ISSUE 39 • 2016 THE COURTAULD NEWS

INSIDE: Courtauld Connects The Great Flood of Florence Interview with Frances Morris Rodin and Dance: The Essence of Movement 1 The Courtauld News • Issue 39 • 2016 Cover story and contents

Cover Story 3 Director’s Welcome 5 A tribute to David Solkin Continent by Jacob Hashimoto is a work from our most recent East Wing 7 The life of Anne Olivier Bell Biennial (EWB) exhibition, Artificial 9 Karen Serres reveals the true story of van Gogh’s ear Realities. Run entirely by students, EWB recently entered its 25th year. 11 The Great Flood of Florence For more information see the article 13 Alexandra Gerstein on Rodin and Dance on pages 47–48 or on the website eastwingbiennial.org. 15 Alumni Achievements 17 Interview with Frances Morris Managing Editor: Kary Kelly 21 Barnaby Wright discusses Georgiana Houghton Executive Editor: Gregory Wilkinson 23 Projects from our Research Students With thanks to Alex Pook, Sophia 26 Adam Monaghan on being a museum technician James, Grace Han, Cat Marks, Libby Ayres and Michael Sherry 27 The restoration of Auckland Castle 29 Richard Wilding returns to Kurdistan Design: MB&Co Limited

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35 33 Courtauld Connects 35 Interview with architects Witherford Watson Mann 40 Tom Bilson discusses the recent digitisation projects 41 Maureen Cross and Karen Serres on the recent Manet restoration 42 Degas’ Dancers go to Coventry 43 Rebecca Arnold on her Instagram success 44 Elizabeth Morrow and CoolTan Arts 59 45 Tennessee Williams reports from the Student Union 47 East Wing Biennial 49 TEDxCourtauldInstitute 51 Alumni and staff publications 55 The tenth anniversary of the Caroline Villiers Research Fellowship 57 Lara Frentrop on the New Friends Lecture series 58 Annual Book Sale 59 Masterpiece 61 Memories 64 Donors 70 Courtauld Prints 3 The Courtauld News • Issue 39 • 2016 Director’s Welcome

Director’s welcome Reflections on the year

e have had much to celebrate David Solkin (MA 1974), Dean and Deputy in this year of Utopia at Director, who retired after thirty years at The Courtauld when we The Courtauld. David made an outstanding have joined forces with contribution to The Courtauld, both as scholar Somerset House Trust and and academic leader and we already miss WKing’s College London to celebrate the 500th his daily presence. Professor Mark Hallett anniversary of Thomas More’s eponymous (MA 1989, PhD 1996) has written a touching publication. The cover of this issue shows tribute which you will find on pages 5 and 6. Jacob Hashimoto’s ‘Continent’, a piece Professor Antony Eastmond (MA 1989, PhD from this year’s student-curated East Wing 1992), David’s successor, is an expert on Late Biennial exhibition Artificial Realities, inspired Antique and Byzantine art and has been on by Utopia, as was TEDxCourtauldInstitute the permanent faculty since 1995. Antony Breaking the Rules, the third in our now annual is experienced in academic administration TEDx conference series. Utopia was also the and leadership, and has been at the heart theme of the MA Curating the Art Museum of academic development at The Courtauld students’ exhibition Confusion of Tongues: (most recently as Head of Examinations). He Art and the limits of Language which was on brings great enthusiasm, optimism and clarity display in The Courtauld Gallery last summer. of purpose and I look forward to seeing his impact upon The Courtauld. Joining him in At the heart of all we are now doing is the newly created position of Head of the Courtauld Connects, our own ambitious Department of History of Art we welcome project to reposition The Courtauld for Professor Christine Stevenson, an expert on the future. This £50m+ project is not only Early Modern Art and Architecture and a a transformation of our wonderful historic former Acting Dean. Also new to his position is buildings, making them fit for the 21st century Dr Tom Nickson (MA 2005, PhD 2009), Lecturer and radically improving the experience of in Medieval Art, who succeeds Maureen Cross, our students, staff and visitors, but also a Lecturer in Conservation and Technology, transformation of our programmatic activities, as Associate Dean for Students. Maureen’s enabling us to engage with wider, more invaluable three years in this role brought issues diverse audiences, locally, nationally and such as student mental health to the forefront internationally. In May we were delighted to of student/staff discussions and Tom, who is secure a £9.4 million grant from the Heritage already working closely with the Students’ Lottery Fund towards Phase 1 of the project Union, is well placed to continue her efforts. bringing the total generously pledged to £18.5m. You will find more about the project in Our faculty continue to flourish and enrich all the central pages of this publication. they have to offer our students and the wider community in their teaching through The This year we sadly said farewell to Professor Sackler Research Forum and through their 4

collaborations throughout the world. Our Dr Bruce Boucher (MA 1974, PhD 1987), coverage of American art will now be stronger whom we warmly welcome as Director of Sir than ever as we are delighted to welcome John Soane’s Museum. We enthusiastically Dr Jo Applin, from the University of York, who applaud Sir Nicholas Serota (MA 1970) and specialises on American Art of the later 20thc, Frances Morris (MA 1983) on the opening and Professor David Peters Corbett from the of the new building at the Tate Modern and University of East Anglia. David will both teach are really delighted to congratulate Frances an MA on British, French and American art of on her appointment as the Director of that the late 19th and early 20th-century and direct institution. Even more recently Nicholas our new Centre for American Art which has announced his forthcoming retirement from been launched with the support of a generous Tate. It seems almost impossible to imagine grant from the Terra Foundation. The Sackler Tate without Nicholas at its head, but no Research Forum recently launched our new one could be better suited to the role of Friends Lecture Series with talks by recently Chairman of the Arts Council. He will be a appointed Directors of some of the UK’s top superb champion for the arts in ever more Director’s welcome museums and galleries which is discussed on challenging times. Our influence is evident page 57. I was also very pleased to welcome all over the world and this year has heralded our new Martin Halusa Curator of Drawings, several appointments worldwide including Dr Ketty Gottardo (MA 2004, PhD 2013) who Halona Norton-Westbrook (MA 2007) who has joined us from the J. Paul Getty Museum in been appointed Director of Collections of the Los Angeles. Toledo Museum of Art. Our alumni also go on to work in a wide variety of jobs beyond The Courtauld Gallery once again had an the museum sector including Jessica Devoy outstanding year with critically acclaimed (BA 2007), who has been appointed Global exhibitions such as Soaring Flight: Peter Onboarding Business Manager in HSBC Lanyon’s Gliding Paintings and Botticelli Commercial Banking. Learn more about our and Treasures from the Hamilton Collection, alumni achievements on pages 15 and 16 and which received glowing reviews, as did our read an interview with Frances starting on current exhibition Rodin and Dance which page 17. ends on the 22nd January. Detailed work with the drawings collection continued richly The uncertainty caused by the outcome with four special displays in The Gilbert and of the UK’s referendum with the decision Ildiko Butler Drawings Gallery and we are to leave the European Union and the grateful to have received a further three year continuing challenges to the arts are causes grant from the International Music and Dance for concern. The recent distressing decision Foundation for cataloguing the collection. Our of AQA to cancel the last remaining UK A regional loan programme is reaching out to and AS Level qualification in art history has areas where Courtaulds Ltd, the company of engendered passionate public debate – a our founder Samuel Courtauld, was once at debate in which The Courtauld will ensure the heart of economy and society including that its voice is heard as part of what must next year’s loan of our copy of Manet’s Le be a concerted campaign to reassert the Déjeuner sur l’herbe, recently conserved value both of art history and of the arts and at The Courtauld by the Department of humanities in general. Conservation and Technology, to Hull, UK Despite all this, it is heart-warming that our Capital of Culture 2017. Our MA Conservation students, staff and alumni remain undaunted of Wall Painting course just took in their in their work and passionate in all that they do. triennial intake of 8 students. These students The Courtauld is well positioned both to act will embark on a challenging, exciting course and speak as a leader, a role model and as a involving fieldwork in locations such as India, substantial cultural presence in the arts world China and Bhutan. and I know that it will continue to do so. Our alumni continue to contribute richly to the leadership of the Museum and Gallery and With very best wishes, public arts world. It is a huge pleasure to have Dr Gabriele Finaldi (BA 1987, MA 1989, PhD 1995) back in London now as Director of the National Gallery and we are delighted that he has joined our Governing Board replacing Sir Nicholas Penny (MA 1973, PhD 1975). Professor Deborah Swallow An equally close new neighbour is alumnus Märit Rausing Director of The Courtauld 5 The Courtauld News • Issue 39 • 2016 A tribute to David solkin

David Solkin Celebrating 30 years at The Courtauld

This summer, David Solkin, Dean and Deputy Director and Walter H. Annenberg Professor of History of Art, retired from The Courtauld after a stellar career as a scholar and administrator at the Institute. At a recent reception held to honour him on the occasion of his retirement Mark Hallett gave a short speech in which he recalled his experiences as one of David’s first MA students in London 6

or the last two years I have been of art, was coupled with an unshakable co-teaching a Masters course with form of intellectual rigour on David’s part. David, entitled Painting in Britain: In his classes, he pounced on lazy thinking Forging a Visual Art for a Nation and slack phrasing with what we then at War, 1793-1815. Teaching this thought of as an almost sadistic glee; to Fcourse, and, for two successive Octobers, us, at least, he was the Shere Khan of The encountering a new group of bright, Courtauld when it came to preying upon slightly nervous students, has generated a sloppy pieces of argument. Our class strange sense of déjà vu on my part. For, presentations would be stripped to the no less than twenty-nine years ago – in the bone; our essays came back to us covered autumn of 1987 – I too arrived as a rather in a swarm of red corrections; and all of us gauche Masters student at The Courtauld, used to fall asleep at night repeating the which in those days was located in the mantra, ‘think carefully about what you say; rather leafier and slightly more run-down think carefully about what you say; think environs of Portman Square. At that point carefully about what you say’. the Masters was a two-year degree and, And at first, of course, it was easy to during that luxuriously extended time assume that this relentlessly tough- of study and play, I was taught by three minded form of teaching was overly wonderful art historians: John Newman, tough, overly critical; but all of us slowly Anita Brookner and David himself. One but unmistakably realised that David’s aim was understated, benign, patient and – his only aim – was to help us improve extremely English. One was stylish and as scholars, and to make us engage with cosmopolitan, with an aura of elegant works of art in ways that surpassed our worldliness and an unusually attentive own highest expectations; it was all about interest in our prose-style. And then there making us better, more rigorous students, was David. And, quite honestly, he was like producing the strongest work we possibly no other teacher I had ever encountered could. And, of course, once we all realised before; in fact, like no other I have this, he became the best teacher any of us encountered since. ever had. For one thing, he had a ferocious energy Nearly thirty years later, I can confidently and stamina: our seminars would go on say that this has remained the case for all for more than three hours, driven by a those cohorts of students who followed relentless will on his part to squeeze every my own, right up to those we have taught last drop out of the subject and every last together over the last two years. Yes, as we drop out of his gaggle of poor, exhausted all know, David has mellowed hugely; and students. And as for our trips to galleries yes, as we all know, under that sometimes – they seemed to go on for days, as we blunt exterior he is a total softy, with huge pored over pictures at astonishing length. reserves of kindness, generosity and good At a recent conference in his honour, cheer. And, as many of us here tonight another former male student, talking know, he is a wonderful and loyal friend. about his own days at The Courtauld, But, to my eyes at least, he has never – not declared rather wistfully that ‘we all even for a moment – lost that unwavering wanted to look just like David’. Hmm desire to push his students to the peak of – maybe, maybe not. What he actually their potential, and in doing so, to open meant to say (I think) was that we all their eyes to the infinite possibilities and wanted to look at paintings just like David pleasures of art history as a discipline. – that is, with an amazing store of visual Among his many other contributions to The reference points, a boundless series of Courtauld as an institution, and to the field questions, and an unquenchable appetite of British art studies more generally, this for spending time – extended amounts of has been one of David’s greatest legacies. time – with the work under scrutiny. This drive and dedication, and this love of Mark Hallett (MA 1989, PhD 1996) is the sustained visual engagement with the work Director of the Paul Mellon Centre for Studies in British Art 7 The Courtauld News • Issue 39 • 2016 Monuments Woman: ANNE OLIVER BELL

Graham Bell, Miss Anne Popham, 1937–8 Monuments Woman Anne Olivier Bell Sarah Turner on an exceptional alumna

n 1937 Graham Bell started work on The onset of another world war (she a portrait of Anne Olivier Bell, or was born in 1916 during the first one) ‘Miss Anne Popham’ as she was then would determine the pattern of Bell’s called. Dressed neatly and soberly in career after graduating from The a brown suit and green shirt, Anne Courtauld. Remaining in London during IPopham cuts a quietly determined figure the Blitz, Bell worked for the Ministry of as she stares ahead. The thoughtful Information and volunteered as an air- resolution captured in the portrait would raid warden. As a research assistant in stand Anne Popham in good stead the Photography Division, her Conway for the role she would shortly occupy Library training would have no doubt during the Second World War. In the prepared her well for the visual skills same year this painting was executed, required in her new role. She moved to Anne Oliver Bell (MA 1937) had also the Publications Division before, in 1945, finished her studies at The Courtauld being recruited to join the British division where she was part of the first cohort of of the ‘Monuments Men’. She was the students between 1934 and 1937. She only ‘Monuments Woman’, a fact that has was taught by Anthony Blunt, carried yet to be fully commemorated. She was out research on Peter Paul Rubens for approached at a party by, as she later Dr Ludwig Burchard and worked in the recalled, a ‘very posh young man’ who Conway Library, honing and refining asked her to join the Museums, Fine Arts her skills as a diligent researcher and and Archives branch of the Allies’ Control broadening her knowledge of European Commission. Nowadays, this perhaps cultures which has been passed on to seems like a remarkably casual offer her by her parents. Her father was A.E. for such an important task, but these ‘Hugh’ Popham, Keeper of Prints and informal networks were undoubtedly Drawings at the British Museum and a very much part of the recruitment distinguished scholar of Italian drawings. process for such posts. Her art historical 8

training and language skills – she is a noted for throughout her career. In 1977 fluent German speaker – made her an she published the first of five volumes invaluable member of this cultural wing of Virginia Woolf’s diaries, an editing of the allied forces post-war work. A task to which she devoted twenty-five couple of years before this Graham Bell, years of her life. By this time, Bell, widely whom she had first met whilst studying at known as Olivier Bell to friends, family The Courtauld and was in a relationship and colleagues, had been married to with, died during an RAF training Quentin Bell (no relation to Graham Bell) exercise. for well over twenty years. Quentin, the son of Vanessa and Clive Bell and the Recruited by Rubens expert and nephew of Virginia Woolf, was a painter, ‘Monuments Man’ Squadron Leader ceramicist and Professor of Art History E. Christopher Norris, Bell served as a at the University of Leeds and Sussex. civilian given the rank of Major under Having never met her husband’s aunt Lt Colonel Geoffrey Webb, the Slade (only glimpsing her once at a party), Anne Professor at Cambridge and expert on Olivier Bell was in a good position to offer John Vanbrugh. She was stationed in a more objective view on their subject the town of Bünde in Westphalia, the of study, also working with Quentin Divisional Headquarters, which had on a biography of Woolf which was been relatively spared of war damage. published in 1972. Her work on Woolf was From here, Anne Olivier Bell organised a recognised through honorary doctorates meticulous campaign of the preservation from the Universities of cultural monuments, of York and Sussex, institutions and as well as earning artefacts, searching for her a Fellowship of the remnants amongst the Royal Society of the ruins of civilisation Literature. However, across Europe. Her job recognition for was to coordinate and her contribution manage the work of during the war the other ‘Monuments and her services to Men’ in the field, a task international cultural that was administrative relations as the only yet also fraught with ‘Monuments Woman’ the politics of post- came very late in her war reconstruction. life. She was awarded The British Army in Vanessa Bell, Portrait of Olivier Bell, an MBE for services to particular did not have circa 1953. Arts and Literature in much truck with the Photograph © The Charleston Trust 2014 aged 97. delicate and painstaking work of preservation and restitution, Shortly after her marriage to Quentin, saving museums, churches, objects and Anne Olivier Bell was painted by her heritage sites. Again, Bell’s art historical mother-in-law Vanessa Bell. That same and language skills ably placed her to poise is there in the strong profile liaise with German museum staff. She which turns away from the viewer to was perplexed by the attitude of many stare resolutely ahead, looking firmly other British officials towards German to the future. Anne Olivier Bell played civilians after the war as she focused a leading role in the conservation of on the future and the importance of Charleston, the Sussex house that was repairing the damage, rather than the home of her mother-in-law, and is deepening wounds. a President and Senior Trustee of the Charleston Trust. In June 2016, she On her return from war service, she celebrated her joined the Exhibitions Department of 100th birthday. the Arts Council where she organised a number of exhibitions and edited Dr Sarah Victoria Turner (BA 2003, PhD exhibition catalogues with the 2009) is the Deputy Director of Research meticulous care that she had become at the Paul Mellon Centre 9 The Courtauld News • Issue 39 • 2016 Van Gogh’s Ear: The True Story

