from
our former students so please
keep us informed throughout the year of
anything you think we should know about
and news we can share with our readers.
Email: [email protected]
Naomi Beckwith
(MA 1999)
The News was delighted to spot recently
that alumna Naomi Beckwith (MA 1999) has
been included in Apollo magazine’s ‘US 40
under 40’. The list is a selection made by a
panel of judges appointed by the magazine
to highlight ‘the most talented and
inspirational young people who are driving
forward the art world today’. Beckwith
currently works as a curator at the Museum
of Contemporary Art in Chicago.
Antonia Boström
(BA 1979, PhD 1996)
Our sincerest congratulations go to Antonia
Boström (BA 1979, PhD 1996) on her new post
as Keeper of European Sculpture, Metalworks,
Ceramics and Glass at the V&A, overseeing
more than 110,000 pieces dating from the
fourth to ninth centuries. Having started
her career at the V&A in 1980, she will be
returning to the institution to take up her new
role in January 2016. Dr Boström is currently
Director of Curatorial Affairs at the NelsonAtkins Museum of Art in Kansas.
Min Jung Kim
(MA 2014)
We were thrilled to hear that Min Jung Kim
(MA 2014) has been appointed Director
of the New Britain Museum of American
Art (NBMAA) in Connecticut. Min Jung
Kim was born and raised in Korea,
studied contemporary Chinese art at The
Courtauld where she completed her MA
and is now director of the oldest museum
in the country, being the sixth to take up
this position in its 112-year history.
Hui Kyung An
(BA 2007, MA 2008, PhD 2015)
The Courtauld is proud to announce that
after being awarded her PhD earlier this year
Hui Kyung An (BA 2007, MA 2008, PhD 2015)
has been appointed to one of the world’s
most famous museums. Dr An took up the
position of Assistant Curator, Asian Art, at
the Solomon R. Guggenheim Museum, New
York in September. We wish her much luck
and success.
Ashley Givens (PhD 2012)
Congratulations to Ashley Givens (PhD 2012)
on her new position as Head of Education
at the Kreeger Museum, Washington DC.
The museum states that its objective is to
‘celebrate art, architecture and music’ and
its dynamic education programme covers
subject areas ranging from geography and
architecture to writing and sketching.
Gail Turner Mooney (MA 1974)
Many congratulations to alumna Gail
Turner Mooney (MA 1974) who has been
honoured with the Encomienda de Isabel
la Catolica by the King of Spain for
services promoting the arts and culture of
Spain in the UK and abroad. The award
is the Spanish equivalent of the CBE,
and has been made to Gail following
more than twenty years of teaching
Spanish topics at various institutions and
organisations, including – but not limited
to – The Courtauld and Cambridge
University summer courses, V&A, the
Art Fund and NADFAS. Her medal was
presented by the Spanish Ambassador,
Senor Federico Trillo-Figueroa on 12
October (Spain’s National Day) at the
Spanish Ambassador’s residence in
London.
34 The Courtauld news issue 38 AUTUMN/WINTER 2015
ALUMNI
Noah Horowitz Talks
about his NEW ROLE
Noah Horowitz (MA 2003, PhD 2008) WAS recently appointed
Director Americas, Art Basel. He speaks to Gemma Rolls-Bentley
(MA 2009) about his new role, arts online and the importance of
reading all that you can whilst studying at The Courtauld.
F
irstly, congratulations on the new job.
Other than proximity to the beach,
what do you anticipate the biggest
differences between leading an art
fair in Miami and an art fair in New York
will be?
Thanks, Gemma. I have had to navigate
blizzards and every type of complication that
arises when producing a major event in the
New York winter, so proximity to the beach
shouldn’t be underestimated!
More fundamentally, the biggest difference
is really the scope of the show and the depth
of the overall organisation. Art Basel is truly
global in terms of the galleries, collectors and
arts professionals who attend, as well as in
its inherent structure with locations in Hong
Kong, Miami Beach and Basel. The breadth of
this reach and the show’s touch points at the
highest levels of our industry really separate
it from the rest of the field. This is no slight
to the Armory, which has a wonderful history
and occupies an important position in its own
right; however in the end it is a New York
institution, whereas Art Basel is global and
scaled at a different level. My remit as Director
Americas is to continue Art Basel’s ongoing
engagement across the whole of the region.
This includes leading the show in Miami
Beach as a matter of course, and also building
bridges not only with the cultural community
of South Florida but throughout the US,
Canada and Latin America. Since joining Art
Basel full time at the end of August, this has
already led me to LA, Chicago, and Bogotá –
and that’s really just the beginning when you
consider the depth of the art world here.
What was the most important lesson that
you learned from working on the Armory
Show that you hope to apply to Art Basel
Miami Beach?
The importance of maintaining relationships
across all levels of our field – from gallerists
to collectors, museum directors, curators,
journalists and all sorts of entrepreneurs and
cultural actors. One of the nuances of being a
successful fair director, I think, is figuring out how
to successfully navigate this immense terrain, all
the while keeping an eye trained on serving the
interests of the dealers and artists who are at the
core of everything we do. For example, each
year around 100 museum groups from around
the world, but primarily from across the United
States, attend Art Basel’s show in Miami Beach,
including curators, directors, affiliate patrons
and museum members. These institutional
relationships are vital to our galleries and
their artists, and moving forward in my role as
Director Americas, I will be working very closely
with museums in North and South America to
continue Art Basel’s commitment to maintain
and deepen these connections.
Every year sees the arrival of new fairs in the
art calendar. Last year the Economist stated
that roughly 90 take place worldwide, 20 of
those are in the UK and the majority of those
in London. In the cities where the fairs are
most concentrated, and the price of property
is naturally at its highest, do you think that
we’ll see gallery spaces shrink or even
disappear?
Other sources suggest that there are now
upwards of 200 fairs, so you might actually
be underestimating the expanse of the fair
industry. To talk of ‘the gallery’, however, is
too monolithic: there is such a wide range of
galleries nowadays and every case is unique.
Many are doing well, even expanding, while
some are perhaps struggling as they balance the
ambition of their programming with the realities
of running a business in a competitive and costly
environment. At its core, you have to remember
that a successful art fair is one that operates as
My remit as
Director
Americas is
to continue
Art Basel’s
ongoing
engagement
across the
whole of
the region.
The Courtauld news issue 38 autumn/winter 2015 35
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36 The Courtauld news issue 38 AUTUMN/WINTER 2015
Read. And
then read
some more.
And make
the absolute
most of the
Institute’s
dense
academic
network and
programming.
In all
likelihood,
you’ll never
have another
opportunity
to soak
up such a
density of
information.
a springboard for galleries, putting them in
contact with a wide range of existing and
new audiences – buyers, sellers, thinkers,
producers and everything in between.
Additionally, collecting art is no longer only
an activity for a rarified leisure class but also
for people who are quite actively working
and who may not have the time to visit
every gallery, but who are attracted to the
streamlined offering of a fair. As this process
plays itself out, fairs really must be seen as
part of a larger continuum – temporarily
compressing an enormous range of activity
into a single space, but also expanding
networks and building larger audiences
and business opportunities for galleries well
beyond this throughout the year as well.
So to return to your question, no, I don’t
think that gallery spaces will disappear –
the very essence of representing artists is
a full-time affair and not something that
just gets switched on or off at a fair – but
they’ll certainly need to be nimble and
some conventions of the trade may well be
ruptured or reinvented in the process.
The Courtauld’s wonderful ‘speed
mentoring’ initiative sadly didn’t exist
when you or I were students. Have you
ever been mentored by fellow Courtauld
alumni, either formally or informally?
If not, who would you say has been an
important mentor in your career?
I’ve taken something from every stage of
my career, but I’m not sure I could really
single out a particular mentor along the
way. You pick up lessons and inspirations
as you go and hopefully they add up to
something that’s greater than the sum of
its parts. One thing for sure is that there
have been a number of people in my
ongoing journey who have lent me their
ear when they didn’t have to. I’m grateful
for all of these interactions and also acutely
conscious that they can make all the
difference, so I do my best to give back
whenever I can, because you never know
who you will touch and what may come of
these encounters down the road.
What piece of advice would you give to
Courtauld students and recent graduates
about making the most of their time spent
at the university?
Read. And then read some more. And make
the absolute most of the Institute’s dense
academic network and programming. In
all likelihood, you’ll never have another
opportunity to soak up such a density of
information. The critical skill set that you
pick up at The Courtauld is an immensely
powerful tool, and something that can
really help differentiate yourself from peers
as your career develops. The art world can
be challenging, confusing and at times
paradoxical to navigate, so knowing how
to lean on your art historical tools and to
confidently call your own shots – unfiltered,
independently – is an enormous asset.
Throughout your career you have had the
opportunity to teach students or lecture
in other settings. Is there a particular
Courtauld tutor that you channel,
someone that left a lasting impression on
you perhaps? I wrote my PhD under Professor Julian
Stallabrass (MA 1986, PhD 1992), and his
critical approach to all facets of art history
and his precise, economic prose in writing
have definitely stuck with me. Beyond this,
Professor John House’s (MA 1969, PhD
1976) lectures always put a smile on my
face. He had such a grace and charm, and
this wonderful ability to take serious subject
matter and make it absolutely human – and
humorous. That personal touch is something
that I certainly try to take with me in my own
career. I only wish I got to know him better.
I’m about to start a new job with Artsy,
a company that has arguably had more
success than other platforms in bringing
the art world online. A real turning point
in Artsy’s journey was partnering with
the Armory Show, which was under your
directorship at the time. What would
you say the main reasons are that the art
world has resisted entering the online
sphere for so long?
Evolving business practices are challenging
for all industries, and the entrenched
structures and opaque dealings of the art
world can make it particularly impervious to
change – technological or otherwise. You also
have to bear in mind that the art business
is a relationship business and that profit
is not the driving concern for much of the
community keen to build a lasting legacy and
to contribute to a greater cultural dialogue.
So there are some inherent frictions with the
online sphere, which has tended to be most
impactful in mass markets with more easily
interchangeable goods and services. Aspects
of this will inevitably change, but that’s surely
The Courtauld news issue 38 AUTUMN/WINTER 2015 37
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one reason why the art world has been a slow
adopter in this space.
As I reflect on my new role with the Art Basel
I should emphasise that one of elements
that really attracted me to the organisation
is its willingness to think differently about
today’s changing art world and to take a real
leadership position within this space – to
innovate in response to evolving business
conditions, without changing just for the
sake of it. A key example as we talk about
the online sphere is Art Basel’s crowdfunding
initiative. This unique digital platform is
aimed at supporting non-profit organisations
drawing attention to arts communities
around the world and staying engaged with
audiences 365 days a year. It is one dynamic
way that we are responding to this new
digital reality. Do you think that art collectors of the
future will conduct the majority of their
purchases online or do you think that the
internet will shape the market in a more
complicated way than that?
I think the reality will be more complicated.
Any growth in the art market is good;
however, the experience of purchasing
art online is a very different situation to
experiencing the physicality of artworks in
person at a museum, in a gallery or at a fair.
Art fairs are a place to meet new people,
build networks and collector bases and for
leading opinion formers to connect and
share ideas. We believe fundamentally in
the gallery system and in building longterm relationships as the most sustainable
model of growth for the art world. Within
this context the internet plays an important
role. Art Basel was the first art fair to have
a mobile app and our website and social
media feeds are an area of focus for us. We
are communicating with diverse audiences
through multiple platforms.
