Autumn 2014 - Courtauld Institute of Art

Transcription

THE COURTAULD
NEWS
ISSUE NO. 36 AUTUMN/WINTER 2014
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THE COURTAULD NEWS CONTENTS
CONTENTS
FROM THE DIRECTOR
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ACADEMIC LIFE
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ACADEMIC MILESTONES4
– A Golden Anniversary for History of Dress
5
– An Impressive Decade of immediations6
– The First Year of the MA in Buddhist Art: 7
History and Conservation
Graduation 2014: ‘You Can Change the World’
8
Fond Farewells: Georgia Clarke, 9
Lisa Tickner and John Milner
The Faces and Minds Behind the 12
Research Forum
Sharon Cather Further Honoured in China
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A Medieval Summer at the Courtauld
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GALLERY AND COLLECTIONS
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Egon Schiele: The Radical Nude16
Forthcoming Exhibition Reassembles 19
One of Goya’s Private Albums
Jasper Johns – Regrets20
The Gilbert and Ildiko Butler Drawings Gallery
21
Shedding Light on the Courtauld’s Loom Pulley 22
Revealing Goya’s Portrait of Francisco 23
de Saavedra
Displays in the Print Study Room
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Drawings by Alphonse Legros: Gifts to 24
the Courtauld Gallery
COURTAULD LIFE
Rosemary McAlonan
A New Home in the New Wing
Book Sale Continues to Thrive
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ALUMNI28
Alumni by Numbers
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Janine Catalano: Recollections from 30
the Alumni Office
‘Email an Alum’
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STUDENTS33
Hetty Uttley: The New Face Behind the 33
Student Union
A Hat-Trick for Courtauld Societies
34
Starter for 10: The Courtauld’s First 35
Appearance on University Challenge
Courtauld Students Among the Most Satisfied 36
with their Course
PUBLIC PROGRAMMES
After Hours at the Courtauld Gallery: Bringing the Collection to Life
Students Use Courtauld Paintings to Bring Fresh Perspectives to Portraiture
New Ventures for the Courtauld’s Widening Participation Programme
Summer School: A Lecturer’s Perspective
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SUPPORTING THE COURTAULD
Announcing a Major £2.5M Gift
to Support Academic Excellence
New Campaign Encourages Legacy Giving
Samuel Courtauld’s Legacy to Us
Advice for your Bequest
In Memory of Sophie Trevelyan Thomas Swarovski and Lexington Partners Lead Support for Schiele
A Feast for the Eyes
Samuel Courtauld Society in Focus
2013/14 Annual Fund Appeal One of the Most Successful to Date
Jottings on the Samuel Courtauld Society’s Florence Visit
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Thank you
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Managing Editor
Janine Catalano
Cover:
Egon Schiele, Two Girls Embracing
(Two Friends) (detail), 1915.
Szepmuveszeti Museum, Budapest
Executive Editor
Emma Davidson
Designed by
MB&Co Limited
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FROM THE DIRECTOR THE COURTAULD NEWS
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FROM THE DIRECTOR
The year 2014 has proved to be another
busy one at the Courtauld with many
comings but, also sadly, some ‘goings’.
In this issue of the News we bid a fond
farewell to several of our esteemed
colleagues: Georgia Clarke, Lisa Tickner,
and John Milner, three much-loved
members of our academic staff; and
Janine Catalano, our Alumni Relations
Manager and Managing Editor of the
News. You can hear more about Georgia,
Lisa and John on pages 9-11, and from
Janine on her reflections of her time at
the Courtauld on page 30. I would like to
take this opportunity personally to thank
all four for all they have done during their
time at the Courtauld.
I am delighted to say that this edition of
the News is also packed with celebratory
news. In the Gallery, October saw the
opening of our exhibition EgonSchiele:
The Radical Nude, which has received
absolutely wonderful reviews in the
press. We have been astounded by
its popularity, with queues outside the
Gallery on a daily basis. If you haven’t
seen the exhibition yet, it is open until
18 January 2015. I would thoroughly
recommend a visit over the festive period.
I am also pleased to say that after
extensive construction work, the new
Gilbert and Ildiko Butler Drawings Gallery
will open early in the new year (page 21).
This is truly a celebratory moment for
the Courtauld as it will allow the
presentation of drawings that have not
been exhibited since the Courtauld
moved to Somerset House.
In the academic sphere we celebrate
several milestones including the first
anniversary of the new Buddist MA
course, a decade of immediations – the
Courtauld’s post-graduate research
journal, and half a century of the teaching
of History of Dress (see pages 5-7).
This autumn we also celebrate fantastic
results in the National Student Survey
(see page 36) and the Courtauld’s first
ever appearance on University Challenge.
The team was captained by BA final year
student Anna Preston who shares her
recollections of the experience on page
35. Congratulations to Anna and her
team. We hope this will be the first of
many University Challenge appearances
for the Courtauld.
Throughout this year we have also
continued to build our widening
participation programme, extending
both our regional outreach and onsite
activities. Having started in 2012 working
with just one partner college, we now
work with ten colleges across the country
– a fantastic achievement in a short time.
Last, but by no means least, with
the festive season in mind, I am also
delighted to announce that a major
£2.5M gift has been received from the
AKO Foundation to support an academic
post at the Courtauld. This extraordinary
gift, which was initiated by AKO founder,
and Courtauld alumnus Nicolai Tangen
(MA 2005), not only supports academic
excellence but also makes a major
contribution to the Courtauld’s campaign
to increase its endowment fund to
£50m from its current £36m and thus
significantly supporting the Courtauld’s
long-term sustainability. You can read an
interview with Nicolai on pages 42-43.
With all best wishes for the festive period
and the new year ahead.
DEBORAH SWALLOW
MÄRIT RAUSING DIRECTOR
I am also delighted to announce that
a major £2.5M gift has been received
from the AKO Foundation to support
an academic post at the Courtauld
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THE COURTAULD NEWS ACADEMIC LIFE
Academic
milestones
Celebrating the first year of the Buddhist MA, ten years of immediations,
and a half-century of History of Dress at the Courtauld
Collage by Alexis Romano, PhD candidate,
used as our blog’s signature image
ACADEMIC LIFE THE COURTAULD NEWS
A GOLDEN ANNIVERSARY
FOR DRESS HISTORY
2015 is a significant year for us: it marks
the fiftieth anniversary of History of
Dress at the Courtauld, and therefore
the golden anniversary of the subject’s
birth as a formal academic subject
within a university. Stella Mary Newton,
whose previous roles included theatrical
costume designer and couturier, set up
the first course in 1965, when Anthony
Blunt was director of the Courtauld.
Aileen Ribeiro then led the MA option
in History of Dress for over thirty years,
consolidating its role and status as an
area within art history, and teaching
generations of students (myself included)
the importance of visual analysis to
dress history. Over this period, the
subject has grown and developed from
a connoisseurial approach, focused on
the ways dress can be used to place and
date paintings and other imagery, to a
fully-fledged discipline in its own right.
The Courtauld remains a centre of dress
analysis within the history of art, and
continues to show how representation
is key to understanding dress and its
relevance to debates concerning the
body, gender and status.
Over the past 50 years, History of Dress
has grown, both within the Courtauld and
beyond. It now occupies a key position
in the Courtauld’s academic repertoire,
with discussion of dress throughout
undergraduate study, its own dedicated
course at postgraduate level, and a
growing cohort of doctoral students
analysing subjects that span Brazilian
dress, violence and fashion, readymade
fashion’s growth and relationships
between ballet, the body and fashion.
Allied to this is increased collaboration
between tutors, and this is an important
way in which dress studies and art history
are discussed and disseminated with
colleagues and students. This year, for
example, I will teach three sessions
with Dr Robin Schuldenfrei, who is an
architecture and design specialist. We
will bring our MA groups together to
consider the ways dress, art and design
were interwoven in Weimar Germany.
I will also be hosting online seminars
with colleagues in Russia and South
America to extend conversations to
the international group of scholars
now working in the field – something
unimaginable in the mid-1960s, not just in
terms of technology, and because of the
tiny number of people then involved in
the subject.
In addition to this, we will hold events,
including a conference on 16 May 2015,
Women Make Fashion/Fashion Makes
Women, to celebrate and analyse
women’s role in creating, disseminating,
wearing and analysing dress over the fifty
years since the Courtauld’s initial foray
into the area. This will be a chance for
us to gather together scholars, curators,
journalists and students to discuss key
aspects of the History of Dress and reflect
on the ways in which aspects of the
subject, including fashion journalism and
curating have changed over time.
MA students studying
an 18th century
stomacher from the
History of Dress Harris
Collection of Textiles.
Photograph Alexis
Romano
The conference will provide a focal point
for our celebrations, and we hope to
see many of you there (tickets will go on
sale at the end of this term). We will also
be writing about aspects of the subject,
interviewing alumni and continuing to
comment on all things relating to fashion
and dress on our blog: http://blog.
courtauld.ac.uk/documentingfashion/.
We started this in April this year, and
it has quickly grown in popularity – we
regularly receive feedback from our
readers across the globe. Written by
tutors and postgraduate students
currently studying History of Dress at the
Institute, this is an important way for us
to engage with a wider audience, and to
share the fruit of 50 years of development
in this exciting area.
REBECCA ARNOLD (MA 1993)
OAK FOUNDATION LECTURER IN HISTORY
OF DRESS & TEXTILES
History of Dress books
in the Book Library.
Photograph by Alexis
Romano
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AN IMPRESSIVE
DECADE OF
IMMEDIATIONS
Immediations is currently celebrating its
tenth anniversary year. The first research
journal to come out of the Courtauld
Institute of Art since its inception in
1932, immediations publishes innovative
research across the entire span of art
history, from classical antiquity to the
present day.
Reflecting the strong research record of
the Courtauld, immediations approaches
the history of art from a wide range
of perspectives and expertise,
accommodating close reading of
individual works of art and architecture, as
well as theoretical and conservation issues.
In celebration of this anniversary, immediations will hold a conference
on 17 January 2015 to commemorate
and celebrate its first decade of
exciting and innovative research. Past
editors-in-chief, board members, and
contributors will give papers exploring
the ways in which their current work
reflects their early research interests and
contributions to immediations, as well as
how beginning their research trajectory
with immediations has framed their
own academic or professional journey.
Speakers include Jonathan Katz, Scott
Nethersole (BA 1999, MA 2000, PhD
2004) and Edward Wouk (MA 2003), with
a keynote address on the state and value
of student publishing to be given by one
of the founder-editors, John-Paul Stonard
(PGDip 1997, MA 1999, PhD 2004). For
more information visit www.courtauld.
ac.uk/researchforum/events/2015/spring/
immediations or contact immediations@
courtauld.ac.uk.
Eva Bezverkhny
PhD Candidate
The first year of the MA in Buddhist
Art: History and Conservation
The first cohort of students for the MA
‘Buddhist Art: History and Conservation’
has recently completed their studies.
They graduated in October and one
student has already found a job as a
lecturer in Asian art in a college in the
United States. During the course, the
students visited a number of sites,
including the spectacular Qianlong’s
Fanhua Pavilion in the Forbidden
City, where the Emperor housed his
collections of Tibetan Buddhist art,
and the Dunhuang Caves in China,
where they studied the wall paintings
and sculptures in great detail for ten days.
While on site, they were given privileged
access to Cave 220, a Tang dynasty
cave with breathtaking wall paintings of
the Western Paradise of Amitābha and
the Eastern Paradise of the Buddha of
Healing. These artworks are very well
preserved, largely because they were
covered by another later scheme, which
protected most of the colours in all their
glory. In most other caves, light and
changes in relative humidity altered some
of the colours to black or brown. With
torches and microscopes, the students
could closely inspect the paintings and
study how they were made, and also
how the addition of the later scheme has
damaged them.
During the course, they also had the
opportunity to visit museums and galleries
in London and Paris, to experience
different approaches to the conservation
and display of Buddhist art.
A new cohort of student has just started
the programme and the lecturers are
looking forward to exploring with them
the most appropriate ways of preserving
Buddhist art for future generations.
Giovanni Verri
LECTURER IN BUDDHIST ART AND ITS
CONSERVATION
Students during
a field trip to the
Hirayama Pictorial Art
Conservation Studio at
the British Museum
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GRADUATION 2014:
‘You can change the world’
Honorary Doctor Martha Rosler’s exhortation to this year’s graduates
the Courtauld as they explore the history
and current practice of art, and the
politicised art world.
Martha Rosler receiving
her Honorary Doctorate
from Professor Deborah
Swallow
The Courtauld Class
of 2014 celebrating at
Somerset House
In July, the jubilant peal of bells at
St Clement Danes church signalled the
beginning of the Courtauld’s annual
Presentation Ceremony, during which
211 students received their BA, MA and
research degrees and postgraduate
diplomas in the presence of proud family,
friends and faculty. At the heart of the
ceremony, with enthusiastic applause and
a crescendo of stamping feet in the pews,
Professor Deborah Swallow awarded the
Honorary Doctor of Letters Honoris Causa
to the artist and writer Martha Rosler.
Rosler’s work in video, photography, text,
installation and performance has made
striking contributions to thinking about
art, and is of great import to students at
Rosler addressed a receptive student
body, and after pointing to concerted
efforts to instrumentalize creativity
and to remove funding from the
arts, she affirmed their revolutionary
potential: ‘I congratulate you on your
accomplishments on this joyous occasion
[and] exhort you to remember, in
researching, reconstructing, writing and
managing the histories – and maybe even
while hobnobbing – that art and culture
can spark the imagination of everyone…
Art, art history, and responsible curatorial
practices present only one repeated
refrain: you can change the world, you
can change the world, you can change
the world. Dear friends and graduates, I
urge you to hold fast to that refrain, and
infuse history with revolution and delight.’
In a similar vein, and in recognition
of their respective tireless and
dedicated contributions to the life of
the Courtauld, Neil Rudenstine and
The Hon. Christopher McLaren were
created Honorary Fellows. The Courtauld
remains indebted to both men for their
crucial input during its first decade of
self-governance, and Professor Swallow
explained that the award of the fellowship
was the Courtauld’s humble way of
expressing its sincere gratitude to them.
Celebrations were appropriately
exuberant back at the Courtauld’s
home in Somerset House, where guests
congregated on the upper terrace of
the Edmond J. Safra Fountain Court
for champagne and canapés, with the
opportunity to roam free within the
splendid Courtauld Gallery. As evening
fell on a day of proud achievement for
so many, there was a palpable sense of
promise for the dawn of the next, the
hum of chatter and merriment mixing
into the hum of inspiration brought
by Martha Rosler’s observant words of
encouragement.
Libby Ayres (BA 2003)
Assistant to the Director
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FOND FAREWELLS
During a week in early July of this year, shortly before the graduation festivities on 7 July, the
Courtauld played host to three very bittersweet receptions to celebrate, thank, and bid farewell to a
trio of much-loved members of our academic staff. Dr Georgia Clarke, who taught at the Courtauld
for more than 20 years, and Visiting Professors John Milner and Lisa Tickner, all contributed hugely
to research and teaching at the Courtauld and will be sorely missed as colleagues, tutors and
mentors. Below are some reflections from these three eminent scholars:
Georgia Clarke
Georgia Clarke
discussing architecture
in Siena, 2009
I was very grateful to Debby Swallow for
her support and understanding when I
decided to ‘retire’, although, I’m not near
pensionable age, and for arranging a
wonderful event at the beginning of July
that marked the end of a long connection
with the Courtauld, beginning when I was
a postgraduate student in 1984 and then
as a teacher from 1992, but not, I hope an
end of my involvement in the intellectual
life of the Courtauld.
My postgraduate experiences at the
Courtauld, such as taking classes
with Howard Burns, Lorne Campbell,
Michael Hirst and Pat Rubin, formed
an essential basis to my own research
and teaching: both what was good
and what was bad! I hope that I have
put the best of that into practice over
my years of teaching and advising
students. While doing my PhD I also
benefitted enormously, outside the
Courtauld, from the personal warmth
and intellectual generosity of Deborah
Howard, Caroline Elam and Susie
Butters. All three are, in fact, part of
the wonderful tradition and heritage
of the teaching of Renaissance and
Baroque architecture at the Courtauld
established by Anthony Blunt and
Howard Burns. So, too, many of the
students who have studied the subject
at the Courtauld over the years have
provided the backbone of the subject
in British academia, while others have
made valuable contributions in nondirectly-architectural realms.