Peeking under the bandage Van Gogh’s Ear: The True Story Karen Serres discusses the recent revelations regarding one of The Courtauld’s most famous paintings 10

incent van Gogh’s Self-Portrait American author working on a novel on with Bandaged Ear, purchased Vincent’s life. That book, Lust for Life, by Samuel Courtauld in 1928 was later turned into a Hollywood film and bequeathed to the now featuring a striking Kirk Douglas as van Samuel Courtauld Trust two Gogh. On his doctor’s notepad, Rey decadesV later, is such an iconic painting outlined a before and after sketch of van that it is too easy to believe that we Gogh’s ear, showing that only a small know everything about it. That belief part of the lobe remained after the razor was certainly upended when Bernadette cut. A moving inscription accompanies Murphy, an independent art historian the sketch: “I am happy to provide you living near Arles, came to see me a with the information you requested few years ago. She was undertaking concerning my unfortunate friend van research about van Gogh’s time in Arles, Gogh. I dare to hope that you will not fail reassessing his network of friends and to glorify as it deserves to be the genius the specific timeline of events following of this remarkable painter”. the notorious dispute with Paul Gauguin Bernadette’s book argues that van that led to the mutilation of his ear on Gogh survived such a terrible mutilation 23 December 1888. thanks to the intervention of Rey, a Bernadette had fascinating things to say young doctor who had recently come to about the Self-Portrait, painted just a few Arles and was trained in new treatment days after van Gogh left the hospital in techniques and awareness of antiseptic January 1889. To paint this self-portrait, surgery. Bernadette pointed out that van Gogh may have used the very mirror Vincent carefully depicted the oil silk he looked into to cut off his ear a few dressing used on his wound to stem the weeks earlier. Standing in front of the flow of blood and prevent infection. work, we talked about the room in which The book is a testament to Bernadette’s it was painted (van Gogh’s ground floor resolve during a seven-year quest to studio in the little house he once shared gather new evidence and to the fact with Gauguin in Arles), the dressing used that the most unexpected avenues of to heal his wounded ear and the heavy research can yield the greatest rewards. coat and fur hat Vincent wears to ward It shows that there is still light to be off the winter chill. shed on even the most scrutinised of Bernadette’s research is now episodes. encompassed in a book, Van Gogh’s Ear: Bernadette’s findings are also included The True Story, published by Penguin in an illuminating recent exhibition at in July. It considers van Gogh’s stay in the Van Gogh Museum in Amsterdam the south of France in forensic detail that examined all the manifestations and and unpicks a lot of the myths created theories surrounding van Gogh’s mental and repeated around van Gogh’s self- illness, On the Verge of Insanity (15 July mutilation, including the nature of his – 25 September 2016). It opened a much- wound. Until now, most accounts have needed dialogue between art historians trusted the painter Paul Signac who and medical professionals to understand asserted that van Gogh cut off only the nature and extent of van Gogh’s a portion of the lobe of his left ear. illness, but also to counter the idea that Bernadette tracked down early sources, he was simply a slave to his demons. Van including newspaper accounts and first- Gogh was a wilful and deliberate artist hand written testimony, to prove that that shaped his world on the canvas and in fact the painter cut off his entire ear. created works of art that resonate more The most compelling piece of evidence than ever with viewers. is a drawing that van Gogh’s attending doctor, Felix Rey (whom a grateful van Dr Karen Serres (MA 1999, PhD 2004) Gogh painted in a portrait now in the is The Schroder Foundation Curator of Pushkin Museum in Moscow), made in Paintings at The Courtauld Gallery 1930 at the request of Irving Stone, an 11 The Courtauld News • Issue 39 • 2016 THE great flood of florence

The Piazzale degli Uffizi underwater 12

The Great Flood of Florence Cat Marks tells us of The Courtauldians who came to the aid of Florence 50 years ago

n November 1966 the Great Flood of from the V&A in order to support the city’s the River Arno devastated the city of reconstruction. Haslam was made aware Florence, the worst flood it had seen of works that were at risk whilst stored in since 1557. The extreme rainfall forced cellars of palazzos. Courtauld alumni spent muddy waters across the city, destroying weeks recovering the archives from the Ihomes and damaging copious numbers of palazzi of the noble families of Florence artworks and books, vast amounts of which such as the Capponi and Guicciardini. were irreparable. 101 people were killed Richard is now Honorary Secretary of the and some sources say that up to 14,000 Venice in Peril Fund. works were damaged by the flooding. La Despite the tragic nature of this event, Notte described it as ‘Florence - City of there has been a small silver lining: the Ghosts’. Great Flood resulted in the development Courtauld students of 1966 will remember of techniques to successfully carry out the dramatic announcement by director restoration work, as well as construct Anthony Blunt describing the city’s horror effective strategies to manage possible and the appeal for help. Students and staff future disasters. 2016 Progetto Firenze is were encouraged to travel to Florence to an appeal to mark the 50th anniversary of aid in the fight against the flood and the the Great Flood. A number of projects have rescuing of citizens and artworks in peril. been put in place to commemorate the anniversary with the vital aim of creating The response was overwhelming. Patrick stronger connections in the community Matthiesen (MA 1968) drove there in his and to encourage the public, institutions, Land Rover, the first vehicle from outside to businesses and associations to share ideas enter the city. Using his farm petrol pump and information for effective future risk Patrick devised a method to remove the management. fuel oil from vaults of the Uffizi Gallery, allowing invaluable works to be retrieved. Among these projects is the reinstalltion in Using the same method, Patrick was able the Cenacolo, the old Refectory of Santa to extract the fuel oil that had damaged the Croce, of Giorgio Vasari’s Last Supper city’s marble at ground level. Following the (1546). This five-panel paiting is the last and flood he became a volunteer conservator possibly most complex work to be restored for the Bargello and chief co-ordinator for since the flood. Marco Grassi, President of sculpture restoration in the city. Patrick was the American Foundation for The Courtauld one of the mud angels, a term given to the Institute of Art, who was apprenticed at army of helpers who rushed to the aid of the Uffizi at the time of the flood, began the city. work on the Last Supper as soon as access was possible using painstaking techniques John Shearman (BA 1955, PhD 1957), who to limit the damage. These projects will was working as a lecturer at The Courtauld, pay respects to the mud angels and most also drove to Florence to assist those importantly, ensure that the impact of future in need. It is said that Shearman arrived disasters is dramatically reduced. in Florence well prepared for the hard struggles ahead. As a skilled sailor he came Cat Marks is Development Office Intern equipped with waders, as opposed to at The Courtauld and a student at the others who arrived in wellingtons. University of Plymouth A week after the flood, alumnus Richard More information about the projects to Haslam (MA 1969, MPhil 1986) drove to mark the anniversary of the Flood can be the city with a van filled with equipment found at florence2016.it 13 The Courtauld News • Issue 39 • 2016 Rodin and dance: The essence of movement

Rodin and Dance The Essence of Movement Alexandra Gerstein discusses the importance of our current Rodin exhibition

odin and Dance: The Essence The Courtauld Gallery’s four Rodin of Movement examines bronzes were bequeathed in 1984 by the Auguste Rodin’s late sculptural art dealer Lillian Browse whose Cork street series of small terracotta and gallery, Roland, Browse & Delbanco, was plaster figures known as the the Musée Rodin’s unofficial agent for the RMouvements de danse, which he made sale of posthumous casts. Browse, herself from 1911, together with forty drawings a dancer, was personally fascinated by the in which Rodin captured the movements Mouvements de danse, purchasing about and postures of dancers as they posed fifty for sale in the gallery (frequently for him. One might have thought that asking whether they could have more every millimetre of the sculptor’s oeuvre bronzes to meet demand). Browse also had been thoroughly studied but in organised the first exhibitions showing fact, as the research for this exhibition a more ‘modern’ Rodin in the UK. Small revealed quite early on, surprisingly little works, like the Mouvements de danse and scholarly work has been published on the little figure of Nijinsky (only discovered the Mouvements de danse. This absence in 1957, and cast after that date) were of serious research on the series is all particularly appealing to collectors. the more notable in the light of their Rodin and Dance: The Essence of favourable critical reception from the Movement is a collaboration with the moment they were first cast in bronze in Musée Rodin in Paris, who generously lent the early 1950s. In particular, they were the entire series of sculptures, including praised in milestone publications by the some never seen before, and related leading Rodin scholar Albert Elsen and drawings, photographs and archival the great modernist critic Leo Steinberg, material. The Mouvements de danse show both of whom redefined Rodin as a truly the same figure in a variety of extreme modern artist. 14

acrobatic poses. The model for the series work, presenting a private side of his and for many of the related drawings was oeuvre to audiences who will know Rodin an acrobat called Alda Moreno, the model primarily as the sculptor of monumental and later companion of Rodin’s marble works in bronze and marble. carver Jules Desbois. Moreno (whose real This exhibition has been an opportunity name was Noémie Chevassier) seems to to go outside the world of sculpture have posed for Rodin from about 1903 and work with movement practitioners to about 1905, at which point he seems from the Royal Central School of Speech to have lost sight of her for about six and Drama in London, whose new years until late 1910 despite the attempt International Centre for Movement (in of friends to help him find her. He was, it its pilot phase) led a series of workshops seems, quite attached to her as a model, investigating the movement ‘texture’ of and a number of drawings showing a the poses. Many of these sessions were strong and athletic female figure would sketched by The Courtauld Gallery’s appear to represent Moreno. It would also Chloe Le Tissier, whose practice of life seem that her reappearance in Rodin’s drawing led to many fruitful conversations studio in late 1910 led almost immediately in front of the drawings in Paris and back to his making of the Mouvements de in London with The Courtauld’s bronzes. danse, which can confidently be dated to early 1911. One of the most enriching aspects of the exhibition, personally, was the opportunity Thanks to the Musée Rodin’s vast to collaborate with The Gallery’s paper holdings, both in works of art and archives conservator Kate Edmondson. According (including thousands of piece moulds to contemporaries, Rodin would draw a for casting), and thanks in great part to model from life, drop his many sketches the impetus of its director, Catherine to the floor, select one that satisfied him, Chevillot, and the curators with whom and make a tracing from it at the window. we worked so closely over the last two To investigate whether the process of years, Sophie Biass-Fabiani and François tracing had indeed been used, and Blanchetière, this project grew into an how, Kate used a safe and non-invasive ambitious study of the Mouvements de method for making our own ‘tracings’ in danse, which we hope will become the relation to three groups of drawings in the reference work for this series of sculptures. exhibition (showing three different poses). The catalogue and the exhibition display Overlaying our tracings on to each other will present the fruits of a forensic confirmed that the scale of the figures and investigation into the making of the their poses are almost identical. We are works by sculpture conservators Agnès very grateful to Sophie Biass-Fabiani for Cascio and Juliette Lévy, together with allowing us to work in this way. François, in which I had the privilege of participating on many return visits to the The exhibition further brings together Musée Rodin’s vast reserves in Meudon, drawings and photographs of dancers, as well as in the beautifully refurbished whose new approach to movement and Hôtel Biron in Paris. the body fed into Rodin’s Mouvements de danse, including four vibrant studies Rodin was a prolific artist and a self- of Cambodian dancers sketched in 1906, confessed workaholic whose advice to and it ends with a group of three drawings young sculptors was always simply to and a sculpture based on a famous work harder. This did not wind down as modelling session with the Ballets Russes’ he aged. His work simply became more star dancer and choreographer Vaslav experimental and looser as he used the Nijinsky, in 1912. traditional practices of making sculpture in the nineteenth century – such as Dr Alexandra Gerstein (MA 1995, PhD reproduction and enlargement – to invent 2003) is the Curator of Sculpture and new combinations of forms and, through Decorative Arts at The Courtauld Gallery an increasingly non-naturalistic surface that retained all the accidents of casting, Rodin and Dance: The Essence to move away from representation of Movement is open until the towards a kind of abstraction. This 22 January 2017 exhibition highlights this aspect of his 15 The Courtauld News • Issue 39 • 2016 Alumni Achievements

Alumni Achievements Find out what our alumni have been up to this year Update us on your own achievements at [email protected]

Caroline Campbell (MA 1995, PhD 2000) Congratulations to Caroline Campbell Paintings at The Courtauld. Caroline is a who has been appointed as the Jacob 2016 Fellow of the Center for Curatorial Rothschild Head of the Curatorial Leadership, New York. She has also Department of the National Gallery. recently been appointed as a member of Caroline has been working at the National Arts Council England’s Designation panel. Gallery for four years after seven years as The Schroder Foundation Curator of

Clare McLaughlin (MA 2014) We were excited to hear that Clare York and assisted in managing the Board McLaughlin has been appointed the of Trustees and its charitable giving. Clare Executive Director of Arts in the Armed was on the Board of Directors of Arts in Forces which brings the best modern the Armed Forces from 2015 to 2016 and American theatre to the United States served for several years on the Barnard Armed Forces free of charge. Clare had College committee for Gala Nights, a previously worked in the office of the yearly charitable event that raises over Senior Deputy Director of External Affairs a million dollars annually for student at the Museum of Modern Art in New scholarships.

Emily Butler (BA 2003) In October last year Emily Butler was collections, commissions by artists such as appointed Mahera and Mohammad Abu Rachel Whiteread (2012), and Kader Attia Ghazaleh Curator at the Whitechapel (2013-4) and major solo presentations by Gallery. Recent projects include the John Stezaker, Wilhelm Sasnal, (2011) and Artists’ Film International programme and Hannah Höch (2014). From 2005-2010 Electronic Superhighway. In her previous she toured exhibitions internationally role as Assistant Curator at the Gallery for the British Council Visual Arts she worked on exhibitions drawn from the Department.

Halona Norton-Westbrook (MA 2007) Halona Norton-Westbrook has been history of the art museum and in modern appointed Director of Collections and contemporary art, Norton-Westbrook of the Toledo Museum of Art with also serves as Curator of Contemporary responsibility for the management and Art at the Toledo Museum of Art. strategic direction of the Exhibitions, Conservation, and Curatorial departments. With expertise in the 16

Jessica Devoy (BA 2007) Many congratulations to Jessica Devoy Collection in 2006 before commencing on her promotion to Global Onboarding her banking career at HSBC. After 5 Business Manager in HSBC Commercial years rising through the ranks in Retail Banking, overseeing performance and Banking and Wealth Management, Jessica streamlining processes to enhance moved to the energy sector in 2012 as customer service in 55 countries and Chief Operating Officer of CFI in China. territories worldwide. Jessica founded Last year, she returned to HSBC Large The Courtauld’s Business of Art Society in Corporate in London and passed Level 1 2005 and was Treasurer for the East Wing of the CFA Program.

Mira Dimitrova (MA 1999) Mira Dimitrova has been appointed centuries, including modern and post- Managing Director at Mazzoleni London. war curating exhibitions of Gianni Before joining Mazzoleni, Mira was Colombo (2015), Paolo Scheggi (2014) Director of Robilant+Voena from 2010 and Agostino Bonalumi (2013) amongst to 2016 and also from 2005 to 2008. others, and working with artists including Dimitrova transformed Robilant+Voena Julian Schnabel, David LaChapelle and from a specialist Old Master dealership Wim Delvoye. to a purveyor of fine art across the Clare McLaughlin (MA 2014)

Jessica Barker (MA 2011, PhD 2015) Congratulations to Jessica Barker who became the Henry Moore Foundation has been appointed Lecturer in Art Post-Doctoral Research Fellow. Her History at the University of East Anglia. post-doctoral project with the Henry Moore Foundation, ‘Experiencing Tomb Jessica completed an AHRC-funded PhD Sculpture in Medieval Europe,’ examined at The Courtauld Institute, supervised the ways in which funerary sculpture by Prof. John Lowden and Prof. David sought to condition particular responses Park in December 2014 and afterwards from the viewer. ©Louise Smith

Jack Hartnell (BA 2008, MA 2009, PhD 2014) Congratulations also to Jack Hartnell focuses on the relationship between who will be joining Jessica at the material culture and science, in particular University of East Anglia as Lecturer in the influence of medieval medicine on Art History. the creation of art and literature. He is currently working on a book on the Jack completed his PhD in 2014 and was medicine and art of the Middle Ages for the Andrew W. Mellon Research Forum the Wellcome Trust, entitled Medieval Postdoctoral Fellow at The Courtauld Bodies (forthcoming, 2017). from January to July 2015. His work

Paul Crossley awarded Fellowship of the British Academy Many will be delighted to hear that Paul Crossley, Emeritus Professor of the History of Art of The Courtauld, has been awarded a Fellowship of the British Academy, an honour which is, in the words of Deborah Swallow ‘the highest that can be achieved by a scholar in the arts and humanities in this country’. Paul was an undergraduate at Trinity College Cambridge and completed his PhD on medieval architecture in Poland. Professor Crossley’s academic career has been spent at the University of Manchester, where he taught from 1971 until 1990, and then at The Courtauld until his retirement in 2011. He occasionally revisits The Courtauld to host the odd lecture or to act as quizmaster for the Students’ Union pub quiz. 17 The Courtauld News • Issue 39 • 2016 FRANCES MORRIS INTERVIEW

Frances Morris interview Christopher Griffin interviews the new Director of Tate Modern

et’s start by talking about your so my enterprising teacher taught intellectual formation. When did herself – mostly from the Pelican History you first develop an interest in of Art – and taught us at the same time, art and art history? and I just absolutely adored it. It was the best thing. For me it also, usefully, LI grew up in an arty family and turned art into an academic subject. had always been passionate about art, So I switched my ambitions to more and had always thought I would go to academic ones and went to Cambridge art school. It was in my sixth form that for my undergraduate degree. Art history I had the first opportunity to study art was then only available as part two of history. I was doing A-Level art and there the Tripos so I began with a part one in was a small group of us who thought it history, which had been my other great would be great to do a bit of art history, interest at school. 18

So your degree at Cambridge What did you study with Chris? incorporated all of your interests… His MA was the most contemporary Yes, exactly. Interestingly, there were option available at the time, covering great differences between history and the interwar years, focusing on painting, art history at Cambridge. History was sculpture and architecture. There was very politicised, with a strong theoretical a very small group of us including my base in Marxism. I was taught by Gareth now husband Martin Caiger-Smith, and Stedman Jones, whose great biography Louisa Buck, a lifelong friend. It was a of Marx has just been published, and great seminar group. others, including the great social historian What were your scholarly interests at Raphael Samuel. I completely adored the time? their teaching, which was very serious and committed. I also ran the History I ended up researching Jean Hélion and Society. I then flipped to art history and his interesting back-to-front career for it was as if the social and political history my dissertation. That led to an interest just disappeared. Theory disappeared. It in figuration in the aftermath of the was extraordinary. Second World War and the politics and philosophy of that period. At the end of That’s very interesting, not least that year I envisaged doing a PhD, so I because art history was beginning to began with a year in Paris to get some be transformed into a more theoretical research under my belt. But of course I and social historical discipline right didn’t do any research and I came back at that point in time. Did you find it and told Chris Green that I was going frustrating that the art history you to try and get a job and if I got a job I were taught at Cambridge didn’t wouldn’t do the PhD. Somehow I felt he reflect these developments? wasn’t surprised. I was disappointed by the pretty old- Were you attracted to other possible fashioned, iconographical and formalist career paths or were you just approach, though I liked studying art uninterested in academic research? history, because I found the content so compelling in itself. But, yes, I think it lost I just couldn’t face the idea of sitting in its academic allure for me. a library! I’m now curious to know whether there So what were the lessons that you did were any big differences between the learn from The Courtauld? © Tate kind of art history taught at Cambridge and the art history you discovered later I learnt a huge amount from Chris, at The Courtauld… actually. I learnt to write, I think. He was a brilliant and gifted editor. He helped There was no difference. Well actually, me to flourish as a writer. For me, after no, that’s a difficult one because I think Cambridge, it was a moment when one Chris Green, who I studied with, was could really begin to articulate one’s brilliant even in those days in having views about art. Cambridge had been quite a synthetic approach to art history, all about one-on-one supervisions, but and drawing multiple contexts into the the seminar style of teaching at The analysis of art. I mean I loved his work Courtauld for me was very important. on Léger, which I think was deeply embedded in the sense of Paris, rooted The social side to learning… in the context of his time. But I suppose Yes, I think that was probably the single the disappointing thing for me was that most important thing. Aside from my my work at The Courtauld involved re- seminar group, some other students treading areas that I’d already studied at The Courtauld – and I always think at Cambridge. So I deepened my of John Welchman in this respect, he knowledge but didn’t really extend it. was so intellectually engaged – made Art history at The Courtauld was still very me realise there was a land beyond much dominated by the connoisseurial my land that I found quite challenging, model, which was the model that I that stretched me in that way. But I still subsequently found at Tate, and I found never returned to that deep academic that quite limiting. I always have done. engagement that I’d had with history. 19 The Courtauld News • Issue 39 • 2016 FRANCES MORRIS INTERVIEW