It’s a cheesy question but always
interesting to hear the answer… who is
your favourite artist right now?
The million dollar question. Also impossible to
answer. By way of the above discussion, I’d say
that following the work of the ‘digital natives’
who have come of age in a fully plugged-in
era and who engage its processes through
the structures and ideations of their work is
something that’s certainly on my radar. There’s
been an enormous amount of theorising
around this subject over the past couple years
(some good, a lot bad), which I’ve found
particularly interesting with regard to how
it’s continued to push the boundaries of our
field now that so many of these practitioners
straddle both the art world proper and other
areas well beyond.
Surround Audience, the New Museum
Triennial curated by Ryan Trecartin and
Lauren Cornell, and Art Post Internet,
organised by Karen Archey and Robin
Peckham at the Ullens Center for
Contemporary Art in Beijing, are two
recent exhibitions that have helped frame
some of this debate in a progressive way.
Looking ahead towards Miami Beach in
December, I’m particularly excited about
Dan Bayles’ installation at François Ghebaly
Gallery, which will evolve during the show
in response to other works on display.
Meanwhile, Pilar Corrias will explore the
mediation of images through technology in
three artists’ work: Rachel Rose, Ian Cheng
and Ken Okiishi. All of these artists are worth
keeping an eye on – and their gallerists
undoubtedly as well.
Art Basel
was the first
art fair to
have a mobile
app and our
website and
social media
feeds are
an area of
focus for us.
38 The Courtauld news issue 38 AUTUMN/WINTER 2015
ALUMNI
JORDAN IN
CONVERSATION
WITH SARAH
Jordan Carter (MA 2014)
has recently taken up
a two-year curatorial
Fellowship at The Walker
Center, Minneapolis.
Here he is interviewed by
his former tutor at The
Courtauld, ProfESSOR
Sarah Wilson.
What was your area of study at
The Courtauld?
At The Courtauld, I had the privilege
of studying global conceptualism with
Sarah Wilson, ranging from Mallarmé and
Duchamp to the present day. I investigated
the evolutions, mutations, diverse
international paradigms and proliferations
of conceptual and time-based artistic
practices. Hailing from a background with
an emphasis on Fluxus, I was able to posit
Fluxus as a lens for critiquing and mapping
historical precedents and contemporary
influences. Before attending The Courtauld,
I undertook a twelve-month internship
at the Museum of Modern Art in New
York, where I catalogued and interpreted
the Gilbert and Lila Silverman Fluxus
collection. I collaborated with curator
David Platzker and Fluxus Consulting
Curator Jon Hendricks on all aspects of
There Will Never Be Silence: Scoring John
Cage’s 4’33. Professor Wilson’s specialised
and conceptually-oriented curriculum of
twentieth and twenty-first-century art was
the ideal complement to my academic and
professional experience, having received
my BA in Modern Culture and Media,
which had allowed me to bridge cultural
and curatorial studies with theories of
performance and new media.
The Courtauld news issue 38 autumn/winter 2015 39
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How did your area of focus influence
your writing and inform your intellectual
trajectory?
I was able to inject Fluxus into the rise
of conceptual art in the late 1960s. After
our trip to the 2013 Venice Biennale, my
essay ‘Performing Post-Mortem: Scoring
Live Labour in Walter de Maria’s Art by
Telephone’, analysed the telephone
piece (showcased in When Attitudes
Become Form in 1969 and 2013) within
the frameworks of the Fluxus score,
participation, and affective labour, including
the removal of the telephone in Venice after
de Maria’s death during the course of the
2013 exhibition. My second essay ‘L’art de
l’échec: The Meaningless Work of Robert
Filliou’ examined Filliou’s purposefully
‘meaningless work’: labouring ad infinitum
on Sisyphean tasks. The entire Fluxus
ethos blurred the lines between labour and
leisure – a precedent for our contemporary
network culture of ‘free’ labour online and
in the office place. Finally, my dissertation
‘The Precarious Roles of George Maciunas
and Seth Siegelaub: Fluxus, Conceptual Art,
and the Politics of Information’ examines
how Maciunas and Siegelaub operated in
the interstitial field between artist, curator,
promoter, and distributor – presaging
the informational politics of our network
culture, while positioning Maciunas and
Siegelaub within a ‘politics of information’
and ‘branding’.
How have your studies carried through
into the professional world?
Theories on the relationship between
art, culture and play also determined
my Courtauld virtual exhibition, Carnal
Creations: FluxGames and Video Games,
which juxtaposed analogue and digital
modes of gaming, inaugurating the
spectator as ‘player’. This honed my skills
as an independent curator and assured
me that I am capable of orchestrating
and producing independent projects that
engage the public and further my scholarly
investigations.
How did The Courtauld prepare you to
work in a museum?
The Courtauld’s immense resources – both
archival and live – continue to inform my
curatorial practice. Artists and curators
seminal to my field, including Joseph
Kosuth, Nicolas Bourriard, and Julia BryanWilson, amongst others, were injecting
their knowledge into The Courtauld,
expanding my aesthetic and curatorial
scope. Additionally, The Courtauld cultivated
my skills and confidence as an independent
researcher, scholar, and curator. During and
after my time there I curated a number of
independent and experimental exhibitions
in New York, including limb (Tim Simond’s
first NYC solo show); Losing Oneself Without
Getting Lost (a group show at A+E Studios
in TriBeCa) and The Dematerialised Auction:
A Fluxus Fundraiser for George a conceptual
auction/happening of dematerialised scores
and instructions conducted by Christie’s
Robert Gordy (MA 2011) presenting
contributions by living Fluxus members and
contemporary artists. I earned the credentials
to secure a prestigious two-year curatorial
fellowship at the Walker Art Center, one of
America’s ‘big five’ museums of modern and
contemporary art.
What’s your next project at the Walker?
I am currently in the midst of interpreting,
installing, and programming Hippie
Modernism: The Struggle for Utopia.
Concurrently, I’m working on Question the
Wall Itself, where room-sized installations
by young artists will showcase interior
décor as a network of dynamics that impact
on individual, collective and national
identities - with an anchor in the work of
Marcel Broodthaers and Seth Siegelaub.
I’m also working on a major retrospective
of American conceptual artist Allen
Ruppersberg.
What do you miss most about The
Courtauld ?
Honestly, I miss my teaching most. Of
course, I miss the breathtaking architecture
of The Courtauld, the thriving gallery
scene, dedication to public intellectual
presentations, and the vibrancy of my gifted
and dedicated peer group.
What do you like most about your new job?
The collaborative energy! The Walker Art
Center’s ethos speaks to its mission to be an
interdisciplinary centre where contemporary
art is not simply collected, but unfolds in
real time before the public.
Honestly,
I miss my
teaching most.
Of course,
I miss the
breathtaking
architecture
of The
Courtauld,
the thriving
gallery scene,
dedication
to public
intellectual
presentations,
and the
vibrancy of
my gifted and
dedicated peer
group.
40 The Courtauld news issue 38 AUTUMN/WINTER 2015
ALUMNI
LET’S GET DIGITAL
New Patrum app for the Vatican broadens accessibility and
understanding of one of the world’s most famous collections.
Juliana Biondo (MA 2014) looks back fondly at her Courtauld days
and explains why they were so important to her and how she took
the path which has led her to create a downloadable app for
visitors to the Vatican Museums, revolutionising the way in which
viewers see, understand and appreciate the enormous wealth of
art and artefacts within ITS walls.
O
ne of the largest collections
in the world. Over 20,000
people a day. More than seven
languages. Minimum of three
hours. And no maps.
This is the Vatican Museums in a quick
snapshot. It’s an experience that
is structured, crowded, and totally
overwhelming. Yet, you’ve got to see it.
But how could you see it better? This was
the question that I started with as the Digital
Initiatives Manager at the Vatican Museums
when charged with building the Patrons
of the Museums first app. And it was this
question that I was able to answer thanks to
the education I received at The Courtauld.
Prior to attending The Courtauld I earned
an undergraduate degree in the history of
art at Yale University. While studying there
I learned about finding the ways in which
cultural institutions place themselves into the
larger fabric of cities; both as an economic
and educational resource. I developed this
curiosity at The Courtauld, where I was able
to couple my studies with work experience
in the London art scene, which I discovered
through Courtauld staff and alumni. I interned
at Bonhams auction house, and worked as
a communications coordinator for a private
art dealer. Throughout all of this I was able
The Courtauld news issue 38 autumn/winter 2015 41
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Contents
to balance my studies with knowledge of
the market, and gain understanding of how
academia shapes the reputation of the
artwork that is sold, displayed, and acquired.
Of the many opportunities The Courtauld
provided, I remember most fondly my trip
to Paris and my work as a guide at the
Gallery. The trip to Paris was a three-day
investigation into the many exhibitions
then on display about Braque, Picasso,
and cubism. It was my first time in the city,
and to be introduced to a new place by
diving deeply into its art was a total thrill.
I learned so much about the history and
culture of this international city, its artists,
and the historical forces dueling at the
time of cubism. All of this information was
gleaned from looking at the paintings.
It was The Courtauld that taught me
how to look formally and socio-culturally
at art, and how to weave a tapestry of
information together, expertly curating
facts, occurrences, trends and people
to shed light on how artistic canons are
solidified. As a guide at the Gallery I
learned how to shape the information I
was learning to serve varied audiences.
From the new art enthusiast, to the exprofessor, to young children – everyone
was in the Gallery looking to learn. This
required a detailed understanding of the
works I was speaking about such that
the question would not be ‘do I have
enough information to share about this
work of art’ but instead was ‘what specific
matrix of facts and interpretations about
this work should I present to provide the
best points of access for these visitors?’.
Walking a stranger through the process
of observing, analysing and interpreting
art was a highly formative experience as a
developing curator.
In my current role at the Vatican Museums,
I write the art historical content for the
Patrums app. For this I have to undertake
deep research and produce content that is
succinct, readable, to all, and captivating.
It was only from being well versed that I
knew which details could be left out without
obscuring the essence of a work. This ability
to research, shave away, and accurately
package a work’s history is exactly what I
learned at The Courtauld, something for
which I couldn’t be more grateful. And of
course, if you are interested in reading more
about the Vatican Museums collection, and
engage with its history in new ways, please
download the app.
https://appsto.re/us/_86F8.i JULIANA BIONDO (MA 2014)
Digital Initiatives Manager, Vatican
Walking a
stranger
through the
process of
observing,
analysing and
interpreting
art was
a highly
formative
experience as
a developing
curator
42 The Courtauld news issue 38 AUTUMN/WINTER 2015
ALUMNI
Art Out of Bounds
An Adventurous
Alumna’s Journey
I
t always frustrated me when people
asked, ‘When are you going to get back
into the art world?’ As if galleries or
museums are the only places where one
can instigate a creative process. I never left
art; I simply changed the venue. I used it
as a vehicle of diplomacy. I took art with
me to a post-conflict zone and a refugee
camp. I used art to bring together artists
from communities with historical conflicts,
to offer comfort to children displaced from
their homes and their dreams deferred. I
was an unconventional Courtauld student
so it makes sense that I would take that
experience to unconventional levels.