In the autumn of 1992 I was initiated
into the ‘unique’ ways of the Courtauld
as a member of the faculty. I never set
out to be a teacher, but as I depart that
role after 24 years I am the first to admit
how much I have benefitted and gained
from positive and fruitful engagements
with many of my students here over
the years. One happy legacy of my
time at the Courtauld is that a number
of student-teacher relationships have
subsequently developed into warm
and continuing friendships. I also want
to acknowledge the intelligent and
responsive support of staff over the
decades in the Academic Registry, who
provided the fundamental assistance
and cooperation without which no
academic institution can function or
flourish. Last, but by no means least
in my thoughts, are my academic
colleagues: from those that I will be
sorry to no longer be encountering on
the West Wing stairs (which Jennifer
Fletcher famously entitled the ‘Mount
of Virtue’) to my medieval, Renaissance,
and early modern colleagues who have
over the years provided enriching art
historical insights, companionship, and
welcome, alternative viewpoints.
The decision to leave my academic
teaching career has been a hard one.
I have been torn by my desire to
explore and develop other kinds of
husbandry and creativity and my ongoing
enthusiasm for the study of 15th- and
16th-century culture and, indeed, for what
collegial, cross-subject collaboration can
offer too. I leave in the hope that present
and future generations of Courtauld
students can be enticed and persuaded
of the value of the study of Renaissance
architecture.
Lisa Tickner
I first came to the Courtauld in 1967 – to
Portman Square. I’d been six years at
art school and Nikolaus Pevsner, who
had been external examiner there, had
encouraged me to think of studying art
history. I remember buying a Mary Quant
ginger group dress in Selfridges on
the way – I can’t think why as it cost
6 guineas and my grant was only £5 a
week. I was interviewed by the registrar
who pointed out that despite all the
good things I might have to offer –
I’d probably worked up some spiel
about the importance of an art school
training – I didn’t have Latin or Greek.
Nor, for that matter, having left school
at 16, the standard university entrance
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qualifications. I went home chastened
if somewhat consoled by the Mary
Quant dress.
Years pass. (Picture here the calendar
pages flipping over.) I acquired a PhD
and ended up teaching at Middlesex,
which was, for a period, a very lively
and productive place to be, with terrific
colleagues, early into the developing
disciplines of design history and visual
culture. If I thought of the Courtauld at
all, I thought of it in traditional terms –
‘the Hamlish’, as Michael Frayn calls it in
Headlong, where the wife of his hapless
protagonist works in the Ecclesiology
Department on comparative Christian
iconography. (I certainly didn’t think of it
in terms of Julian Stallabrass and High Art
Lite or Mignon Nixon’s sperm bombs.)
More years pass. Chris Green and
Mignon invite me to the Courtauld for
a sandwich lunch and eventually sound
me out about some teaching. It turns
out that Sir Nicholas Goodison is keen
to establish an MA course on British
modernism – except I don’t know it’s
him until rather later. I take a day or two
to think about it – much less, actually,
but like juries you have to be seen to
deliberate – and this is where the back
story ends and the thank yous begin.
First – Sir Nicholas, without whom I
wouldn’t have had the pleasure of
the last seven years, and also Judith,
for their generous hospitality on our
annual visits to their ‘collection’. And
Chris Stephens, whose goodwill I’ve
shamelessly exploited at Tate, but paying
him back, I hope, in interns and assistant
curators. And Cathy Courtney at Artists’
Lives at the National Sound Archive. And
Poppy Mardall and now Bryn Sayles at
Sotheby’s. And Richard Calvocoressi and
his staff at the Henry Moore Foundation,
and Amanda Bradley at Stanley Spencer’s
Burghclere chapel – they’ve all been so
hospitable, informative and kind.
Here at the Courtauld I want to thank
all my wonderful colleagues – Debby
for her leadership, David Solkin as
Dean, Christine Stevenson for being
David this past year, Caroline Arscott for
being Caroline (and Head of Research),
Chris and Mignon for thinking of me for
ModinBrit, as it’s known, all the people
whose offices I’ve squatted in or shared
– Katie Scott, Joanna Cannon, Paul
Crossley, John Milner and Masha Mileeva
(nothing now to resist the Russian
advance in Study 5). Antony Hopkins,
Vicky Kontou, Phillip Pearson and the
rest of the library staff have been terrific.
Sue Lawry of blessed memory and now
Beverly Coates, Lisa Lu and the rest
of the Registry (grace under pressure).
Cynthia de Souza and Ingrid Guiot in the
Research Forum. And Ernst Vegelin – it’s
been such a privilege to walk across the
carriage entrance and upstairs into the
gallery, but especially Barney Wright,
as 20th-century curator, who’s made
generous contributions to the course.
I raise a glass to my 57 students – ‘my’
is traditional but presumptuous –
without whom I’d have had a much less
interesting and sociable time (though I
might have been a bit more productive
on my own account). I wish you all the
happiest of futures in your various berths
– as PhD students, lecturers and curators.
Finally, my family. Sandy has always been,
despite the considerable pressures of his
own job, the most loving and supportive
partner. Kit, in flight from ‘art’ as the
family business, chose maths, but came
back round to culture as a theatre lighting
designer. Eleanor, however, is a Courtauld
alumna who works for Artangel and writes
for Frieze. We’re very proud of her. And
now you’ve snaffled Sandy for the Samuel
Courtauld Trust you’ve had three-quarters
of us one way and another.
Thank you all for being at different times
and in different contexts such wonderful
friends and colleagues. I hope our paths
will cross again.
John Milner
It was a great pleasure and a revelation
to study at the Courtauld, and I feel
privileged to have been allowed to return
here. This extraordinary place has shaped
and coloured much of my life, and
certainly my career.
I arrived for interview a nervous and
rather ignorant student in the late 1960s,
knocking at the great black door of 20
Portman Square. Once inside it became
clear that I had somehow arrived a day
early, but Antony Blunt and Alan Bowness
immediately arranged an interview. I was
amazed by this and astonished to be
accepted. I feel comparable amazement
at my return to the Institute, now at
Somerset House, decades later.
Being tutored by Alan Bowness, Anita
Bruckner, John Golding, Tim Hilton, and
other scholars introduced me to intensive
study, passionate discussions, vast
amounts of written work, but also visits
to studios and exhibitions. There was an
inspiring and pervading sense of working
together with tutors as investigators.
Intense and close discussion provided
an unforgettable experience in Home
House with its Grecian urns on the grand
staircase, lectures in the Ballroom, and
study facilities that included the beautiful
Blue Room with its Chinese wallpaper
and mirrored doors. In the garden there
I met fellow student Lesley Marlow, my
future wife, who insisted that I pay my
Common Room subscription.
There was also time in Florence, cleaning
oil and mud from the nostrils and ears
of sculpted Roman Senators in the Ufizzi
basement after the flood that also sent
Cimabue’s Crucifixion floating off down
the street.
After all this I taught at Hornsey College
of Art where art practice and art history
collided, and at the Department of
Fine Art at Newcastle University where
painting, sculpture, printmaking and art
history came together, not least in the
Hatton Gallery where exhibitions acted
as a medium for artists and art historians.
But I remained tied to the Courtauld
by my doctoral thesis on Russian
Constructivism: Tatlin and Rodchenko,
tutored by John Golding and examined
by Norbert Lynton. Written slowly in cold
stone dwellings isolated in the fields in
Northumberland, this thesis confirmed
the driving interest in Russian art that
dominated my writing, teaching and
exhibition work, and finally returned me
to the Courtauld.
It has been a magnificent adventure
teaching an MA option, ‘Contacts and
Contexts in Russian Art 1905-45’, and
an honour to tutor such brilliant and
committed PhD students from Russia
and other countries. I have seen this
ambitious, inspiring and scholarly team
make links across the world, especially
since the founding of the Cambridge
Courtauld Russian Art Centre (CCRAC)
together with Dr Rosalind Polly Blakesley
at Cambridge University. It has been
extraordinarily exciting to see the
burgeoning realisation of CCRAC’s
potential in international, interdisciplinary
conferences, publications and
collaborations, and growing continuously
through its website and international
liaisons, the thousand names on its
mailing list, and the long list of respected
scholars of Russian art who have spoken
at CCRAC conferences. This is driven by
Russianist PhD students at the Courtauld
and at Cambridge University. It has
been an immense excitement to act
as co-founder and co-director. There
have also been inspiring and effective
entrepreneurial initiatives created by
recent MA students, including the
website Russian Art and Culture as well
as GRAD, the Gallery for Russian Art
and Design in London. The Courtauld
has great success in this field, many
applications, and many opportunities to
sustain and develop this terrific potential.
The exhilarations of my two periods at
the Courtauld have been wonderful and
different. I am deeply grateful for both.
I shall also treasure the parting gift,
presented eloquently by Maria Mileeva,
of Iakov Tugendkholdt’s book Art of
Degas, published in the 1920s with an
exciting cover by Aleksandra Ekster. It will
always remind me of this extraordinary
institution and the importance to me of
the people here and of the time when we
worked together.
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THE FACES AND MINDS BEHIND
THE RESEARCH FORUM
With another academic year underway,
we are delighted to announce a number
of visiting scholars coming to the
Research Forum.
Dr Hélène Valance is the Terra
Foundation for American Art
Postdoctoral Teaching Fellow for 201415. She is currently working on a book
entitled Nuits américaines: le nocturne
dans l’art américain, 1890-1917, based
on her PhD dissertation on nocturnes
in American art at the turn of the 20th
century (to be published by the Presses
Universitaires de la Sorbonne, 2015).
She has taught at Université Paris 7
and Ghent University, and has been a
fellow at the Smithsonian American Art
Museum in Washington, D.C., and
Cooper-Hewitt in New York City. At
the Courtauld, she will be giving a
paper entitled ‘Whistler’s Mother: An
International Misunderstanding’ in the
Research Forum and teaching a BA2
course entitled ‘American Art, American
Identities: Methods in American Art
History from the 19th Century to the
Present’ in the spring term.
In January, we will be welcoming a
Research Forum Visiting Curator:
Dr Stephan Kemperdick, Curator of
Early Netherlandish and Early German
Painting at the Gemäldegalerie in
Berlin. Kemperdick studied Fine Arts
at the Kunstakademie Düsseldorf,
then art history at Bochum University
and at the Freie Universität Berlin. He
has worked at the Städel Museum,
Frankfurt, and the Kunstmuseum, Basel;
he has been at the Gemäldegalerie
since 2008. He has curated and cocurated several exhibitions, including
The Master of Flémalle and Rogier van
der Weyden (Städel Museum Frankfurt,
Gemäldegalerie Berlin 2008/09) and The
Road to Van Eyck (Museum Boijmans Van
Beuningen, Rotterdam 2012/13).
Coming to the Courtauld in February,
Daniel Barber (Assistant Professor
of Architectural Theory and History,
University of Pennsylvania School of
Design) will be Terra Foundation for
American Art Visiting Professor. Barber’s
work is highly interdisciplinary, and he is
particularly interested in design and in
the emergence of global environmental
culture. His first book, A House in the
Sun: Modern Architecture and Solar
Energy in the Cold War, will be published
by Oxford University Press in the spring
of 2015, and he is currently working on
Climatic Effects: Architecture, Technology,
and the Globalization of the International
Style (to be published by Princeton
University Press in 2016). Finally, in May, the Research Forum
will host Professor Michael Ann Holly.
Currently Robert Sterling Clark Visiting
Professor 2014/15 (Director Emerita,
Research and Academic Program,
The Clark), Holly was co-founder and
chair of the Visual and Cultural Studies
Program at the University of Rochester,
and Director of The Clark Art Institute
from 1999 to 2013. The author of Past
Looking: Historical Imagination and the
Rhetoric of Images (1996), The Subjects
of Art History: Historical Objects in
Contemporary Perspective (1998),
and Art History, Aesthetics, and Visual
Studies (2002), her most recent book
is The Melancholy Art (published in 2013
by Princeton University Press).
Jocelyn Anderson (MA 2009, PhD 2013)
Research Forum Supervisor
For details of the events associated
with these visits, and to sign up for the
Research Forum mailing list, visit
www.courtauld.ac.uk/researchforum
13
Sharon Cather further
honoured in China
Over two days of official ceremonies in
Beijing in September 2014, Sharon Cather
received the People’s Republic of China
Friendship Award, China’s highest award
for ‘foreign experts who have made
outstanding contributions to the country’s
economic and social progress’. Organised
by the State Administration of Foreign
Experts Affairs [SAFEA], Vice Premier
Ma Kai awarded a medal and plaque on
the first day, while on the second day Xi
Jinping, President of the PRC and General
Secretary of the Communist Party, spoke
with the award winners and hosted a
banquet in the Great Hall of the People on
Tiananmen Square.
Nominated by the Dunhuang Research
Academy (http://en.dha.ac.cn/) for her
long-term contribution to the preservation
of the fabulous site of the Caves of the
Thousand Buddhas on the Silk Road (see
The Courtauld News no.12, Autumn 2001),
Sharon was honoured from among myriad
foreign experts from around the world who
work in China (in 2013 there were 630,000
such foreign experts). Friendship recipients
included a Nobel laureate in economics,
but were almost entirely engineers,
scientists or medical professionals working
on nuclear power plants, technology
research, or health-care delivery, making
Sharon all the more conspicuous for her
contribution to China’s cultural heritage.
The Courtauld’s collaborative programme
– with the Dunhuang Academy and the
Getty Conservation Institute – of teaching
conservation of wall painting at
MA level, begun in 2005 (see The
Courtauld News no.19, Spring 2005),
continues into its eleventh year in 2015,
with students from a consortium of Chinese
universities. Sharon commented that
she was especially pleased by the recent
appointment of four of the 2005-8 students
to head departments at the Institute of
Conservation of the Dunhuang Academy.
Sharon Cather being
awarded a medal
and plaque by Vice
Premier Ma Kai
14
A Medieval Summer at the Courtauld
At a time when medieval studies are
under pressure at so many universities
it is pleasing to report that they are
in vigorous health at the Courtauld.
The strength of the Courtauld’s own
medievalists and the faculty’s openness to
collaboration with other institutions were
both in evidence this summer, making for
a particularly rich programme of seminars,
symposia and workshops under the aegis
of the Research Forum.
A notable feature of the summer’s
conferences was how they illuminated
the links in the Middle Ages between
northern and southern Europe, the
western and eastern Mediterranean, and
beyond. A workshop in May entitled
‘Architectures of Knowledge’, organised
by Dr Tom Nickson and Dr Stefania
Gerevini, focused on one particular
vehicle for the preservation of knowledge
in the pre-modern Mediterranean:
inventories. These apparently dry lists
of (often long-lost) objects – books,
vestments, altarcloths and chalices – are
now yielding, under new methods of
scholarly scrutiny, valuable evidence for
the form and functions of medieval works
of art and the religious, social or political
structures in which they once performed
a role. The Courtauld Gallery’s exhibition
Court and Craft, on a masterpiece
of Islamic metalwork in the Gallery’s
collection, provided the occasion for
a conference organised by Dr Sussan
Babaie that set detailed analysis of the
object in the context of the sophisticated
culture that produced it: Il-Khanid Iran
and Iraq in the 14th century.
Still in May, the Courtauld hosted a
conference, organised by
Dr Antony Eastmond, on the mosaics
of Thessaloniki. Leading scholars from
Europe and the United States debated
recent findings about these remarkable
and beautiful works of art, which date
from the fourth to the 14th centuries
and form the most comprehensive
ensemble of Byzantine mosaics in the
world. A major conference on the art
and architecture of the friars, organised
by Professor Joanna Cannon, brought
together some of the world’s leading
scholars on the visual culture of the
Franciscans and Dominicans, not only to
showcase significant recent work but also
to explore new approaches and avenues
for future research. A similar perspective
informed the conference in June, led
by Professor Susie Nash, to mark the
50th anniversary of the publication of
Erwin Panofsky’s fundamental book on
tomb sculpture, one of the landmarks
of 20th-century art history. The papers
re-examined Panofsky’s legacy in the
light of recent developments in research
techniques and approaches that have
revolutionised the study of funerary
monuments in medieval and early
modern Europe.
The Courtauld’s medieval summer
reached a fitting climax with the twoday conference in July, organised jointly
with the British Museum by Dr Catherine
Yvard and Naomi Speakman, on gothic
ivories. Papers examined questions of
iconography, sources, original use and
context, collecting, and the making
(including the forging) of ivory sculptures.