You chose not to do a PhD and left What did you say? The Courtauld in 1983. What career I said that we needed an early figurative options were available to you at the Hélion piece and fortuntately my time? interviewer, the then Keeper of the Well, I had two options in mind: Modern Collection, Richard Morphet, television and galleries. I was looking was a huge fan of Hélion’s figurative for a way of engaging creatively in painting. Tate already had Ile de France, producing public content. After a year an earlier, Léger-like cubist painting, but working for an independent television there was nothing to show of his return to producer I got a job as the exhibitions figuration. assistant at Arnolfini in Bristol. I was part You’ve said in the past that museums of a tiny team. There were only two of tend to be a bit slow at identifying us really, and an education person. I historically significant developments… loved being involved in every aspect of exhibition making, from visiting studios Yes, for example, I was a very early to painting the walls. advocate of photography. I had made one or two photographic exhibitions at Was that your first experience working Arnolfini and Martin was then Head of directly with living artists? Exhibitions at the Photographer’s Gallery, Yep. so I was steeped in photography and did not understand why it was not seen And so you took that experience with as an art form by Tate. One of my first you to Tate? acquisition proposals was for a series of Yes. I don’t think I was a stereotypical works by Keith Arnatt. They were turned Tate appointment. In fact the job I down at the time by senior colleagues applied for was given to Jennifer Mundy and have only in the last few years (MA 1987). But in those days they had been acquired. Building a photography a little bit more flexibility and they collection has been one of Tate’s great appointed me at the same time to what achievements in recent years. But at that was a slightly thrown-together job. I time it seemed inconceivable. was given a slightly weird portfolio of We’ve talked about your intellectual tasks, which included representing post- formation as a student, but I’d like war European art, curating the Turner to know in what ways working in a Prize, and assisting with the collection museum, and in particular at Tate, has of works on paper and prints. In those shaped how you think about art… days the curators really were collection focused and would only occasionally Well, my knowledge has massively do an exhibition, but I did the Turner broadened. Sometimes I think I know less Prize because I had experience and less about more and more. Yet I feel making exhibitions and working with more confident in making judgements contemporary artists. Then quite quickly because I have a bigger world picture. I made the proposal for Paris Post War, And perhaps what I think is important which I did in 1993. So very early on I did has changed a little bit. From early on I get a big show. understood that history was a matter of a present day encounter with the past and Can you say more about the kind of that its relevance changed as the present art history practised at Tate at the changed. Unfortunately, when I studied art time? You mentioned that it was history I encountered something that was connoisseurial… sort of vaguely entombed, you know, ‘this is I think the Tate was quite old fashioned how it is’. But I think the years I’ve spent at back then. There was a canon and it was Tate have made me realise that the history very much the case that we were working of art is the same, and only relevant, or towards filling ‘gaps’ in the collection. interesting, or important in relation to the I remember during my interview I was present. I believe that quite strongly, that asked about who was missing from Tate’s we have to be open to shifting our scales collection. Luckily I was spot on in my of judgement, which is why it’s been really response. interesting to be able to build a collection, not by means of a list, but by continuously 20

refining art history on the basis of what’s – is that you need to be able to speak happening now. Bringing overlooked with authority, passion and conviction practices, by women for example, or work about the area at the core of your from different geographical regions, has museum. That seems to me absolutely been fundamental for me in understanding essential, otherwise how can you be an It’s been really interesting to be the importance of engaging with visual advocate for the sector? Of course the able to build a cultures past and present. Of course business agenda is central too but in the collection, not by you can do all this as an art historian visual arts when so much is at stake we means of a list, but but as a curator you can use galleries to need to make a very strong case for the by continuously explore propositions in a very dynamic importance of visual culture. refining art history way. Juxtaposing objects in space is a That’s the right answer. on the basis of great way to ask questions. Of course what’s happening it’s been very gratifying to support these Good. now. sometimes rather intuitive collection You’ve been a driving force behind displays with deep research through Tate the diversification of the collection at research projects. Tate, which now includes more work It’s interesting you say that because by women artists and non-Western graduates of curating courses, artists than ever before. And you’ve which didn’t exist when you went been an outspoken campaigner for to university, perhaps approach the importance of art education, curating differently to conventional, certainly in schools. What do you art-historically trained curators. But think are the long-term dangers of then again so many more curatorial failing to diversify art history at higher positions are filled these days by education level? people with PhDs in art history. So Well we desperately need to diversify you’ve got this mix of very academic the curatorial team at Tate in order to people and very creative people diversify with authority the collection working in museums today. we represent. That’s really important. That’s really interesting. A number of So we need to develop a bigger and the curators at Tate have very strong more diverse talent pool. The absence academic backgrounds and some even of arts education in schools is reducing come from teaching backgrounds. I that talent pool. I’m a museum director think the teaching experience is almost that came from the state system where more important than the academic I discovered art history. My school and rigour because teaching brings with it many like it don’t offer art history any the ability to communicate. For Tate more. There has been a significant drop it’s the audience focus that matters. I in the number of young people taking do mourn the absence of art historical arts subjects at GCSE and A Level, knowledge among curators working in particularly in state schools, so there’s the contemporary field. I think it’s really been a narrowing, which inevitably unfortunate, and I would encourage leads to impoverishment. I’m worried everybody to have a background in art about that impoverishment for future history, rather than pick up the story from curators, but also fundamentally for the 1960s. future artists. Why should this matter? If you think about twentieth-century We’ve talked about the various British art, and how we’re trying to re- different roots that you can take consider the narrative through the lens to become a curator working in a of a generation of immigrant artists, museum today. What about becoming to do that without the engagement of a museum director? Given the way those communities and their expertise that museums need to operate, as feels wrong, doesn’t it? Institutions and businesses as much as anything else, academic circles need to be inclusive. do you think it’s still important for Just as we need women’s voices to museum directors to be experts on champion women artists. It’s as simple art and to have to work their way up as that. through curatorial ranks, like you did? Christopher Griffin (BA 2007, MA 2008) is One of the most important things about Collection Research Manager at Tate and being a museum director – in any field former Students’ Union President 21 The Courtauld News • Issue 39 • 2016 GEORGIANA HOUGHTON

‘The Woman who Changes Everything’ Barnaby Wright discusses the work of a Victorian spiritualist medium

eorgiana Houghton: Spirit Raphaelites, especially Rossetti, attended Drawings, which finished and convened séances, possibly even the at The Courtauld Gallery in same ones that Houghton attended. September, was the result of She set herself apart, however, an important collaboration presenting her sprit drawings in a Gbetween Deputy Head of The Courtauld mainstream artistic context, nearly Gallery, Barnaby Wright, arts writer and bankrupting herself by holding an editor, Simon Grant, and art scholars Lars exhibition of her work at a gallery in Old Bang Larson and Marco Pasi. Bond Street in 1871, presenting them Barnaby’s interest in this largely unknown as a new form of religious art. Despite artist began when Simon emailed him this apparently pragmatic approach, an ‘image of a strange and beautiful her works had departed from traditional watercolour of swirling abstract forms in a forms of figurative representation and wonderful array of colours’ and asked him reached a greater degree of abstraction. for his opinion on its date of origin. His This is evident in the critical response to estimate proved about 100 years too late; the show which shows that the writers the watercolour was not a psychedelic of the time sought a language with work of the 1960s as it first seemed which to describe her works. Although but a painting by the obscure Victorian some dismissed her work as ‘painful spiritualist medium Georgiana Houghton absurdities’ and ‘strange hallucinations’, done in the 1860s. Together Simon and other admired its qualities and tried to Barnaby put on Spirit Drawings, the first understand it. A critic for News of the time that her work had been seen in World compared them to “a canvas of London for nearly 150 years. Turner’s, over which troops of fairies have been meandering, dropping jewels as Houghton has, until recently, dwindled they went.” into obscurity and little is known about 150 years on and Spirit Drawings has her life. She was born in the Canary Georgiana Houghton, been described as a ‘kaleidoscopic The Eye of the Lord, Islands and moved to London where she fantasia’ and ‘beautiful and impeccably 1870 lived in genteel poverty. Single all her life executed’. For some critics the change in and from an ordinary, respectable middle perception may be due to our changing class family, she was an early exponent of attitudes towards female artists. As spiritualism, heralding an age in which it Jonathan Jones writes in his five star enjoyed unprecedented popularity. review of the show in The Guardian ‘This woman was a genius – yet she could only Spirit mediums enjoyed celebrity status create and show her art by attributing it, and were allegedly able to perform quite literally, to dead white males’. We extraordinary feats whilst consulting also now view her work retrospectively in with the dead, including levitating to awareness of the impending emergence enormous heights or conjuring of flowers and importance of abstract art. and fruit. Houghton channelled her practice through her art claiming that the Houghton is now likely to be seen as spirts with whom she communed, which part of the story of modern art. Her included great Renaissance artists such place in this history precedes that of as Titian and Correggio, guided her hand Hilda af Klint, another spiritual medium whilst painting. She was not the only artist and artist, who was the subject of the with an interest in spiritualism. The Pre- recent exhibition Hilda af Klint: Painting 22

the Unseen at the Serpentine Galleries. Spirit Drawings has served not only to She has been dubbed a ‘pioneer’ of celebrate the life of an extraordinary early twentieth-century abstraction and artist but to begin the journey on the is generally viewed as a forerunner of path to new research, the unearthing the high abstract modernists such as of forgotten works by Houghton and Mondrian and Kandinsky. However it is the refining of the language used to presumptive to acknowledge Houghton’s define the work of the spiritual medium work as a precursor for this movement artists. The effect of the rediscovery of as she took no credit for the originality Houghton upon art historical writing of her painting. Houghton viewed remains to be seen but it promises to be herself as a conduit for the agency of significant. For Waldemar Januszczak, spirits. Nevertheless, her attempts to writing in The Times, she is “the woman introduce seemingly abstract spirit who changes everything”. drawings to an unsuspecting public has Dr Barnaby Wright (BA 1999, MA 2000, parallels with later artists’ attempts to PhD 2005) is the Daniel Katz Curator create a new language of abstraction, of 20th Century Art at The Courtauld notably Kandinsky who was also deeply Gallery interested in spiritualism. 23 The Courtauld News • Issue 39 • 2016 PhD Projects

Breaking New Ground Four of our Research Students discuss their work

Jeremy Deller Designs New Work for immediations Edwin Coomasaru Turner Prize winner and Courtauld alumnus Jeremy Deller has been commissioned by immediations to create a new artwork for the 2016 issue of the journal. immediations, The Courtauld’s annual peer-reviewed postgraduate publication, has built a reputation over the last 12 years for showcasing some of the most innovative and cutting-edge art historical research. Covering the entire scope of the Institute’s historical specialisms, immediations continues to break new ground and bring fresh perspectives to art in relation to questions of pacifism, sexuality, gender studies and class politics. Past issues have interviewed renowned names such as curator Hans Ulrich Obrist, philosopher Boris Groys, and art historian Hal Foster. Previous cover artists have included Yoko Ono, Glenn Ligon, Broomberg & Chanarin, and Howard Hodgkin. Jeremy Deller came to prominence in 2001 when he re-staged the 1984 Jeremy Deller’s cover for the 2016 edition of immeadiations battle of Orgreave: a conflict between riot police and striking miners in South medieval culture to contemporary art. Yorkshire. His practice is interested in The 2016 issue will examine the politics class, de-industrialisation, and counter- of digital surveillance (Jessie Robertson), cultures. Deller’s new work for the 2016 Egon Schiele’s radical nudes (Olivia issue of immediations is part of his Love Ghosh), Andre Breton’s interest in is Enough project. Bringing together alchemy (Will Atkins), the role of objects William Morris’ leaf patterns and Andy in the Renaissance studiolo (Marie Warhol’s camouflage designs (Deller met Collier), and cultural exchange in 19th Warhol while he was at The Courtauld), century Balkan Orthodox icon prints via the aesthetics of ‘90s rave culture, the (Claire Brisby). piece explores how ideas of nature have The new issue, edited by Thomas been historically constructed – whether Hughes, Edwin Coomasaru, Maggie in relation to socialism, militarism, or Crosland, Catherine Howe, Jenna Ludin, protest and alternate lifestyles. Kristina Rapacki, Samuel Raybone, Julia Bringing together different historical Secklehner and Rachel Stratton, will be moments into conversation is very apt launched on the 7th December in the for immediations, which spans early Research Forum. 24

Constanza’s new Building a Crossing Tower publication Costanza Beltrami When I started the MA ‘Gothic Encounters: Architecture and Emulation in the Middle Ages’ in October 2014, I was extremely excited about the course. Yet despite my enthusiasm, I could not come up with any feasible topic for my first Assessed Essay. It was then that my course tutor Dr Tom Nickson suggested taking a look at an impressive drawing of a late-gothic tower recently acquired by the Sam Fogg Gallery. At the time, almost nothing was known about the work, whose unusual point-of-view, detailed handling and aura of mystery immediately gripped me. In my initial research on the drawing, I used an eighteenth-century inscription and visual comparisons to associate it the connections necessary to come with early sixteenth-century building across such an amazing project, and the activity at the Cathedral of Rouen. academic support and training necessary This discovery opened the doors to to complete it. further research: thanks to Sam Fogg’s generosity, in the Summer of 2015 I set off to Normandy to finally visit the Chasing Prints and buildings I had studied and to try my luck in the city’s archives. Here I learned more Mapping Out Cold War about the great fire which had destroyed Cultural Middle Ground the cathedral crossing tower in 1514, and about the ensuing attempts to repair the Wiktor Komorowski building. A flight from London to Ljubljana takes Reading the surprisingly detailed exactly three hours. To reach Krakow accounts of the Rouen Cathedral from Ljubljana another three hours is Chapter, I discovered that many different needed. Then from Krakow to Tallinn, projects for a new crossing tower were again, almost three hours. Tallinn back commissioned from local masters in the to London – the same – three hours. years immediately following the fire, Over the past twelve months I have as the Chapter could not find lasting been following these three-hour tracks, agreement on materials and design. As I chasing the histories of hundreds of happily realised, one of the documented prints that were sent during the Cold drawings corresponded closely to the War era to breach political barriers and work I was researching. Through the create a middle ground for international accounts, I discovered not only its artist cultural exchange. and date, but also how it was conceived, The purpose of my research is to and why such a beautiful project was investigate the role artistic prints played never built. in building cultural networks within and I spent the first months of my PhD across Eastern European societies during thinking about the material I discovered the Cold War. It assesses the ways that in the archives. Thanks to the support post-war printmakers and curators of of the Sam Fogg Gallery, I could discuss print exhibitions initiated an international my results in a short book, published cultural dialogue in countries suffering in March 2016 by Paul Holberton from political censorship. My project Publishing. Although my days at The focuses on exploring the printmaking Courtauld are far from over, I am already strategies that stimulated the process very thankful to the Institute for offering of democratisation of societies that 25 The Courtauld News • Issue 39 • 2016 PhD Projects

Krakow and Tallinn on a regular basis I have been invited to give talks at conferences in Berlin, Barcelona and London. It seems like the popularity of contemporary printmaking is starting to steadily grow. Its vast potential was well exemplified during the recent exhibition of the newly acquired prints of Jasper Johns that made a refreshing intrusion into the ‘pre-1945’ programme of The Courtauld Gallery.