Before deciding to pursue a career
in arts and culture, I earned a BA in
International Relations and immediately
started working for an international
development NGO before becoming
an associate producer for an evening
news programme. Later, I joined Peace
Corps and lived in a rural market town
in northwest Madagascar working as a
teacher and training Malagasy teachers
in TEFL methodologies. A fellow
volunteer’s project in marketing crafts
for a local women’s collective awakened
my desire to pursue a career with a
creative focus. When I applied and was
accepted into The Courtauld, I actually
did not know any more about the school
except for its specialisation. I needed
a foundation in art history in order to
pursue further graduate studies in art
business. I learned of The Courtauld
from a friend who knew someone who
had completed the MA in Wall Painting
Conservation and had touched up murals
from as far afield as China to Cyprus. It
was not until I attended orientation that
I fully appreciated the magnitude of this
venerated institution’s reputation.
While studying fifteenth-century Italian
architecture, Victorian monuments and
eighteenth-century French painting, I
never envisioned myself eventually sitting
in a charming artists’ café in northern
Iraq discussing developments in a postconflict creative community with fellow
patrons. It was during an internship at
the Delfina Foundation that I began to
think about moving to the Middle East.
My responsibilities included introducing
artists from the MENA (Middle East and
North Africa) region to London institutions
and assisting them in fostering networks
with other creative professionals. It was
during a presentation by Kurdish-British
artist and founder of Erbil-based cultural
NGO ArtRole, Adalet Garmiany, that I was
finally inspired to relocate. The Kurdistan
region does not have much of a cultural
infrastructure so there is precious little
in the way of funding for arts institutions
and public galleries. I supported myself
by teaching while my cultural production
activities were pro bono – hence the
assumption by some that I deviated from
Valeria with some
of the children that
benefited from the
project
The Courtauld news issue 38 autumn/winter 2015 43
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Contents
my objective of working in the arts.
As soon as I landed in Iraqi Kurdistan
amid the late Ramadan heat of August
2011, Adalet put me to work on a multiday conference series, Women in Action,
focusing on gender-based violence and
the role of women in a changing society
as examined through the platform of
theatre, visual art and performance. Over
the course of four years I helped realise
art exhibitions, visited artists’ studios and
co-organised an artists’ workshop featuring
and the murder of academics. Just as art
rarely exists in a vacuum, we must bear
witness to global art histories and support
cultures at risk. My experience in Iraqi
Kurdistan has widened my scope of zones
of artistic discourse and it is tremendously
encouraging to see The Courtauld
scholarships exploring vistas further afield
as well.
VALERIA MISSALINA BEMBRY (PgDip 2008)
Development Assistant, Center for
Civilians in Conflict
Syrian refugees
painting as part of
the project activity
internationally renowned artists, Wafaa
Bilal and Walid Siti in collaboration with
a UK-based arts education charity. The
most enriching experience of all, however,
was leading a group of Syrian refugee
teenagers in weekly painting activities as a
volunteer for the Rise Foundation’s Castle
Art programme, where they decorate
the walls of the Saddam-era prison that
now houses families who have fled their
homeland during the Syrian civil war.
The advent of Islamic State has destroyed
lives, communities and is currently in the
process of destroying human history with
the obliteration of archaeological sites
44 The Courtauld news issue 38 AUTUMN/WINTER 2015
ALUMNI
PUBLICATIONS
The Country Houses of Devon by Hugh
Meller (MA 1975) records over 400 of
the county’s most notable houses built
between the fourteenth and twentieth
centuries. This new publication, the result
of fifteen years research by the National
Trust’s former curator for Devon has been
written, compiled, printed, bound and
published in Devon. Describing in lively
details the owners, their estates, the
architectural history, ancillary buildings and
gardens, the book contains 1,000 old and
new photographs, drawings, maps and
sketch-plans many of which are published
for the first time.
£60
blackdogpress.co.uk
Art in Britain 1660–1815 by Professor
David H. Solkin (MA 1974), FBA (Dean
and Deputy Director, Walter H. Annenberg
Professor of History of Art, The Courtauld
Institute) presents the first social history
of British art from the period known as
the long eighteenth century, and offers a
fresh and challenging look at the major
developments in painting, drawing, and
printmaking that took place during this
period. Within the larger narrative are
authoritative accounts of the achievements
of celebrated artists such as Peter Lely,
William Hogarth, Thomas Gainsborough,
and J.M.W. Turner. More than 300
artworks, accompanied by detailed
analysis, beautifully illustrate how Britain’s
transformation into the world’s foremost
commercial and imperial power found
expression in the visual arts, and how the
arts shaped the nation in return.
£55
yalebooks.co.uk
Weatherland: Writers and Artists under
the Skies by Alexandra Harris (MA 2004)
is a celebration of the weather as seen
through the eyes of writers and artists.
This publication is the first book to
examine English literary and artistic
responses to the nation’s weather patterns.
From Turner’s paintings of seas and
skies to Lowry’s scenes of the gloom and
smog of industrial life, the book gives
an intimate account of the relationships
between natural patterns and human
creativity. From the texts of Jonathan Swift
to Philip Larkin, the author builds her story
with evocative details and distinct voices.
Alexandra Harris is Senior Lecturer at the
University of Liverpool and winner of the
Guardian First Book Award.
Painting in Cappadocia: A Guide to the
Sites and Byzantine Church Decoration
by Dr Cecily Hennessy (PhD 2001)
explores wall paintings in churches cut out
of the landscape of central Turkey. The
book goes beyond the usual information
contained in a travel guide and brings
to life the Byzantine paintings with an
understanding of their context, technique
and style. It is fully illustrated with colour
photographs and maps. Cecily Hennessy
is Senior Lecturer at Christie’s Education
in London.
£24.95
thamesandhudson.com
£9.99
Available on Amazon
The Courtauld news issue 38 autumn/winter 2015 45
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Contents
Futures of Surrealism: Myth, Science
Fiction and Fantastic Art in France,
1936–1969 by Dr Gavin Parkinson (PhD
2000, Senior Lecturer in 20th-Century
Art, The Courtauld Institute). Usually
associated with the 1920s and 1930s,
surrealism remained a vital force in Paris
throughout the post-war period. This book
offers the first detailed account in English
of the trajectory of the French surrealists
in the 1950s and 1960s, giving particular
emphasis to the significance of myth
for the group in its reception of science
fiction and its engagement with fantastic
art. Gavin Parkinson demonstrates how
the later generation of surrealists were
connected to the larger cultural and
political debates of the time, engaging
with contemporary issues, ideas, and
themes of the period of the Cold War
and Algerian War (1954–62), such as
parapsychology, space travel, fantastic
art, increasing consumerism in Europe,
emerging avant-gardes and the rise of
the genre of conspiracy theory, from Nazi
occultism to flying saucers.
Painting in Britain: 1500–1630:
Production, Influences, and Patronage
co-edited by Professor Aviva Burnstock
(PhD 1991, Head of the Department
of Conservation and Technology, The
Courtauld Institute of Art), is the first
major essay volume in over a decade to
focus on Tudor and Jacobean painting.
The interdisciplinary approach taken
throughout the volume brings together
a discussion of the context for the
production of painted images in Tudor
and Jacobean England with a selection of
technical images of twenty paintings that
span the period period. Contributions from
the field of conservation science consider
the material practices of the period, and
questions of authorship and aspects of
workshop practice are also discussed. The
authors capture information about the
range of artistic production during the
period, from medieval rood screens to the
work of heraldic painters. Also addressed
are topics of artistic patronage, from the
commissioning by kings and courtiers,
to the regional networks that developed
during the period and the influence
of a developing antiquarianism on the
market for paintings. The book is lavishly
illustrated in colour throughout.
£150
Oxford University Press
£45
yalebooks.co.uk
If you have recently published a book which you think
would be of interest to our readers, please send an
email to [email protected]
KEEP IN TOUCH!
The Courtauld Association grows larger each year. Now with over 7,600
alumni across 85 different countries, I am so pleased to see how many of you
continue to keep in touch with The Courtauld. Please do continue updating
me with all your news and contact details. You can email me at Isabella.
[email protected] with everything from getting a new job
to publishing a book.
Here are a few ways that you can continue to support us:
Provide job opportunities
Become a Regional Coordinator
Speak on a career panel
Mentor a student
46 The Courtauld news issue 38 AUTUMN/WINTER 2015
OBITUARIES
public with his Evening Standard articles,
but was also – exceptionally – permitted to
use words such as ‘panjandrum’, deliciously
enlarging the vocabularies of the chattering
and non-chattering classes. The ‘naughty
bits ‘ about buttocks (and more – all very
prevalent in old master painting) also
gave him wide appeal; and in his own
way he fought in public for what he would
be horrified to call ‘gay lib’. Hence my
particular chagrin that he did not review
my show Pierre Klossowski and the Vicious
Circle at the Whitechapel Art Gallery in 2006. I used to post his anti-contemporary art
articles to my much-loved and highly
conservative friend, British sculptor in exile,
Raymond Mason. But I too have sympathies
with him and have a category I call ‘bits of
everything all over the floor’, despite my
conviction that a Milton or Tennyson would
today be epic conceptual artists.
Brian Sewell
15 July 1931 – 19 September 2015
Courtauld News readers
will know of the passing
of Brian Sewell (BA 1957).
Many art journals and
newspapers have carried
their own obituaries of
this well-known writer
and critic. Brian Sewell
often seemed to court
controversy amongst the
art establishment, especially
with his writing about –
and often against – the
latest developments in
contemporary art, but he
was read with huge delight
and often much hilarity by
thousands of followers.
O tempora O mores!
Brian Sewell brought not only doublespreads of serious art criticism to the hugest
I would have loved to have been a fly
on the wall in The Courtauld staffroom
at the time of the Blunt scandal in which
Sewell was implicated. My appointment,
however, was just too late. He vastly
underestimated the erudition and the
breadth of contemporary Courtauld
students: his nostalgia for old times
here was for a far narrower and more
comfortable world in art history.
Brian Sewell is much regretted.
Professor Sarah Wilson
(MA 1979, PHD 1992)
PROFESSOR OF MODERN AND
CONTEMPORARY ART
The Courtauld news issue 38 autumn/winter 2015 47
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Contents
MARY Whiteley
13 November 1927 – 28 May 2015
Mary Crake Whiteley
Martin Butlin, Erica
Cruikshank Dodd,
Kathleen Morand
and John Shearman
in the grounds
of Wilton House,
Wiltshire, representing
the sculpture of
Michelangelo in the
tomb of Lorenzo de
Medici, Florence.
Kathleen represents
Dawn. Photograph
taken by Mary
Whiteley, 1953
Mary Whiteley (née Crake) was born in
Edinburgh and spent her early years in
India. Her family returned to England when
she was five years old and she was brought
up on the Scottish border near Berwickupon-Tweed. She was expected to be a
débutante and a lady of her time, but she
was soon bored with that sort of life and
turned to art history. In this adventure she
had to face strong opposition from some
of her family. Having (like the rest of us)
duly read every word of Gombrich’s Story
of Art, she registered at The Courtauld in
1952. She completed her Bachelor of Arts
three years later, and had begun working
on a PhD under Anthony Blunt when she
accepted a post as curator at Kenwood
House in Hampstead, a job she enjoyed
for several years before marrying my
cousin, Eric Whiteley, in 1961. Eric was a
businessman, but he was also an epicure,
and most deeply interested in Scottish
dancing, opera, and, above all, sailing.
They lived in London, near Primrose Hill,
and later moved to Emsworth, Hampshire,
overlooking the harbour, where they kept
their boat. The two of them spent their
holidays sailing up and down the coast of
France from where they returned home
laden with good wine and Le Creuset pots.
After Eric’s death in 2007 Mary stayed on in
Emsworth and continued her research and
writing on French royal châteaux.