The conference provided an exciting
overview of how far the study of these
objects has progressed since – and in
no small measure as a consequence of –
the foundation of the Courtauld Gothic
Ivories Project, led by Professor John
Lowden and launched on the web in
2010. Here, as in the earlier conferences,
PhD students and early-career researchers
presented their findings alongside
established authorities in the field. It all
promises a bright future for medieval
studies at the Courtauld.
John Renner
PHD CANDIDATE
For further information about these
and other events see the Research
Forum’s archive: www.courtauld.ac.uk/
researchforum/archive/2014/summer.
shtml; and blog: http://blog.courtauld.
ac.uk/researchforum/. See also
www.gothicivories.courtauld.ac.uk/
John Lowden (left),
Joanna Cannon (centre)
and colleagues examining an ivory triptych
15
16
THE COURTAULD NEWS GALLERY AND COLLECTIONS
Egon Schiele: The Radical Nude
GALLERY AND COLLECTIONS THE COURTAULD NEWS
It remains a surprise to many that there
has not been a museum exhibition in
the United Kingdom dedicated to Egon
Schiele for nearly 25 years. Moreover that
show – at the Royal Academy in 1990
– was the first ever at a museum in this
country. Equally surprising is the fact that
there are no significant works by Schiele
in British public collections; two prints, in
the V&A and Barber Institute respectively,
are all we have. As part of our strand
of exhibitions dedicated to important
episodes in the history of drawing, the
Courtauld Gallery’s exhibition, Egon
Schiele: The Radical Nude, is a first
attempt to address this remarkable
lacuna.
Egon Schiele, Crouching
Woman with Green
Headscarf, 1914.
Leopold Museum –
Privatstiftung, Vienna.
Schiele (1890–1918) lived a short
but urgent life. He quickly became
recognised as a major avant-garde artist
in Vienna in the turbulent years around
the First World War. Schiele’s Vienna
was a remarkable cultural arena. It was
home to artists, writers and intellectuals
such as Gustav Klimt, Oskar Kokoschka,
Arthur Schnitzler and Sigmund Freud,
who explored in different ways the
fundamental nature of human desires,
drives and experiences in the modern
world. Schiele’s major contribution to
this culture of insight and creativity was
to produce some of the period’s most
radical and penetrating depictions
of the human figure. The Courtauld
exhibition explores the development
of his drawings and watercolours of the
male and female nude. These are works
that helped to make Schiele’s name
as an artist of technical and expressive
brilliance and as one who dared to push
the genre well beyond the boundaries
of artistic and social decorum. Drawing
played an especially important role in
Schiele’s figurative art. His drawings were
usually produced as independent works
in their own right and demonstrate his
commitment to the medium as a way
of investigating both human form and
human nature. The exhibition brings
together 38 major sheets dating from his
breakthrough year of 1910 to his untimely
death in 1918. They have been loaned
17
from public and private collections
internationally, including a significant
group from the Leopold Museum in
Vienna – the world’s most important
holding of the artist’s works.
Schiele arrived in Vienna in 1906, aged
16, from his Austrian hometown of Tulln
to study at the prestigious Academy of
Fine Arts. A highly gifted draughtsman,
he was a rebellious student. Emboldened
by his mentor Klimt, Schiele left without
graduating to join Vienna’s progressive
art scene. In 1910 he began to produce
nudes of unprecedented power and
originality that broke away from the
Academy’s conservative approach to
life drawing. Schiele took as his subjects
an unconventional variety of people
including himself, his sister, his lovers,
male friends and female prostitutes. He
also drew babies and pregnant women
observed in a Vienna clinic. Rather than
assuming traditional poses, Schiele’s
subjects adopt a striking body language
consisting of expressive gestures,
painfully twisted stances and sexuallycharged poses.
This exhibition begins with a rich
selection of nudes from this seminal
year, including a number of Schiele’s
nude self-portraits, demonstrating
how his approach was closely tied to
his introspective examination of his
physical and psychological make-up.
The main section explores his provocative
nudes of the next eight years when
he pushed artistic conventions to
explore themes of self-expression,
procreation, sexuality, eroticism and
death. These were fertile concerns in
the socially and psychologically charged
atmosphere of pre-war Vienna. Some
of his works affronted contemporary
Austrian standards of morality and
there were even those who considered
them pornographic. In 1912 Schiele
was imprisoned for two months for
contravening public decency. Following
his release, the nude remained an
important part of his artistic repertoire,
alongside landscapes, portraits and
18
allegorical subjects. They are often
highly erotic, but from 1913 onwards
they display a greater solidity and even
monumentality. The artist continued to
depict himself but drew more heavily
on female models, including his lover
Wally Neuzill, and from 1915, his new
wife, Edith Harms. Schiele’s drawings
and watercolours were bought by a
small circle of collectors and began to
be more widely exhibited as his public
recognition rose.
Schiele was conscripted into the army in
1915 and despite relatively light duties
his art inevitably suffered during the First
World War.
However, in 1917 he was able to return to
Vienna and his work flourished. Some of
his most important nudes were produced
during this year but they would prove to
be his last. On 28 October 1918 Schiele’s
pregnant wife Edith died of Spanish flu.
Three days later Schiele suffered the
same fate; he was 28 years old and was
on the brink of becoming one of the
leading artists of his time.
In the early stages of the exhibition
installation, even with only a few works on
the walls, the room felt highly charged,
and only more so once all the pieces
were in place. His nudes still seem vital –
contemporary even – one hundred years
after they were made. I suspect few will
be shocked by his frank depictions of the
naked body in the way people once were.
What is most gripping today is Schiele’s
breathtaking draughtsmanship and the way
he uses it, not to transform the naked body
into an idealised and ‘safe’ nude, but rather
to address unflinchingly a rich complex of
human emotions, desires and fears.
Barnaby Wright
(BA 1999, MA 2000, PHD 2005)
Daniel Katz Curator of 20th Century Art
Egon Schiele: The Radical Nude is on
display in the Courtauld Gallery until
18 January 2015. For more information
visit http://www.courtauld.ac.uk/gallery/
exhibitions/2014/Schiele
Egon Schiele, Erwin Dominik Osen, 1910.
Leopold Museum – Privatstiftung, Vienna.
19
FORTHCOMING EXHIBITION REASSEMBLES
ONE OF GOYA’S PRIVATE ALBUMS OF
DRAWINGS
One of the treasures of the Gallery’s
drawings collection is Goya’s Cantar
y bailar (Singing and dancing) . This
extraordinary and mysterious depiction
of two old crones originates from one of
Goya’s so-called private drawings albums.
Goya began to create these albums of
drawings relatively late in life, after the
shattering illness that left him stone deaf
before the age of fifty.
In his album drawings Goya committed
to paper his views on human nature
and the world around him. It was a
practice he would sustain until his death,
creating eight albums that originally
included a total of some 550 drawings.
Never intended for public display or
sale, the albums were disbound after
the artist’s death. The subsequent wide
dispersal of the drawings has severely
complicated the systematic study of the
albums and many fundamental questions
remain unanswered. The Courtauld’s
drawing comes from what is known as
Album D, one of the least studied of
the private albums. With its themes of
witchcraft, visions and nightmares, the
predominant imagery of Album D offers
a particularly important perspective on
the development of Goya’s interest in old
age and its relationship to the fantastic
and diabolical. This album will be the
focus of a major exhibition in the Gallery
in February 2015.
Curated by Stephanie Buck, Martin
Halusa Curator of Drawings, and
renowned Goya scholar Juliet WilsonBareau, this ground-breaking exhibition
will be the first to bring together from
many different collections the sheets that
make up an entire album. Generously
assisted by colleagues in museums and
private collections, the curatorial team
has been coordinating an international
research project to examine and assess
all the known drawings thought to have
come from Album D. Alongside the
original pagination that survives on
some of the drawings, close study of
the physical evidence through forensic
technical research is now offering the
thrilling possibility that we might be in a
position to propose a full page by page
reconstruction of the album.
We hope that this highly ambitious project
will be a template for future research of
Goya’s album drawings. For the wider
public the exhibition will surely provide a
fascinating and enlightening view of a very
private and personal Goya.
Ernst Vegelin van Claerbergen
(PG DIP 1993, MA 1994, PHD 1999)
Head of the Courtauld Gallery
Goya: The Old Women and the Witches
Album opens at the Courtauld Gallery
in February 2015. For more information
visit http://www.courtauld.ac.uk/gallery/
exhibitions/
Francisco de Goya
y Lucientes, Singing
and Dancing (Cantar
y Bailar), 1819-20
20
Jasper Johns,
Regrets,
2013. Private
collection.
Jasper Johns – Regrets
One of the highlights of my career to
date was visiting Jasper Johns in his
Connecticut studio this past February.
Meeting such a legendary figure of
modern art was powerful enough but
then to be taken by him to see the
extraordinary new body of work that he
had just completed was overwhelming.
It was clear immediately that this new
series of drawings and paintings, called
Regrets, was exceptional. It was equally
apparent that to show the Regrets series
at the Courtauld Gallery would be a
perfect continuation of our new strand
of special displays dedicated to work by
major contemporary artists, inaugurated
last year with Richard Serra: Drawings for
The Courtauld. We left the studio that
cold February afternoon convinced that
we wanted to bring the works to London
and wondering how we would be able
to make that a reality. The answer came
surprising quickly with the extremely
generous support of The Garcia Family
Foundation who shared our enthusiasm
for the project and enabled us to bring
the exhibition to fruition a little over six
months later.
The Regrets series has a particular
connection to London because the
paintings and drawings stem from Johns’
encounter, in June 2012, with an old
photograph of Lucian Freud reproduced
in an auction catalogue. The battered
image shows Freud posing, headin-hand, on a bed in Francis Bacon’s
London studio in 1964. Bacon had used
the photograph as source material for
one of his paintings, folding, tearing
and crumpling it in the process. Johns
combines the damaged features of the
photograph with the image itself in his
Regrets series. He initially explored the
photograph by photocopying, tracing
and drawing it before deciding to double
and mirror the image. By doing so the
form of a skull appeared unexpectedly,
like an apparition. Johns worked and
reworked this new composition in a
variety of media, including a memorable
group made with ink on plastic sheets.
Each painting and drawing offers a fresh
exploration of the subject with elements
given different emphasis in each case.
Viewing the series feels like a meditation
on mortality and creativity, with the two
21
The Gilbert and
Ildiko Butler
Drawings Gallery
Top and centre: The Courtauld
Gallery foyer showing the hoardings
during building works. Bottom:
The ceiling of the drawings gallery
prior to raising. The lower edge
of the primary steel beams will be
raised to abut the lower edge of the
secondary steels. The exposed parts
of the timber beams will be cut off
to increase ceiling height.
figures of Freud flanking the skull
further conveying these themes.
Most of the works bear the inscription,
Regrets – Jasper Johns. At first this
seems to be a profound sentiment
of melancholic reflection. In fact the
lettering is based upon a rubber stamp
Johns had made several years ago
to respond swiftly to the numerous
invitations he receives. This humorous
stamp on the works seems to be Johns’
refusal to offer us the final meaning
of the series through their title (can a
rubber-stamped regret be authentic?),
leaving the viewer free to interpret the
works for themselves. It is also a brilliant
puncturing of the potentially overwrought subject matter of skulls and
figures in melancholic reflection. There
is a type of gallows humour at work in
the Regrets series that makes its modern
treatment of the memento mori tradition
all the more human and compelling.
Barnaby Wright
(BA 1999, MA 2000, PHD 2005)
Daniel Katz Curator of 20th Century Art
The last issue of the News announced the
exciting plans to build a dedicated space for
drawings at the heart of the Gallery. Work
on this scheme – the most significant capital
project in the Gallery for some 15 years – is
now well underway. Named in honour of
Gilbert and Ildiko Butler and further supported
by a growing group of international friends
of the drawings collection, the new room
will be on the mezzanine floor of the Gallery,
directly off the main staircase. Instead of
having their visit interrupted by a puzzlingly
blank mezzanine landing, visitors ascending
the stairs from room 1 will soon find open
doors leading to a beautiful intimate gallery.
Designed by Witherford Watson Mann
Architects, the new space for drawings
promises to be a revelation in every respect. It
will not only add an important extra dimension
to the visitors’ experience of the Gallery,
but it will also give us a new platform with
which to work with the collection. A series
of four or five displays will be organised
each year, and planning for these is fully in
progress. The displays will range from projects
conceived with the faculty and students
to focused research-led displays involving
loans. Above all the programming will be
flexible and dynamic, unfettered from the
many expectations which attend larger more
expensive exhibitions.
As readers will see from the accompanying
image, we are now in the midst of the building
work. The floor has been lowered and the
ceiling is in the course of being raised.
Services for the environmental control systems
will soon start going in.
The construction works will end in November
and the new facility will open in mid January
with a display provisionally entitled Unseen.
This opening project will present a selection of
drawings that have not been exhibited since
the Courtauld moved to Somerset House.
Looking beyond the familiar masterpieces,
it is intended to draw attention to the depth
and range of our drawings collection and
to articulate one of the primary purposes of
the new space, namely to increase public
awareness and enjoyment of our drawings.
Ernst Vegelin van Claerbergen
(PG DIP 1993, MA 1994, PHD 1999)
Head of the Courtauld Gallery
22
Shedding Light on the
Courtauld’s Loom Pulley
Coordinated by Courtauld curator
Alexandra Gerstein with the aim of
shedding new light on rarely seen
objects in the sculpture and decorative
arts collection, the Illuminating Objects
Internship offers postgraduate students
from outside the history of art the
chance to collaborate with the Gallery in
researching and presenting a one-object
display. As a student of West African
Anthropology whose interests lie in the
relationship between craft, learning and
work, when I heard, while still immersed
in fieldwork in Ghana, that the Courtauld
Gallery was looking for someone to work
with their small collection of African
objects I was keen to find out more.
Arriving at the Courtauld to begin work,
the Guro loom pulley quickly caught
my eye. A delicately carved tool from
what is now Côte D’ Ivoire, featuring an
idealised image of feminine beauty, the
pulley would have hung as an object of
reflection in the line of sight of the weaver
as he worked. Having spent a year in
Ghana learning how to weave with similar
tools, I had a visceral and embodied
feeling of how the object was most
likely made and used. The challenge
of the project then became translating
an anthropological understanding of
craftwork in West Africa into a display
which would make sense in the Gallery
and to its visitors. Communicating
complex ideas about the social context
in which the loom pulley would have
been used and made between two
disciplines, I was forced to clarify my
thinking and consider carefully what an
anthropological perspective could tell
us about an object that is over a hundred
years old.
Alongside these more philosophical
questions, the practicalities of mounting
the display were a really rewarding
opportunity to engage with the Gallery
space and visitors’ experience of it.
Months of work suddenly came together
when the loom pulley was in its case,
installed near Amedeo Modigliani’s
Female Nude of 1916, a painting which
was undoubtedly influenced by similar
Guro objects. Displayed in the case in a
way that mirrored how the pulley would
have hung in the weaver’s loom, the
delicately carved, elongated features of
the face caught the light, drawing the
visitor’s eye across the room. Leaving
the Gallery that afternoon, the project
having drawn to a close, I took pleasure
in having had the opportunity to work
with such a beautiful object and share
some of my fascination with the art of
West African craft.
Niamh Collard
23
REVEALING GOYA’S PORTRAIT OF
FRANCISCO DE SAAVEDRA
Paintings by the 18th-century Spanish
master Francisco de Goya are extremely
rare in the UK, and the Courtauld Gallery
holds the only full-length portrait in this
country. The sitter is Don Francisco de
Saavedra (1746–1819), depicted by Goya
in 1798 during his term as minister of
finance under King Charles IV.
Despite its importance, the Portrait
of Saavedra has never been properly
examined. It left Spain in 1910 and
eventually entered the collection of
Viscount Lee, one of the founders of the
Courtauld, who bequeathed it to the
Samuel Courtauld Trust in 1947. It was
long believed that the work was in poor
condition and that its thick, yellow varnish
disguised a very abraded paint surface.
Recent technical examination, however,
revealed that the paint is intact and that
Goya simply applied his pigments very
thinly and loosely, as he did in numerous
other works.