A Frick Fellowship Emma Capron Thanks to fantastic support from The Courtauld community, I have been awarded the 2016-18 Anne L. Poulet Wiktor at his MA graduation in 2015 Curatorial Fellowship at the Frick stayed under totalitarian rule. Censorship Collection in New York. This two-year forced artists to work in closed circles predoctoral programme will allow me of reciprocal artistic influence, while to complete my PhD dissertation as a access to the international art world was member of the Frick’s vibrant scholarly rationed only to those in the good graces community, with invaluable access to of the state. the Frick Art Reference Library, while gaining unparalleled curatorial training Cultural isolation resulted in a common in one of the prime repositories of artistic aspiration to Westernise and early Renaissance art in North America modernise art produced behind the and one of the foremost Old Masters curtain of censorship. In this respect, collections in the world. While at the international exhibitions of prints were Frick, I will conduct research on the important events that significantly helped permanent collection and assist on the re-connect disjointed societies. In 1955, organisation of symposia and temporary the Biennial of Graphic Arts in Ljubljana exhibitions. More specifically, I will was initiated; in 1966, the Biennale of conduct research on two objects in the Graphic Art in Krakow was established; museum’s collection which fall within the and in 1968, the Tallinn Print Triennial scope of my doctoral project and future came to life. Eastern European artistic pursuits in the study of early French prints were also regularly exhibited art: two anonymous fifteenth-century during the biggest international panels depicting the Pietà (1907.1.56 biennales such as Venice Biennale, and 1981.1.172), significant components Havana Biennale and São Paulo Biennale. of the permanent collection, whose The network of dedicated international genesis, function, and context remain art exhibitions became a window onto obscure and are promising for new the world not only for printmakers, but enlightening insights. The outcome of also for all artists who were affected by this research will be presented in the censorship. These three survey shows form of a focus exhibition held at the of contemporary printmaking became a Frick in the summer of 2018. point of contact for numerous recognised artists such as Andy Warhol or Robert Rauschenberg, who participated in these events entering into a dialogue with Eastern European artists. The history of the printmakers network attracted the curious eyes of researchers interested in the Cold War cultural field. Apart from visiting Ljubljana, Life of a Museum Technician The Courtauld News • Issue 39 • 2016 26

Life of a Museum Technician Adam Monaghan (MA 2001) tells us about his work

ack in 1994 whilst on an art with internationally renowned artists, and college day out to Christchurch the next explaining to pilots why I’m on Mansion, I precociously asked the their cargo plane. (Well, actually, doing Education Officer what she did my best not to explain without appearing Band when I could start. In hindsight, it impolite, since consignment details are was clearly the moment that the penny For a time, everywhere strictly secret). I went seemed to break dropped; for every artwork you see in a out in revolution or After art college, I studied art history at gallery there are multiple departments protest and standing Sussex University and then went onto of people working on every aspect between an art crate The Courtauld for my Masters degree. of it being there. Funding meetings, and a man with a In 2005 I started at the Victoria & Albert loan requests, insurance, packaging, machine gun felt Museum as an Art Packing specialist transportation, condition reporting, relatively normal. in the Technical Team, accompanying handling, installation, lighting, security… our shows to exotic and sometimes the list goes on. charged locations including Syria, South Since then, I have led an incredibly Korea, India, Lithuania, Morocco and fortunate existence, where working as the Lebanon. For a time, everywhere I a museum technician and exhibition went seemed to break out in revolution courier has taken me around the world; or protest and standing between an art one day discussing installation details crate and a man with a machine gun felt relatively normal. I am currently in my fifth year at Helsinki Art Museum (HAM), where I am one of the senior exhibition technicians responsible for technical problem solving for our shows. In 2015, I led the Ai Weiwei @ Helsinki exhibition, which featured numerous monumental sculptures. The logistical requirements for such a project are enormous and require exceptional team work; at one stage I noted 30 people from 11 countries working on the installation. After more than twenty years in museums and galleries, my approach to the art world is now more pragmatic than academic. How big is it? How much does it weigh? What equipment do we need to move it? It has become more useful to know about CITES certificates and cross- linked polyethylene foam density than Lacan and Foucault! Whilst history is unlikely to record any museum technicians’ name, it is a wonderfully rewarding job; working in rarified surroundings, populated by an international array of arts enthusiasts A lighter side of museum life: Transporting a theatre prop to South and, quite literally, handling some of the Kensington. (Left to Right) Phil Sofer, Roger Murray and Adam most precious items in the world. Monaghan. (Photo: Wayne Chisnall) 27 The Courtauld News • Issue 39 • 2016 AUCKLAND CASTLE

Auckland Castle How Courtauld alumni are assisting with a Northern restoration

n July 2012, Auckland Castle, the ambitious plans with the mastermind its park, gardens, estate, and behind the project, Jonathan Ruffer, masterpieces by the Spanish painter Chairman of the Auckland Castle Trust. Francisco de Zurbarán (1598–1664) Together they convened a prestigious including Jacob and his Twelve Sons panel of advisors and trustees, including Iwere saved for the nation and the Dr Gabriele Finaldi (BA 1987, MA 1989, people of the North East of England by PhD 1995), Director of the National the Auckland Castle Trust (ACT). Gallery, London, Mark Jones (MA 1974), The Trust now aims to restore the former former Director of the V&A, Lindsey palace of Britain’s only Prince Bishop and Stainton (MA 1972), formerly of the transform it into a faith, art and heritage British Museum’s prints and drawings destination of international significance, department, José Luis Colomer, Centro thereby reinvigorating the town of Bishop de Estudios Europa Hispánica, Madrid, Auckland and the wider area through and more recently Dr Malcolm Rogers, regeneration. former Director of the MFA Boston. The project began with a team of only five In 2013 ACT received a £1 million Stage people. Clare Baron (BA 2011, MA 2012, 1 Heritage Lottery Fund (HLF) Grant to was one of the first on the scene when the develop a gallery celebrating the Golden Castle opened to the public in 2012, after Age of Spanish art in partnership with almost 900 years as a private residence of leading Spanish art institutions, including the Bishops of Durham. the Museo del Prado, as well as a research centre specialising in Spanish and Latin “For centuries, the gates at Auckland American arts and culture. The Zurbarán Castle had been closed to all but a few,” Centre for Spanish and Latin American she said. “When I arrived, few knew Art will be run by Durham University what lay beyond the Castle’s walls – a and has received a £600,000 award from spectacular Restoration chapel, a series Santander. of State Rooms designed by James Wyatt in the 1790s, and an unparalleled cycle of The Stage 2 HLF Grant of £9 million was paintings by Zurbarán. Over the past four awarded in 2015 to redevelop the historic years, we have been working to place the interiors of the palace designed by James palace back at the heart of the Bishop Wyatt, interpret the story of the Prince Auckland community.” Bishops and build a series of 10 galleries to create a museum exploring the history Clare was soon joined by Dr Chris Ferguson of faith and belief in the British Isles. from the Ashmoleon Museum as the leader of the curatorial department. Chris, Clare The project has also received substantial and a small team worked on developing donations of up to seven figures from 28

the Garfield Weston Foundation, the Professor of the History of the Church at Rothschild Foundation, The Linbury Trust, the University of Oxford. We are building The Jerusalem Trust and the Wolfson a core collection of star objects and Foundation amongst others. we are excited to be developing major partnerships, including with the British For centuries, “Our success in achieving one of the Museum and the Museum of Archaeology Auckland Castle largest HLF grants the North East of and Anthropology in Cambridge. We was a private home. England has ever seen alongside multiple have appointed lead architects Purcell The gates had been philanthropic gifts is allowing us to create closed to all but and Niall McLaughlin Associates to an exciting new venue for the research restore the Castle, and to construct a few, beyond the and appreciation of archaeology and art reach of generations a gallery wing of international quality of people living in history. To realise this we are recruiting architecture, in the space that will be some of the best and brightest from Bishop Auckland. displaying over 400 objects in 800 m2.” leading institutions across a range of disciplines,” said Dr Chris Ferguson. In April 2016 Dr Edward Payne (MA 2005, PhD 2012) flew over 4,500 miles to join In November 2015, Anna Harnden (BA Auckland Castle as the Senior Curator of 2008, MA 2009) joined the team as the Spanish Art, having previously served as Auckland Castle Senior Curator for the Faith Galleries the Meadows/Mellon/Prado Curatorial from a London-focused curatorial career, Fellow at the Meadows Museum in having previously worked primarily at Dallas, and the Moore Curatorial Fellow in the British Museum and the Wallace Drawings and Prints at the Morgan Library Collection, as well as directing a & Museum in New York. contemporary commercial art gallery. “After attending a conference on Spanish “When I read about Auckland Castle art in County Durham, I was impressed Trust’s aims for regeneration through by Jonathan Ruffer’s mission to establish a new centre for culture and arts in the Auckland Castle as a leading international North East, I was inspired. Having worked centre for the study and appreciation on Treasures of Heaven at the British of Spanish and Latin American arts and Museum, I realised how little people in culture,” he said. “The collaborative spirit Britain understand how faith and belief with a leading North East University and have shaped the world around us. Once The Bowes Museum, the research-led I learnt that ACT wanted to create a approach to the project, and the public- unique museum exploring the history of facing nature of the organisation all faith in the British Isles, I felt compelled inspired me to join ACT. I believe in the to be a part of it,” she said. “Our team (From left to right) mission and want to help see it realised.” Clare Baron, Anna of five are working from the narrative Harnden, Ed Payne. first developed by Jonathan Ruffer and ACT has acquired the Backhouse Bank © Auckland Castle Trust Reverend Professor Diarmaid MacCulloch, building on the Market Place, which will be transformed into a world-class gallery designed by the leading architectural practice Feilden Clegg Bradley Studios. Displaying artworks from Spain and Latin America, dating from the medieval to the modern period, the gallery will focus on the Spanish Golden Age in order to contextualize the Zurbarán series at Auckland Castle, in partnership with leading institutions like the Museo del Prado. Auckland Castle closed to daily public visits in September 2016 to allow for the restoration works. It will reopen in 2018, with the Faith Galleries and Spanish Art Gallery due to follow in 2019. More information can be found at www.aucklandcastle.org 29 The Courtauld News • Issue 39 • 2016 return to kurdistan 30

Return to Kurdistan Photographer Richard Wilding in conversation with Tom Bilson

n May 2016 London based producer its architecture, the ethnic diversity of and photographer Richard Wilding its people, and the current refugee mounted exhibitions of his crisis. We considered whether it was photography in the cities of Erbil the right time for an exhibition, but felt and Sulaymaniyah in the Kurdistan that it was important to celebrate the Iregion of Iraq. Included alongside his history and culture of the region, the contemporary colour photographs of resilience of its people, and its respect Kurdistan and Northern Iraq were black and support for ethnic and religious and white photographs taken in the minorities. The exhibition did however 1940s by the late Anthony Kersting, a reflect the events of the past two years, well-known photographer of British and as many of Kersting’s photographs depict European architecture whose archive was archaeology and architecture in and donated to The Courtauld on his death around Mosul that has recently been in 2008 and is now kept in the Conway damaged or destroyed by Daesh. I also Library. The digitisation and publication included my photographs of the refugee online of the collection is planned to take camps housing displaced residents of place as part of the HLF-funded activities Mosul and the Nineveh plains. within Courtauld Connects. Have you photographed the same What is the background to your locations that Kersting visited in recent exhibitions in the Kurdistan the 1940s? region of Iraq? Kersting first visited Northern Iraq and Over the past few years I have the Kurdistan region in August 1944, travelled extensively with Gulan, a UK travelling through Amadia and Dohuk, registered charity which promotes the then Mosul and the surrounding towns culture of Kurdistan, photographing and villages. He photographed the

Left: A Yezidi girl in Lalish, Anthony Kersting, 1944. Below: The late-Ottoman house of Muhammed Karim Agha Asaadi in the Erbil citadel, Richard Wilding, 2013. Right: A scene in the market in Erbil, Anthony Kersting, 1944 31 The Courtauld News • Issue 39 • 2016 return to kurdistan

ruins of the Assyrian cities of Ashur and Khorsabad, the Seleucid / Parthian city of Hatra, then Erbil and its magnificent citadel, before continuing south to Kirkuk. Kersting returned briefly in October 1946, when he photographed the Yezidi shrines at Lalish near Mosul, the Assyrian canal at Khinnis, the monastery of Mar Banham and the church at Qaraqosh. I don’t set out deliberately to replicate the same subjects, but sometimes it just happens. Kersting and I both photographed the Erbil Citadel, which claims to be the oldest continuously inhabited city in the world. The citadel dates back at least 6,000 years and sits atop an archaeological ‘tell’ or mound of A panorama of the accumulated archaeological layers that Kurdish town of rises 40 metres above the surrounding Amadia, showing plain. Kersting took many photographs of its magnificent the Yezidis who have been persecuted over defensive position, standing on a the past few years by Daesh. I have mountain plateau photographed their shrines at Lalish near precipitous on Mosul including one particular doorway three sides also photographed by Kersting. What are the principal differences between your photographs and those taken by Kersting? During Kersting’s time in Iraq there were still sizeable Jewish communities in many of the towns and villages. In several of his captions Kersting mentions Jewish shopkeepers. The tomb of the Jewish prophet Nahum in Al Kosh, which Kersting The entrance to photographed in 1944, has been partially the Yezidi shrine of destroyed and is currently in a very Sheikh Adi, Anthony Kersting, 1944 vulnerable position close to the front-line. Kersting also photographed the Christian communities in and around Mosul, including some of the world’s oldest monasteries. Many of these Christian communities are now displaced, living in IDP camps around the Kurdistan region. In Mosul itself, Kersting photographed Nebi Yunis, one of the twin mounds of ancient Nineveh and reputed to be the burial place of the prophet Jonah. It was destroyed by Daesh in 2014. The archaeological sites which Kersting photographed at Hatra, dating to the 2nd-century BC and Khorsabad, dating to Richard Wilding’s contemporary photographs exhibited alongside those 717 BC, were both destroyed by Daesh in taken in the 1940s by Anthony Kersting in the Erbil Citadel Cultural 2015. The status of Assur, dating back to Centre, Kurdistan, 9-13 May 2016. The exhibition was organised by 2500 BC, remains unconfirmed. Gulan, working with the High Commission for Erbil Citadel Revitalisation 32

What do you hope to do with this work in the future? I have given several illustrated talks in which I use my photographs to trace the history of the region from ancient Mesopotamia right up to the present day. This has developed an additional urgency and importance due to the recent crisis. Audiences here who have heard about the destruction of archaeology, the role of the Kurds in the fight against Daesh and the persecution of minorities like the Yezidis and Christians, are keen to learn and see more. Tom Bilson is Head of Digital Media at The Courtauld Amadia, Richard Wilding, 2015 More of Richard Wilding’s photographs can be seen on his website: www.richardwilding.com More information on Gulan can be found on their website: www.gulan.org.uk

The entrance to the Yezidi shrine of Yezidi man farming the land around his tent, Sheikh Adi, Richard Mamilian IDP camp, Aqrah, Richard Wilding, Wilding, 2015 2015

A survivor of the 1988 chemical weapons attack on Halabja remembers his family at an event commemorating the 25th anniversary, Richard Wilding, 2013 33 The Courtauld News • Issue 39 • 2016 Courtauld connects

The Heritage Lottery Fund awards £9.4m to transform The Courtauld

he Courtauld Institute of Art is Our commitment to expanding the delighted to announce that it understanding and appreciation of art is has secured a grant of £9.4m embodied through a wide spectrum of from the Heritage Lottery Fund complementary activities which illuminate (HLF) towards a major capital each other: teaching, research, curating, Tand programmatic transformation called conservation, exhibitions and public Courtauld Connects. HLF’s significant programmes. investment in and endorsement of The Courtauld Connects grows out of Courtauld’s future is a major milestone. Samuel Courtauld’s founding vision, With the HLF’s generous support, The and out of the expertise developed Courtauld is poised to launch its biggest by The Courtauld Institute of Art and programme of development since moving the Samuel Courtauld Trust over eight to Somerset House in 1989. decades. An ambitious £50m+ capital Stuart Hobley, Head of HLF London, said: and programmatic initiative, Courtauld “The Courtauld is home to one of the most Connects will transform The Courtauld’s outstanding art collections in Britain; our building in Somerset House, our funding will help to unlock these treasures collections, and our programming. It will by revitalising the “gateway” of its Somerset enable The Courtauld to engage with House site and re-energising their work with wider, more diverse audiences, locally communities outside the capital.” and nationally, and to build local and regional partnerships throughout the The Courtauld was established through UK. Ultimately, the reimagined Courtauld philanthropy in 1932 and Samuel will become an instantly familiar and Courtauld’s founding vision of art for cherished national resource. all remains of enduring relevance. 34

The ambitions of Courtauld Connects can the creation of a digital resource be summarised as follows: capturing visual and documentary sources about Somerset House; and a new • to transform The Courtauld’s historic Public Research Forum that will provide Somerset House building into an audiences nationally and internationally estate appropriate for contemporary with a platform for debate and knowledge audiences exchange about topical issues in the arts. • to improve Gallery, conservation and New partnerships are also being academic facilities, facilitating yet established with 13 cultural organisations deeper connections between curating, across the country, including Coventry, teaching and research Hull, Preston, Belfast, Braintree, Bolton, • to enhance the quality of the Holywell, Wales and Norwich, actively experience for students, staff and reconnecting The Courtauld to the people visitors of the towns and cities where Courtaulds Ltd once had a major industrial presence. • to excite new audiences and expand The Courtauld has already initiated a public engagement with The pilot project with the Herbert Art Gallery Courtauld’s collections, heritage, and Museum in Coventry, with which expertise and programmes it has shared an important group of • to contribute to the future sustainability Impressionist works by Edgar Degas. Vase of The Courtauld of Flowers by Claude Monet will travel to the Harris Museum and Art Gallery We are delighted to be working with in Preston and Dejeuner sur l’Herbe by Stirling Prize-winning architects Edouard Manet will also be lent to the Witherford Watson Mann on the project. Ferens Art Gallery in Hull as part of the Our facilities have not been significantly Hull UK City of Culture 2017. updated since we moved to Somerset House in 1989 yet the range and scope of The £50m+ Courtauld Connects project will our work has expanded significantly in the be completed in two phases. Phase 1 will last 28 years. Student and visitor figures focus on the West Wing and The Gallery have doubled and the demands on our with Phase 2 focusing on the East Wing. estate continue to grow significantly. Building work on Phase 1 is expected to As the gateway to Somerset House, it start in late 2018 and the whole project is is essential that our buildings support expected to be complete by 2021. our ambitions for the 21st century and A project of this scale and ambition reflect our position as a modern academic requires significant philanthropic institution and cultural destination at the investment and the HLF award is the latest forefront of contemporary dialogue about in a series of generous donations to the the visual arts. Witherford Watson Mann project. We are grateful to the HLF and to are developing a masterplan that will work the many other generous supporters who with the grain of our 18th century building have invested a total of £18.5m towards to carefully restore historically significant the £30m+ needed for Phase 1. spaces whilst transforming the access and experience of The Courtauld’s activities The Courtauld is testament to the power for all of our audiences. An interview with of philanthropy. It is also testament to the architects follows on page 35. the power of the connection between art and education. Now the time has come In addition to rejuvenating our physical to connect to new audiences and raise estate, Courtauld Connects will enable our institution to new levels of excellence us to engage with wider, more diverse by once again demonstrating the impact audiences, locally and nationally, through of art, education and philanthropy – all an inclusive programme of activity working together as a force for good. We inspired by our historic site. Our public look forward to updating The Courtauld programmes will be enriched, our community on these plans as they progress. extensive image collections will become more accessible, and our expertise will Hannah Joyce is Deputy Director of be shared more widely. This will include Development at The Courtauld the digitisation of images from The Courtauld’s extensive image collections; 35 The Courtauld News • Issue 39 • 2016 COURTAULD CONNECTS

Witherford Watson Mann Interview Meet the architects behind Courtauld Connects

tephen Witherford, Chris Watson Their redesign of Astley Castle for the and William Mann began their Landmark Trust won the 2013 RIBA Stirling collaboration nearly 20 years ago. Prize, the first house and the first restoration Beginning with a series of walks project to win the award in its 18-year history. through the outskirts of London, A sandstone residence built within the Sthey founded their company (WWM) in 2002. remains of an abandoned medieval castle, WWM displayed how historic buildings can Since then they have worked on projects be returned to their original purpose by all across the city including the redesign of integrating the modern with the ancient, the Whitechapel Gallery, Cromwell House in historic buildings can be returned to their the Barbican and the House of Illustration in original purpose. More can be read in Kings Cross. Williams Mann’s treatise ‘Inhabiting the Ruin’. 36

They are currently working with the Tell us why you took on Courtauld Olympic Park Legacy Company on Connects reshaping the East End and on the At the time expressions of interest from redevelopment of Elephant and Castle and architects were requested for the Courtauld the Bankside area. Connects project we were working on the In 2014 WWM were appointed as the design of The Gilbert and Ildiko Butler architects to design the The Gilbert and Drawings Gallery. A mutual friend of ours, Ildiko Butler Drawings Gallery for The who knew both the major donor for this Courtauld. The opening of the new gallery project as well as The Courtauld Gallery was a resounding success and hopefully team, had invited us to provide some initial a taster of what is to come later with thoughts for the gallery, a paintings store, on Courtauld Connects. the west mezzanine. Through the process of working closely with Ernst Vegelin, Head WWM are the architects leading the of The Courtauld Gallery, and Stephanie Courtauld Connects project. They have Buck, the Curator of Prints and Drawings, been working closely with staff and we gained an insight into both the culture of students to create a plan for the future of The Courtauld and the character of William The Courtauld. Chambers’ architecture.