In our first year at The Courtauld we
formed a congenial group that included
names now familiar to most readers of The
Courtauld News: John Shearman, Martin
Butlin, John Hayes, Kathleen Morand,
Mary and I. In those days we were given
£50 by The Courtauld, during Christmas
and Easter holidays, and told to go off and
see the galleries. We travelled together
over the years to most of the stately
homes of england, and through Europe,
relishing the wines and cheeses picked up
in the local markets and consumed picnicfashion on the road. We frequently stayed
in convents, and ate at the Ristorante
Economico. This was a happy time and
Mary remained fiercely loyal to each of us
and also to her Courtauld mentors for the
rest of her life.
Mary was a housewife, mother, sailor, a
superb cook and hostess, but most of all
she was an art historian to the last months
of her life. In July 2014 she finished her last
article, a profound essay on the lay-out and
purpose of the French palaces, a subject
in which her expertise was recognised
even by her French colleagues. She
began her research on French thirteenth
– and fourteenth – century staircases at
the suggestion of Anthony Blunt, with
especial interest in the double staircase
that coils around itself, an architectural
feature that was invented for Levantine
minarets and brought to France during the
Crusades. Eric accompanied her on yearly
excursions to the castles of France. He
helped her measure the architecture and
he encouraged her comparative studies in
Europe and Italy.
Mary was a Fellow of the Society of
Antiquarians. Her most quoted article is
‘Le Louvre de Charles V: dispositions et
fonctions d’une résidence royale’, published
in Revue de l’Art, 97 (1992). Also her chapter:
‘Royal and Ducal Palaces in France in the
Fourteenth and Fifteenth Centuries: Interior,
Ceremony, and Function, in Architecture
sociale: l’organisation intérieure des grandes
demeures a la fin du Moyen Age et la
Renaissance, edited by Jean Guillaume,
Paris, Picard (1994).
Mary laid her pen down in the summer of
2014 in order to move to a flat near her
only son, Mark, and his family in Bath. She
was just getting settled when she suffered
a debilitating stroke from which she never
recovered. Mark made it possible for me to
visit her in her last weeks. She was cheerful,
as ever, and her smile was touchingly
beautiful. A memorial service was held for
her in Bath on 4 September, attended by
numerous relatives, friends from all over the
world and eight godchildren.
ERICA CRUIKSHANK DODD
(PGDIP 1955, PHD 1958)
48 The Courtauld news issue 38 AUTUMN/WINTER 2015
PUBLIC PROGRAMMES
Strength
To Strength
W
ith generous support from
the Oak Foundation, The
Courtauld’s Widening
Participation Art History
Summer University keeps getting bigger
and better. In July 2015 28 sixth formers
(with a record-breaking 25% boys) from
comprehensive schools and colleges
across London arrived to start the four-day
intensive course. The programme was
designed by Dr Katie Faulkner (MA 2009)
around the theme of ‘the global and the
local’, and gave the students a taste of the
wonderful range of subjects covered by The
Courtauld’s undergraduate degree.
The students were particularly inspired by
lectures by leading art historians in their
field who work here at The Courtauld. Dr
Alixe Bovey and Professor Joanna Woodall
introduced them to engaging subjects such
as ‘Giants in London’ and ‘Kunstkammers’,
while the students donned white gloves to
handle Iranian art objects with Dr Sussan
Babaie, opening up their thinking about art
beyond the West. Alongside this, seminars
from Dr Caroline Levitt (MA 2005, PhD 2009)
and Dr Natalia Murray encouraged the
students to debate Russian art and abstract
art in Europe. Finally, a guided tour of the
conservation studio with Pippa Balch and
current student Lucia Bay was a highlight for
many students, demonstrating to them the
variety of ways in which art history is applied.
To give students a taste of career options
beyond an art history degree, they were
tasked with pitching a virtual exhibition,
taking The Courtauld Gallery collection as
a starting point. To help them with this they
saw a range of exhibitions with a tour from
Dr Karen Serres, Curator at The Courtauld
Gallery, a tour of the Ben Uri Gallery from
alumna Alice Odin (MA 2005), and a visit to
Tate Britain’s Barbara Hepworth exhibition.
The students also deliberated their ideas
with this year’s MA Curating students. To
research their proposals they also had a
Students from the
Year 12 Art History
Summer University
in an object
handling lesson with
Dr Sussan Babaie
Year 12 Art History
Summer Programme
student in a seminar
with Dr Caroline
Levitt
The Courtauld news issue 38 autumn/winter 2015 49
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chance to use The Courtauld’s extensive
book library.
On the final day The Courtauld opened
its doors to family, friends, and teachers
of the students. After just three and a half
days working with The Courtauld’s staff,
they took their place at the lectern in the
lecture theatre and presented their virtual
exhibition proposals to a large audience,
including Professor Deborah Swallow. Each
exhibition reflected their personal interests
in art and what they had learnt throughout
the week.
However, this year’s course didn’t stop
there. For the first time, Summer University
students were invited to take part in an
ASDAN university award. ASDAN is a
curriculum development organisation and
awarding body and this award is recognised
by UCAS to demonstrate school and
college students’ independent learning. To
achieve this award they had to take part in a
summer task which asked them to review a
display or exhibition in a gallery or museum.
The reviews were written on a wide range of
subjects, from the Royal Academy Summer
Exhibition to a contemporary photography
display at Flowers Gallery. Dr Katie Faulkner
then marked each review, giving students
invaluable feedback which would help to
equip them for Higher Education.
The final element needed to complete
the ASDAN award was to attend the
Progression Day, which took place in
September. The day built on the skills and
knowledge the students had developed
during Summer University. Sessions
included a discussion with our staff and
a current student about transitions to
university, a writing workshop, and a
reading workshop with PhD student Will
Atkin. In the afternoon students took a
boat trip down the Thames for an exclusive
visit to the Painted Hall and Chapel Dome
at Greenwich Naval College.
The depth and breadth of this programme
– from Summer University to the
Progression Day – reflects the astounding
will of staff across the whole of The
Courtauld who gave their time, energy,
and expertise to young people discovering
art history for the first time. This rare
opportunity resulted in young people
from non-traditional higher education
backgrounds getting a true experience of
the brilliance The Courtauld has to offer.
MEGHAN GOODEVE (BA 2010, MA 2011)
OAK FOUNDATION YOUNG PEOPLE’S
PROGRAMME COORDINATOR
This rare
opportunity
resulted in
young people
from nontraditional
higher
education
backgrounds
getting a true
experience of
the brilliance
The Courtauld
has to offer.
All participants from
The Courtauld’s
Year 12 Art History
Summer University
2015
50 The Courtauld news issue 38 AUTUMN/WINTER 2015
PUBLIC PROGRAMMES
WELCOME STEPHANIE
CHRISTODOULOU
The new Programme Manager – Gallery Learning, Stephanie
Christodoulou, describes how she sees her new role and
what excites her about joining The Courtauld
I
am delighted to have recently started
work at the Institute as Programme
Manager – Gallery Learning. I was lucky
enough to be brought up in London
where culture was all around me. I studied
art history at the University of Manchester
where I became particularly interested
in the sociology of art and culture. This
interest quickly developed into a passion,
and the issues of access and participation
became high on my personal agenda.
I consequently decided to enrol on a
Masters degree in Museums and Galleries
Education at the Institute of Education,
University College London. This passion
has led me to work at the National Portrait
Gallery, Tate and most recently the Royal
Albert Hall. Enabling art institutions to
open up and engage with a wide range of
audiences has been the focus of my career
and being able to fulfil this goal at The
Courtauld is both a career highlight and a
wonderful challenge for me.
As Programmer Manager – Gallery
Learning, my main responsibilities are to
manage the onsite and outreach learning
programme for schools, sixth forms and
colleges across London and beyond.
Having worked in the Public Programmes
department for six weeks I can now
confidently say that this is a fantastic
team to be a part of! Our programme
is very much driven by excellence – in
conversation and collaboration with the
schools and partners that we are working
with. There is no one-size-fits-all model
in place but rather bespoke learning
experiences tailored to individual needs.
The second part of my role involves
programming gallery activities such as
talks, music and late events based on
our fantastic collection and temporary
exhibitions. It is wonderful to be able
to assist our audiences’ understanding
through these diverse and accessible
activities. Since starting I have worked together
with postgraduate students to create
our current teachers resource looking
at Western landscape painting through
different historical and social contexts
and have arranged, trained and observed
our students giving fascinating lunch time
talks. There simply isn’t enough space
to talk about the myriad of projects and
events we have programmed but to say I
am excited is an understatement.
STEPHANIE CHRISTODOULOU
PROGRAMME MANAGER – GALLERY LEARNING
The Courtauld news issue 38 autumn/winter 2015 51
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Contents
A NEW VENTURE FOR
The Courtauld’S
EDUCATION PROGRAMME
A PILOT ESOL PROJECT WITH TOWER HAMLETS COLLEGE
Following a lesson on colour mixing,
students create works in response to
landscapes in The Courtauld Collection
52 The Courtauld news issue 38 AUTUMN/WINTER 2015
PUBLIC PROGRAMMES
B
etween October 2014 and June
2015 The Courtauld launched
a hugely successful pilot ESOL
project in partnership with Tower
Hamlets College, generously funded
by the Oak Foundation as part of our
Widening Participation programme.
Throughout the year, a group of ESOL
(English for Speakers of Other Languages)
learners from Tower Hamlets College
worked closely with Courtauld staff to
investigate works of art in The Courtauld
Gallery’s world-renowned collection. The
students – a group of Bengali and Iraqi
women, none of whom had been to a
gallery before – visited The Courtauld on
several occasions and explored in depth
works by Van Gogh, Manet, Monet, Seurat,
Cézanne, Renoir, and Rubens, as well as
objects from The Courtauld’s collections of
sculpture and decorative arts.
At Tower Hamlets College, students
took part in workshops involving collage,
painting and drawing which were integrated
into their ESOL curriculum. They learnt how
to mix colour, creating their own colourful
still-life compositions and landscape
paintings in response to the works they
had chosen. These workshops helped the
students develop their language skills, as
well as their own enjoyment and knowledge
of art. We were delighted to exhibit the
resulting work at Tower Hamlets College in
April 2015 as part of their Annual Student
Celebration, and immensely proud to see
the positive responses they received from
over 100 ESOL learners who took part in
the celebration.
Not only a means to explore the
collection, art history was used as a tool to
develop the students’ own language skills
as well as their visual and analytical skills,
helping them gain confidence in speaking
and writing in English. Working closely with
students, I helped them to research their
chosen works and discover biographical
information on each artist, encouraging
a discussion of their own experiences
where possible. The students have used
their project work in their own speaking
exams and we are delighted to report that
all participants passed these exams with
excellent marks.
The project, which was initiated and
coordinated by my predecessor, Alice
Odin, was developed in close collaboration
with myself and Tower Hamlets ESOL
teacher Tareshvari Robinson, whose crucial
input and expertise ensured that the work
we delivered in both the gallery and the
classroom was fully integrated into the
ESOL curriculum. She and the students
worked tirelessly in preparation for the final
celebration event, which took place at The
Courtauld Gallery in June. The celebration
included vast amounts of homemade
food, accompanied by a performance of
traditional Tamil and English music and
poetry performed by staff and students.
During the event each of the women
gave a talk on their chosen works of art
in the gallery to fellow ESOL learners and
teachers from Tower Hamlets College.