A cleaning of the painting is now
underway in the Conservation and
Technology Department. After removing
surface dirt, Maureen Cross and Aviva
Burnstock slowly took off most of the
thick varnish that has obscured the
painting for the past century. The sense
of space in the work is restored, as are
the stunning bright hues of Saavedra’s
blue silk jacket. The Gallery’s chief
conservator, Graeme Barraclough, will
carry on the treatment in the new year,
applying a fresh varnish to protect the
work and retouching areas where paint
has been lost.
Francisco de Goya y Lucientes, Portrait of Don Fracisco de Saavedra, 1798
This treatment is being carried out in
advance of the exhibition Goya: The
Portraits, which will open in October
2015 at the National Gallery. There, the
Courtauld’s painting will be reunited with
the portrait (now in the Prado in Madrid)
of Saavedra’s close friend, Gaspar Melchor
de Jovellanos, produced that same year.
Stay tuned for the big reveal!
Karen Serres
(MA 1999, PHD 2004)
Schroder Foundation Curator of
Paintings
24
Displays in the Print Study Room
The Prints and Drawings Study Room
is the primary place to view and study
works from the Courtauld Gallery’s rich
collection of works on paper. As well as
offering visitors the opportunity to study
individual works, the Study Room also
hosts a changing selection of curated
displays of prints. Three displays per year,
each devised by members of the team
of postgraduate Print Room assistants,
showcase different facets of this collection
and in some cases address themes and
questions raised in concurrent displays,
exhibitions and events within the Gallery
and the Institute.
The current display, curated by Print
Room assistants Camilla Pietrabissa
and Austeja Mackelaite, addresses the
Anthony van Dyck, Half length portrait of the architect
Iacobus de Breuck, to left holding a compass in his left
hand, 17th century
Drawings by Alphonse Legros:
Gifts to the Courtauld Gallery
The Courtauld Gallery is honoured to
have received generous gifts of three
drawings by Alphonse Legros (1837–1911).
Together, they significantly augment the
Gallery’s holdings of work by an artist who
served as an important bridge between
the French and British art worlds in the
latter half of the 19th century, as well as
providing an insight into the renewal of
interest in Old Master drawing techniques
in the same period.
Legros, born and trained in France,
settled permanently in London in 1863.
As Professor of Fine Art at the Slade
from 1876, his teaching was noted for
the emphasis it placed on the value of
students learning directly from the Old
Masters. That Legros practised what
he preached is evident in the copies
he made using traditional techniques.
Head of a Man (1894), copied from an
Italian Renaissance model, is a very fine
example of Legros’s mature practice.
Executed in metalpoint on red prepared
paper, it reveals the sophistication of
Legros’s technique: the subtle modelling
is achieved through a combination of
theme of the ‘intelligent hand’ in Early
Modern prints. Camilla and Austeja were
also the organisers of this year’s Early
Modern Symposium (8 November), which
explores and expands upon the same
theme, and the display acts as a creative
link between the activities of the Institute
and the Gallery.
The hand has always been central to the
fashioning of artistic identity because
of its ability to express the relationship
between the physical and the intellectual.
Two groups of prints – a selection of
artists’ portraits drawn from important
print series published in the Netherlands
and France during the seventeenth
century, and plates from Italian and
Dutch artists’ manuals focusing on the
depiction of the hand – offer insights into
two different aspects of the notion of the
interdependency of the hand and the
mind that has informed and fascinated
artists, scientists and philosophers from
Aristotle onward.
Print Room displays may be viewed on a
drop-in basis (no appointment needed)
on Wednesday afternoons during term
time, 1.30-4.00 pm.
Rachel Sloan (MA 2002, PhD 2008)
Assistant Curator of Works on Paper
white heightening added with a brush
and scratching into the coloured ground.
Two early studies after classical sculptures
made while he was a student at the Ecole
des Beaux Arts, the Venus de Milo (1855)
and the Mattei Ceres (undated, but likely
produced around the same time), reveal
the roots of Legros’s love of the antique,
which he would go on to promote
through his teaching.
Head of a Man has been presented by
Courtauld alumnus Dr Donato Esposito
(MA 1999), while the studies after the
Venus de Milo and the Mattei Ceres
are the gift of art critic and dealer Jack
Wakefield.
Rachel Sloan (MA 2002, PhD 2008)
Assistant Curator of Works on Paper
Alphonse Legros, Head of a Man, 1894. Gift of Donato Esposito.
25
26
THE COURTAULD NEWS COURTAULD LIFE
ROSEMARY McALONAN
For the past year and a half, Rosemary McAlonan has held the new post of Institute
Marketing and Communications Manager, helping to promote the Courtauld’s tremendous
degree programmes as widely as possible. Here she illuminates a few aspects of her role:
The thing I found most surprising
about the Courtauld when I started
working here was…how interdisciplinary
art history is as a subject. The breadth
and depth of the teaching at the
Courtauld is really impressive.
I am always surprised by how much is
delivered by such a small team of staff.
Although the Courtauld is one of the
smallest colleges of the University of
London, it still has to deliver the same
range of services as much larger, more
resourced institutions.
My job at the Courtauld involves...
maximising brand awareness and
raising the profile of the Courtauld with
key stakeholders, namely prospective
applicants and other key influencers in
the higher education and arts sectors. I
have a particular remit to attract wellqualified applicants to the Courtauld’s
undergraduate and postgraduate
programme portfolio and to diversify its
student body.
The best part of my job is...working in
the beautiful Somerset House. It is a real
cultural hub and has always been one
of my favourite places in London. Also
getting free access to the city’s museums
and galleries is a great bonus.
The worst part of my job is…as a new
marketing function for the Institute my
workload is incredibly varied and busy,
which is a great experience; however, the
downside is not having enough time to
be as creative as I’d like.
The most rewarding experience during
my time at the Courtauld so far has
been…working with such a friendly
community of like-minded scholars and
students dedicated to the study of art
history, conservation and curation. I
really enjoy when I get to interact with
Courtauld students, for example the
student ambassadors during open days.
I have worked at a number of universities
in the UK and I find the students here
to be really impressive, engaging and
focused.
The thing that would most surprise
others at the Courtauld about me is…
before working in marketing, I came from
an international office background which
took me all over the world – Asia, South
America, the Middle East, Africa and
Europe.
My favourite artwork in the gallery
is… Monet’s Antibes. I lived in the
South of France for a year after
graduating to improve my French. This
painting captures the colours of the
place perfectly and brings back happy
memories of my time there.
The best part of my job is working in
the beautiful Somerset House. It is a real
cultural hub and has always been one of
my favourite places in London.
COURTAULD LIFE THE COURTAULD NEWS
27
A NEW HOME
IN THE NEW
WING
The Courtuald has recently taken
occupation of ten rooms on the first
floor of the New Wing of Somerset
House, situated on the west side of
Somerset House. Over the summer,
the Development office, the Marketing
and Communications team and the
Finance department relocated into
these spaces from the North Block. In
addition, the newly acquired space has
provided a new Visiting Lecturers Centre
and two seminar rooms, the latter
accommodating groups of between five
and 50. These bright and airy rooms
offer an improved working environment
for staff and students, and have freed up
much-needed space in the North Block.
A strategic review of the Courtauld’s
facilities will now be undertaken, which
will assess how to improve spaces to
support and enhance the student and
staff experience.
Anthony Tyrrell
Facilties Manager
Top: One of the new meeting rooms; Bottom: The entrance to the
New Wing from the Somerset House courtyard
BOOK SALE
Yet again, thanks to our team of stalwart volunteers brilliantly led by Eva Barker (MA
2007), the Courtauld Book Sale provided the perfect start to this academic year. Not only
does this annual event provide students, staff and alumni with an opportunity to obtain
amazing publications at much-reduced prices, but it also brings new audiences through
our doors and increases awareness of the Courtauld. Moreover, this year the sale raised
an astounding £17,748 in just eight days, all of which supports student travel grants to
facilitate in situ research.
Our heartfelt thanks go to all those who helped, purchased, and donated to this
effort. We collect donations annually from mid-August to mid-September. For further
information, please contact alumni@courtauld.ac.uk.
28
THE COURTAULD NEWS ALUMNI
Alumni By Numbers
There are Courtauld alumni living in 71 countries,
including Lithuania, Mauritius, Vietnam, Chile,
Gibraltar and Iraq.
We have 10 international regional groups, headed
by 13 stalwart volunteer alumni chairs.
Chicago, USA
Rome, Italy
Norwich, England
Los Angeles, USA
Toronto, Canada
Brighton, England
Bristol, England
Berlin, Germany
Athens, Greece
According to our records, the cities with the
biggest alumni populations after London
(1,968) and New York City (252) are:
Edinburgh, Scotland
Paris, France
Cambridge, England
Oxford, England
WHERE IN THE WORLD
Art historians are not, on the whole, known to be an especially numerical bunch. And it is certainly
true that many of the achievements of the Courtauld’s 6,712 identified former students are
unquantifiable in any number of ways. However, for a change, we thought it might be interesting to
take a quantitative lens to our graduates and their activities. The figures might surprise you…
Alumni work for countless institutions around the world,
but have a particularly strong presence at the following:
60
47 46
35
25
Scottish National Galleries, Edinburgh
National Trust, UK-wide
15 13
12 10
British Museum, London
Metropolitan Museum of Art, New York
National Portrait Gallery, London
National Gallery, London
English Heritage, UK-wide
Victoria & Albert Museum, London
Tate, UK-wide
The Courtauld Institute and Gallery, London
Sotheby’s, worldwide
19 18
Christie’s, worldwide
IN THE WORKPLACE
27
Royal Academy of Arts, London
38
By our count, 848
alumni hold a PhD,
either from the
Courtauld or another
institution.
In 2014, we had a
record 211 graduates
join their fellow alumni.
In the 18 months between
January 2013 and June
2014, 1,193 alumni
attended at least one
of the 82 Courtauld
Association events held in
35 cities in 10 countries in
that period.
Our alumni are socialmedia savvy, with 2,215
registered on the
Courtauld Association
Network site, and 956
members of the Courtauld
Association LinkedIn
group.
31 alumni are Samuel
Courtauld Society
members, and a further
42 are Friends of the
Courtauld.
Since the launch of the
Courtauld Association in
September 2007, 24 alumni
have served as elected
members of the Courtauld
Association Committee.
GIVING BACK
More than 1,100 of
our alumni hold two or
more degrees from the
Courtauld.
KEEPING CONNECTED
ACADEMIC ACHIEVEMENTS
ALUMNI THE COURTAULD NEWS
29
1,160 alumni have offered
to help with careers
advising or speaking to
current or prospective
students.
Over the past five years,
161 alumni have provided
advice to current students
at one of our Londonbased careers sessions.
As of 30 September,
305 job and internship
opportunities had been
posted on the Career
Centre of the Courtauld
Association Network site
in 2014.
247 alumni are signed up
as Alumni Ambassadors on
the Courtauld Association
Network site.
253 Courtauld alumni
donated to the 2013/14
Annual Fund, contributing
a total of £43,200 (40% of
the overall appeal).
Help us keep up to date!
If you think the information
we hold about you may
not be correct, email
alumni@courtauld.ac.uk
to update your information,
or complete and return
the enclosed Alumni
Update Form.
And although we have
contact details for 5,573
Courtauld alumni, we’re
always trying to reach those
who have fallen out of
touch! So if you know
of fellow graduates who
aren’t in the alumni loop,
please do ask them to drop
us a line.
30
Janine Catalano: RECOLLECTIONS FROM
THE ALUMNI OFFICE
I would personally like to thank Janine on behalf of the Courtauld for all she has done during
her seven years in the post of Alumni Relations Manager. Starting in post directly after
completing her MA at the Courtauld Janine has brought passion and energy to the role and
completely transformed the alumni relations programme over the years. I do not think there is
a single alumnus who does not know Janine’s name!
Janine will be sorely missed by the Courtauld community and particularly by the alumni, but we
wish her the very well in her new role as Programme Director for the American Associates of
the Royal Academy Trust and for the future. Below Janine reflects on her time at the Courtauld.
DEBORAH SWALLOW
MÄRIT RAUSING DIRECTOR
When I first arrived at Somerset House
eight years ago, fresh from the US and
not yet knowing what to make of London,
I could never have predicted how this
institution would impact my life. My year
spent studying for an MA in 2006/7 – for
a term with Shulamith Behr and then
under the supervision of Chris Green –
transformed my outlook on art history
and exposed me to some of the most
intelligent, engaged individuals I know.
During that year, I grew to feel very much
at home and starting hatching plans to
stay in London. While completing my
thesis, I saw the role of Alumni Relations
Manager advertised, stumbling upon it
the day before the deadline. I applied
with relatively little experience but a lot
of enthusiasm, and was so delighted and
grateful to be offered the position.
Upon starting in September 2007, I
was thrown into a whirlwind of activity
and possibility, with the launch of the
Courtauld Association only a month
away. That first year was a chaotic but
exhilarating one, culminating in the
planning and delivery of 41 events
over a three-day weekend in July
2008 in celebration of the Courtauld’s
75th Anniversary; I will never forget
my whistlestop tour of nine London
galleries in the course of three hours in
an effort to visit and photograph all of
the simultaneous alumni reunions taking
place across the whole of London!
Building on that momentum, I was
encouraged in my efforts to expand
the programme further. The roster of
Courtauld Association events has grown
from under a dozen to over 70 events
a year, ranging from expert exhibition
tours to pub quizzes and everything
in between. Outside London, many
of these fall under the domain of the
stalwart chairs of our ten international
regional groups, created over the past six
years, which have been a great pleasure
to support. It has also been fantastic
to unite alumni from around the world
during occasions such as the Venice
Biennale, TEFAF, Frieze, the CAA and AAH
conferences, and other such happenings
that have become happily anticipated
moments that bring our community
together. And of course, it has been
tremendous fun to work on the annual
Courtauld Summer Party, including soirees
at the Courtauld, Haunch of Venison, Tate
Modern, and the 80th Anniversary iteration
at Tate Britain. (And don’t forget – the
2015 Summer Party will take place at the
Whitechapel Gallery on 10 July 2015!)
Courtauld Association
Committee, October 2010
ALUMNI THE COURTAULD NEWS
My position has also allowed me to
collaborate with incredible colleagues,
from the inimitable Debby Swallow to
individuals in all departments of the
Institute, in order to help the Courtald
thrive. In addition to my fantastic
colleagues in the Development Office,
I have been privileged to work closely
with a great number of the Courtauld’s
eminent academics and talented curators,
who have been so crucial to the alumni
programme’s success. As the Managing
Editor of this publication since 2008,
impossibly attempting to fill the shoes
of its founder Jane Ferguson (MA 1975),
as well as an elected member of the
Governing Board from 2011-2014, I have
been engaged with issues that span the
entire scope of the Courtauld. I am also
very pleased that, over the past three
years, we have been able to establish the
Courtauld Association Careers Certificate,
in order to increase the employment
opportunities of our students, and that
this programme is now an embedded
part of the institutional framework. On
top of all this, I have been so grateful for
the fact that my own academic pursuits
have been encouraged, and I have had
the opportunity to apply my interest
in the intersection of food and art to
activities in the gallery and further afield
that have engaged our graduates and
supporters – something I have thoroughly
enjoyed and hope to continue.
Above all, however, the thing that has
kept me so motivated over these seven
years is the exceptional Courtauld
alumni with and for whom I have had the
pleasure to work. I have never ceased to
be astounded by the accomplishments
and talents of the alumni, from recent
graduates to our earliest students.
Their enthusiasm for the Courtauld and
their generosity in supporting it in so
many different ways – leading events,
supporting current students, giving
philanthropically, serving on committees,
and much more – speaks both to the
uniqueness of this amazing institution
throughout its history, as well as to the
exceptional qualities of those that pass
through its halls.
There are far too many alumni who
have supported me, both personally
and professionally, during these past
seven years for me to be able to thank in
these few paragraphs, but three require
particular mention: Robin Simon (MA
1971), for his amazing leadership and
positivity in the transition from CAFS
to the Courtauld Association; Stuart
Lochhead (BA 1994), for following
Robin Simon and
Development staff at
the 75th Anniversary
Party, 2008
Surrealist Spectacular,
May 2012
Greek Alumni Group
launch, 2010
31
32
‘Email an Alum’ The Courtauld is looking for alumni
to participate in the ‘Email an Alum’
scheme.
Feasting with Picasso
Dinner, 2013
Robin as the Courtauld Association
Chairman, committing endless hours to
championing alumni, and just ‘getting
it’; and Jane Ferguson herself, without
whom there really would not have been
any alumni relations programme at all,
and who will always be the Courtauld’s
‘Alumna-in-Chief’.