How The Courtauld may look after Courtauld Connects 37 The Courtauld News • Issue 39 • 2016 COURTAULD CONNECTS

Architecture can suggest and support how people share spaces and this sense of openness to coming together is embodied in the character of the settings we make. Despite recognition of the value of this approach, the dominant culture in London leans towards personal and private interests.

The opportunity to think more and Human Rights Action Centre for comprehensively about the institution Amnesty UK. At that time Amnesty’s and its building was something that we staff were split over two separate were very drawn to. It was however a huge buildings and could not host or engage surprise to be awarded the commission their audience and members in the way for Courtauld Connects, the most they hoped to. significant we have undertaken to-date. With Robbrecht en Daem Architects Does Courtauld Connects have any we bound together the Whitechapel similarities to projects you have Gallery with the vacated old public worked on in the past? library next door, providing new galleries and teaching facilities that could be We are interested in people and ideas. experienced as part of a new whole. With Our strongest projects have involved us a project for the Landmark Trust at Astley working closely with an organisation or Castle we made a contemporary ruin, group to transform what they do, how binding the severely destroyed fortified they do it, or indeed who can join in, manor into a new house, a festive-house, through re-imagining the buildings and for people to share special occasions spaces they occupy. Courtauld Connects with close friends and family. In each relates deeply to what we care about case we have been able to re-imagine and shares important values with our existing buildings in a way that supports previous projects. The first building we the culture of an organisation and allows made, or perhaps un-made, involved the public to engage with this culture in a transforming two abutting old furniture more mutually beneficial way. factories in Shoreditch to create a home

©Philipp Ebeling

The Gilbert and Ildiko Butler Drawings Gallery designed by Witherford Watson Mann 38

Teaching a class in the new gallery

What is your view of what The more people the chance to learn with Courtauld means to people? you? In addition to this, we believe that The Courtauld is in a rare position to That is a very broad question. The make a greater impact on the public’s majority of people in Britain have no idea relationship with art. The Courtauld hosts what The Courtauld is. Some people will teaching, a world class collection and associate it with having an internationally the public in a single building, but these significant collection of art and holding three entities rarely interact. Museums, important small format exhibitions. A teaching institutions and regional galleries modest number recognise it as one of need to develop a different conversation the most important teaching institutions with their audiences. How do you learn in the world for exploring art history and to do this? How do you get access to the conservation of artworks. these broad audiences and learn through such encounters whilst you are learning What if we turned the question around a yourself? The Courtauld Connects project little and asked ‘What is your view of what will make this possible. The Courtauld could mean to people’? To that question we could imagine that if more people were able to engage with What are the pitfalls of this project? The Courtauld, both in your building It is important to understand that the and through regional collaborations and building itself will not deliver Courtauld programmes, then it could open up new Connects. The transformation of the audiences and more diverse exchanges building is simply the means to suggest of knowledge. Could The Courtauld and enable different forms of interaction launch an ‘A’ level in art history, to give and practice. We will do all we can to

The new gallery when it was the old paintings storage room 39 The Courtauld News • Issue 39 • 2016 COURTAULD CONNECTS

The Gilbert and Ildiko Butler Drawings Gallery designed by Witherford Watson Mann

skilfully adapt the building to support With projects including the the evolution of The Courtauld, but it will regeneration of Elephant and Castle, also be necessary for The Courtauld to Bankside and the Olympic Park you change in order to use the building more seem to be at the heart of London’s effectively. It is worth noting that in our cultural and physical redevelopment. experience this change is not instant. It How do you think London’s landscape will take time for the institution to adapt is changing? to its new environment. We have been very fortunate that our Which parts of the project are you interests in how a city might encourage particularly excited about? and support civil society have found relevance and opportunities for If we are successful architecturally the expression during London’s evolution building will provide much improved over the last 20 years. The projects you access, a significantly improved have noted are examples where we have environment to encounter art and been able to develop frameworks and important enhancements to the deliver early projects to help set the experience of teaching and learning at foundations for how these places could The Courtauld. The thing we find most evolve. How organisations and local exciting is the opportunity for visitors to groups choose to interpret and build on encounter the full breadth of activities these foundations remains to be seen. that The Courtauld undertake. Many visitors have no idea that on either side Architecture can suggest and support of the galleries are located teaching and how people share spaces and this sense conservation departments. The Research of openness to coming together is Forum develops fascinating debates embodied in the character of the settings and ideas, public programmes engage we make. Despite recognition of the young people and adult learners. If you value of this approach, the dominant know what exists behind the walls you culture in London leans towards personal know that you can join in and contribute and private interests. The affordability to these things. Perhaps the idea that of homes, places to work and transport is most exciting is the one out of which enables the greatest diversity of people The Courtauld was conceived – the to shape and share in the city. But the opportunity for students to learn with city that is being made around us is the collection. From its inception, the moving further away from these obvious collection and teaching have remained requirements. Financial disparity has spatially distinct and despite their increased and the opportunities to share proximity now, it seems that this founding within the city are decreasing. This places idea is only marginally practised. greater demands on our public spaces, Courtauld Connects can underpin this transport, parks, schools, markets, cultural idea and carefully open-up Chambers’ and teaching institutions and libraries architecture to allow audiences to to be places for the expression and encounter and interact with students to nurturing of public culture. their mutual benefit. Digitisation projects The Courtauld News • Issue 39 • 2016 40

The Witt Library and Harris Collection Digitisation Projects Tom Bilson on where the Witt went

ummer visitors to the Witt will recognition, and cross linking with have noticed the disappearance existing data resources such as the of much of the British School. Getty’s Union List of Artist Names It sits in the studios of Picturae (to which the Witt was a principal in Heiloo, a small town to the contributor). We are also taking great Snorth of Amsterdam where, thanks to the care to photograph every folder label, generosity of a private donor, it is being shelf and stack to preserve as much of digitised as part of Courtauld Connects. the physical character and familiarities of The inclusion of approximately 280,000 the library as possible, and to remind images chosen by birth date of the artist users that behind every image on the will produce a new digital resource of the screen lies a box with a tangible history works created from 1200 to well into the and presence of its own. The project is 19th-century. supported by Matthew Cheale in the role of project officer. The Witt boxes were Our approach to digitisation and returned to The Courtauld on cataloguing in this pilot project has 22 October, with the digital collection been pragmatic: users of the Witt online presented online early in the new year. will be presented with an alphabetical (and searchable) list of artist names, To complement the digitisation with virtual folders arranged under we are currently mid-way through each, corresponding with folders a tendering process for a new exactly as in the library. Both the front collections management system for the and (where necessary) back of mounts photographic collections which will be will be photographed in high resolution, able to also accommodate the Conway, whilst speed and efficiency will be Laib and Kersting images to be digitised gained by restricting cataloguing to by volunteers working in house under boxes and folders only and, eventually, HLF funding. by employing tools such as image A smaller but no less significant project A fragment of 18th-century silk is running concurrently to digitise the brocade from the Tomás Harris collection of textiles. Harris Collection of Presented to The Courtauld in his textiles memory by his sisters in 1972, and formed by his father Lionel, it comprises over 900 pieces, which he described as ‘a wide range of woven fabrics, mostly Spanish, Italian and French origin, including rare samples of velvets, silks, damasks, brocades, brocatelles & tissues woven with gold and silver threads, tapestries and carpets illustrating designs and methods of weaving from the early 15th century to the end of the 18th century’. The collection is now being photographed in house by Séan Cotter, with the support and advice of Rebecca Arnold and Katie Scott. Its publication online, like the Witt, awaits the new collections management system and is also timetabled for early 2017. 41 The Courtauld News • Issue 39 • 2016 a manet to hull

A Manet to Hull Karen Serres and Maureen Cross on the recent Manet restoration

The painting at various stages of removing the varnish

he display in Paris in 1863 of outreach programme, a conservation Édouard Manet’s Le Déjeuner treatment was proposed. To undertake sur l’herbe (now in the Musée this project, Dr Maureen Cross, d’Orsay) is often described as a paintings conservator and Lecturer founding moment in the history in the Conservation and Technology Tof modern art. Rejected by the artistic Department, was awarded a generous authorities for the annual Salon because grant from the Clothworkers Foundation of its strange subject matter and loose and took a sabbatical from her teaching handling of paint, the work was exhibited duties to research and treat the independently and caused huge painting. The removal of the varnish controversy among critics and the public. revealed a luminous painting but also The juxtaposition of clothed men with a a very sketchy rendering. The paint is nude but unidealised woman shocked thinly applied in loose brushstrokes and viewers, as did the absence of narrative in many areas, the ground is visible. It and the broad brushstrokes with which will appear very different to those who Manet had laid out his composition. have been accustomed to seeing it in its yellowed state for the past half century. A reduced version of this famous The painting is now back on display in composition was purchased by Samuel the galleries and is heading to Hull in Courtauld in 1928 and is now in The April 2017. Kirsten Simister, Curator of Courtauld Gallery. It has, however, long Art at Ferens Art Gallery says ‘Bringing had an uncertain status: purchased as the Manet to the Ferens will offer our a preparatory work for the large Orsay visitors something very rare and special, canvas, it was later described as a replica providing a major highlight within our made by the artist for a close friend. This ambitious programme as part of Hull’s uncertainty was in no small part due to UK City of Culture celebrations in 2017.’ the painting’s condition: a heavy varnish had been applied in the first half of the It will also have a new label as the 20th century and had, over the past 70 technical examination has revealed that, or 80 years, yellowed so much that it instead of a replica, it is likely that the obscured the artist’s hand. painting is indeed a large preparatory sketch, executed by Manet as an aid at a In preparation for the loan of the painting critical time in his painting process, when to the Ferens Art Gallery in Hull as part he decided to modify quite drastically of The Courtauld’s ongoing regional the composition of his large painting. Degas’ dancers in coventry The Courtauld News • Issue 39 • 2016 42

Degas’ Dancers in Coventry The Courtauld returns to its roots

nother project in The Courtauld’s regional outreach programme has been the loan of Degas’ Two Dancers on a Stage to Athe Herbert Art Gallery and Museum in Coventry. The 1874 masterpiece was presented alongside a large charcoal drawing and two sculptures which were also from the collection. Chris Kirby, Director of Collections at the Herbet said ‘The generous loan of the Degas artworks by The Courtauld to the Herbert was a catalyst for positive ©Herbert Art engagement in the arts with the people Museum & Gallery of Coventry. From a performance by young ballet dancers in the gallery to The Degas collection of Impressionist and Post- sculptures on Impressionist paintings including Manet’s a visit by M. Degas himself (as played display by our learning officer), the painting A Bar at the Folies-Bergère, which he created strong public interest and a bought for £23,000 in 1926. He was also sense of local pride in the connection to an avid collector of Cézanne, despite the Coventry’s Courtauld factory.’ unfavourable view held of the artist in this country at the time. Having seen one Whilst The Courtauld has always been of his landscapes at Burlington Fine Arts committed to making its collection as Club in 1922 that had been rejected by widely accessible as possible, the loan of the Tate Gallery for an exhibition he ‘felt these works and of the Le Déjeuner sur the magic (and has) felt it in Cézanne’s l’herbe have set a new context for The work ever since’. Courtauld’s relationship with regional institutions and audiences based upon Courtauld’s interest in art was not limited areas where Courtaulds Ltd once had a to private collecting. He was a trustee of major industrial presence. the Tate Gallery from 1927 to 1937 and of the National Gallery from 1931 to 1947. This loan of Two Dancers on a Stage Upon the death of his wife in 1931 he builds upon the strong historical ties The Herbert Art endowed The Courtauld Institute with Gallery and Museum between The Courtauld and Coventry. In Home House in Portman Square and a 1904 Courtaulds Ltd acquired the patents vast part of his collection which forms the for the production of an experimental basis of the Gallery’s collection today. new textile material called viscose (or rayon) and purchased land at a site in As well as Coventry and Hull, The Foleshill to develop this project. By 1925 Courtauld will also be partnering with the plant employed 4,720 people, many galleries and museums in Belfast and of them women and a further 1640 were Preston. A second strand of this project, employed at Nuneaton. By 1938 11,500 entitled People and Places, will focus on people were employed by Courtaulds in local history societies, smaller museums the Midlands area. Production at Foleshill and FE colleges. By focusing on these only ceased in 2007 and the enduring areas The Courtauld will revive century- social and economic impact caused by old relationships whilst allowing regional Courtaulds has been felt by many. audiences to see masterpieces from the collection of a great and generous man. The wealth generated from these factories allowed Samuel Courtauld, For more information on regional who became chairman of the Company activity visit: www.courtauld.ac.uk/ in 1921, to develop his magnificent gallery/gallery-blog 43 The Courtauld News • Issue 39 • 2016 DOCUMENTING FASHION

Documenting Fashion The Rebecca Arnold on how to get Courtauld 46,000 Instagram followers Shop hen we started our Instagram account Visit the new Courtauld Shop 18 months ago website at courtauldshop. we could not have com. Receive a 15% discount imagined where it on online purchases using the Wwould lead us. Since then, we have code AL1. amassed over 46,000 followers – a The Courtauld Shop is now number that continues to grow doing Click and Collect for each day, posted over 1800 images those who would like to save on and gained lots of interesting delivery costs. You can order new friends. We post three or The Documenting Fashion Instagram page your item to the Shop and pick four images per day, each with a it up on your way past. carefully composed caption, to and start conversations with past, encourage viewers to think about present and future students. The Courtauld Shop an aspect of the image, the sitter, a Giveaway particular artist, and of course the This openness has also led us to impact of the dress depicted. meet so many fascinating people Follow @courtauldshop on – some online, and some in real Instagram and tag us in a post Our feed has become a place to life. We have connected to an for a chance to win. Be sure share images my students and I international community of like- to feature your favourite art- like, to post images of paintings minded art and dress historians, inspired gift. from The Courtauld Gallery, and photographers, illustrators, textile also to foreground items from designers, collectors, and people the History of Dress Collections. who just love fashion. This has During term time the students show initiated so many fascinating photographs from their visits – most discussions and collaborations. memorably a visual diary of their We are especially excited that New York study trip in February, leading fashion illustrator Richard when they shared images including Haines has become a good friend their time at the Condé Nast to us, after we connected through archive, the Museum at the Fashion a shared love of Cocteau, Renoir Institute of Technology and looking films, and, of course through our at the amazing garments in the admiration for his wonderful, Museum of the City of New York’s kinetic drawings of dress – on storeroom. We also link our content the street and in the salon. This to our Documenting Fashion blog friendship has sparked many where we can pick up threads from wonderful conversations, which our feed and write about our work we are thrilled to tell you has led and ideas in more depth. to Haines joining us in February Instagram enables us to work as Visiting Artist. So we hope that together as a group to explain some of you can join us at the and share our love of dress events he will lead to enrich our history – through images, and Instagram community even more. through our short captions Dr Rebecca Arnold (MA 1993) that also demonstrate our is the Oak Foundation Senior commitment to visual analysis. As The prize includes: an Lecturer in History of Dress & such, our feed acts as a window official 2017 Courtauld Textiles at The Courtauld into the work we do at The Gallery calendar, Farrah’s of Courtauld, and the experience Follow us: Harrington gourmet Stem of studying here. And, through @documentingfashion_ Ginger biscuits, and a copy of the comments and messages we courtauld Dr. Rebecca Arnold’s receive, we can keep in touch 30 Second Fashion. ARTS AND MENTAL WELLBEING The Courtauld News • Issue 39 • 2016 44