The depth of content and confidence
with which students delivered their talks
is testament to their commitment and
aspirations as well as the time and care
invested in the project by staff from The
Courtauld and Tower Hamlets College.
The project was a great success; the
majority of participants enjoyed it so much
they were keen to return to the gallery
with their families. These developments
in the community programme suggest
an exciting future for ESOL students
continuing engagement with The
Courtauld.
With thanks to The Courtauld Gallery,
Tower Hamlets College and The Oak
Foundation for their support.
HELEN HIGGINS (PGDip 2012, MA 2013)
OAK FOUNDATION YOUNG PEOPLE’S
PROGRAMME COORDINATOR
Students learning
how to deliver
a gallery talk
with Alice Odin,
Courtauld
Young Peoples’
Programme
Coordinator
and Tareshvari
Robinson, ESOL
teacher, Tower
Hamlets College
The Courtauld news issue 38 autumn/winter 2015 53
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An ESOL student’s
response to Peter
Paul Rubens, The
Family of Jan
Brueghel the Elder,
1613–15
Collage in response
to Cézanne’s
Montagne SainteVictoire, 1887, by
ESOL learner Sabira
Begum
ESOL exam poster
on the subject of
Manet’s A Bar at
the Folies-Bergère,
1882, created by
Tower Hamlets
College ESOL
student Mahmuda
Khatun
54 The Courtauld news issue 38 AUTUMN/WINTER 2015
SUPPORTING THE COURTAULD
Dr Kary Kelly joined The
Courtauld as Director of
Development in October
2015. Previously, she held
development roles at the
Royal College of Art, the
London School of Economics,
the University of Oxford and
Lady Margaret Hall, Oxford.
Prior to embarking on a career
in Development, Kary wrote
her doctoral thesis AT OXFORD
on The Organisation of Time
in Reformation England: the
impact of religious change
on the printed calendar and
patterns of daily prayer
c.1520–70. She was born and
raised in the USA and moved to
the UK as an undergraduate.
HELLO
KARY
The Courtauld news issue 38 autumn/winter 2015 55
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D
uring my first visit to The
Courtauld as a teenager, I was
captivated by the extraordinary
collection and enchanting setting
in the north block of Somerset House. In
the years that followed, as my academic
studies progressed and my interest in art
matured, I also developed great respect
for the outstanding scholarship, curation
and conservation taking place at this
unique institution. Since joining a few
weeks ago and meeting students, staff,
alumni and friends, I have had the good
fortune to become familiar with a third
aspect of The Courtauld: the warmth,
spirit and generosity of The Courtauld
community.
It is an honour to join The Courtauld. My
colleagues and I in the Development
Office have the privilege of building
relationships with alumni and friends who
recognise the power of the visual arts, and
I look forward to building on the initiatives
set up by my predecessor Emma Davidson,
who embedded the development, alumni
relations and membership programmes in
her ten years of dedicated service to The
Courtauld.
Samuel Courtauld’s singular act of
philanthropy established the Institute and
Gallery in 1932. In the intervening decades
generations of benefactors have helped
The Courtauld become the beacon of
art scholarship that it is today. Looking
ahead, The Courtauld has great ambition
for the future: to provide an outstanding
environment for teaching, research and
the collections we look after; to keep our
doors open to students and visitors from a
wide range of backgrounds; to attract and
support the best scholars and curators,
with specialisms that range from antiquity
to the present; and to stimulate the cultural
sectors by developing new ideas, research
and expertise.
I am delighted to be working with an
exceptional team of colleagues, and with
our community of alumni and friends in our
shared commitment to advancing
The Courtauld’s mission.
DR KARY KELLY
DIRECTOR OF DEVELOPMENT
Support the education and training of art
historians and conservators of the future
Please get involved and support The Courtauld.
Contact us to find out more:
Director of Development
Kary Kelly
Tel +44 (0)20 3751 0547
[email protected]
Campaign enquiries and naming opportunities
Hannah Joyce
Deputy Director of Development
Tel: +44 (0)20 3751 0552
[email protected]
Major Gifts, sponsorship and scholarships
Helen Peel
Head of Major Gifts and Sponsorship
Tel: +44 (0)20 3751 0548
[email protected]
Exhibition support and sponsorship
Sophie Harrison
Senior Development Manager, Major Gifts
Tel +44 (0)20 3751 0533
[email protected]
Samuel Courtauld Society
Membership levels at £500, £1,250, and £5,000
Charlotte Jennings
Senior Membership Manager
Tel +44 (0)20 3751 0541
[email protected]
Annual Fund and Legacies
Jennifer Seymour
Individual Campaign and Legacies Manager
Tel: +44 (0)20 3751 0544
[email protected]
Friends of The Courtauld
Membership £60 per year, £40 for Courtauld alumni
Pia Rainey
Friends Manager
Tel: +44 (0)20 3751 0546
[email protected]
American Foundation for The Courtauld Institute
of Art, New York
Susan Marks
Executive Director
Tel: +1 212 737 5051
[email protected]
Give online
You can also donate or become a member online at
courtald.ac.uk/supporting
56 The Courtauld news issue 38 AUTUMN/WINTER 2015
SUPPORTING THE COURTAULD
The Courtauld Berliners
S
everal times each year we gather
Courtauld scholars and experts in
their field to lead bespoke trips for
Samuel Courtauld Society members
to discover the art and architecture of
exciting destinations across the globe.
In June a group of twenty-four members
spent five stimulating days in Berlin with
Dr Shulamith Behr, who had created a
fascinating and fully immersive programme
entitled: Berlin from Second Empire to
Post-Wall: Art, Architecture & Memory.
The highlights were numerous and provided
a rich view of Berlin’s social and cultural
history. The group explored many of the
treasures of Museum Island including the
Market Gate of Miletus at the Pergamon
Museum, David Chipperfield’s truly modern
architecture at the Neues Museum and
sensational works from the exhibition
Impressionism – Expressionism. Art at
a Turning Point at Alte Nationalgalerie.
Focusing on Berlin’s key memorials from the
perspective of memory and reconstruction,
Lucy Watling (MA 2010), a former student of
Shulamith, organised and led an absorbing
and often sobering Memory and Memorials
walking tour.
Out of the city Anke Daemgen (PGDIP
1995, MA 1996, PhD 2002), a Berlin based
art historian, curator and also a former
student of Shulamith, gave a private
tour of the Liebermann Villa, the former
summer residence of Max Liebermann.
After a fascinating morning with Anke and
delighting in the permanent collection and
The Courtauld news issue 38 autumn/winter 2015 57
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a display of early Van Goghs, the group
enjoyed morning coffee looking out across
the lake and back at the glorious villa and
gardens. We were also treated to a full
day soaking up the splendour of Potsdam
including a special visit to the Library of
Frederick the Great at Schloss Sanssouci,
usually closed to the public.
of Art Tours for brilliantly developing the
Berlin programme and organising the trip
impeccably.
Special access to art and linking up with
the wider Courtauld community are key
parts of every Samuel Courtauld Society
trip and our grateful thanks go to alumnus
Olivier Berggruen (MA 1987) for hosting
a wonderful reception at the Berggruen
Museum for members and alumni. It was a
fantastic occasion and a happy Courtauld
reunion for many. Last but not least huge
thanks go to James McDonaugh (MA 2003)
For more information about the Samuel
Courtauld Society and the trips abroad
please contact Charlotte Jennings,
Senior Membership Manager,
020 3751 0541 / charlotte.jennings@
courtauld.ac.uk.
Trips in the works for 2016 include a short,
sharp trip to Amsterdam with PhD student
Albert Godycki in May, and a cultural trip
of a lifetime to China in September.
KATE KNIGHT
HEAD OF INDIVIDUAL GIVING PROGRAMMES
Left page: The
Picture Gallery
(Bildergalerie) at
Sanssouci Palace,
Potsdam
Above left: SCS
members enjoy an
audio tour
Below left: A more
sobering moment
on the Memory and
Memorial tour
Above: The gilded
ceiling of the Picture
Gallery, Sanssouci
Palace, Potsdam
58 The Courtauld news issue 38 AUTUMN/WINTER 2015
SUPPORTING THE COURTAULD
Charlotte Jennings,
Senior Membership
Manager and
Sophie Harrison,
Senior Development
Manager, Major Gifts
New beginnings
W
ith five months at The
Courtauld now under my
belt I can really say what
a wonderful opportunity
it is to be at this world class institution.
Taking on the newly created role of Senior
Membership Manager and looking after
the Courtauld’s Patrons – The Samuel
Courtauld Society – is a privilege I am
relishing. Having studied the history of art
at Leeds and then Liverpool University,
it is fantastic to be immersing myself in
The Courtauld world and I have to say an
enormous thank you to everyone for being
so welcoming!
Prior to The Courtauld I worked in the
membership departments at the Art
Fund and then the British Museum. These
organisations provided me with a wealth
of knowledge and experience of operating
within both small and large institutions,
equipping me with skills that I am now
applying to my role here. Working on the
Samuel Courtauld Society scheme is very
varied and allows me to meet a whole
array of alumni, academics and dedicated
and passionate Samuel Courtauld Society
members. My days include anything
from planning and attending events,
to developing better communications,
to looking for new partnerships and
opportunities within the cultural sector.
One of the real joys is planning future
Samuel Courtauld Society trips. As an avid
traveller myself it is such a pleasure to be
working on exciting itineraries to explore
art and architecture outside the UK and
engaging with other cultures. I am also
keen to develop some shorter UK based
trips and have had a very positive response
to this idea so it is something I hope to
incorporate into next year’s plans.
I am delighted that the events have been
so popular this season and it is a testament
to the reputation of The Courtauld and
our wonderful alumni and academics that
these are possible. Particular highlights
have been the breakfast and private
exhibition tour of Goya: The Portraits at
the National Gallery, as well as a drinks
reception and private tour of the new
Philip Mould Gallery on Pall Mall.
If any past or present students would like
to get involved with the Samuel Courtauld
Society, either as a member or to offer their
time for an event, I would love to hear from
you. With such an international reach our
alumni are a fantastic resource and I know
that our devoted patrons are always eager
to learn more about where life has taken
our students after The Courtauld.
Charlotte Jennings
Senior Membership Manager
The Courtauld news issue 38 autumn/winter 2015 59
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I
am delighted to have recently joined
the fundraising team at The Courtauld
in the new post of Senior Development
Manager, Major Gifts. Together with
colleagues, my role will help secure
essential philanthropic support and
sponsorship for all aspects of The
Courtauld’s work. I am particularly excited
that this will include a focus on support for
the Gallery and its outstanding exhibition
programme. In my first few weeks here it
has already been a pleasure to witness the
unveiling of both Bridget Riley: Learning
from Seurat and Soaring Flight: Peter
Lanyon’s Gliding Paintings, and a privilege
to have an insight into the curatorial team’s
plans for the months and years ahead.
Before coming to The Courtauld I spent
almost seven years with the Art Fund where
I was responsible for a range of major
supporter relationships and a programme
of lifetime gifts and bequests of artworks
from donors to museums across the UK.
Prior to this I oversaw the administration
of auctions in the Impressionist & Modern
Art, 19th-Century Art and British & Irish Art
categories at Christie’s, London. Joining
The Courtauld has allowed me not only to
pursue a longstanding love of art, but also
a firmly held belief in the value of further
education. I recently returned to being
a student myself, studying part-time for
a Masters degree in history of art at the
School of Oriental and African Studies
(alongside my role at the Art Fund). My
research focused on art from Africa and
its diaspora, building on my first degree in
social anthropology. Needless to say it is
marvellous now to be playing a supporting
role in The Courtauld’s renowned
academic community.