For me, the Courtauld has provided
so much more than an education and
a job. It has given me insights into
leadership, selflessness and intelligence;
it has expanded my understanding of
the profound impact that art and its
champions can have on the world; it has
enabled me to meet people, explore
places, and have incredible experiences
that I could never have even imagined
a decade ago; and it has provided me
with a home and a family during my
eight years in London. While it will be
very hard to leave, I am so grateful for
everything I will take away from my
experience, and I am heartened to
know that I will be connected to the
Courtauld as a proud and active alumna
in New York. I look forward to seeing
what wonderful things lie in store for the
alumni programme and the Courtauld as
a whole, and to remaining a part of this
extraordinary community.
Janine Catalano (MA 2007)
The new Alumni Relations Manager will
be introduced in the Spring/Summer
2015 issue of The Courtauld News. In
the meantime, for any alumni queries,
please contact: alumni@courtauld.ac.uk
or ring +44 (0)20 3751 0541
This service allows postgraduate offer
holders to make contact with Courtauld
alumni and ask them questions about
their experiences of studying at the
Courtauld and the benefit this has had
on their careers.
Alumni should be willing to answer
questions about:
• Life as a student at the Courtauld
• Their experience of moving to, and
living in, London
• Studying in the UK
• Their transition back home and move
into employment
Please note your contact details will
not be made public. All queries will
be submitted via an online form and
checked by a member of staff at the
Courtauld before being passed on.
Alumni will not be expected to answer
queries about the following: (these
will be passed on to the relevant
department):
• Admissions, entry requirements and
the application process
• Fees or financial support
• Immigration
Further information
Ideally we are looking for alumni who
have graduated within the last ten years.
If you are interested in participating
in the ‘Email an Alum’ scheme please
contact marketing@courtauld.ac.uk.
Please note: if you already volunteered
last year there is no need to contact us
as we will be in touch shortly to confirm if
you are willing to participate again in the
2014/15 academic year.
STUDENTS THE COURTAULD NEWS
33
HETTY UTTLEY: THE NEW FACE
BEHIND THE STUDENT UNION
The role of Student Union President
at the Courtauld is one that comes
with more expectations and higher
responsibilities each year, as the
predecessors are more and more
successful during their tenures. This
is part of the reason why I wanted to
become the new president, continuing
the traditions of an increasingly active
and engaged student body, facilitated
through the union’s events and
encouragement. During my time as
President I hope to get a dynamic and
engaged student team together, to
support the union and each other. We
will work for the students, creating an
interesting and varied social calendar of
events, facilitating student societies and
publications.
Our Freshers’ Week to start the year
was full of activities that allowed new
students to experience different parts of
their new home city and to visit venues
they will hopefully return to with new
friends. The programme included a tour
of Kenwood House in Hampstead, a
look at street art in London’s East End,
bowling, cinema, cocktails in Notting Hill,
burgers in Battersea and pizza in Soho.
Following a very successful Halloween
party, we are currently planning our
Christmas celebrations, and of course
already have our minds on the summer
Ball, which is always the highlight of the
students’ social calendar.
As part of my job this year I would like
to encourage and facilitate an interest
in political activism at the Courtauld,
offering students the change to become
engaged in the exciting and progressive
action of larger student bodies
around London, from which Courtauld
students have previously felt somewhat
disconnected.
I am excited by what lies ahead, and
look forward to what will no doubt be
a challenging but also very rewarding
spring and summer term. I have a lot to
learn, but can’t think of a better place to
do so!
HETTY UTTLEY (BA 2014)
Students Union President
I would like to encourage and facilitate
an interest in political activism at
the Courtauld, offering students the
chance to become engaged in the
exciting and progressive action of
larger student bodies around London
34
THE COURTAULD NEWS STUDENTS
A hat-trick for
Courtauld Societies
Many student societies witnessed a
great surge activity during the the last
academic year, including (to name just
three) the Drama, Jewish and Literature
Societies.
The Drama Society held its first full-length
play, Twelfth Night, in the student café.
The play was a great success, with two
sold-out performances, and the cast
received standing ovations and huge
compliments. After months of rehearsals
and practices, it was truly worth all
the hard work. The play was recorded
and is currently undergoing computer
enhancement, with the plan being to
screen a highlights version in the lecture
theatre later this year.
The Jewish Society held a variety of
events, from celebrating the festival of
Chanukah with traditional doughnuts,
to occasional lunches and shared events
with other societies in London. We were
visited by Rabbi Gavin Broder who shared
his thoughts on the current situation for
Jewish students. Additionally, several
members of the society enrolled on the
Genesis Challenge, which led to visits to
the Holocaust death camps of Poland –
including Belsen and Auschwitz – with
survivor Dov Landau, and a two-week
tour of Israel. This year the society plans
to host lectures about Jewish artists and
art historians including Roy Lichtenstein,
Marc Chagall, Ernst Gombrich and Erwin
Panofsky.
Last year, the Literature Society kicked
off with a celebration of Alice Munro,
who had just won the Nobel Prize for
Literature. The society regularly chooses
a specific piece of literature to read and
then meets some weeks later to discuss
it as a group. The chosen Munro piece
was her beautifully crafted short story
‘The Bear Came Over the Mountain’.
The society then delved into Colm
Toibin’s evocative book The Testament of
Mary, which was shortlisted for the Man
Booker brize. For the Christmas read, the
haunting Sputnik Sweetheart by Haruki
Mutakami was read over the holidays and
discussed in the new year. To follow in this
somewhat chilling vein, the disturbing
short story ‘The Yellow Wallpaper’ by
Charlotte Perkins Gilman was chosen and
well received by members.
The cast of Twelfth Night
All students at the Courtauld are
encouraged to join any societies. More
information can be found by contacting
Student Union President Hetty Uttley or
the society president.
HARRISON GOLDMAN (BA2)
All students at the Courtauld are
encouraged to join any societies.
More information can be found by
contacting Student Union President
Hetty Uttley or the society president.
STUDENTS THE COURTAULD NEWS
35
Starter for 10 – The Courtauld’s
first appearance on
University Challenge
Final year BA student Anna Preston captained the Courtauld’s first ever team to
appear on BBC2’s University Challenge and reflects on the experience below:
The University
Challenge team. From
left: Annie Gregoire,
Matthew McLean, Anna
Preston (team captain)
and Thomas Bodinetz,
with host Jeremy
Paxman
Earlier this year, months and months of
revision paid off when I received a call
from the University Challenge production
team to say that the Courtauld had
successfully made it through their
gruelling selection procedure and would
be one of only 28 teams to appear on
the live televised shows. Excitement soon
turned to nervousness as the reality of
what we had achieved set in!
Our team included students from
different year-groups with me as captain.
When we arrived at the studios at
Salford’s MediaCity we had no idea who
we would be up against. The studio itself
was daunting as it all began to feel very
real under the glare of the lights and in
front of the cameras. Luckily a number of
friends, family and fellow Courtauldians
had made the trip to Manchester to
cheer us on which helped us relax and
enjoy the experience. The production
crew and presenter Jeremy Paxman
were lovely, the latter putting us at ease
with his velvet tones, chatting to us with
genuine intrigue before the cameras
started to roll.
In the match, which aired earlier this
summer on BBC1, we competed against
Bristol who were a very strong team.
The dreaded ‘science bonuses’ left us
predictably baffled and Bristol triumphed,
but considering we were a team of four
art historians, encompassing 1% of our
student body, I think Annie, Matt, Tom
and I, and our wonderful reserve Nathan,
should feel very proud. Although we
didn’t get through to the next round,
it was an incredible thing to do and a
pleasure to represent the Courtauld.
Thank you to everyone who watched
and supported us – we look forward to
helping make the Courtauld’s appearance
on University Challenge a regular
occurrence!
Anna Preston (BA3)
36
THE COURTAULD NEWS STUDENTS
Courtauld students among the most
satisfied with their course in the UK
The Courtauld Institute of Art came out
as one of the top universities in the UK
according to the National Student Survey
of undergraduates (NSS) which released
its results earlier this autumn. The
Courtauld achieved an impressive overall
satisfaction score of 100% for the quality
of its course.
The National Student Survey is a high
profile annual census of nearly half
a million students across the UK. It
produces influential public information
on higher education, giving final year
students a powerful voice to help shape
the future of their institution.
Our results have improved in seven of
the eight question categories, including:
Satisfaction with Teaching, Assessment
and Feedback, Academic Support,
Organisation and Management, Learning
Resources, Personal Development and
Overall Satisfaction. Students praised
teaching staff, rating the Courtauld highly
for quality of teaching (100%), staff being
good at explaining things (100%) and staff
being enthusiastic (99%); 100% found the
course to be intellectually stimulating.
This is a wonderful achievement for
the Courtauld. As Professor Deborah
Swallow remarked: ‘We are delighted
that we have achieved overwhelming
recognition from those who matter the
most – our students. The results confirm
our high standards of excellence and our
reputation for giving the students firstrate teaching and support.
We would like to thank all our final year
students who completed the survey and
all staff for contributing to the quality of
the student experience. We will continue
working hard to ensure with our Students
Union to engage with and listen to
feedback to ensure that we provide the
best educational experience for every
student at the Courtauld.’
PUBLIC PROGRAMMES THE COURTAULD NEWS
37
After Hours at The Courtauld Gallery:
Bringing the Collection to Life
Incredible contortions by Pixie Le Knot.
38
THE COURTAULD NEWS PUBLIC PROGRAMMES
For the past five years, the Courtauld
Gallery has run a programme of late
events to give the public the opportunity
to enjoy the Gallery’s exhibition and
collection after hours. A wide range
of activities are on offer at each event,
from gallery talks, art workshops and
music performances to food and drink
in the Gallery Café. These are tailored
specifically to each exhibition in order to
contextualise the subject matter through
multidisciplinary interpretation. The aim
is to attract a broader, more diverse
audience to the gallery by offering a
fun, convivial and relaxed atmosphere
complemented by carefully selected
activities to enrich and put the works on
display in a broader context.
This summer we piloted a new approach
to these events, focusing of our
permanent collection. Two Lates took
place on the 3 July and 14 August with
the theme of ‘Bohemian Paris’. Visitors
were invited to join us for a night of
curiosity and spectacle as we brought
to life the excitement of Bohemian
Paris in the 1890s through a range of
interventions in the gallery.
The events proved hugely popular with
a total of 805 visitors attending across
the two evenings, many of whom arrived
in stunning fancy dress costumes, which
added to the bohemian atmosphere.
Our resident craft aficionado Francesca
Herrick (BA 2007, MA 2008) helped
ensure everyone looked the part by
leading a drop-in
workshop making ‘curious corsages and
bohemian button holes’ inspired by
Renoir’s La Loge.
Moving through the galleries visitors were
treated to pop-up performances inspired
by the Folies-Bergère including
contortion by Pixie Le Knot as well as
Parisienne Burlesque and fan dance
by Tempest Rose of House of Burlesque.
The sounds of the Parisian boulevards
were recreated by Martina Schwartz who
played the songs and street music of the
Belle Epoque, and musettes by Jacques
Brel and Edith Piaf on accordion.
The green fairy of the Moulin Rouge also
joined us for the evening. Patrons of the
café were invited to partake of a tipple
of absinthe whilst hearing a talk about
the controversial drink. One could also
strike a pose in our recreation of the Bar
from Manet’s A Bar at the Folies-Bergère
or enjoy shadow theatre performances,
which evoked the entertainment of the
infamous Bohemian Paris haunt, Le Chat
Noir. A programme of talks on key works
from the era aided visitors in exploring
works by artists the time including
Toulouse-Lautrec, Van Gogh and Manet.
SARAH GREEN
PROGRAMME MANAGER, GALLERY LEARNING
For information about upcoming Lates,
please visit www.courtauld.ac.uk/gallery/
exhibitions/lates. As out Lates often sell
out in advance, early booking is advised.
Left: Shadow puppetry
captivates audiences. Right, top
to bottom: Parisian dancing;
enjoying the absinthe; talking
about Toulouse-Lautrec
39
LOOK AGAIN: STUDENTS USE
COURTAULD PAINTINGS TO
BRING FRESH PERSPECTIVES TO
PORTRAITURE
This year’s Look Again project, in
partnership with Newham Sixth Form
College (NewVIc), was another great
success. This project is the third event
in an ongoing partnership between the
Courtauld and NewVIc. We were also
delighted to expand the project this year
to Year 8 and Year 9 students from St
Angela Ursuline Convent School.
Eleven Year 12 students from NewVIc
and 19 students from St Angela Ursuline
worked closely with Courtauld staff
to explore how image and identity
were expressed in portraiture before
the widespread use of photography.
They chose individual works from the
Courtauld Gallery’s world-renowned
collection and carried out their own
research with art historian Francesca
Herrick (BA 2007, MA 2008). They then
reinterpreted their chosen paintings
to create photographic portraits in
collaboration with artist photographer
Marysa Dowling. We were also delighted
to enter the work in the Newham Art
Schools exhibition, Art Matters, at the
University of East London in July 2014.
Students gained confidence in
interpreting and also in making art,
as evidenced by the accompanying
photographs. At NewVIc, this was
showcased in the autumn term of 2014
with the Look Again students taking
part in a photography masterclass
with Marysa Dowling, and introducing
younger students to the art of
photography and portraiture.
Our partnership with NewVIc is growing
stronger each year with great plans for
the 2014/15 year already in place.
Look Again 2014 is generously funded
by the Oak Foundation as part of the
Courtauld Institute of Art’s widening
participation programme for young
people.
Alice Odin (MA 2005)
Oak Foundation Young People’s
Programme Coordinator
Left: Malanye Espinosa
Santamaria, Te Rerioa (The
Dream), photographed by
Marysa Dowling, 2014.
Inspired by Paul Gauguin.
Right: Imran Thomas,
Self-Portrait with Bandaged Ear, photographed
by Marysa Dowling, 2014.
Inspired by Vincent Van
Gogh.
40
THE COURTAULD NEWS PUBLIC PROGRAMMES
NEW VENTURES FOR THE COURTAULD’S
WIDENING PARTICIPATION PROGRAMME
In 2014 the Courtauld built on its widening participation programme, extending both its regional
outreach and its onsite activities. Meghan Goodeve (BA 2010, MA 2011), one of the Oak Foundation
Young People’s Programme Coordinators, and Dr Katherine Faulkner (MA 2009, PhD 2013), Widening
Participation Academic Coordinator, explain more about these exciting new advances below.
Since its launch in July 2012, the regional
outreach programme now works with
ten colleges across the country including
New College Swindon, Sheffield
College, Ashton Sixth Form College,
Folkestone Academy and Sussex Coast
College. As part of this expansion, the
original partner college – New College
Nottingham (NCN) – and the Courtauld
teamed up to host an innovative
art history celebration event held in
Nottingham. This attracted 60 young
people from across three schools –
NCN, Redhill Academy and South Wolds
Academy – and worked in partnership
with Dr Lucy Bradnock (BA 2003, MA
2004) from the University of Nottingham.
The day started with a number of visual
analysis activities, run by Helen Higgins
(PG Dip 2012, MA 2013), Meghan
Goodeve and Alice Odin (MA 2005),
followed by a stroll to Nottingham
Contemporary to consider curating in the
exhibition Somewhat Abstract. It was a
great success with students feeding back
they had learnt ‘new perspectives’ on
artworks and felt confident to use these
methodologies back in the classroom.
Alongside our regional outreach
events, we are now running a new
series of activities for young people
across London. Entitled ‘Insights into
Art History’, the programme offers
participants a taste of art history in all
its various forms. With activities built
around the Courtauld collection, the
students experience different types of
learning and gain new skills, such as
analysing images and primary texts. The
‘Insights’ days are an accessible way into
the widening participation programme
at the Courtauld and many students
then apply to join our popular widening
participation Summer University and
receive follow up advice and support in
areas such as study skills and applying
to university. Our next two ‘Insights’
days this October half term will give
participants a rare chance to work first
hand with the Courtauld’s prints and
drawings collection, and to explore
the work of Jasper Johns with curator
Barnaby Wright and award-winning
contemporary artist Nadine Mahoney.
These developments to the widening
participation programme suggest an
exciting future for young people’s
continuing engagement with the
Courtauld.