Arts and Mental Wellbeing Elizabeth Morrow tells us about CoolTan Arts, an award-winning mental health charity in South London which harnesses the positive effects of creativity workshops in a range of topics – from visual arts, poetry and app-building, to yoga, cooking and gardening. We work closely with primary care services to offer a personalised wellbeing service, volunteering opportunities and a Self Advocacy course which empowers people to take control of their lives. By providing a friendly, safe space for expression, and credible opportunities for personal and professional development, we teach sustainable ways for people to handle Elizabeth (left) with their mental health. The vast majority of other CoolTan staff participants say it keeps them well, out of members hospital, and many progress to training, education or employment. Art is really at the heart of improving wellbeing at CoolTan. We stage several exhibitions every year at our onsite Visual art workshop gallery, run the CoolTrade shop selling at CoolTan Arts prints and designs, and collaborate with other festivals and events such as Liberty ental health is very much in Festival, Sotheby’s, V&A and Affordable the public eye right now, Art Fair. These platforms encourage and with needs increasing, further discussion around ‘Outsider Art’, the options for non-medical, and promote the artists, whose talent holistic services to help is so impressive and speaks for itself. Mpatients back on the road to recovery, such CoolTan continues to explore how best to as art therapy, are in demand. CoolTan Arts address mental health through the power is an award-winning charity with a 25 year of creativity, by working with professional history of working in arts and mental health, artists with severe mental health conditions and I’m thrilled to have recently started like Kim Noble; by making our own offering my experience and understanding colouring-in books; or using art to tackle of art to this beneficial cause. contributing factors in mental ill-health The Courtauld Postgraduate Diploma such as gender, sexuality and race. was a brilliant year, and offered unique CoolTan began life as squats in a suntan immersion into London’s art world. After lotion factory in Brixton and now helps graduating I threw myself into a myriad of more than 2,000 adults each year. This roles, unsure of where I wanted to turn, but year we launched a digital book of archival knowing I wanted to give something back. materials to celebrate our 25-year journey. I came across CoolTan when I was living In a precarious funding environment, we’re in Southwark, one of the most deprived hoping to continue providing support boroughs, with mental health needs higher to the artists, some of whom have been than the national and London averages. attending CoolTan for many years, and As it’s a small organisation I wear various for whom creativity is not only therapy but hats for my role as Communications and their passion. Volunteer Officer, including programming. Elizabeth Morrow (PG Dip 2011) is the CoolTan is a community arts centre where Communications and Volunteer Officer people can socialise and do creative at CoolTan Arts 45 The Courtauld News • Issue 39 • 2016 STUDENTs’ UNION

s A Level results day drew round and once again the news was filled with tense shots of closed envelopes, flurries of paper being thrown Ainto the air and pictures of head teachers jumping off low walls, I couldn’t help but be reminded of how far I’d come in the past four years since I was one of those students anxiously awaiting to hear if I’d gotten into the university of my dreams. As fate would have it, I hadn’t. However, it was not for lack of effort or grades, but rather I had not yet found it. Simply put, I had never heard of The Courtauld, let alone become obsessed with becoming a part of it as I would find out that year, I totally was. As I rejected all my offers and slowly made my way about the agonising reapplication process, I would never have believed that it would all be worth it. That the following year I would be enrolling at The Courtauld and that three years after that, I would be sitting in my own office, President of The Courtauld Students’ Union. Welcome from the Students’ Union President Tennessee Williams on her time at The Courtauld and plans for the future

I have had an incredible time studying at The Courtauld. Here I was offered the opportunity to study some of my favourite subjects – 20th century fashion photography and Dutch still lives – whilst also becoming obsessed with others – Persian architecture and 46

medieval manuscripts – which I would to improve students’ access to mental have dismissed a year or two prior. health and wellbeing advice and facilities. During my time here I was generously According to Student Minds, over 25% of invited to see the inner circle of the art young people who enter higher education world and now, to my great surprise and experience psychological distress, making Simply put, I had delight, I find myself a part of it, finally it crucially important that Students’ Unions never heard of the take an active role in promoting their Courtauld, let alone in a wonderful position to affect real become obsessed change and adapt the way we work. services and raising awareness of mental with becoming a illness and wellbeing. By offering a clear Since becoming President our famously and confidential service, I hope to ensure part of it as I would eclectic Freshers’ Week has been taking find out that year, I that all students feel they are given the totally was. most of my time! Instead of foam parties support they require or complain if they at enormous student clubs, Courtauld feel there is a lack. Freshers’ prides itself in being more of a taster week into the absolute best In order to raise our profile to the outside London has to offer, this year being no world and alleviate just a little of our exception! Freshers’ Week 2016 took our notable mystique, I have recently been students to all corners of London – from working in conjunction with a number exclusive cocktail bars and private film of other small and specialist London screenings to a party in a 1920s barge on universities and the NUS in the hope of the Thames. creating a small and specialist Union. Here all universities involved can pool Now Freshers’ Week is out of the way, their resources, giving all of our students I look forward to working on a number a fantastic opportunity to meet other of my more long-term plans. My first students from across the city and to take point of call is improving the visibility, part in numerous events and societies clarity and transparency of the Union we couldn’t otherwise offer – talk of an and promoting its activities to students, intercollegiate football league would both current and prospective. Thanks certainly be one to look out for! to the great groundwork laid out by my predecessor, Greg Wilkinson, who The promise of intercollegiate events and set up the Students’ Union website parties isn’t all we have to look forward (courtauldsu.com), I am able to use this to however! Over the year the Union will platform along with our growing social host a full programme of events, with media accounts to keep everyone up to regular bar crawls, game nights and pub date with Union activities and student quizzes and not forgetting our unmissable issues. This I hope will create a lively Winter and Summer Balls. Our growing forum for discussion, information, news numbers of societies are also set to have and advice that is clear and easy for a jam packed schedule, ensuring that all students to access and take part in. students from across the years are fully In conjunction with this, I also intend enriched should they need to take a break to use these platforms to make the from the library. internal working of the Union clear The next year will pose a challenge I’m and visible to all. Here I will distribute sure, but I couldn’t be more excited to the minutes and agendas of Union fully engage with the new cohort who Committee meetings and allow I saw accepting their offers on the discussion and feedback. This I hope news and to get the next year off to a will make all members of our community flying start! feel they are getting their voices heard and their rights stood up for. For more information about the Students’ Union visit www.courtauldsu.com One of the key reasons I believe the Union requires more internal visibility is 47 The Courtauld News • Issue 39 • 2016 East Wing: Artificial Realities

East Wing Artificial Realities by Kamala Lucas

Paul Hawdon Tuscan Landscape, 2008

Filippo Minelli, Shape US A/W-B, 2014

Yonatan Vinitsky, The Introduction (Yoo-Hoo), 2011

Megan Geckler, Hallucinate and Tranquilize, 2016’ 48

rtificial Realities, which opened in January 2016, is the twelfth edition of the student-run East Wing Biennial. The exhibition Aaddresses the often ambiguous relationship between what exists and what is merely a projection of the mind. It shows how the perception of material Oliver Schwarzwald, reality can be influenced by the artist. The Hurdle, 2008 exhibition is transformative, engaging the viewer with the creator’s conceptions of reality. Seminar rooms, staircases, and transitional corridors throughout Institute have been reimagined, resulting in an art experience that not only inspires visitors, but enlivens the day-to-day activities of students and staff at The Courtauld. This exhibition plays host to over thirty UK and internationally-based contemporary artists – from Jacob Hashimoto to Antony Gormley. It brings together the work of well-established names and emerging artistic talents in one unconventional exhibition space. The works have been curated into several sub-themes (‘Traces of Memory’, ‘Falsehood & Fiction’, ‘Selected Paths’, and ‘Alterations in Light’), each big enough in itself to merit an entire exhibition. However, each effectively contributes to the collective overarching theme. A number of artists worked on site-specific pieces for the exhibition, creating more immersive experiences that challenge the perception of familiar spaces. Megan Geckler’s installation, Hallucinate and Tranquillize, is a vortex-like arrangement of coloured flagging tape winding its way up the back staircase, from the basement to the top floor. Depending on the vantage point and the ever-changing effects from the skylight above, this work reinforces how space can be viewed psychologically and materially. Further immersing the viewer in this experience is Anastasia Brozler’s scent installations. As one descends the staircase, the light and fresh scent of Utopia plunges into the decomposed and fruity essence of Dystopia. Kamala Lucas is a final year undergraduate and the Head of Maintenance and De-installation for the current East Wing exhibition For more information visit the East Wing website: eastwingbiennial.org 49 The Courtauld News • Issue 39 • 2016 TEDxCourtauldInstitute: Connections

TEDxCourtauldInstitute Connections Rebecca Morris tells us about this year’s event and the plans for 2017

Peter Liversidge’s Sign Paintings 50

his year’s TEDxCourtauldInstitute College London’s Great Hall (where we event, Breaking the Rules, held the event thanks to King’s generous was inspired by Somerset sponsorship) creating an immersive House’s ‘Utopia’ programme performance space for the speakers to which celebrated the 500th project their ideas on breaking the rules Tanniversary of the publication of Thomas and theories of utopia. More’s eponymous book. We asked For TEDxCourtauldInstitute 2017 we speakers and attendees to reflect what are building from the successes of two it means to dare to do things differently particular speakers this year: Courtauld and dream of change, be it for better faculty member Dr Sussan Babaie who or for worse and, if we break the rules gave a fascinating and engaging talk on of the present moment, what could the how the Gallery’s 14th-century Iraqi metal future hold? bag can inform contemporary thinking Breaking the Rules featured talks from surrounding Islam and Courtauld alumna a wide variety of speakers including Marie Naffah who performed her single King’s College London’s own Dr Richard ‘Blindfold’ and spoke about how working Howells who questioned the importance alongside visually impaired youths had of aesthetics and beauty in the creation affirmed her belief that disability does of objects; musical storyteller Jack not obstruct talent or creativity. Flash spoke on how his unconventional Having Courtauld alumni and staff approach to getting into the music talk at our event set in motion the industry; Jane Powell, CEO of Campaign idea for our 2017 theme, entitled Against Living Miserably (CALM), led a ‘TEDxCourtauldInstitute Connections’. powerful and eye-opening discussion on We are aiming to reconnect with The what it means for us as a society and as Courtauld Institute, by featuring talks individuals if we continue to ignore the from more staff and students and alumni serious, growing problem of male mental than previous years and examining The health; and Professor Anne Phillips of Courtauld community’s relationship with LSE’s Gender Institute and Government a global audience. At this particularly Department discussed the myth of important time for The Courtauld, we equality and asked if it is the utopian felt it was important to be not only ideal of our time. introspective but outward-facing and This year we were also joined by Peter ambitious. Liversidge as our ‘Artist in Residence’. Peter, who has previously worked with Rebecca Morris is a final year Tate Modern and the Whitechapel undergraduate and the Head of Gallery, brought his ‘Sign Painting’ TEDxCourtauldInstitute concept to TEDxCourtauldInstitute. To find out more about Alongside a group of student volunteers TEDxCourtauldInstitute he created dozens of cardboard signs please visit our website bearing apolitical messages such as www.tedxcourtauldinstitute.com ‘Close your eyes and you can almost feel or email us at [email protected] it’, ‘The only time this had happened’, and ‘Walking in shallow water’ using the Somerset House Riverside Rooms as his studio. These signs were then hung from frameworks around the walls of King’s 51 The Courtauld News • Issue 39 • 2016 publications

The House of Dreams by Kate Lord Cornelius Johnson by Professor Brown (BA 1994). In 1940, an international Karen Hearn (MA 1990) is a long overdue, group of rescue workers and refugee fully illustrated, publication exploring intellectuals and artists gather in the the life of 17th-century Cornelius beautiful old Villa Air-Bel just outside Johnson. With 72 pages, and 55 colour Marseilles. American journalist Varian Fry illustrations, this book beautifully and his remarkable team at the American illustrates Johnson’s life-time of work, Relief Center are working to help them found in almost every British public escape France, but “the greatest man- collection. Born in London in 1593, the trap in history” is closing in on them. At artist went onto train in the Netherlands the House of Dreams, a young refugee but returned to London around 1618, artist, Gabriel Lambert, changed the however he later migrated to the course of his life and now, sixty years Netherlands at the age of 50. Research later at his home in the Hamptons, the for the book revealed new information truth is finally catching up with him. about Jonson’s life in the Netherlands where he remained till his death as a Brown is an internationally renowned wealthy and successful man. author and in 2014 her previous novel, The Perfume Garden (2012), was Paul Holberton Publishing shortlisted for the Romantic Novel of the year. Thomas Dunne Books Publications 52

Grief is the Thing with Feathers Inquisitive Eyes by Gwen Yarker by Max Porter (MA 2004) is a warming, (MA 2000) takes a fresh look at British poetic and surprisingly humorous novel landscape works of the early twentieth that takes the reader on a journey of century. Yarker exposes the importance healing. Grief is a shared experience we of the sloping hills and worn coastlines all encounter throughout our lives, at of Purbeck to the Edwardian painters times uncontrollably. This novel tells a associated with the Slade and New story of a father, a Ted Hughes scholar, English Art Club. A key aspect of the and his two boys and their grief over book is John Everett, a Dorset painter, the loss of a loved one. Over time they and friend of Thomas Hardy, who begin to piece their lives back together welcomed a number of the Slade staff with help from a visitor: a crow. The and students to Dorset. narrative creates a rollercoaster of The book is a lost chapter in British emotions, together with a mythical-like art which brings overdue attention to quality and a warm spirit. Grief is the Purbeck and the artist colony, and the Thing with Feathers was shortlisted for desire to expand the boundaries of art, The Goldsmiths Prize 2015 as well as the particularly British landscape painting. Guardian First Book Award 2015 and was winner of the Dylan Thomas Prize 2016. Featured painters include Vanessa Bell, Charles Conder, John Everett, Roger Fry, Faber & Faber Augustus John, Helen McNicoll, William Orpen, Philip Wilson Steer and Henry Tonks. Sansom and Company Publications 53 The Courtauld News • Issue 39 • 2016 publications

Pious Memories: The Wall- Toledo Cathedral by Dr Tom Nickson mounted Memorial in the (MA 2005, PhD 2009). Concentrating Burgundian Netherlands on the early thirteenth to the late by Douglas Brine (BA 1998, MA 2000, fourteenth century Toledo Cathedral is PhD 2006) studies wall-mounted the first of its kind to analyse in depth memorials (or ‘epitaphs’) and their the development of the cathedral in significance for early Netherlandish urban areas and the subject matter art. Usually installed above graves itself. Nickson places the Toledo’s to commemorate the dead, they cathedral centre stage and highlights its take the form of relief sculptures, significance, not only to the city itself, panel paintings or brass plaques. On but also in terms of medieval art and occasions, artists like Jan van Eyck and architecture. In doing so it expands the Rogier van der Weyden were closely boundaries in which the narrative of involved in the creation of memorials. Toledo Cathedral fits into the art world Brine examines these works in relation and medieval Spain. to commemorative practices and the Penn State University Press culture of memoria. Brill

Publications 54

CREATIVITY: Nature and Us A Potted History: Henry Willett’s by Dr Bo Jeffares Sekine (MA 1972) Ceramic Chronicle of Britain Inspired by the beauty of Mother Earth, by Stella Beddoe (BA, 1976) presents Sekine takes us on a journey of discovery a unique collection of British pottery weaving together everyday life and and porcelain gathered in the late 19th nature. Symbols and elements of the century to tell the history of the British surrounding earth are brought to our people. Around 2000 objects, made attention and demonstrate a greater between 1700–1900, are catalogued metaphysical connection between the and fully illustrated in colour. They earth and ourselves. We are exposed to include figure-groups and busts, drinking a different insight of the world by viewing vessels, flatware and tiles, modelled the beauty of nature through an artist’s and decorated with narrative subjects. eyes. Sekine provides us with a deeper Beddoe endeavours to account for sense of being and responsibility for the potters’ choice of events and mother earth and her welfare. After all, personalities portrayed with evidence we are one. for their appeal to an increasingly sophisticated population. The book is Bo’s Books organised into 20 chapters by historical theme; political, social and cultural, respecting Willett’s own system. While the first chapter ‘Henry Willett, The Man and The Collection’ explores the collector’s life, the rest range from Royalty and Loyalty’, ‘Soldiers and Sailors’, ‘England and France’, to ‘Crime, Architecture and Domestic Incidents’ – everyday life from the cradle to the grave. PublicationsAntique Collectors’ Club T

55 The Courtauld News • Issue 39 • 2016 THE Caroline Villers Research Fellowship

The Caroline Villers Research Fellowship in Technical Art 2006-2016

by Robert McNab

stablished in 2006, the Caroline its present eminence. The founder of the Villers Research Fellowship will Fellowship, Edwina Sassoon, told Caroline appoint the latest in a series she would establish the Fellowship in of scholars invited to explore her memory and is the outboard motor an aspect of technical art that has kept it going and ensured its Ehistory. The Fellowship was established extraordinary success. Together the in memory of Caroline who died in her Trustees can take pride in the wide range prime, while Head of the Institute’s of Fellows appointed by the Institute. Department of Conservation and Can a Fellowship be a form of Technology. She was widely recognised portraiture? Yes is the answer, along the for her contribution to the field of lines of the motto on the Great Seal conservation, to the International Institute of the United States, E Pluribus Unum for Conservation (IIC), and was vice-Chair (out of many one). Caroline had an ever of ICOM-CC, the International Council of expanding range of interests, congruent Museum’s Conservation Committee. Her with her origins, Polish, Jewish, Catholic, final achievement, which she knew she Colombian, New Zealand and British. would never see, was the international We visited Palaeolithic caves together to conference Trade in Artists’ Materials gape at rock art, scrambled to examine - Markets and Commerce in Europe to flaking murals in desolate Cretan chapels 1700. Hosted by the National Gallery and (her first exercise as a conservator was The Courtauld, the event was so timely a Greek icon), she loved the pictures and popular it had to expand by video of Barnett Newman, the work of Van link from its original venue in the National Eyck, manuscript illumination, Antarctic Gallery’s ample theatre to Somerset exploration, and even enjoyed football. House to accommodate the throng of Her latest interest was glass. This participants from all over the world. broad range is reflected in the subjects The Trustees of the CVRF knew Caroline addressed by CVRF scholars: Ice age well, some as friends dating from their art, Rubens, wall painting in Sri Lanka, student days at The Courtauld in Home the use of masking tape, patterns of House. We’ve watched each other change; use on European medieval manuscripts, Susie Nash and Joanna Cannon are now stretcher merchants, the recycling of junk Professors. Patricia Rubin is now Director as art. of the Institute of Fine Arts New York; The range of topics covered by the David Bomford moved from the National Fellowships has been wide and reflects Gallery to the Getty and from there to the Caroline’s alert and eclectic character. Museum of Fine Arts Houston, as Director Their variety echoes her own varied of a new Conservation Department that interests and singular gaze, and from Caroline would have relished visiting. Aviva them you get a hint, E Pluribus Unum, Burnstock, whom I first met when she of a quick wide open mind, based on was Caroline’s student, is her successor stringent observation. The Fellowship as Head of Department. The Trustee who reminds us of the person we knew and made Caroline laugh more than anyone offers a glimpse of her for those who else ever did, and whom she considered today may only know her as a name. one of nature’s most gifted conservators, is her colleague ‘RBG’, Sir Robert Bruce- A full list of Fellows and their work is Gardener. Over a period of thirty years she available on The Courtauld Institute of and Robert steered the Department to Art website T