I look forward to meeting as many of our
alumni and supporters as possible in the
coming weeks, and to hearing first-hand
about what makes The Courtauld so
special and distinctive for you all.
SOPHIE HARRISON
SENIOR DEVELOPMENT MANAGER
MAJOR GIFTS
Goodbye
Kate Knight
As we sadly say goodbye to Kate Knight, Head
of Individual Giving, Lucía Halpern, Chair of
the Friends of The Courtauld, pays tribute to
her professionalism, achievements and great
personal charm.
W
hen Kate Knight joined
The Courtauld as Head of
Individual Giving just after
her wedding 10 years ago, it
is likely neither she nor her husband Frank
anticipated how much The Courtauld
would play a major part in her life. Over
the past decade she has increased regular
giving income by 700% and organised
over 350 events at The Courtauld, the UK
and further afield. She has built a strong
community of supporters, developed
robust programmes and mentored a
talented and dedicated team. As she
leaves us to devote more time to her
family and to a new part-time role as Head
60 The Courtauld news issue 38 AUTUMN/WINTER 2015
SUPPORTING THE COURTAULD
of Development for Shobana Jeyasingh
Dance, plus other exciting projects in
the works, it is fitting to review her many
accomplishments.
Among her lasting contributions is the
Samuel Courtauld Society, launched in
2007. Building on a base of 20 patrons,
Kate developed the group into a vibrant
community of 170 individuals in the UK
and abroad. Working with Pia Rainey, Kate
grew the Friends of The Courtauld from 200
active members to over 1,700 individuals
who enjoy a close connection with The
Courtauld. Kate also launched the first ever
Annual Fund in 2008, which now raises vital
funds from over 500 individuals a year.
The facts and figures of Kate’s tenure are
impressive indeed. But it is her personal
qualities that really mark her as an
exceptional member of The Courtauld
family. Samuel Courtauld Society patrons
are effusive in their praise. Art critic Dr
Heidi Buerklin-Slee says, ‘Visits with
Kate to special openings and private
collections were always highly enjoyable
and stimulating. Her charm, enthusiasm
and passion for art and people made
her a wonderful ambassador for The
Courtauld.’ David and Jane Butter observe
‘We have always been struck by Kate’s
calm capability and professionalism. She
created and has continued to deliver an
extraordinary SCS events programme.’
Farah Asemi, another Samuel Courtauld
Society member and Chair of The
Courtauld’s Scholarship Committee has
witnessed first-hand how Kate’s efforts
have had positive impacts on other
Kate Knight with Emma Davidson
at the Goya exhibition dinner
fundraising campaigns: ‘Kate has been
one of the pillars at The Courtauld,
creating a sense of community among
the various constituencies within the
Institute. Her seamless and positive efforts
in shepherding various overseas trips and
special events has certainly helped my
work raising urgently needed support for
the Scholarship Fund. I will miss working
with Kate and hope she will have many new
and exciting challenges ahead of her.’
Kate’s charm extends to her colleagues
as much as to Courtauld supporters.
Friends Manager Pia Rainey, who preceded
Kate on the Individual Giving team
and remains a stalwart member of the
Development Department, praises Kate
as ‘a truly inspirational “boss”, great fun
and extremely dedicated. I shall miss her
dearly.’ And Janine Catalano, who worked
closely with Kate for many years as Alumni
Relations Manager, remembers Kate as
‘the dream colleague and an amazing
role model. The epitome of grace under
pressure, she never let anything phase her
and made everything seem completely
seamless, even though it took herculean
efforts to achieve what she did and make
everyone feel so well-looked after in the
process. On top of that, she was always
there for commiserations or laughter, and
I am so pleased to count her as a friend as
well as colleague.’
On behalf of all the trustees of the Friends
of The Courtauld, I would like to thank Kate
for her years of service and wish all the best
to her and to Frank and their children.
Lucia Halpern
Chair of the Friends of The Courtauld
Kate Knight with members of the SCS on their recent trip to Berlin
The Courtauld news issue 38 autumn/winter 2015 61
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FRIENDS MAKE
A DIFFERENCE!
T
hanks to over 1,900 Friends and Samuel Courtauld
Society memberships, many critical projects will be
funded in 2015/16, including the current exhibition
Soaring Flight: Peter Lanyon’s Gliding Paintings,
essential work to conserve and reframe 100 of our prints and
drawings, and scholarships for four postgraduate students.
Without your continued loyalty, we simply could not retain
our position as a world-class gallery and leading institution
for education, research and the conservation of art.
FRIENDS TAKE
PART IN ART
We would like to thank the many Friends who participated
in our survey earlier this year. 94% told us that they
view their membership as a positive experience and an
overwhelming majority would recommend the scheme to
others. We are thrilled with such a positive endorsement
and continue to be committed to providing an excellent
service and an attractive programme of events and benefits.
It is always fun to meet members at exclusive Friends
events. A recent highlight was our first ever private morning
view and it was wonderful to see 30 members bright and
early for Dr Barnaby Wright’s illuminating tour of Bridget
Riley: Learning from Seurat. Other special events have
included a tour of the Ismaili Centre and the Conservation
Department of the British Library.
62 The Courtauld news issue 38 AUTUMN/WINTER 2015
SUPPORTING THE COURTAULD
A RECORD
BREAKING YEAR!
JOIN TODAY!
Join as a Friend today and take
advantage of free admission with
a guest to our current and future
exhibitions and displays:
Bridget Riley: Learning from Seurat
(to 17 January 2016)
Soaring Flight: Peter Lanyon’s Gliding
Paintings (to 17 January 2016)
T
he Courtauld had its most successful Annual Fund
campaign ever in the academic year 2014/15. We raised
a brilliant £130,321 from 510 very generous donors.
This was more than £20,000 over our target, which is
a tremendous demonstration of support and will enable us to
achieve even more.
We are so grateful to all of our donors, who come from across
the globe and from all walks of life. While nearly half of our
donors are from our alumni community, we also received many
donations from Friends of The Courtauld, Samuel Courtauld
Society members, short course participants, parents of students,
Courtauld staff members and more besides. It is wonderful to
see so many people getting involved and making a tangible
difference to the experience we are able to provide our students
and our visitors. We couldn’t do it without you.
Of course the 2015/16 Annual Fund campaign has now begun
and so I hope you will feel inspired to participate. As you have
seen, all the donations we receive, no matter what size, really do
add up and make a huge difference. Will you make a gift today?
Bruegel in Black and White
(4 February – 8 May 2016)
Botticelli and Treasures from the
Hamilton Collection
(18 February – 15 May 2016)
Annual membership costs £40 for all
Courtauld alumni, and £55 by Direct
Debit or £60 for all others.
Courtauld Friends Memberships
also make a wonderful Christmas
present. Festive membership packs are
available in our Gallery, shop or can be
mailed out.
Join now online:
courtauld.ac.uk/friends
or call 020 3751 0546 for more
information.
Continue your support by donating to
our 2015/16 Annual Fund appeal:
Visit: courtauld.ac.uk/annualfund
Call: 020 3751 0544
Post: Cheques should be made payable to ‘The Courtauld
Institute of Art Fund’ and mailed to:
Courtauld Annual Fund
Development Office
The Courtauld Institute of Art
Somerset House, Strand, London WC2R 0RN
The Courtauld news issue 38 autumn/winter 2015 63
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BENEFICIARIES
Allocation of funds
raised in 2014/15:
Amarilli Rava
(MA 2010)
Amarilli is a PhD Conservation student. Her
research is focusing on understanding the
mechanisms behind lifting and flaking of paint
layers and how to best ensure preservation
of the vulnerable and highly valuable painted
surfaces.
“I am extremely grateful for the
generous scholarship received
this year, which gave me the
opportunity to fully commit to my
study and on-site research.”
Francesca Whitlum-Cooper
(MA 2010, PhD 2015)
Francesca completed
her PhD in the 2014/15
academic year. Her
thesis is titled Itinerant
Pastellists: Circuits of
Movement in EighteenthCentury Europe.
“Courtauld
scholarships have
been absolutely
transformative
for me during my
five years at the
Institute. I would
not have been able to take my MA
(2009–10) without funding, nor
my PhD. I am a proud Courtauld
ambassador, and I look forward to
championing the Institute wherever
possible in the years to come. I am
hoping to gain work in a museum
setting, where I know the rigorous
academic and object-based training
I received at The Courtauld will be
highly valued.”
64 The Courtauld news issue 38 AUTUMN/WINTER 2015
SUPPORTING THE COURTAULD
Legacies
Look out for legacy giving
promotions this WINTER
F
ollowing the success of our first ever
legacy campaign last November, we
will once again be promoting legacy
giving this winter through the Gallery
and Institute, and also online and through
our social media channels.
Leaving a legacy to The Courtauld is an
incredibly valuable way of helping our
work. Your gift can help us rise to the
challenges of the future, ensuring The
Courtauld’s continued and significant
contribution to creating access to the
visual arts through our unique combination
of teaching, research and outstanding
resources.
If you have already left a gift in your will to
The Courtauld, then we would encourage
you to let us know. Not only can we advise
you on what information you need to
include with your bequest, it also gives
us the opportunity to thank you in your
lifetime and to show you how your gift
could make a difference. Our first event
for legacy pledgers – a tour of the Bridget
Riley display by Dr Barnaby Wright – takes
place in November and will be the first in
a programme of events across the Institute
and Gallery which will give pledgers the
opportunity to get closer to our work.
Find out more about legacy giving at
courtauld.ac.uk/legacies
For more information, please contact:
JENNIFER SEYMOUR
INDIVIDUAL CAMPAIGNS AND LEGACIES
MANAGER
[email protected]
020 3751 0544
The Courtauld news issue 38 autumn/winter 2015 65
DONORS
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THANK YOU
We wish to thank all Benefactors (£500,000+), Major Donors (£50,000+) and Supporters listed below and
those who wish to remain anonymous for their generous contribution and ongoing commitment to the
teaching and study of art history and conservation, between 1 August 2013 - 31 July 2016.