Meghan Goodeve and Katherine Faulkner
With activities built
around the Courtauld
collection, the
students experience
different types of
learning and gain
new skills, such as
analysing images and
primary texts
SUMMER SCHOOL: A
LECTURER’S PERSPECTIVE
In September last year I approached
Short Courses Programmer Dr Anne
Puetz (MA 1994) with a proposal for a
new Summer School course based on
my research on the intersection between
food and art. I was delighted that she
was interested in the idea, and after
some discussion, we agreed on a course
titled ‘From Still-Life to Eat Art: Food
as Subject and Medium in Modern and
Contemporary Art’.
As thrilled as I was, the prospect of
teaching this intensive week-long course
to such a diverse audience was rather
daunting. However, after many months
of research and preparation, as well as
much advice and insight from Anne and
previous Summer School lecturers, I
arrived at the Courtauld on 4 August to
greet my students, excited but not quite
knowing what to expect.
What followed was one of the most
rewarding weeks I have experienced. The
students were indeed varied, ranging
hugely in age, nationality and experience,
from a Masters student at the Sorbonne
studying digestion in 1970s art to an
amateur artist in her 70s from Hong
Kong to a commercial gallery director
from Brussels. However, they were
universally engaged, and their different
perspectives only served to enrich our
discussions and expand the framework in
which we considered the topic at hand.
They tackled quite challenging works
and theories, ranging from subversive
surrealism to radical feminism to
conceptual performance art, with aplomb
and enthusiasm. During our site visits to
various galleries, they not only responded
to works with great curiosity, but also
enabled me to view works very familiar to
me through fresh eyes, in turn provoking
many more questions for my own
research. And thanks to the meticulous
organisation of Anne, Jackie Sullivan, Liz
Kutesko and their amazing team, course
tutors and students alike were looked
after throughout the week with the
utmost care and hospitality.
I finished the week with a rather hoarse
throat, but hopeful that the students had
taken away some new ideas from the
course, and grateful for the opportunity
to meet such an interesting group of
people, with whom I have since kept
in touch. I was also equally inspired by
speaking with my fellow course tutors,
whose subjects ranged from the court
of Lucca to American Pop, and wishing
I could be a student myself on their
courses! It is certainly a week that was
rewarding beyond all expectations,
and I hope to be able to teach on this
wonderful programme again in future.
Janine Catalano (MA 2007)
For details of the 2015 Summer School
courses, as well as other short courses
offered by the Courtauld’s Public
Programmes department, visit http://
www.courtauld.ac.uk/publicprogrammes/
shortcourses/. Many courses book
quickly – and they also make great
holiday gifts! – so don’t delay!
Janine Catalano
discussing works by
Claes Oldenburg with
two of her students.
Photo by Steven
Larcombe.
41
42
THE COURTAULD NEWS SUPPORTING THE COURTAULD
ANNOUNCING A MAJOR £2.5M GIFT
TO SUPPORT ACADEMIC EXCELLENCE
The Courtauld is delighted to announce that a major gift has been
received from the AKO Foundation to create a fund to support
an academic post at the Courtauld. This extraordinary gift makes
a major contribution to the Courtauld’s campaign to increase its
endowment fund to £50m (from its current £36m), and makes
a significant contribution to our long-term sustainability and
excellence. The gift was the brainchild of AKO’s founder and
Courtauld alumnus, Nicolai Tangen (MA 2005), and its primary
purpose is to support the study of European art of the 20th
century. We are overwhelmed by this generosity, and our heartfelt
thanks go to Nicolai and Katja Tangen and the AKO Foundation.
The first holder of this new post
is Dr Robin Schuldenfrei, whose
MA course this year is entitled
‘Experiencing Modernism:
Utopia, Functionalism and Time
of Turmoil’. This is Robin’s first year
at the Courtauld and she has eight
students on her course. Speaking
of the gift Robin said: ‘This is a
truly inspiring gift, I am thrilled to
have joined the Courtauld and look
forward to teaching many future
generations of Courtauld students
under the aegis of this post.’
During his studies Nicolai was
taught by Dr Shulamith Behr,
now Honorary Research Fellow
at the Courtauld, and it is a great
testament to Shulamith’s teaching
that this gift is made in her honour.
We talked to Nicolai about the
journey that took him to the point
of making this extraordinary gift.
What inspired your interest in art?
My mother has a degree in art
history and as we grew up she
introduced us to many of the most
amazing art museums in Europe.
Gradually I became inspired and
have collected Scandinavian art
myself throughout my career.
Was there a specific point in time
or reason that you decided to
make the leap from collector to
academic?
Taking time out from my career in
asset management to learn more
Dr Robin
Schuldenfrei
with her 2014/15
cohort of MA
students
SUPPORTING THE COURTAULD THE COURTAULD NEWS
about art history is something I had
wanted to do for some time.
I am not sure I would call myself an
academic, but to immerse myself in study
was a real pleasure, and has given me a
deeper appreciation for art in the wider
social context.
What was your motivation to study ‘Art
and Cultural Politics in Germany 1890
– 1945’?
This period in Germany saw some of
the most revolutionary movements in
art, responding to the volatile politics of
the era and creating a visual language
to express the trauma of the period. So
much of what contemporary art seeks to
achieve now has its foundations in that
period and I’m privileged to have had the
time and expertise of the Courtauld and
its staff to support my further study.
What do you hope the endowment will
achieve?
I believe that the Courtauld sets the
global standard for the study of art history
and conservation – subjects that I firmly
believe are essential for the safekeeping
of the great international collections for
generations to come, enabling others to
enjoy our rich visual heritage. I hope that
my endowment will ensure the Courtauld
continues to develop and sustain its great
reputation for research and academic
achievement, and train the visual art leaders
of the future.
What led you to The Courtauld in
particular?
I first visited the Courtauld to explore the
Gallery with my family from Norway and
then gradually realised what an amazing
place it is. The Courtauld is the preeminent institution for the teaching of art
history in Europe, and together with its
location at London’s majestic Somerset
House, I can’t think of a better place to
spend time studying.
How has Dr Shulamith Behr influenced
and inspired you?
Shulamith was a superb tutor and her
enthusiasm for her subject and deep
knowledge animated the historical
backdrop of the course. She also
influenced my choice of Rolf Nesch as the
topic for my dissertation, and in particular
how his cultural identity was impacted
by being in exile in Norway. She was very
memorable for her generosity of spirit
when sharing her expertise.
What was the motivation for giving
the Courtauld an endowment to a
full-time role?
Amongst other things, my firm specializes
in investing on behalf of university
endowments and other foundations
and I am acutely aware of the critical
importance an endowment plays in
the life of an educational institution.
An endowment provides the ability to
directly support the academic goals
and aspirations of many individuals and
enriches their lives for years to come. I am
delighted that AKO Foundation, a charity
that I set up to benefit education and the
arts, is able to contribute to the vibrant
academic life of the Courtauld.
Dr Shulamith Behr, Honorary
Research Fellow
The news of this gift is highly gratifying and humbling. I
recall Nicolai Tangen as an extremely valuable member
of the MA group of 2004-5, who was modest and in no
way made us aware of his remarkable achievements in
the financial world. He was also a committed researcher
and his dissertation on the innovative graphic work of
Rolf Nesch, in Hamburg and in exile in Norway, brought
new evidence to bear on this second-generation
Expressionist. I am thrilled that the Courtauld
will benefit from such generosity. Therein, Nicolai
acknowledges the enshrined values of both teaching
and research that the Institute endeavours to uphold.
– Dr Shulamith Behr, Honorary
Research Fellow
For information about how you can make
a gift of endowment, please contact:
Emma Davidson
Director of Development
Emma.davidson@courtauld.ac.uk
+ 44 (0)20 3751 0535
43
44
NEW CAMPAIGN ENCOURAGES
LEGACY GIVING
This November the Courtauld
launched its first legacy giving
campaign, asking visitors, alumni and
members to consider leaving a gift
to the Courtauld when next making
their will.
None of us like to think about our own
mortality but the fact remains that over
half of UK adults do not have a will and
without one it is the state who determines
who inherits your property after you die.
When you come to write or amend your
will, I hope you might think about leaving
a legacy to the Courtauld. We sometimes
find that people think if they do not have
an Old Master to bequeath they cannot
leave a legacy to the Courtauld, but this
simply isn’t the case. Anyone can leave a
legacy and all legacy gifts regardless of
size, will have a big impact.
a very special place to work and I know
what a difference a gift like this can make
to staff and students. Your legacy could
provide a scholarship, fund a workshop
for schoolchildren or support a teaching
post; but no matter how it is used,
your legacy gift will help us continue to
provide the very best education in art
history, conservation and the care of our
collections.
Enclosed with this edition of the News
is a leaflet about legacy giving, which
I hope will provide you with useful
information about the different types
of legacy and how your gift can make
a difference. If you have any questions,
please don’t hesitate to get in touch
– any information you give us will be
treated in the strictest confidence.
Emma Davidson
Director of Development
When I made my will, I decided to leave
a cash legacy to the Courtauld. This is
Samuel Courtauld’s legacy to us
The foundation of the Courtauld
Institute of Art was the brainchild of
three visionary collectors: Viscount Lee
of Fareham, Sir Robert Witt and Samuel
Courtauld. Viscount Lee had a vision of
an Institute for the study of the history
of art and the training of museum
experts. Samuel Courtauld who had
already begun collecting Impressionist
paintings was immediately keen: ‘What
you have told me not only interests me
deeply, but opens up for the first time
a vision of something which I realised
subconsciously I have wanted nearly all
my life’, he wrote in a letter to Viscount
Lee. When Samuel Courtauld’s wife died
in 1931, he offered his house in Portman
Square along with his collection of
paintings for use by the new Institute.
The third member of the group, Sir
Robert Witt, contributed his vast
collection of reproductions of paintings.
On the back of the priceless resources
bequeathed by our founders, superb
private collections have followed over
the years, making the Courtauld’s gallery
and libraries an invaluable, world-class
resource for those pursuing the study of
art history.
Our founders’ legacy is a powerful one;
the Courtauld Institute of Art is now
a leading institute for the study of art
history and conservation. Our research,
degree programmes and exhibitions are
widely regarded as among the very best
in the world, and our faculty are leaders in
their disciplines. Furthermore, our alumni,
now standing over 7,000 strong, include
scholars, curators, museum directors, and
writers who are helping to shape the way
we experience the visual arts worldwide.
45
The Courtauld recently celebrated its
80th anniversary. As we look ahead to the
next 80 years, I hope you will consider
becoming part of the Courtauld’s story
and join Witt, Courtauld and Lee, and
the many others whose legacies have
made the Courtauld the great success it
is today.
If you have any questions about legacy
giving, or would like to notify us that you
have already left us a gift in your will,
please don’t hesitate to get in touch.
Jennifer Seymour
Individual Campaigns and Legacies
Manager
020 3751 0544
Jennifer.seymour@courtauld.ac.uk
Samuel Courtauld was
passionate about art, and
wanted to share his enthusiasm with the nation
46
Advice for your bequest
We always advise that you seek
independent legal advice when writing
or amending your will. Although it is
possible to write a will without a solicitor’s
help, this is generally not advisable as
there are various legal formalities you
need to follow to make sure that your will
is valid. Without the help of an expert,
there’s a real risk you could make a
mistake, which could cause problems for
your family and friends after your death.
When including a gift to the Courtauld in
your will, the key information to include is
our full name and address: the Courtauld
Institute of Art, Somerset House, Strand,
London WC2R 0RN. You should also
include our exempt charity reference,
XR60596.
We encourage legacy gifts to be given
without restriction, which enables our
Board of Governors to carefully consider
how to make the best use of your gift
to meet the changing priorities at the
time. If you wish your legacy to support
a particular area of our work, we would
strongly recommend you get in touch
with us to ensure we are able to honour
your wishes.
If you have an object you would like
to leave to the Courtauld, we ask that
you get in touch with us first before
committing it to your will, to ensure we
are able to accept it.
US taxpayers who wish to leave a legacy
to the Courtauld can do so by leaving
their gift to The American Foundation for
The Courtauld Institute of Art (AFCIA),
55 East End Avenue #3D, New York, NY
10028. AFCIA is a 501 (c) (3) charity with
tax exempt ID #13-6296745.
For further information about directing
your gift to a certain area of the
Courtauld’s work, please contact Susan
Marks, Executive Director, on susan.
marks@courtauld.ac.uk
or 001 212-737-5051.
Here are some useful links to help you
think about your estate planning:
www.gov.uk/make-will
Provides a good overview of the basics of will writing.
www.lawsociety.org.uk
The Law Society provides independent advice on topics such as choosing a
solicitor and probate as well as making a will.
www.hmrc.gov.uk/inheritancetax
The HMRC website offers advice on inheritance tax, including what gifts are
exempt from inheritance tax and how you can reduce your inheritance tax bill by
giving to charity.
www.courtauld.ac.uk/legacies
Our website’s legacy section provides information on how to leave a gift to the
Courtauld including the information your legal advisor will need.
47
IN MEMORY OF SOPHIE TREVELYAN THOMAS
In the last edition of the News we
reported on our appeal to raise money
for a permanently endowed scholarship
in memory of Courtauld alumna Sophie
Trevelyan Thomas (MA 2007), who died
tragically in November 2013.
When we first embarked on raising
money in memory of Sophie, we were
aiming to raise £125,000 to provide one
scholarship every year in perpetuity. We
are however delighted to report that we
have vastly exceeded this goal and have
now raised just over £250,000, which will
enable us to provide two scholarships
every year in Sophie’s name. The
scholarships will support MA History of
Art students who are specialising in the
Medieval or Renaissance periods, thereby
reflecting Sophie’s interests.
The Courtauld and Sophie’s family are
very grateful to the many people who
have supported the appeal so generously.
A special mention goes to the 20-strong
team from Sotheby’s, also known as
‘The Bond Street Bicycle Club’, who
cycled from Sotheby’s in London to
the Rijksmuseum in Amsterdam in July,
raising a fantastic £45,425 including Gift
Aid. We were delighted and relieved to
hear they made it in one piece and some
of the team are already planning their
next challenge!
You can still donate to the appeal by
donating online at www.courtauld.ac.uk/
sophie or alternatively you can send a
cheque made payable to ‘The Courtauld
Institute of Art Fund’ to The Sophie
Trevelyan Thomas scholarship appeal,
Courtauld Institute of Art, Somerset
House, Strand, London WC2R 0RN.
JENNIFER SEYMOUR
INDIVIDUAL CAMPAIGNS AND LEGACIES
MANAGER
Want to run a marathon, swim the
channel or do any other challenge of
your own to raise money for the appeal?
You can raise sponsorship through our
Justgiving page at
www.justgiving.com/courtauldinstitute.
The Bond Street Bicycle Club at the end of the race at the Rijksmuseum in Amsterdam
When we first
embarked on
raising money in
memory of Sophie,
we were aiming
to raise £125,000
to provide one
scholarship every
year in perpetuity.
We are however
delighted to report
that we have vastly
exceeded this goal
and have now raised
just over £250,000.
48
SWAROVSKI AND LEXINGTON PARTNERS
LEAD SUPPORT FOR SCHIELE
As people queue outside the Gallery
eager to visit our latest major exhibition
Egon Schiele: The Radical Nude, little do
they realise the significant philanthropic
support required to bring such an
exhibition to fruition. We are delighted
to have received substantial support for
Schiele and would like to particularly
thank Lexington Partners and Swarovski,
joint lead sponsors of the exhibition.
Austrian company Swarovski have been
at the forefront of design for more than
100 years, and have a rich heritage
of working with cultural institutions
to support their artistic programmes.
As Nadja Swarovski, member of the
Swarovski Executive Board, comments;
‘As an Austrian company, we are proud to
sponsor this important exhibition as part
of our ongoing programme of cultural
support and help reawaken interest in a
poignant body of work whose influence
still resonates today.’
For Nadja there was also a personal
motivation for Swarovski’s decision to
support the exhibition. As a student
Nadja studied a BA in Art History, Foreign
Languages and Latin American studies at
the Southern Methodist University Dallas
and completed her thesis on Schiele.
Since her studies she has continued to
have a great interest and appreciation
for Schiele’s work, as Nadja states: ‘Egon
Schiele was a pivotal figure in the creative
and intellectual crucible that was prewar Vienna, changing and challenging
perceptions of the role of the human
figure within modern art’.