THE Caroline Villers Research Fellowship 56

Caroline at work 57 The Courtauld News • Issue 39 • 2016 Facing the future

Facing the Future Lara Frentrop on the new Friends Lecture Series

acing the Future: Museums and interests co-exist and, perhaps, compete. the Next Generation is a new The museum directors from across the series of monthly lectures and UK and abroad speaking at Facing the discussions at The Courtauld, Future will consider these and other organised by Martin Caiger-Smith issues, reassess the role of the museum Fand Professor Deborah Swallow, involving in society in the mid-21st century, and museum directors from across the UK and discuss their own views, plans, and beyond. The series aims to spark a lively aspirations for the future. exchange on the issues facing museums, and those who lead them. Lara Frentrop is the Research Forum Administrative Assisstant and Associate The last few years have seen a number Lecturer of high profile appointments in the leadership of museums. A new generation of museum directors Confirmed dates and speakers are: has come to the fore at a time of unprecedented opportunity and change. 9 November 2016: Frances Morris The challenges they face are many: how (Director, Tate Modern) to re-purpose or extend existing museum 5 December 2016: Nicholas Cullinan buildings; how to attract new audiences (Director, National Portrait Gallery) and engage existing ones at local, 6 February 2017: Gabriele Finaldi national, and international levels; how (Director, National Gallery) to serve artists and conserve art, rethink 7 March 2017: Maria Balshaw the purpose and range of collections and (Director, The Whitworth and Manchester City Galleries) programmes, and face the digital future; and how to secure and increase funding Friends of The Courtauld receive priority booking. in an increasingly tough and complex Become a Friend to secure your place on the talks. environment, in which public and private ANNUAL BOOK SALE The Courtauld News • Issue 39 • 2016 58

Courtauld Annual Book Sale An exceptional year means more support for students reports Gregory Wilkinson

his year’s Annual Book Sale was our most successful ever due to a very generous donation from the estate of Brian Sewell who sadly passed away last year. This Tdonation, which amounted to over 10,000 books, was an enormous part of Sewell’s collection and traversed every period of art history with particularly rich sections on Italian Renaissance, Post-Impressionism and Surrealism. With prices ranging from £1 to hundreds, the Sale was accessible to everyone from students to collectors. The total raised this year was £40,033. This more than doubled the take from last year and broke the previous record of £33,000. Our conscientious team of volunteers, led by Eva Marie Barker and Niccola Shearman, worked around the clock to run the Sale. Our volunteers came from all realms of Courtauld life, from those who have been running the Book Sale since it began several years ago to those who have only just begun their studies. The Sale united students, staff and alumni in a colossal effort to collect, price, present and sell the 15,000 books that were donated. Through their efforts the Book Sale has transformed over the last few years into one of London’s literary highlights. We would like to thank Professor David Solkin, Sir Nicholas Penny, Sir Nicholas Serota, Neil MacGregor, The Paul Mellon Centre, Alan Cristea Gallery, Daniel Katz Gallery, Paul Holberton Publishing and Yale University Press for their sizeable contributions to the Sale. We would also like to thank Jane Ferguson, who originally founded the Sale, for all of her support. All of the proceeds from the Sale fund student travel scholarships for Courtauld students. Last year the scholarships were used to study in countries all over the world including India, China and Uzbekistan. The amount raised this year enables us to look at supporting the students in additional ways including the possibility of setting up a new Hardship Fund. Gregory Wilkinson (BA 2015) is the Alumni Relations Manager at The Courtauld 59 The Courtauld News • Issue 39 • 2016 Masterpiece Advertorial

Masterpiece London The Curator’s Choice Nazy Vassegh, Chief Executive Officer of leading London art fair Masterpiece London, talks to The Courtauld News about the breadth of historically Colossal Head important works available for sale at the fair. of a Goddess Plus, why museums are making ever more (Hellenistic, c. mid-second acquisitions at Masterpiece century BC) 60

useums and fairs plot very Each year we see a steady increase in different courses within the number of museums attending from the art world. Museums around the world, testament to the reverently preserve, curate calibre of works brought by exhibitors and present our cultural but also to our stringent vetting process Mtreasures, for public appreciation and that builds trust between parties. An critical enquiry. Art fairs can do this too international team of 160 experts inspect but they are principally commercial every item available for sale to ensure events, bringing together a global that visitors – whether they are curators, community of buyers and sellers to learn, seasoned collectors or just starting out – admire and ultimately do business. can buy with confidence. I have always thought of Masterpiece The 2016 edition welcomed over 200 as a collection of mini museums. The museum professionals, with reports of works presented at the fair may be for sales filtering through from the opening sale but they often bear significant art night. The British Museum, the V&A and historical importance. Swirling crowds The Metropolitan Museum of Art have of collectors and curators flit between reported past acquisitions, alongside a newly rediscovered Van Dyck to a institutions ranging from universities to cubist masterwork by Juan Gris; bold national galleries. Modern British sculpture by Lynn Luke Syson (BA 1987, PhD 1995), Curator Chadwick looks out over an apartment for European Sculpture and Decorative steeped in Parisian elegance. Where Nazy Vassegh, Chief Arts at The Metropolitan Museum of else could you find a carefully curated Executive Officer of Art, says that the fair provides the most display of contemporary Japanese Masterpiece London elegant imaginable setting for serious abstraction hung from 15th-century treasure hunting – after purchasing Italian wood panelling, punctuated with two pieces that will be seen in their idols from antiquity? new British galleries when reopened in 2018. Tessa Murdoch, Deputy Keeper of Sculpture, Metalwork, Ceramics and Glass at the V&A, spoke highly of the opportunities to learn from collectors, dealers and museum colleagues. Masterpiece may be a commercial fair but we also strive to foster dialogue between the private and public sectors. We are delighted to work closely with The Courtauld as a Cultural Partner, ensuring both sides of the coin work together to promote our robust and vibrant cultural scene.

London picture At the height of London’s summer art dealers Dickinson season, over 150 of the world’s top exhibited a wide range of paintings, dealers join us to exhibit works that from Old Masters to span 6,000 years of art history, furniture, modern masterworks jewellery and design; from antiquity to by Gerhard Richter the present day. One of the wonderful and Juan Gris things about the fair is that this great spectrum is accessible. You can see it close up and talk to knowledgeable, Blain | Southern presented the monumental passionate experts. Howling Beast I, 1990, by Lynn Chadwick 61 The Courtauld News • Issue 39 • 2016 OBituaries

Anita Brookner 1928–2016 Anita Brookner (BA 1949, PhD 1952), who central figure in this modern age was Charles passed away on 10 March , came into the Baudelaire, whom Anita once called “the limelight when her novel Hotel du Lac was man in the black frock coat”. For Baudelaire, awarded the Booker Prize in 1984. It was the greatest art critic of his time, imagination hailed instantly as a masterpiece, and it was the sovereign faculty, which allowed us would be followed by many more. to transform the experience of reality into an expression of the Ideal. For the most part, Brookner created haunting, introspective portraits of women Baudelaire was quite aware of the physical coming to terms with the loneliness of and moral evils of mankind. Such a middle age and how the world around realization had religious undertones; the them was vanishing. She had created an 19th century’s sense of loss coincided with original voice, elegiac yet incisive, in which a taste for the ugly and the horrible in this one can sense echoes of her own life. She newly industrial world; it seemed as if the continued to gain critical acclaim over the creator had abandoned mankind and was years. This late recognition came after intent on inflicting suffering. As Baudelaire decades of teaching art history at The dreamt of finding redemption, art could be Courtauld. It was Anthony Blunt, former seen as a search (and means) for spiritual surveyor of the Queen’s pictures, who took perfection. This constant yearning for the her under his wing, and Anita’s years at The spiritual led the poet, in his later works, to Courtauld were happy ones. She remained seek solace through art, as though nature there until her retirement. had deceived him. Anita Brookner, the granddaughter of When Baudelaire wrote his tribute to Jewish immigrants, was born in South Delacroix, he still thought he might be able London in 1928. She was brought up to free himself from evil through this ideal of in a large Victorian house in Herne Hill. universal harmony. But in later years he saw Against her parents’ wishes she studied life as a mere form of exile, one which offered art history at the Ecole du Louvre in no such hope. Brookner’s writings, her novels Paris. She felt elated by her newly-found and her art criticism, were imbued with such a freedom, spending days looking at art, vision. Aesthetic bliss does not, cannot make studying and writing. After returning up for some of life’s disappointment. My to England she taught art history at fellow student Cornelia Grassi remembers the Reading University before moving to The last thing Anita said to her before our written Courtauld. By nature a shy and reserved exams: “Art doesn’t love you and cannot figure, Anita understood her students and console you”. Or as Bruce Chatwin said, “Art their motivations with keen psychological is never enough. Art always lets you down.” insight. Her advice was invaluable. She But perhaps not entirely so. In a rare became the beloved mentor to a interview published in the Daily Telegraph generation of distinguished art historians in 2009, Anita reminisced about her years at such as Neil MacGregor and Norman The Courtauld: “Teaching. Students! Lovely Bryson. I was fortunate enough to be her people! Then I did feel integrated. I felt I student just before she retired. was doing what I most enjoyed. I loved the Specialising in 18th-century France, Anita company. I loved the ideas, the images. And wrote elegant monographs on Watteau, I loved the conversation! The exchange was Greuze and Jacques-Louis David. But her valuable. That was authentic. Everything else love of 19th-century French novels brought was made up.” The lonely task of writing was her closer to the relation between writers taken up over many years, especially later and artists, from Diderot and Greuze in life, with rewards beyond the territory of to Huysmans and Cézanne. David, who literary prizes and recognition; yet her home witnessed the French Revolution and was with her colleagues and students at The the collapse of the Napoleonic empire, Courtauld. was a pivotal figure. After the Congress of Vienna, hope in reason and rationality Olivier Berggruen (MA 1987) was abandoned forever, only to be replaced by spleen and nostalgia. The 62

Cynthia de Souza 1959–2016 It was a great shock to many at The enthusiasm for the chance to be part of Courtauld and in the art history world something she valued. She relished being internationally to hear about the death instrumental in flagship research projects of Cynthia De Souza. Due to Cynthia’s involving collaboration on the history and wish that her illness was not to be widely conservation of art between The Courtauld discussed, she seemed to slip away from and universities from continental Europe or us very suddenly. California. She valued the project of bringing together emergent art historians from all Cynthia was an instantly recognisable over the world to confer, develop theoretical figure at almost every Research Forum positions and publish. Her own background event from its early days in 2005 to the (a Kenyan childhood, a BA in European onset of her illness in 2015. As the Research Studies and French at Queen Mary College Forum’s Administrative Officer she was the and her charity management experience) first to greet our visiting scholars and the gave her an international outlook. Her warm key organiser for a host of events. She had greeting for incoming scholars was based worked previously in the charitable sector on the conviction that scholarship itself was targeting the most fundamental issue of to be prized, and understanding that there deprivation in the Hunger Project. were many dimensions to the building and At Research Forum events Cynthia stood maintenance of scholarly networks. Some to one side to get an overview, a tall and visiting experts or fellows would be with us willowy figure, often elegantly draped in for a week, some for longer: a month, a term a paisley shawl. She chatted graciously or even for two years. All those scholars were to our visitors, set up arrangements for to be folded in to a collective project at the every aspect of an event from seating centre of which was art. Having studied arrangements to circulation of papers and fine art at Goldsmith’s in the early 2000s, art always ensured that our hospitality and was close to her heart. She believed that opportunities for scholarly exchange were it matters and characteristically directed flawless. Her memory, command of the her efforts to it with the utmost zeal and complex scheduling and communications determination. The Courtauld is indebted to and attention to detail, were prodigious. her for the important role she played. The immense professionalism in these Professor Caroline Arscott matters was accompanied by an

Giles Waterfield 1949–2016 We are deeply saddened to report the lectures. He was the foremost authority on the death of Giles Waterfield (MA 1975) whose history of regional museums, and collections, career embraced a variety of roles – museum both royal, aristocratic and public; his magnum director, curator, art historian, teacher, opus The People’s Galleries, was published by novelist – all of which he conducted with Yale last autumn. Several of his novels - most unique flair and distinction. Here at The recently The Iron Necklace - have gained wide Courtauld Giles was a central part of the acclaim here and abroad. He had longstanding Institute’s commitment to teaching on involvements with the Royal Collections, the museums and curating for almost two Attingham Trust, and the Heritage Lottery decades. Generations of students have Fund, for whom he acted as an expert advisor. benefited from his wisdom and generosity Giles died of a heart attack suddenly on and enjoyed his warmth and humour. Saturday 5 November. We, and all his friends, Elsewhere, he enriched our experience admirers and colleagues, will miss him greatly. through his work as Director of Dulwich Picture Gallery, his outstanding exhibitions, Professor Deborah Swallow for the Royal Academy, the National Portrait A full obituary will follow in the next issue of Gallery, Tate Gallery and museums across Courtauld News. the country, his writings and his public 63 The Courtauld News • Issue 39 • 2016 OBituaries

Melvin Norman Day 1923–2016 Melvin Day (BA 1966) known as Pat died a result of Day’s wide knowledge of art in Wellington in January. He enrolled at history, the collection was augmented The Courtauld in 1963, graduating in 1966 with acquisitions of both contemporary a Bachelor of Arts with Honours. Day was New Zealand paintings and international the first New Zealander to be accepted to prints and drawings. Day became the read art history at The Courtauld. In 1976 Government Art Historian in 1978 and he was awarded a Master of Philosophy in 1979 published a well-researched degree. His studies deepened his interest monograph on the 19th century in Cezanné, cubism and early Renaissance watercolourist Nicholas Chevalier. artists Paolo Uccello and Piero della The Chevalier research was begun at Francesca. These artists and the cubist the suggestion of John Golding and movement were to inform both his supervised by Alan Bowness and aesthetic and his own art practice for the Graham Reynolds. remainder of his life. John Golding was a In 2003 Day was invested by the Queen as Courtauld tutor with whom he developed a Companion of the New Zealand order a lasting friendship. The two continued to of Merit for his services to the arts. correspond until Golding’s death in 2012. Jenny Harper (MPhil 1982) Day returned to Wellington in 1968 as and Tony Mackle Director of the National Art Gallery. As

Dr John Sweetman 1929–2016 Dr John Sweetman (BA 1953, PhD 1955), and Jades, and Senior Visiting Research one of the country’s leading authorities Fellow in Art at the University of Sussex on oriental art, has died. from 1974–85. John was a passionate and committed teacher and writer, and John arrived at The Courtauld in authored publications including The studied his PhD under Ernst Gombrich. Oriental Obsession: Islamic Inspiration in John was Reader in the History of Art British and America Art and Architecture within the Department of History at the 1500-1920 (Cambridge University Press University of Southampton, joining in1967 1988), The Enlightenment and the Age at the time of expansion and retiring of Revolution 1700-1850 (Longman 1998), in 1990. He began his career at the City and The Artist and the Bridge 1700-1920 Art Gallery and Temple Newsam in (Ashgate 1999). He was Editor of Oriental Leeds. John introduced the subject of art Art from 1982 to 1989. After retirement history to Southampton, and developed from the University, John continued as an the University’s exhibition programme art historian, co-convening Wessex Fine and both the University and City art Arts’ study tours of art and architecture collections; he had mounted 92 shows in the UK and mainland Europe, and at the university by 1979 and oversaw continuing to write and lecture up to the opening that year of the John his illness from late 2014. He died from Hansard Gallery, and developed links myeloma after a long, productive and between the University and City art rewarding life, esteemed and loved by all collections as University representative who knew him. on the Southampton City Art Gallery’s F.W Smith Bequest Committee. He was Caroline Sweetman Founding Curator of the Sir Alan Barlow Bequest of Chinese Ceramics, Bronzes 64

Benedict Read 1945–2016 Benedict Read, who died on 20 October, W.H. Thornycroft and Alexander Munro to can certainly be claimed by The Courtauld share with the world their memories and Institute as one of its more productive, not documents. to say, inspired, graduates. Nature may have Becoming a senior lecturer in art history at conspired with nurture to bring this about. Leeds University in 1990 was for Ben a sort He was born in 1945, the youngest son of Sir of homecoming. The Read family home was Herbert Read. His father died in 1968, when still at that time in Yorkshire, and Herbert Ben was one year into his BA course at the Read had enjoyed a fertile relationship Institute. Art history as a degree option with the University, helping to establish the was not then as clearly signposted as it is Gregory Fellowships there. Alongside his today, and Ben had already taken an Oxford teaching work, Ben organised an exhibition degree course in English literature. In any on all aspects of his father’s life and work for event, it was definitely second time lucky. the City Art Gallery (1993). He also acted as Strangely, whilst Ben loved the avant garde chair of the Leeds Art Collections Fund. His artefacts by which he had been surrounded work on Victorian sculpture was ongoing, growing up, and whilst he remained for and included two important collaborations many years his father’s litererary executor, with the London gallery owner, Joanna personal taste, or was it a degree of Barnes: Pre-Raphaelite Sculpture (1991) and sensory deprivation, took him away from Leighton and His Sculptural Legacy (1996). art’s “grass roots” in the direction of those Outstanding also was his chapter on the hot-house plants of the Victorian era, Sir sculpture of the Albert Memorial for Chris Frederic Leighton and Albert Moore, and Brookes’ 2000 publication, celebrating the to their continental equivalents. Possibly memorial’s restoration. a part of the responsibility for this may Other endeavours testified to Ben’s desire have lain with his mother, Margaret (née to see a more inclusive understanding Ludwig), a viola player of mixed German of the evolution of sculpture in the 20th and Scottish extraction, who I suspect century. Despite some prejudice in the directed his musical taste towards the art-historical community against public romantic musical repertoire, in particular sculpture, he knew that no serious historian Berlioz and Mendelssohn. It was certainly of sculpture could afford to ignore it. He at her insistence that Ben and his siblings, joined forces with the author Jo Darke including the novelist Piers Paul, were raised and Ian Leith of the National Monuments as Catholics rather than anarchist free- Record, to set up the Public Monuments thinkers, as their father might have wished. and Sculpture Association in 1993. One After completing his BA in 1970, Ben of its most important roles has been the remained with The Courtauld, in the recording of public sculpture nationwide, capacity of photo-librarian, but as time and to date eighteen volumes of the went by he took on more and more National Recording Project have been teaching and supervision of post-graduate produced, covering a large proportion of research. It was Professor Alan Bowness the British Isles. Ben was also for many years who encouraged him to embark on his the chair of the Sculpture Journal, another book Victorian Sculpture, which engrossed of the PMSA’s flagships. him for the next twelve years, and in which Following his retirement he was made he proved fairly conclusively the falsity of a Senior Visiting Research Fellow at the Julius Meier Graefe’s assertion that during University of Leeds in 2010. Still awaiting the nineteenth century there was “no plastic publication are the results of his research art in England”. The book was visually on the Royal Academy’s relations with enriched with images, many of which sculptors in the 19th and 20th centuries, for were taken on exploratory photographic an anthology assembled by Robin Simon. expeditions around the UK. During the This promises to be a worthy coda to a life 1980s Ben oversaw the production of a already full of remarkable achievements. number of outstanding doctoral theses on Victorian art. Beyond The Courtauld he Philip Ward-Jackson (BA 1966, PhD 1971) persuaded descendants of the sculptors 65 The Courtauld News • Issue 39 • 2016 Supporting The Courtauld

Supporting The Courtauld We wish to thank all Benefactors, Major Donors and Supporters listed below, and those who wish to remain anonymous, for their generous contribution and ongoing commitment to the teaching and study of art history and conservation in 2015–16. This list includes new single gifts, pledges and ongoing pledge instalments totalling £1,000 and above, received for The Courtauld Institute of Art between 1 August 2015 and 31 July 2016. We have made every effort to list correctly the names of all donors included in this publication and to honour the requests of donors who wish to remain anonymous. If you have any questions or comments, please contact the Development Office: [email protected].