Benefactors
AKO Foundation – a charitable foundation established by
Nicolai and Katja Tangen
Anonymous, In memory of Melvin R. Seiden
Deborah Loeb Brice Foundation*
Nicholas and Jane Ferguson
Friends of the Courtauld Institute
Garfield Weston Foundation
Dr Martin Halusa
International Music and Art Foundation
J. Paul Getty Trust*
Oak Foundation
Madeleine and Timothy Plaut*
Robert H.N. Ho Family Foundation*
Lord Rothschild OM, GBE, FBA
The Andrew W. Mellon Foundation*
The Annenberg Foundation
The Edmond J. Safra Philanthropic Foundation
The Garcia Family Foundation (U.K.) Limited
The Gilbert and Ildiko Butler Foundation*
The Lisbet Rausing Charitable Trust
The Sackler Trust
Major Donors
AkzoNobel
Farah Asemi and Hassan Alaghband
Olivier and Desiree Berggruen*
Tatiana Korsakova and Andrey Borodin
Veronica M Bulgari*
Paul Conisbee
Daniel Katz Ltd
Dr Michael and Anna Brynberg Charitable Foundation
Leon Levy Foundation Naguar Conservation Programme*
Lexington Partners
Mr. and Mrs. Gilbert Lloyd, Nassau, Bahamas
Scott and Suling Mead
Mandy and Edna Moross*
Marie-Louise von Motesiczky CharitableTrust
Philip S. Niarchos
Maurice and Elizabeth Pinto*
Oryx Petroleum
Samuel Courtauld Trust
Sir Paul and Lady Ruddock
James Stunt
Swarovski
Terra Foundation for American Art
The A.G. Leventis Foundation
The Alan Howard Foundation
The Headley Trust
The Jungels-Winkler Charitable Foundation
The Monument Trust
The Schroder Foundation
The Stavros Niarchos Foundation
Thomson Works of Art Ltd
Christian H. Thum
V-A-C Foundation
Manuela and Iwan Wirth
Mrs Charles Wrightsman*
*Gifts made to the American Foundation of The Courtauld Institute of Art
66 The Courtauld news issue 38 AUTUMN/WINTER 2015
DONORS
Supporters
Anna Plowden Trust
Apax Foundation
Arbuthnot Bequest
Richard and Mara Aylmer
Bonnie and R. Derek Bandeen
Hugh and Jane Bedford
Benjamin Proust Fine Art Ltd – London
Linda Kristin Bennett
Ivor Braka
Daniella Luxembourg, London
David Zwirner, London and New York
Dorita Gilinski Scholarship
Eijk and Rose-Marie de Mol van Otterloo*
Beatrice del Favero*
Mrs Jessica Devoy
Edward Said Scholarship
Fred Elghanayan*
Embassy of Spain
Embassy of the Federal Republic of Germany
Mr Sam Fogg
Galerie Max Hetzler, Berlin and Paris
GardaWorld
Florian Härb
Harley Research Scholarship
Hazlitt Holland-Hibbert, London
James Hughes-Hallett
Sir Michael and Lady Heller
Niall Hobhouse and Caroline Younger
Andrew Hochhauser QC
J Paul Getty Jnr Charitable Trust
Karen and Robert Hoehn*
Jane Kallir, Co-Director, Galerie St. Etienne, NY*
Mr and Mrs Hugues Lepic*
Alison Lohrfink Blood
Mark and Liza Loveday
Lowell Libson Ltd
M & M Capital Limited
Mayor Gallery
Lucy Mitchell Innes and David Nash*
Richard Nagy
NADFAS
NautaDutilh
Diane Allen Nixon*
Desmond Page
Mr Michael Palin
Ridinghouse, London
Russell C. and Jill O. Platt
Robert Postgraduate Studentship
Stuart and Bianca Roden
Mr and Mrs J. Salter
Karsten Schubert
Samuel H. Kress Foundation
Saunders Bequest
Sims Reed Gallery, London
Sir Angus Stirling
Sir Nicholas and Lady Goodison
Sir Siegmund Warburg’s Voluntary Settlement
Tavolozza – Katrin Bellinger
The Ashley Family Foundation
The C J Robertson Legacy Fund
The David Skipsey Memorial Fund
The Frank Jackson Foundation
The Gabo Trust
The Guilford Foundation
The Iran Heritage Foundation
The Joseph and Esther Lichtenstein Scholarship
The Michael Marks Charitable Trust
The Nicholas and Jane Ferguson Scholarship Fund
The Radcliffe Trust
The Rose Foundation
The Rothschild Foundation
The Sophie Trevelyan Thomas Scholarship Fund
The Stanislawa Kryszek Scholarship
The Stanley Picker Trust
The Wilde Bequest
Johnny Van Haeften Ltd
Offer Waterman
Malcolm Wiener*
Michael and Jane Wilson*
Woodmansterne Art Conservation Awards
The Courtauld news issue 38 autumn/winter 2015 67
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SamuEl Courtauld society 2014-15
DIRECTOR’S CIRCLE
Anonymous
Andrew and Maya Adcock
Farah Asemi and
Hassan Alaghband
Elke and Michael von Brentano
I C Carr
Christie’s
Michael Cohen and Erin Bell
Mark and Cathy Corbett
Christopher and
Janey McLaren
Scott and Suling Mead
Maurice and Elizabeth Pinto
Derek and Inks Raphael
Charles Rose
Paul and Jill Ruddock
Sotheby’s
Nicolai and Katja Tangen
Erik and Kimie Vynckier
John Watson and
Betsy Blackwell
Niklas and
Catherine Zennström
Mr Andrew P Duffy
Cindy Elden*
Roger and Rebecca Emery
Eykyn Maclean Ltd
Marina Kellen French*
David Gibbons
Richard Green
Lucía V. Halpern and
John Davies*
Paula and
Schuyler Henderson*
Lady Heseltine
Joanna Hewitt
Jennifer and Bill Hicks
Andrew Hochhauser QC
Mike and Caroline Howes
David and Una Hudd
Philip Hudson
Monica Ishola
Nicholas Jones
Andrew Joy
James and Clare Kirkman
Kate Knight
Norman A. Kurland and
Deborah A. David*
Helen Lee and David Warren*
Lefevre Fine Art
Stuart Lochhead and
Sophie Richard
Anthony Loehnis CMG
Mark and Liza Loveday
Dr Chris and Gill Mallinson
Janet Martin
Mr Jay Massey*
Clare Maurice
James McDonaugh
Norma and Selwyn Midgen
John and Jenny Murray
Mr Morton Neal CBE and
Mrs Neal
Alan Newton
Elizabeth Nicholson
John Nicoll and
Laurence Colchester
Mr Michael Palin
Simon and Midge Palley
Lord and Lady Phillimore
Bridget Pinchbeck
Faith Pleasanton and
Robert Steiner*
Herschel Post*
Marie-Christine Poulain and
Read Gomm
Leslie Powell
Tineke Pugh
Jacqueline Ranawake
Lady Jennifer Rose
Mrs Janice Sacher
Dame Theresa Sackler
Richard and Susan Shoylekov
William Slee and
Dr Heidi Bürklin-Slee
Michael Smith Barts Charity
Lauren Soth*
Ariane Stalé
Christopher and Fiona Steane
Sara Stewart
Marjorie Stimmel
Sir Angus Stirling
Henry Tinsley
Johnny Van Haeften
The Rt. Hon. Nicholas and
Lavinia Wallop
Mr Richard West
George and Patricia White*
Richard Wintour
Lynne Woolfson
Anita and Poju Zabludowicz
David and Diane Frank
Graeme Hood
Mrs Kathryn Gyngell
Edward Harley
Cordula von Keller
Mr Timothy D Llewellyn
Raymond and Penelope Locke
Sir Frank Lowe
Sophie Mallinckrodt
Virginia Morck
Philip Mould Ltd
Jim Moyes
Richard Oldfield
The Lady Ridley of Liddesdale
Mr Adrian Sassoon
Derek Searle
Anna Somers Cocks
Rex De Lisle Stanbridge
Jeremy Strachan
Mr Robert Stoppenbach
Professor Deborah Swallow
Yvonne Tan Bunzl
Diana and John Uff
The Ulrich Family
The Weiss Gallery
Hugh Wilson
Emma Davidson
Nicholas and Jane Ferguson
Mr Sam Fogg
Nicholas and Judith Goodison
Dr Martin Halusa
Nick Hoffman
James Hughes-Hallett
Eugenia and Thomas Korossy*
PATRONS’ CIRCLE
Anonymous
Geoffrey and
Julian Agnew Trust
Giancarla and
Michael Alen-Buckley
Mr Sandy Arbuthnot
Dr Michèle Badenoch
Stephen Barry
Sara Joline Bedford
John G. Bernasconi
Douglas Blausten
Julia Boadle
Charles Booth-Clibborn
The Lord Browne of Madingley
Veronica Bulgari*
David and Jane Butter
John Byford
Janine Catalano
Julian and Jenny Cazalet
Mary Ellen Cetra
Mr Colin Clark
Robert Compton Jones
Nick Coutts
Samantha Darell
Amanda Deitsch and
James Hochman
Nova Dobb
ASSOCIATES
Anonymous
Georgina Adam
Mrs Kate Agius
Lord Jeffrey Archer
Persephone Books
Mrs James Beery
Sarah Boardman
Mr Oliver Colman
Simon C. Dickinson Ltd.
Caroline Doggart
*Gifts made to the American Foundation of The Courtauld Institute of Art
68 The Courtauld news issue 38 AUTUMN/WINTER 2015
DONORS
The Courtauld Annual Fund 2014/15
The Courtauld sincerely thanks the 510 alumni and other supporters – both listed below and those who
wish to remain anonymous – who gave to this year’s Annual Fund appeal. The 2015 campaign (which
closed on 31 July 2015) raised a record-breaking £130,321 for a range of Courtauld projects.