For Lexington Partners, in addition to
their generous sponsorship, Brent Niklas,
Managing Partner of Lexington Partners,
has also loaned an iconic Schiele work
from his own private collection for
the exhibition. Commenting on their
sponsorship Marshall Parke, Managing
Partner of Lexington’s international
business stated: ‘We are delighted to be
sponsoring this important new exhibition
of one of the 20th century’s most radical
and influential artists. The Courtauld
Gallery is one of London’s premier art
museums, with an outstanding collection
of important works. Lexington Partners
are proud to be affiliated with such a
prestigious and exciting institution,
in what is a once in a generation
opportunity to see so many of Egon
Schiele’s artworks under one roof in the
United Kingdom.’
We are tremendously grateful to have
the support of both Lexington Partners
and Swarovski and would like to take this
opportunity to thank both them, and the
many other donors who have made the
exhibition possible.
Top Left: The
Development team
model Swarovski’s
latest Atelier
collection at the
Schiele Private View
Top right: Professor
Deborah Swallow and
His Excellency,
Dr Emil Brix, the
Austrian Ambassador
Sponsors
Benefactor
Martin Halusa
Supporters
AKO Foundation
Friends of the Courtauld
Marie and Joe Donnelly
Florian Härb
Jane Kallir (Gallery St Etienne New York)
M&M Capital
Richard Nagy Ltd., London
The Rothschild Foundation
Guest viewing the new
Schiele exhibition
and those donors who remain anonymous
Louise Birrell
Head of Donor and Alumni Engagement
We have some very exciting exhibitions scheduled for
2015 including Goya: The Old Women and Witches Album
from 26 February and Peter Lanyon: The Gliding Paintings
(title to be confirmed) in October 2015. If you would be
interested in finding out more about how you can support
either exhibition please contact Emma Davidson, Director
of Development on +44 (0)20 3751 0535 or at emma.
davidson@courtauld.ac.uk
49
50
A FEAST FOR THE EYES...
The bar was raised yet again at the 2014
Annual Director’s Circle Dinner, which
celebrated the Courtauld’s exquisite
exhibition Court and Craft: A Masterpiece
from Northern Iraq. The gallery was
transformed to evoke a courtly Persian
feast, with brightly coloured ottomans,
abundant displays of wild flowers,
peacock feathers, oranges, lemons
and pomegranates, wall to wall eastern
drapes and beautiful Persian rugs. Forty
Director’s Circle members joined the
revelry and came dressed in garments
vivid in colour from China, Persia, India
and beyond (in keeping with the dress
code of ‘comfortable, colourful pan-Asian
elegance!’). The evening was curated
to the highest degree of excellence by
art and food historian Janine Catalano
(MA 2007), Sussan Babaie and Alexandra
Gerstein and included curatorial talks on
the exhibition, poetry readings, live music
by a renowned oud player with a special
piece from the 13th century, a traditional
hand-washing ceremony and much more.
Members have also come to expect
extraordinary food at these occasions,
and this night was no exception with
a lavish family-style feast of mouthwatering Persian delicacies. Thank
you to all involved for making it such a
memorable evening. We are now excited
to be planning the 2015 feast which will
celebrate the life and work of Goya in
connection with the Courtauld’s highly
anticipated spring exhibition Goya: The
Old Women and Witches Album.
Director’s Circle members of the Samuel
Courtauld Society pay £5,000 per year for
an unrivalled range of benefits including
the annual dinner. For more information
or to join the SCS, please contact Kate
Knight on 020 3751 0545
Kate KNight
Head of individual giving
SAMUEL COURTAULD SOCIETY IN FOCUS
The Samuel Courtauld Society (SCS) has
gone from strength to strength since its
inception in 2008 during the Courtauld’s
75th anniversary celebrations. Six years
on we now have 160 members across the
three levels: Director’s Circle, Patrons’ Circle
and Associates. In return for our members
generous support of the Courtauld we
endeavor to provide an excellent programme
which includes access to exceptional art
events, and links to an unrivalled art network
which spans the globe.
The satisfaction of our members is always
of utmost importance to us. To this end
over the summer months we held three
focus groups with SCS members chaired
by David Butter, a communications expert
and Patrons’ Circle member. Participation
rates were excellent with 22% of members
taking time over the busy summer months to
attend the sessions.
The results from the focus groups were
extremely encouraging. Feedback about
the SCS programme was overwhelmingly
positive, with members voicing unanimously
that membership at all levels was extremely
good value for money. We were also
delighted to receive many wonderful
suggestions from members to help finesse
and improve our communications, events
and benefits. Where possible we will be
implementing many of these ideas to make
some positive changes to the programme
over the coming months so watch this space!
We would like to thank all our SCS members,
particularly those who participated in the
focus groups, who together help us create a
dynamic and thriving community at the heart
of the Courtauld’s work.
If you are a member and have a comment
about the Samuel Courtauld Society, or you
are interested in hearing more about the
programme, please call Kate Knight on
020 3751 0545 or visit courtauld.ac.uk/SCS
Kate KNight
Head of individual giving
2013/14 ANNUAL FUND APPEAL ONE
OF THE MOST SUCCESSFUL TO DATE
We would like to express our grateful
thanks to all donors who helped make
the 2013/14 Annual Fund appeal one of
the most successful ever! We raised a
fantastic £107,942.55 from 503 generous
supporters, which included £12,227.25 of
tax reclaimed from Gift Aid.
The Annual Fund is a vital part of our
philanthropic support, because the
majority of the funds raised can be
spent where the need is greatest. This
year unrestricted donations amounted
to £91,467 of the total funds raised and
this was allocated to support our digital
media team.
In our fast paced digital world, the
Courtauld website is very often the
first point of contact for those who
wish to study or visit the Courtauld and
enables us to connect and engage with
new audiences globally. Donations
from the 2013/14 appeal will support
the maintenance of our current digital
assets, including our Virtual Learning
Environment for Courtauld students,
and the continued development of the
Art and Architecture database which is
available for anyone to browse online and
includes the complete collection of over
7,000 digitised drawings, our collection
of paintings and a selection of prints, as
well as photographic material from the
Conway Library. The Art and Architecture
database is an excellent resource which
allows global access to our world-class
collections and can be found at
www.artandarchitecture.org.uk.
Annual Fund scholarship
In 2013/14, Austeja Mackelaite received
support from donations directed to
‘Annual Fund – scholarships and travel
grants’. Austeja completed her BA History
of Art at the Courtauld, graduating in
2010, and has just completed the first
year of her PhD. Austeja remarked: ‘I
would like to thank Annual Fund donors
for supporting my specific research,
the Courtauld Institute of Art, and the
wonderful discipline of art history more
generally.’
Austeja’s PhD investigates the importance
of ancient sculpture to Netherlandish
artists who travelled to Rome during
the 16th century, with the explicit goal
of studying classical art, and used
drawing as a way of recording their daily
encounters. Austeja’s research analyses
these surviving sketches as instances of
the northern artists’ evolving attitudes
towards antiquity, and situates them
within the broader historical context of
the rediscovery of ancient art both north
and south of the Alps.
During her first year, Austeja has
also worked in the Courtauld’s Prints
and Drawings Room and has helped
to organise the sixth Early Modern
symposium,titled The Intelligent Hand,
1500–1800.
JENNIFER SEYMOUR
INDIVIDUAL CAMPAIGNS AND LEGACIES
MANAGER
Support the 2014/15 Annual Fund
appeal
Fundraising for the 2014/15 Annual Fund
has already begun! As you can see,
donations to the Annual Fund, no matter
what size, really do add up and make a
big difference.
If you would like to donate you can:
• Visit courtauld.ac.uk/annualfund
• Call Jennifer Seymour on
020 3751 0544
• Send a cheque, made payable to
The Courtauld Institute of Art Fund
to: The Courtauld Annual Fund,
Development Office, The Courtauld
Institute of Art, Somerset House,
Strand, London WC2R 0RN
PhD student and
Annual Fund scholar
Austeja Mackelaiteė
51
52
JOTTINGS ON THE SAMUEL COURTAULD
SOCIETY’S FLORENCE VISIT
In May Samuel Courtauld Society
Director’s and Patrons’ Circle members
travelled to Florence for their annual
art and architecture trip programmed
and led by Courtauld academics
Dr Guido Rebecchini and Dr Scott
Nethersole. SCS members Mike and
Caroline Howes reminisce about their
first trip as SCS members:
Our introduction to Florence’s artistic life
came as an historical walk led by principal
tour lecturer, Dr Scott Nethersole,
Lecturer in Italian Renaissance Art,
who peppered his talk with gruesome
anecdotes of public life in the age of
the Medicis. In the first of several very
privileged insights, the day concluded
with a private evening visit to the Bargello
and its magnificent sculptures.
The theme of day two was the art and
architecture associated with the city’s
ceremonial life which included the
Duomo’s Porta della Mandorla, Fra
Angelico’s fresco cycle at San Marco,
and Andrea del Castagno’s Last Supper
at Sant’Apollonia. An evening coup
de théâtre by our tour manager James
McDonaugh (PGDip 2002, MA 2003),
Director of Art Tours, was a visit to the
family-owned Palazzo Gondi (Giuliano da
Sangallo, 1490) where we dined as guests
of the marchese and marchesa.
The city’s mendicant churches were the
focus of day three; Santa Maria Novella’s
treasury of 15th-century fresco painting,
Brunelleschi’s Santo Spirito and its
altarpieces, and Masaccio’s frescos in
the Brancacci Chapel at Santa Maria del
Carmine, to name but a few, followed by
an exclusive out-of-hours tour of selected
masterpieces in the Uffizi Gallery.
The morning of day four took us to
the Palazzo Strozzi where Dr Guido
Rebecchini, Lecturer in 16th-Century
Southern European Art, led us through
the temporary exhibition Pontormo and
Rosso: Diverging Paths of Mannerism,
while our final day found us taking coffee
in the gardens of the Villa Medici, Lorenzo
the Magnificent’s retreat overlooking the
city, and a visit to the now privately owned
villa itself. In another most privileged
visit we toured Bernard Berenson’s Villa I
Tatti and lunched in the gardens with the
fellows. Our tour concluded in glorious
sunshine with a visit to San Miniato al
Monte, and an opportunity to hear sung
vespers. All in all, an enthralling five days
– we are already relishing the prospect of
Berlin in 2015!
MIKE & CAROLINE HOWES
SCS DIRECTOR’S CIRCLE MEMBERS
For more information about 2015 trips
or how to join the Samuel Courtauld
Society, please visit www.courtauld.
ac.uk/scs or call Kate Knight on
+44 (0)20 3751 0545
Dr Scott Nethersole
leading SCS members
on an historical walk of
Florence
From left to right
SCS members Philip
Hudson, Jenny
Rose, Mike and
Caroline Howes,
Sir Angus Sterling
and Cathy Corbett
Courtauld tour guides
Dr Scott Nethersole
and Dr Guido
Rebecchini
SCS members Betsy
Blackwell and John
Watson
53
54
THE COURTAULD NEWS DONORS
THANK YOU
The Courtauld receives a third of its income from philanthropic sources. We wish to thank all donors
for their generous support and ongoing commitment to the teaching and study of art history and
conservation including all donors listed below and those who wish to remain anonymous.
MAJOR BENEFACTORS
The Annenberg Foundation
International Music and Art Foundation
Deborah Loeb Brice Foundation*
The Andrew W. Mellon Foundation
Nicholas and Jane Ferguson
The Stavros Niarchos Foundation
Friends of the Courtauld Institute
Oak Foundation
J. Paul Getty Trust
Madeleine and Timothy Plaut*
Dr Martin Halusa
The Lisbet Rausing Charitable Fund
Robert H.N. Ho Family Foundation
Lord Rothschild OM, GBE, FBA
The Edmond J. Safra
Philanthropic Foundation
The Schroder Foundation
Garfield Weston Foundation
Mrs Charles Wrightsman*
MAJOR DONORS
Anonymous in memory of
Melvin R. Seiden
The Esmée Fairbairn Foundation
The Pidem Fund
The A.G. Leventis Foundation
The Fidelity Charitable Gift Fund*
Sir Paul and Lady Ruddock
The Headley Trust
Terra Foundation for American Art
Steven and Elena Heinz
Thomson Works of Art Ltd
The Jungels-Winkler
Charitable Foundation
Manuela and Iwan Wirth
AkzoNobel
Dr Michael and Anna Brynberg
Charitable Trust
The Gilbert & Ildiko Butler Foundation
Samuel Courtauld Trust
Daniel Katz Ltd
The Monument Trust
DONORS
Tatiana Korsakova and Andrey Borodin
(Chairman’s Circle)
The Garcia Family Foundation (U.K.)
Limited (Chairman’s Circle)
The Alan Howard Foundation
Scott and Suling Mead
Sir Paul and Lady Ruddock
Farah and Hassan Alaghband
Lexington Partners
The Bank of America
Art Conservation Project
Marlborough Fine Art (London) Ltd.