BENEFACTORS

AKO Foundation – a charitable foundation established by Heritage Lottery Fund Nicolai and Katja Tangen Oak Foundation Anonymous Robert H.N. Ho Family Foundation Anonymous in memory of Melvin R. Seiden The Garcia Family Foundation (U.K.) Limited Deborah Loeb Brice Foundation* The Sackler Trust Garfield Weston Foundation

MAJOR DONORS

AkzoNobel Lexington Partners UK LLP Farah Asemi and Hassan Alaghband Mr. and Mrs. Gilbert Lloyd, Nassau, Bahamas Centro de Estudios Europa Hispánica (CEEH), Marie-Louise von Motesiczky Charitable Trust in association with ARTES Brigid Peppin Daniel Katz Ltd Samuel Courtauld Trust Edward J Dolman* The A.G. Leventis Foundation Dr Michael and Anna Brynberg Charitable Foundation The Bridget Riley Art Foundation Friends of The Courtauld Institute The Edmond J. Safra Philanthropic Foundation Robert Y. C. Ho* The Schroder Foundation International Music and Art Foundation The Stavros Niarchos Foundation Leon Levy Foundation Naguar Conservation Programme Manuela and Iwan Wirth

* Includes gifts made to the American Foundation for The Courtauld Institute of Art 66

SUPPORTERS

ACE Cultural Tours Robert W Lovelace* Andrew and Maya Adcock Lowell Libson Ltd Aldama Foundation Ministry of Culture and Monument Protection in Georgia Ambrose & Ann Applebe Trust Lucy Mitchell-Innes and David Nash* Anna Plowden Trust Melissa C Morris* Anonymous NADFAS Anonymous Mr Morton Neal CBE and Mrs Neal Anonymous Diane Allen Nixon* Apax Foundation Desmond Page Bahari Foundation Mr Michael Palin Hugh and Jane Bedford Professor Aileen Ribeiro Keith Benham Stuart and Bianca Roden Benjamin Proust Fine Art Ltd – London Sir Paul and Lady Ruddock Linda Kristin Bennett Mr and Mrs J. Salter Olivier and Desiree Berggruen* Julia Schouten Bernard Jacobson Gallery Richard West and Claire Shiells Darcy F Beyer* Sims Reed Gallery, London Ivor Braka Rachel Stern* Elizabeth Breyer* Sir Angus Stirling Veronica M Bulgari* Michael Stoddart Coll & Cortes Ltd Laura Z. Stone* Mark and Cathy Corbett The Clothworkers’ Foundation Professor Elizabeth Cowling The Deborah Loeb Brice Advised Professor James Cuno* Fund at CAF Daniella Luxembourg, London The Frank Jackson Foundation David Zwirner, London and New York The Headley Trust Eijk and Rose-Marie de Mol van Otterloo* The Helen Hamlyn Trust Mr Giuseppe Eskenazi The Henry Moore Foundation Kaywin Feldman* The Iran Heritage Foundation Nicholas and Jane Ferguson The Jungels-Winkler Charitable Foundation Mr Sam Fogg The Lady Juliet Tadgell Friends of Bhutan’s Culture The Leverhulme Trust Galerie Max Hetzler, Berlin and Paris The Philip and Irene Toll Gage Foundation* Dorita Gilinski Kardonski* The Rose Foundation Sir Nicholas & Lady Goodison The Stanley Picker Trust Marco Grassi* Thomson Works of Art Ltd Dr Martin Halusa Diana and John Uff Harley Research Scholarship V-A-C Foundation Hazlitt Holland-Hibbert, London Johnny Van Haeften Sir Michael and Lady Heller Offer Waterman Karen and Robert Hoehn* Lady Alexandra Wedgwood James Hughes-Hallett William Brake Charitable Trust John Eskenazi Ltd Woodmansterne Art Conservation Awards Dick and Marielle Joustra Mrs Charles Wrightsman* Stuart Lochhead and Sophie Richard Cynthia Wu Mark and Liza Loveday

* Includes gifts made to the American Foundation for The Courtauld Institute of Art 67 The Courtauld News • Issue 39 • 2016 Supporting The Courtauld

Samuel Courtauld Society 2015-16 The Samuel Courtauld Society is a high-level membership programme, which offers a range of exclusive events and opportunities to network with like-minded individuals. Associates and members of our Patrons’ and Director’s Circles play an important role in the life and work of The Courtauld, and we are pleased to thank all members who have continued to be part of or joined this group since August 2015.

director’s circle

Anonymous Morten and Dana Høegh Marie-Christine Poulain and John Watson and Andrew and Maya Adcock Nick Hoffman Read Gomm Betsy Blackwell Farah Asemi and James Hughes-Hallett Derek and Inks Raphael Niklas and Catherine Zennström Hassan Alaghband Eugenia and Thomas Korossy Charles Rose I C Carr Mr Wah Kheong and Sir Paul and Lady Ruddock Christie’s Ms Tina Leong Sotheby’s Michael Cohen and Erin Bell Christopher and Janey Nicolai and Katja Tangen Nicholas and Jane Ferguson McLaren Emilio Voli Mr Sam Fogg Scott and Suling Mead Elke and Michael von Nicholas and Judith Phillips International Brentano Goodison Auctioneers and Valuers Erik and Kimie Vynckier Dr Martin Halusa Maurice and Elizabeth Pinto

patrons’circle

Anonymous Amanda Deitsch and Norman A. Kurland and Faith Pleasanton and Mrs Kate Agius James Hochman Deborah A. David* Robert Steiner* Geoffrey and Julian Agnew Nova Dobb Lefevre Fine Art Leslie Powell Trust Mr Andrew P Duffy Stuart Lochhead and Tineke Pugh Lord and Lady Aldington Cindy Elden* Sophie Richard Lady Jennifer Rose Giancarla and Michael Roger and Rebecca Emery Mark and Liza Loveday Mrs Janice Sacher Alen-Buckley Eykyn Dr Chris and Dame Theresa Sackler Mrs Gill Mallinson Mr Sandy Arbuthnot Maclean Ltd Richard and Susan Shoylekov Janet Martin Sara Joline Bedford David Gibbons William Slee and John G. Bernasconi Kathleen Gilfillan Mr Jay Massey Dr. Heidi Bürklin-Slee Douglas Blausten Richard Green Clare Maurice Christopher and Fiona Julia Boadle Lucía V. Halpern and Mr Bruce McCoy Steane Sarah Boardman John Davies James McDonaugh Sara Stewart Marcia Brocklebank Paula and Schuyler MCB Mellish Marjorie Stimmel Henderson* Charles Booth-Clibborn Norma and Selwyn Midgen Sir Angus Stirling Lady Heseltine The Lord Browne of John and Jenny Murray Henry Tinsley Madingley Joanna Hewitt Mr Morton Neal CBE and Johnny Van Haeften Ltd David and Jane Butter Jennifer and Bill Hicks Mrs Neal The Rt. Hon. Nicholas and John Byford Andrew Hochhauser QC Alan M Newton Lavinia Wallop Julian and Jenny Cazalet Mike and Caroline Howes Elizabeth Nicholson Mr Richard West David and Una Hudd Mary Ellen Cetra John Nicoll and George and Patricia White Philip Hudson Laurence Colchester Mr Colin Clark Richard Wintour Monica Ishola Mr Michael Palin Robert Compton Jones Lynne Woolfson Nicholas Jones Simon and Midge Palley Mark and Cathy Corbett Anita and Poju Zabludowicz Andrew Joy Lord and Lady Phillimore Nicholas Coutts James and Clare Kirkman Bridget Pinchbeck Samantha Darell

* Includes gifts made to the American Foundation of The Courtauld Institute of Art 68

Associates

Anonymous Cornelia Grassi Harriet McCalmont Jeremy Strachan Georgina Adam Mrs Kathryn Gyngell Virginia Morck Mr Robert Stoppenbach Lord Jeffrey Archer Edward Harley Philip Mould Ltd Professor Deborah Swallow Mrs. James Beery Mr Timothy D Llewellyn Richard Oldfield Yvonne Tan Bunzl Mr Oliver Colman Raymond and Penelope Persephone Books Diana and John Uff Richard Deutsch Locke Mr Adrian Sassoon The Ulrich Family Simon C. Dickinson Ltd Anthony Loehnis CMG Derek Searle Cordula von Keller Caroline Doggart Sir Frank Lowe Anna Somers Cocks The Weiss Gallery David and Diane Frank Sophie Mallinckrodt Rex De Lisle Stanbridge Hugh Wilson

The Courtauld Annual Fund 2015-16 The Courtauld sincerely thanks the 340 alumni and friends – both listed below and those who wish to remain anonymous – who gave to this year’s Annual Fund appeal between 1 August 2015 and 31 July 2016. The 2016 campaign raised a total of £101,279, which will be used to support a range of Courtauld projects.

Andrew and Maya Adcock Brady Stained Glass Professor Elizabeth Cowling Paul Farmiloe Dr Tanya Alfille Robin Broadhurst CVO CBE Sallie Crenshaw* Kaywin Feldman* Marjorie Allthorpe-Guyton FRICS Satsuki Crome Sibylla Jane Flower William Ambler* Dr Grace Brockington Professor Geoffrey Crossick Dr Susan Foister Martin Andrew Dr Anthea Brook Mary Cunningham Francis Ford Viv Armstrong-MacDonnell Dr Xanthe Brooke Professor James Cuno* Elizabeth Freeman Richard Aronowitz-Mercer Sophie Brooke-Smith Lizzie Darbyshire Hannah S. Fullgraf* Norton Asbury Sallie Bryan Emma Davidson Alicia Garcia Farah Asemi and Nick and April Bueno de Jessica Davidson Nicola Gatt Mesquita Hassan Alaghband Tim Davies Nicky Gavron Dr Sally Bulgin Linda Ashworth Dr J Davis Dr Malcolm Gee Lady (Adam) Butler Jo Atkinson Mrs Diana de Froment Richard Gibson David and Jane Butter Dr Sussan Babaie Darryl de Prez John Gilbert Professor Stephen Caffey* Dr Jane Bailey Georgina Davis John Glaves-Smith Tom Caley Dr Emma Barker Emmanuel di Donna* Sophie Goldspink Dr Richard Barling Dr Caroline Campbell and Dr John Goodall Stoyan Dimitrov Mr Hugh M Gorton Dr Wendy Baron Isabel C Carr Dr Sally Dixon-Smith Cornelia Grassi Sarah Baxter Elizabeth Cashman Nova Dobb Maggie Gray Mary Rose Beaumont Anne Castling Miles Dodd Dr Susan Green Dr Shulamith Behr Janine Catalano Dr Sally Dormer and Nigel Grey-Turner Keith Benham Mr Andy Moody Professor Sharon Cather Rachel Grimmer Charlotte Benton Tara Draper-Stumm, FSA Dr Richard S Chafee* Julie Grisman Prudence Bliss Eric Drewery John Chalker Pierre-Yves Guillemet Tessa Boteler Theo Druyven Dr Philip Cheung Ms Julia Guren Alixe Bovey Dr Rebecca Easby* Sheila Christie Werner Guttmann Eric Bowman Hetty Einzig Lesley Cogan Angus Haldane Professor Sir Alan Bowness Caroline Elam Angela Cohan Lucía V. Halpern and John Amanda Bradley John Elderfield* Davies* Alfred and Ronald Cohen Dr Simon Bradley Isabel Elliman Martin Halusa William L. Coleman* Dr Christina Bradstreet Tawna and John Farmer* Sabrina Harcourt-Smith Dr Rosalys Coope

* Includes gifts made to the American Foundation for The Courtauld Institute of Art 69 The Courtauld News • Issue 39 • 2016 Supporting The Courtauld

Professor Ann Sutherland Marco Livingstone Marie Ann Prelog Isobel Stokes Harris* Oliver Lloyd Dr Lara Pucci Jo Storey Margaret Dunwoody Peter Loach Anne Rabate John Summers Hausberg* Stuart Lochhead and Pia Rainey Dallas Richards Georgiana L Head Sophie Richard Gillian Rathouse Professor Deborah Swallow Dr Kathryn Heleniak* Anthony Loehnis Donovan Rees Richard Swift Sir Launcelot Henderson Morgan Long Helena Rees-Mogg Philip A. Sykas Lisa Henderson (nee Heale) Nicholas Longford Dr Elisabeth Reissner The Lady Juliet Tadgell Fund Dr Cecily Hennessy Daniella Luxembourg, Professor Aileen Ribeiro Edward Tang* Lady Heseltine London Margaret Richardson OBE Andrew Templeton Miss A Hilder Michael Macaulay Eleanor Robbins The John S Cohen Constance Hill Dr Alison Maguire Eleanor A Robbins Foundation Richard Hill Susan Ruth Marks* Dr D Keith Robinson The Philip and Irene Toll Jeannie Chapel Charles and Sue Marriott Gage Foundation* Gillian Robson Clive Hodson Jay Massey Helen Thomson Ms. Anne T Rogers* Martha and Eric Hoekstra* The Matthiesen Foundation Robert Thorpe Pauline Rohatgi Barry Hoffbrand Cameron Maynard Toby Treves Charles Rose M Holser and M Bailey James McDonaugh Cathy Tribe Hazel Rose JP Mr and Mrs Geoffrey Holt Matthew McLendon* Peter Trippi* Cora Rosevear* Gospatric Home Dr Melissa McQuillan Patrick Troughton Shannie Ross Jill House Helen Meakins Pamela Turner Brinda Roy James Hughes-Hallett Patricia Menday Dr Sarah Turner Neil and Angelica Genevieve Hulley* The Mennell Family, North Rudenstine* Anthony Tyrrell Yorkshire Mary Hustings Miss Giulia Sartori Conte Diana and John Uff Dr Sarah Meschutt* Federico Ippoliti Clive Saville Richard and Olga van den Dr Sanda Miller Dool Rose Isepp Julia Schouten Judith M Mitchell Dr Melanie Vandenbrouck Olimpia Isidori Chloe Scott Paul Mitchell Dr Ernst Vegelin Iain Jack Professor Katie Scott Geraldine van Heemstra Barbara Ventresco* Hedwig James Sir Nicholas Serota Beate Mjaaland Joanna Walker Helen Janecek Desmond Shawe-Taylor Dr Sarah Monks Vivian Wang* Dr William Jeffett* Dr Rupert Shepherd Finola Moore Ian Watson Ranbir Jhutty Michael Sherry Jennifer Moore Dr Trudy A Watt Karen Jones - Citywealth Cheryl Silver* Alexandra Moses* Rosie Watts Nicholas and Maria Jones Jacquelyn Silvey Catherine Murray Lady Alexandra Wedgwood Wendy Jordan Dr Amanda Simpson Dick and Marielle Joustra The Murray-Smith Charitable Richard West and Claire Trust Nathan Sivasambu Shiells Hannah Joyce Mr Morton Neal CBE and Holly Skeet Emma Whitaker Maria Kamper Bockelmann Mrs Neal Dr Ian Skidmore George and Patti White Diana Kay Susan Nettle Dr Susan Sloman Fiona M Whyte Dr. Alexandra Keiser* John Newman Chris Smart Joan Wilcox Francis P Kelly Meredith Nichols Arabella & Julian Smith Adrian Wilkinson Dr Kary Kelly Katharine Claire Pace Mary Peskett Smith Katherine Wilkinson Oonagh Kennedy Mrs Isabella Panattoni- Nickola Smith Rowena Willard-Wright Dr Peter Kennedy Scott Wallace Rose Sneddon William Brake Charitable Dr Jerzy J Kierkuc-Bielinski Joyce Parsons JP Professor David Solkin Trust Caroline Knight Michael Parsons Dr Lauren Smith* Maureen Williams Kate Knight David Pavey Dr Paul Spencer-Longhurst Roland Williams Nicholas Lambert Laura Asherman Payne Sonnet Stanfill Helen Wilson David Lane Ms. Carolyn Pearigen* Clare Stansfield Hugh Wilson Rita Laven Helen Peel Professor Christine Stevenson Mrs Muriel Wilson Tom Learner* John and Gillian Pelton Jennifer Stewart Robert Woodward Hannah Leathers David Phillips Dr Peter Stewart Felicity Woolf Patrick Legant Iain Picton Professor Damie Stillman* Sir Stephen and Lady Wright Dr Ayla Lepine Claude Piening Marjorie Stimmel Cynthia Wu Mrs Andrea Lewis and Alex Pook Sir Angus Stirling Mary Yule Dr Harold Lewis Dr Cecilia Powell Mandy Stockley

* Includes gifts made to the American Foundation for The Courtauld Institute of Art Courtauld Prints

Courtauld Prints now has sixteen newly retouched, photographs of early sculpture by Barbara Hepworth. These photographs were commissioned by Hepworth from the photographer Paul Laib. The sensitive use of light, tone, contrast, angle and framing beautifully illustrate the important role of photography in preserving and enhancing Hepworth’s reputation in print. This service offers custom prints of works from The Barbara Hepworth, Mother and Child, Courtauld Gallery and The Courtauld Institute of Art collections. Prints are available in 1934. Photograph by various sizes and finishes, framed or unframed. Paul Laib. Hepworth@ Bowness © The de To view the range please visit www.courtauldprints.com Laszlo Foundation The Courtauld Institute of Art Somerset House, Strand London WC2R 0RN www.courtauld.ac.uk