Georgina Adam
John Adams
Andrew and Maya Adcock
Dr Tanya Alfille
Marjorie Allthorpe-Guyton
Dr James Anderson
Martin Andrew
Viv Armstrong-MacDonnell
Norton Asbury
Farah Asemi and Hassan Alaghband
Dorothy Ashton
Linda Ashworth
Jo Atkinson
Tom Attwood
Richard and Mara Aylmer
Dr Sussan Babaie
Alice Badjan
Dr Jane Bailey
Alexandra Banister
Ariane Bankes
Elly Banks
Professor Stephen Bann
Dr Emma Barker
Dr Richard Barling
Dr Wendy Baron
Brenda Baxter
Mary Rose Beaumont
Dr Shulamith Behr
Deborah Bennett
Victoria Bennett
Charlotte Benton
Paul Berry
Denise Bethel*
Prudence Bliss
Julia Boadle
Jon Booth
Tessa Boteler
Alixe Bovey
Eric Bowman
Dr Sophie Bowness
Professor Sir Alan Bowness
Dr Simon Bradley
Brady Stained Glass
William Brake Charitable Trust
Michael Brearley and
Mana Sarabhai-Brearley
Jane Brehony
Robin Broadhurst CVO CBE FRICS
Dr Grace Brockington
Marcia Brocklebank
Dr Anthea Brook
Benjamin Brown
Sallie Bryan
Nick and April Bueno de Mesquita
Dr Sally Bulgin
Polly Buston
Lady (Adam) Butler
David and Jane Butter
Professor Stephen Caffey*
Tom Caley
Linda Caller
Dr Caroline Campbell and
Dr John Goodall
Isabel C Carr
Elizabeth Cashman
Anne Castling
Sharon Cather
Deborah Cazalet
Dr Richard S Chafee*
John Chalker
Jeannie Chapel
Emily C Chappell
Carol Chawdhary
Wendy Chetwin
Dr Philip Cheung
Sheila Christie
Diana and Gerald Cinamon
Colin Clark
David Cobb
Lesley Cogan
The John S Cohen Foundation
Dr Nicola Coldstream
William L. Coleman*
Dr Minta Collins
Conatus Capital Management LP*
Ali Conway
Dr Rosalys Coope
Ian Cormack
Cornell Club of London
Mary Cosh
Professor Elizabeth Cowling
Georgie Cox
Georgina Craufurd
Stephen Croad MBE
Family Croker
Satsuki Crome
Professor Geoffrey Crossick
Professor James Cuno*
Professor Trevor Dannatt
Miss Jenifer Dapper
Lizzie Darbyshire
Bridget Davidson
Emma Davidson
Jessica Davidson
Tim Davies
Hester Diamond*
Stoyan Dimitrov
Nova Dobb
Miles Dodd
Barry Dodge
Richard and Olga Van den
Dool-Brenninkmeijer
Dr Sally Dormer and Mr Andy Moody
Tara Draper-Stumm, FSA
Eric Drewery
Pamela Drinnan
Theo Druyven
Lady Duncan
Hymie Dunn
James Dunnett
Margaret Dunwoody Hausberg*
Dr Anthony Dyson
Lord Egremont
Hetty Einzig
Caroline Elam
John Elderfield*
Isabel Elliman*
Dr Julia Ellis
Catherine Errington
James Ewing*
Kaywin Feldman*
Natalie Fenner
Anna Fletcher
Sibylla Jane Flower
Dr Susan Foister
Francis Ford
Anna Forty
Irisa Frankle
Elizabeth Freeman
Mrs Diana de Froment
Hannah S. Fullgraf*
Stephen D. Gallagher
Alicia Garcia
Nicky Gavron
Dr Malcolm Gee
Caroline George
Helen George
John Gilbert
John Glaves-Smith
Dr Linda Goddard
Sophie Goldspink
Christine A Gordon
Jennifer Gordon
Mr Hugh Gorton
Cornelia Grassi
Maggie Gray
Dr Susan Green
Nigel Grey-Turner
Mary H. Gridley
Julie Grisman
Pierre-Yves Guillemet
Cesar Guillen
The Courtauld news issue 38 autumn/winter 2015 69
Return to
Contents
Penelope Gurland
Werner Guttmann
Kathryn Gyngell
Angus Haldane
Dr Douglas Hall
Gail Hall
Nicholas Hall
Lee Hallman*
Zillah Halls
Lucía V. Halpern and John Davies
Sabrina Harcourt-Smith
Dr John Hare*
Céline Harris
Dr Laurie Harwood
Georgiana L. Head
Mrs Robert C. Heathcote
Geraldine van Heemstra
Dr Kathryn Heleniak*
Sir Launcelot Henderson
Lisa Henderson (née Heale)
Dr Cecily Hennessy
Merle Heppell
Lady Heseltine
Ann Hewlett
Helen Higgins
Jean Higginson
Miss A Hilder
Constance Hill
Richard Hill
Paul Hills
Henrietta Hine
Clive Hodson
Dr Barry Hoffbrand
Mr and Mrs Geoffrey Holt
Graeme Hood
Isabel Horovitz Blake
Jill House
Professor Ken Howard OBE
James Hudson
Philip Hudson
James Hughes-Hallett
Genevieve Hulley*
Federico Ippoliti
Rose Isepp
Iain Jack
Dr and Mrs Howard Jackson
Philip Jacobson
Hedwig James
Margaret James
Helen Janecek
Dr William Jeffett*
Sir Peter Jenks
JKS Family Foundation*
Abraham Joel*
Jennifer Johnson
Karen Jones – Citywealth
Nicholas and Maria Jones
Pippa Jones
Kenneth Jordan
Wendy Jordan
Hannah Joyce
Professor Walter Kaiser*
Dr Martin Kauffmann
Diana Kay
Oonagh Kennedy
Dr Peter Kennedy Scott
Sir Sydney Kentridge
Robert Keys
Dr Jerzy J Kierkuc-Bielinski
Jenny Kingsley
Kelly Knapp
Caroline Knight
Kate Knight
Latifa Kosta
Teresa Krasny
Norman A. Kurland and Deborah A. David*
Nicholas Lambert
David Lane
Philip J Lankester
Rita Laven
John Lawrence
Hannah Leathers
Andrew Lee*
Helen Lee and David Warren*
Yuna Hyunjoo Lee
Patrick Legant
Henry Legge QC
Mr and Mrs Hugues Lepic*
Dr Ayla Lepine
Lisa Lindstrom*
Marco Livingstone
Oliver Lloyd
Peter Loach
Stuart Lochhead and Sophie Richard
Barry Lock
Sheila Lockhart
John Lomax
Morgan Long
Dr and Mrs Graham Lyons
Michael Macaulay
Dr Chris Mallinson
Sharon Manitta
Susan Ruth Marks*
Charles and Sue Marriott
Jean Martin
Richard and Janet Martin
Peter Martindale
The Martineau Family Charity
Michèle Mason
Jay Massey
The Matthiesen Foundation
Cameron Maynard
Chris McCullough
James McDonaugh
Professor David McKitterick
Miss P. McPeake
Dr Melissa McQuillan
Helen Meakins
Sage Mehta
Patricia Menday
Dr Sarah Meschutt*
Norma and Selwyn Midgen
Dr Lesley Miller
Rita Miller
*Gifts made to the American Foundation of The Courtauld Institute of Art
Judith M Mitchell
Paul Mitchell
Dr Sarah Monks
Jennifer Moore
Joyce Morgan
Martin Morgan and Maureen SemplePiggot
Jenny Morris
Alexandra Moses*
Sarah Moulden
Barbara A. Murek*
Catherine Murray
Mr Morton Neal CBE and Mrs Neal
Valerie Neild
Susan Nettle
John Newman
Professor Michael Oliver
Richard Osborne
Katharine Claire Pace
Dr Alexandra Parigoris
Ingrid Parry
Joyce Parsons JP
Michael Parsons
Julia Paterson*
David Pavey
Laura Asherman Payne
Helen Peel
John and Gillian Pelton
Dr Nicholas Penny
Joan Phelan
Lord and Lady Phillimore
David Phillips
Dr Elizabeth Philpot
Ilaria Piccirilli
Claude Piening
Bridget Pinchbeck
Gifts in memory of Robert Pirie
Christopher Platts and Charlotte Gray*
Liz and Greg Platts*
Sophia Plender MBE
Camilla Ponsonby
Alex Pook
Dr Cecilia Powell
Marie Ann Prelog
Darryl de Prez
Dr Abigail Price
Michael Price
Dr Lara Pucci
Pia Rainey
Cynthia E. Rallis*
Georgina Ralston
Donovan Rees
Katherine Rees
Helena Rees-Mogg
Dr Beatrice Rehl*
Elisabeth Reissner
Dallas Richards
Dr John Riordan OBE
Eleanor Robbins
John Robertson
Dr D Keith Robinson
Gillian Robson
70 The Courtauld news issue 38 AUTUMN/WINTER 2015
DONORS
Mr R. Root
Hazel Rose JP
Lady Jennifer Rose
Shannie Ross
Peter Roth
Brinda Roy
Mary Rozell*
Sir Paul and Lady Ruddock
Penelope Ruddock
Neil and Angelica Rudenstine*
Tony Rushton
Edwina Sassoon
Dr Rosalind Savill
Clive Saville
Julia Schouten
Kimberly Schrimsher*
Chloe Scott
Professor Katie Scott
Mitchel Seal
Derek Searle
Elizabeth Sebök
Christopher Sedgwick
Sir Nicholas Serota
Jennifer Seymour
Desmond Shawe-Taylor
Robin Shepherd
Dr Rupert Shepherd
Dale Sheppard-Floyd
Michael Sherry
Hadi and Ban Shubber
Cheryl Silver*
Mr and Mrs Silvey
Dr Amanda Simpson
Holly Skeet
Dr Ian Skidmore
Dr Susan Sloman
Chris Smart
Arabella Smith
Mary Peskett Smith
Nickola Smith
Dr Patricia Smith
Rita Smith
Professor David Solkin
Dr Paul Spencer-Longhurst
Jill Squires
Dr Timothy Standring*
Sonnet Stanfill
Clare Stansfield
Professor Christine Stevenson
Jenny Stewart
Marjorie Stimmel
Sir Angus Stirling
Mandy Stockley
Isobel Stokes
Carol Stone
Robert Stoppenbach
Jo Storey
John Summers
Janis Susskind OBE
Professor Ann Sutherland Harris*
Professor Deborah Swallow
Return to
Contents
Catherine Swarbrick
Dr John Sweetman
Richard Swift
Dr Philip A Sykas
Edward Tang*
Margaret Tatton-Brown
Ruth Taylor
Andrew Templeton
Wenny Teo
Clive Thomas
Helen Thomson
Mr and Mrs Jeremy Thorp
Robert Thorpe
Lisa Tickner
David M.Tobey*
The Philip and Irene Toll Gage Foundation*
Townsend Family Charitable Trust
Toby Treves
Catherine Tribe
Peter Trippi*
Patrick Troughton
Dr Marjorie Trusted
Alison Turnbull
Pamela Turner
Sara E Turner*
Anthony Tyrrell
Diana and John Uff
Mr H Kirk Unruh*
Lady Marina Vaizey
Barbara Ventresco*
Janice Vernon-Smith
Joanna Walker
Dr Susan Wallington
Peter Wallis
Frederick C. Walski, Jr.*
Nicholas Warren and
Catherine Graham-Harrison
Brigitte Wasdell
Patrick Watson
The Shirley and Ian Watson Trust
Dr Trudy A Watt
Lady Alexandra Wedgwood
Dr Ursula Weekes
Mary Wells
Emma Whitaker
George and Patricia White
Anna Whittaker
Fiona M Whyte
Joan Wilcox
Adrian Wilkinson
Dr Alan Wilkinson
Rowena Willard-Wright
Maureen Williams
Williams and Son
The Hon. Mrs Elizabeth Wills
The H.D.H. Wills 1965 Charitable Trust
Arnold Wilson
Helen Wilson
Hugh Wilson
Dr John Wilson*
Mrs Muriel Wilson
*Gifts made to the American Foundation of The Courtauld Institute of Art
James Winterbotham
Robert Woodward
Felicity Woolf
Sir Stephen Wright
Mary Yule
This autumn The Courtauld Shop brings to you a
collection of gifts inspired not only by the festive
season, but also by The Courtauld Gallery’s current
exhibition Bridget Riley:Learning from Seurat and
Peter Lanyon’s Gliding Paintings. Products range in
price and are suitable for a variety of ages. We
would like to offer a special reader discount to you!
Visit us in store and receive a 10% discount if you
show this article or visit us at courtauldshop.com
and enter the special discount code AL1 at
checkout to receive 15% off your online order.
A
F
B
D
E
C
G
H
I
A.Farrah’s of Harrogate Stem Ginger
Biscuits. Established in 1940, Farrah’s
has been bringing customers quality
confectionery for many years. £4.00
B.Cruchley’s 12 Miles Round London
antique copper engraved map
published in circa 1826. £18.00
C.Black Credit Card Holder by Laurige.
Fine leather available in two colours:
black and burgundy. £20.00
D. Red Gold Glaze Barrel Rope Necklace
by Gill Laverick. This particular piece has
been majorly influenced by the wonderful
designs found on Japanese kimonos and
furoshiki. £60.00
E. Honey Bee Pendant by Paula Bolton.
Silver jewellery made from 925 sterling
silver and is accented by 18 carat gold
plate and specifically selected
semi-precious gemstones. £80.00
F. Mini Red Cosmetic Box by Laurige.
Made of fine leather and available in four
colours: turquoise, fuchsia, red and violet.
£24.00
J
G.Peter Lanyon Silk Scarf by Beckford
Silk. Exclusive to The Courtauld Gallery
Shop. £60.00
H.Frank Dobson Reclining Nude
A sculpture plaster model by Debbie
Smith. Made in the Timothy Richards
Workshop, Bath, England. £75.00
I. Antoniazzo Romano Virgin and Child
and St. John the Baptist Christmas
Card. £5.00
J. The Night Skaters at the Somerset
House by Lucy Pratt Christmas Card.
£5.00
Courtauld Institute of Art
Somerset House, Strand
London WC2R 0RN
www.courtauld.ac.uk