Olivier and Desiree Berggruen*
BNY Mellon
The Marie-Louise von Motesiczky
CharitableTrust
Veronica M Bulgari*
Oryx Petroleum
The Clothworkers’ Foundation
The Doris Pacey Charitable Foundation
The Dorset Foundation
The Stanley Picker Trust
The Foyle Foundation
The Pilgrim Trust
Sir Nicholas and Lady Goodison
Mr and Mrs James Stunt
The Alan Howard Foundation
Swarovski
James Hughes-Hallett
Nicolai and Katja Tangen
ING Commercial Banking
Vermeer Associates Limited
The Jackson Foundation
V-A-C Foundation
Margaret L Koster and Joseph L Koerner
in honor of Caroline Villers
Sir Siegmund Warburg’s Voluntary
Settlement
Thomas H. Lee and Ann Tenenbaum*
DCMS/Wolfson Foundation Museums
and Galleries Improvement Fund
Mr and Mrs Hugues Lepic*
Leon Levy Foundation NAGUAR
Conservation Programme*
Robert McCarthy
DONORS THE COURTAULD NEWS
55
SUPPORTERS
Abellio
Mr Francis Finlay*
M&M Capital
AEA Investors (UK) LLP
Charles Fisher
The Henry Moore Foundation
AKO Foundation
Mr Sam Fogg
The John R Murray Charitable Trust
Ambrose & Ann Applebe Trust
The Gabo Trust
NADFAS
Anna Plowden Trust
GardaWorld
NautaDutilh
Apax Foundation
The Robert Gavron Charitable Trust
Mr John Nicoll
The Art Fund
Thomas Gibson Fine Art Ltd
Old Boys Foundation
The Ashley Family Foundation
Richard Green (Fine Paintings)
P F Charitable Trust
Asian Cultural Council*
Dr. Eileen Guggenheim*
Professor David Park
Richard and Marelyn Aylmer
Lucía V. Halpern and John Davies
Sir Francis Pemberton Charitable Trust
The Band Trust
Harley Research Scholarship
Russell C. and Jill O. Platt
Bonnie and R. Derek Bandeen
The Helen Hamlyn Trust
Robert Prentice
Bective Leslie Marsh Limited
Michael and Morven Heller
The Radcliffe Trust
Hugh and Jane Bedford
Hazlitt Holland-Hibbert
The Rayne Foundation
Tavolozza – Katrin Bellinger
Andrew Hochhauser QC
The Rose Foundation
Linda Kristin Bennett
Iran Heritage Foundation
The Rothschild Foundation
Barbara Bertozzi Castelli*
Bernard Jacobson Gallery
Edward Said Scholarship
Benjamin Proust Fine Art Ltd
Klein Solicitors Limited
The Finnis Scott Foundation
John Treacy Beyer*
The Marina Kleinwort Trust
Sky Arts
Alison Lohrfink Blood
Samuel H. Kress Foundation
Sir Angus Stirling
Sayed Z Bukhari
Dr and Mrs Spiro Latsis
Trust for Mutual Understanding*
Christie’s
Ronald S. Lauder*
V&A Purchase Grant Fund
Mr Colin Clark
The Lloyd Family Trusts
Mr Xavier Villers
Elizabeth Clarke in memory of
William O Clarke
Lowell Libson Ltd
Mrs Elke von Brentano
The John S Cohen Foundation
Celine and John Lowrey
George and Patricia White*
Daniella Luxembourg, London
Malcolm Wiener
Mayor Gallery
Michael and Jane Wilson*
The Michael Marks Charitable Trust
The Harold Hyam Wingate Foundation
Pierre and Tana Matisse Foundation
The Worshipful Company of Mercers
Sandra Cohen
Crane Kalman Gallery Ltd
Dr Willem Dreesmann
Mrs Jessica Devoy
Marie amd Joe Donnelly
The D’Oyly Carte Charitable Trust
The John Ellerman Foundation
Embassy of the Kingdom of the
Netherlands, London
Clare Maurice
Eugenia McGrath and Thomas Korossy *
Christopher McLaren
Paul Mellon Centre for Studies in British Art
Lucy Mitchell Innes and David Nash*
*Gifts made to the American Foundation of the Courtauld Institute of Art
56
THE COURTAULD NEWS DONORS
SAMUEL COURTAULD SOCIETY
DIRECTOR’S CIRCLE
Anonymous
Andrew and Maya Adcock
Farah Asemi and
Hassan Alaghband
Eva Bezelianskaia
Elke and Michael von
Brentano
David G Broadhurst
Nick Hoffman
Eugenia and Thomas Korossy
Mr and Mrs Marks
The Honourable
Christopher McLaren
John A. McLaren / AkzoNobel
Richard Nagy
Derek and Inks Raphael
Paul and Jill Ruddock
Sotheby’s
Nicolai and Katja Tangen
John Watson and
Betsy Blackwell
Niklas and
Catherine Zennström
Marina Kellen French
David Gibbons
Richard Green (Fine Paintings)
Lucía V. Halpern and
John Davies
Paula and Schuyler Henderson
Lady Heseltine
Joanna Hewitt
Jennifer Hicks
Mike and Caroline Howes
David and Una Hudd
Philip Hudson
Monica Ishola
Nicholas Jones
Kasper
James and Clare Kirkman
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 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
Elizabeth Nicholson
John Nicoll and
Laurence Colchester
Mr Michael Palin
Simon and Midge Palley
Lord and Lady Phillimore
Bridget Pinchbeck
Herschel Post
Marie-Christine Poulain
and Read Gomm
Leslie Powell
Tineke Pugh
Jacqueline Ranawake
Charles Rose
Lady Jennifer Rose
Sarah and Patrick Ryan
Mrs Janice Sacher
Dame Theresa Sackler
Richard and Susan Shoylekov
Michael Smith, Barts Charity
William Slee and Dr Heidi
Bürklin-Slee
Marjorie Stimmel
Sir Angus Stirling
Carlo Maria Suriano
Henry Tinsley
Johnny Van Haeften
Erik and Kimie Vynckier
The Rt. Hon. Nicholas &
Lavinia Wallop
Mr Richard West
George and Patricia White
Richard Wintour
Lynne Woolfson
Anita and Poju Zabludowicz
Nova Dobb
Mr Andrew P Duffy
Ben Elwes Fine Art
David and Diane Frank
Christopher J Gridley
Mrs Kathryn Gyngell
Edward Harley
Mary G Herms
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
Desmond Page
Serena Prest
Geraldine Ramphal
The Lady Ridley of Liddesdale
Eira Rojas
Mr Adrian Sassoon
Anna Somers Cocks
Rex De Lisle Stanbridge
Mr Robert Stoppenbach
Professor Deborah Swallow
Dr John Sweetman
Yvonne Tan Bunzl
Diana and John Uff
The Ulrich Family
The Weiss Gallery
Susan and Charles
Whiddington
Hugh Wilson
I C Carr
Christie’s
Mark and Cathy Corbett
Nicholas and Jane Ferguson
Mr Sam Fogg
Nicholas and Judith Goodison
Dr Martin Halusa
PATRONS’ CIRCLE
Anonymous
Agnew’s
Giancarla and Michael
Alen-Buckley
Felix Appelbe
Mr Sandy Arbuthnot
Jean-Luc Baroni Ltd
Sara Joline Bedford
John G. Bernasconi
Douglas Blausten
Julia Boadle
The Lord Browne of Madingley
James and Jennifer Butler
David and Jane Butter
John Byford
Julian and Jenny Cazalet
Mary Ellen Cetra
Mr Colin Clark
Robert Compton Jones
Samantha Darell
Amanda Deitsch and
James Hochman
Roger and Rebecca Emery
Eykyn Maclean Ltd
ASSOCIATES
Anonymous
Georgina Adam
Mrs Kate Agius
Lord Jeffrey Archer
Persephone Books
Mrs James Beery
Sarah Boardman
Henry and Maria Cobbe
Mr Oliver Colman
Prisca and Andrew Cox
Camilla Davidson
Simon C. Dickinson Ltd.
ANNUAL FUND THE COURTAULD NEWS
THE COURTAULD ANNUAL FUND 2014
The Courtauld sincerely thanks the 503 alumni and supporters -both listed below and those who
wish to remain anonymous - who gave to the Annual Fund. The 2014 campaign (which closed on
31 July 2014) raised a tremendous £107,943 for a range of Courtauld projects.
Tania Adams
Andrew and Maya Adcock
Dr Tanya Alfille
Bridget Allen
Peter C Allinson
Marjorie Allthorpe-Guyton
Jessica Alvarez
William Ambler
Martin Andrew
Reverend Viv Armstrong-MacDonnell
Professor Caroline Arscott
Norton Asbury
Farah Asemi & Hassan Alaghband
Linda Ashworth
Jonathan Auld
Helen Auty
Richard and Mara Aylmer
Dr Sussan Babaie
Dr Jane Bailey
Ariane Bankes
Emma Barker
Nicolas and Joanna Barker
Dr Richard Barling
Wendy Baron
Brenda Baxter
Sarah Baxter
Mary Rose Beaumont
Dr Shulamith Behr
Keith Benham
Deborah Bennett
Charlotte Benton
Paul Berry
Rita Biro
Louise Birrell
Jacky Bishop
Tye Blackshaw
Prudence Bliss
Tessa Boteler
Professor Sir Alan Bowness
Geoffrey Bracken
Dr Simon Bradley
Brady Stained Glass
Elizabeth Breyer
Lady Bridgeman
Robin Broadhurst CVO CBE FRICS
Grace Brockington
Nicholas Bubb
Nick and April Bueno de Mesquita
Sally Bulgin
Polly Buston
Lady (Adam) Butler
David and Jane Butter
Professor Stephen Caffey
Tom Caley
Mary Cameron
Dr Caroline Campbell and
Dr John Goodall
Harriet Campbell
Isabel C Carr
Sophie Carr
Elizabeth Cashman
Anne Castling
Janine Catalano
Sharon Cather
Richard S Chafee
John Chalker
Jeannie Chapel
Carol Chawdhary
Wendy Chetwin
Philip Cheung
Sheila Christie
Diana and Gerald Cinamon
Colin Clark
Matthew H Clough
David Cobb
Sir Michael Codron
Alfred and Ronald Cohen
The John S Cohen Foundation
Dr Nicola Coldstream
William S. Coleman
Dr Minta Collins
David Collison
Dr Susan Compton
Conatus Capital Management LP
Ali Conway
Susan Cook
Dr Rosalys Coope
Dr Riann Coulter
Tessa Cowie
Professor Elizabeth Cowling
Georgina Craufurd
Stephen Croad MBE
Family Croker
Satsuki Crome
Professor Geoffrey Crossick
Mary Cunningham
Professor James Cuno
Lizzie Darbyshire
Dr Percy Darukhanawala
Emma Davidson
Jessica Davidson
Mary Frances Davidson
Tim Davies
Eleanor Davison
Andrew Derrick
Hester Diamond
Karen-Marie Dinesen
Dr Ursula Ditchburn-Bosch
Sally Dixon-Smith
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
Cecilia Dugdale
James Dunnett
Dunton Green Primary School
Margaret Dunwoody Hausberg
Dr Anthony Dyson
Rebecca Easby
Hetty Einzig
Caroline Elam
John Elderfield
Dr Julia Ellis
Catherine Errington
James Ewing
Kaywin Feldman
Professor Eric Fernie
Anna Fletcher
Sibylla Jane Flower
Susan Foister
Francis Ford
Anna Forty
Elizabeth Freeman
Garry Freeman
Emily T. Frick
Mrs Diana de Froment
Hannah S. Fullgraf
Stephen D. Gallagher
Alicia Garcia
Nicola Gatt
Nicky Gavron
Malcolm Gee
Caroline George
John Gilbert
John Glaves-Smith
Linda Goddard
Joel M Goldfrank
Sophie Goldspink
Christine A Gordon
Hugh Gorton
Cornelia Grassi
Maggie Gray
Susan Green
Margaret Greeves
Martyn Gregory Gallery
Nigel Grey-Turner
Julie Grisman
57
58
THE COURTAULD NEWS ANNUAL FUND
Geneva J. Griswold
Pierre-Yves Guillemet
Penelope Gurland
Werner Guttmann
Johnny Van Haeften
Dr Douglas Hall
Elizabeth Hall
Nicholas Hall
Lucía V. Halpern and John Davies
John Hann
Sabrina Harcourt-Smith
Dr John Hare
Fiona Harkin
Monica Harper
Céline Harris
Nancy Harrison and Robert Altamura
Dr Laurie Harwood
Peter Hawkes
Georgiana L Head
Mrs Robert C. Heathcote
Geraldine van Heemstra
Dr Kathryn Heleniak
Denny Hemming
Sir Launcelot Henderson
Lisa Henderson (nee Heale)
Dr Cecily Hennessy
Merle Heppell
Diana E. Herzog
Lady Heseltine
Jean Higginson
Miss A Hilder
Constance Hill
Paul Hills
Henrietta Hine
Clive Hodson
Dr Barry Hoffbrand
Edward L. Hoffman
Nicole Holland
Mr and Mrs Geoffrey Holt
Graeme Hood
Professor Ken Howard OBE
Dr Norman Howard
Philip Hudson
Ruth Hulton
Mary Hustings
Lucy Hutchins
Rose Isepp
Miss Olimpia Isidori
Philip Jacobson
Hedwig James
William F. Jeffett II
Dr Helen Jessup
Catrin Jones
Nicholas and Maria Jones
Wendy Jordan
D.W. Joustra
Professor Walter Kaiser
Maria Kamper Bockelmann
Dr Martin Kauffmann
Diana Kay
Peter Kennedy Scott
Ian G. Kennedy
Oonagh Kennedy
Amanda Kern Lambert
Robert Keys
Dr Jerzy J Kierkuc-Bielinski
David Kitson
Caroline Knight
Kate Knight
Julia Korner
Eugenia and Thomas Korossy
Latifa Kosta
Gillian Laidlaw
Alastair Laing
Nicholas Lambert
Butler and Lois Lampson
David Lane
Graham Lane
Hannah Leathers
Patrick Legant
Dr Ayla Lepine
Andrea Lewis
Myriam Libert - “Exchange”
- Foundling museum
Lisa Lindstrom
Professor William Lipke
Doina Little
Marco Livingstone
Oliver Lloyd
Stuart Lochhead and Sophie Richard
Barry Lock
Morgan C. Long
Mary Longford
Mark and Liza Loveday
Daniella Luxembourg, London
Frances Lynn
Dr and Mrs Graham Lyons
Michael Macaulay
Dr Alison Maguire
Anthony Mainwaring
Dr Chris Mallinson
Sharon Manitta
Charles and Sue Marriott
David and Clare Marris
Richard and Janet Martin
Peter Martindale
Jay Massey
The Matthiesen Foundation
Cameron Maynard
James McDonaugh
Nancy McElroy Folger
Gillian and Ian McIntosh
The Honourable Christopher McLaren
Matthew McLendon
Miss P. McPeake
Dr Melissa McQuillan
Helen Meakins
Patricia Menday
Sarah Meschutt
Vincent Meyer
Angelith Meyers
Natalie Miles
Lesley E Miller
Polly Milne
Judith M Mitchell
Paul Mitchell
Philip Mone
Dr Sarah Monks
Jennifer Moore
Martin Morgan
Anna Moszynska
Barbara A. Murek
Catherine Murray
Mr Morton Neal CBE and Mrs Neal
Valerie Neild
Susan Nettle
John Newman
Dr Tom Nickson
Professor Mignon Nixon
Christine Oddy
Professor Michael Oliver
Katharine Claire Pace
Alexandra Palmer
Dr Alexandra Parigoris
Ingrid I Parry
Joyce Parsons JP
Michael Parsons
David Pavey
Dr J Payan
Laura Asherman Payne
Elizabeth A Pergam
Lord and Lady Phillimore
David Phillips
Dr Elizabeth Philpot
Sue Phipps
Ilaria Piccirilli
Iain Picton
Claude Piening
Christopher Platts
Alex Pook
ANNUAL FUND THE COURTAULD NEWS
Dr Cecilia Powell
Marie Ann Prelog
Darryl de Prez
Dr Lara Pucci
Arlene Rabin
Pia Rainey
Cynthia E. Rallis
Georgina Ralston
Gillian Rathouse
Chris and Joan Rea
Dr Guido Rebecchini
Donovan Rees
Helena Rees-Mogg
Anna Remann
Professor Aileen Ribeiro
Dallas Richards
Eleanor Robbins
Dr D Keith Robinson
Gillian Robson
Pauline Rohatgi
Mr R. Root
Hazel Rose JP
Lady Jennifer Rose
Cora Rosevear
Peter Roth
Brinda Roy
Mary Rozell
Penelope Ruddock
Neil and Angelica Rudenstine
Tony Rushton
In memory of Stella Rutherford
Samuel L Sadow
Maria Saffiotti Dale
Magda Salvesen
Clive Saville
Dr Peter Schabacker
Professor Jack Schuman
Chloe Scott
Mitchel Seal
Derek Searle
Elizabeth Sebök
Christopher E. Sedgwick
Sir Nicholas Serota
Jenny Seymour
Simon Shaw
Desmond Shawe-Taylor
Dr John Sheldrake
Robin Shepherd
Dr Rupert Shepherd
Dale Sheppard-Floyd
Michael Sherry
Hongmiao Shi
Hadi and Ban Shubber
Cheryl Silver
Mr and Mrs Silvey
Dr Amanda Simpson
Nathan Sivasambu
Holly Skeet
Ian Skidmore
Suzanne Slesin
Dr Susan Sloman
Chris Smart
Alison Smith
Mary Peskett Smith
Nickola Smith
Dr Patricia Smith
Rita Smith
Anna Somers Cocks
Richard and Eryl Spencer
Dr Paul Spencer-Longhurst
Allen P Staley
Timothy Standring
Clare Stansfield
Robin Start
Dr Christine Stevenson
Jenny Stewart
Dr Peter Stewart
Professor Damie Stillman
Marjorie Stimmel
Sir Angus Stirling
Mandy Stockley
Isobel Stokes
Laura Z. Stone
Jo Storey
Allana Strong
John Summers
Professor Ann Sutherland Harris
Professor Deborah Swallow
Catherine Swarbrick
Dr John Sweetman
Richard Swift
Dr Philip A Sykas
Susan Sykes
The Lady Juliet Tadgell Fund
Angela Taunt
Ruth Taylor
Andrew Templeton
Betsy Thomas
Helen Thomson
Richard Thomson
Colin Thorn
Mr and Mrs Jeremy Thorp
Robert Thorpe
Professor Lisa Tickner and Sandy Nairne
Toby Treves
Catherine Tribe
Peter Trippi
Patrick Troughton
Dr Marjorie Trusted
Alison Turnbull
Pamela Turner
Sara E Turner
Anthony Tyrrell
Diana and John Uff
Mrs B. Vasconcellos
Patrice and Shippen Vaudremer
Jonathan Vernon
Joanna Walker
Frederick C. Walski, Jr.
Dr Roger Ward
Patrick Watson
Dr Trudy A Watt
Mary Wells
Emma Whitaker
Sir Samuel Whitbread KCVO
Brian Whitby
Fiona M Whyte
Joan Wilcox
Mary Anne Wilkins
Dr Alan Wilkinson
Rowena Willard-Wright
Maureen Williams
Petra Williams-Lescht
Arnold Wilson
Helen Wilson
Hugh Wilson
John Wilson
Muriel Wilson
Juliet Wilson-Bareau
James Winterbotham
Olivia Winterton
Rhian Wong
Dian Woodner
Robert Woodward
Caroline Wright
Sir Stephen Wright
Mary Yule
Zmira F. Zilkha
59
Courtauld Institute of Art
Somerset House, Strand
London WC2R 0RN
www.courtauld.ac.uk

Autumn 2014 - Courtauld Institute of Art

Transcription

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