Media Contacts:

Bolton & Quinn 
erica@boltonquinn.com
0207 221 5000
07711 698 186 

��dzܰ��ٲ��ܱ��� 
/about-us/press-office/
media@courtauld.ac.uk �į��

Notes to Editors: ��

��dzܰ��ٲ��ܱ��� 
The Ģ����Ƶ works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events. 

The Ģ����Ƶ Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Ģ����Ƶ Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh’s��Self-Portrait with Bandaged Ear��and Manet’s��A Bar at the��Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day. 

Academically, the Ģ����Ƶ Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Ģ����Ƶ offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries. 

Founded on the belief that everyone should have the opportunity to engage with art, the Ģ����Ƶ works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Ģ����Ƶ’s ambition is to transform access to art history education, ensuring as many people as possible can benefit from the tools it offers to better understand the visual world around us. 

The Ģ����Ƶ is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections. 

The collection cared for by the Ģ����Ƶ Gallery is owned by the Samuel Ģ����Ƶ Trust. ��

The Lady Chapel to the north-east was the first area to be completed in 1921, and the scheme celebrates women’s contribution to the Church and nation, with female figures and saints from Christian history and notable women from the 19th and 20th centuries.

Almost a century after their completion, the paintings are now at serious risk of material deterioration due to flaking, salt activity, and structural damage. Their surfaces are further compromised by blanching and accumulated dirt which obscure details and reduce aesthetic legibility and value.

The project commenced in January 2026 and will continue over several years in phases of approximately six weeks at a time. Phase one took place between January to March with a wide range of investigations and treatments trials on the domes. This provides invaluable information about the paintings, their history, technology, condition, deterioration mechanisms and the potential for remedial interventions.

Students taking the Ģ����Ƶ Institute’s MA Conservation of Wall Paintings work directly on conservation projects throughout the course. Previous fieldwork projects include Longthorpe Tower in Peterborough, Tamzhing Monastery, Bumthang, in Bhutan and Mogao Grottoes, Dunhuang, China.

MEDIA CONTACTS

Ģ����Ƶ

media@courtauld.ac.uk

Bolton & Quinn
Erica Bolton |��erica@boltonquinn.com��| +44 (0)20 7221 5000
Daisy Taylor |��daisy@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – COURTAULD��

Facebook @TheĢ����Ƶ��
Instagram @Ģ����Ƶ #TheĢ����Ƶ��
Threads @courtauld��
TikTok @TheĢ����Ƶ��
YouTube TheĢ����Ƶ

NOTES TO EDITORS��

About the Ģ����Ƶ
The Ģ����Ƶ works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

The Ģ����Ƶ Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Ģ����Ƶ Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh’s��Self-Portrait with Bandaged Ear��and Manet’s��A Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, the Ģ����Ƶ Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Ģ����Ƶ offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts,��culture��and business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, the Ģ����Ƶ works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Ģ����Ƶ’s ambition is to transform access to art history education, ensuring as many people as possible can benefit from the tools it offers to better understand the visual world around us.��

The Ģ����Ƶ is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by the Ģ����Ƶ Gallery is owned by the Samuel Ģ����Ƶ Trust.

About Joseph Hage Aaronson & Bremen LLP
Joseph Hage Aaronson & Bremen LLP (JHAB) is an elite dispute resolution and advisory law firm based in London. Established by barristers Joe Hage and Graham Aaronson KC in 2013, the firm uniquely integrates the expertise of leading solicitors and barristers, as well as specialist accountants and data scientists, to provide comprehensive solutions to complex legal challenges. We have an international client base that ranges from ultra-high net worth individuals and trusts to publicly listed blue-chip companies, foreign government entities and the world’s largest funds.

About Huo Family Foundation
The Huo Family Foundation is a grant-giving foundation based in London. Its mission is to support education, communities and the pursuit of knowledge. Its current areas of focus are education; the arts; and science. Through its donations, the Foundation hopes to improve the prospects of individuals, and to support the work of organisations seeking to ensure a safe and successful future for all society. The Foundation aims to make art more accessible to all through its support for galleries, museums and centres for the performing arts. For more information,

Preventive conservation focuses on caring for collections by limiting the impact of different hazards around them. Whilst the aim of a museum, gallery or archive is to preserve artworks in perpetuity, the reality is materials are deteriorating all the time. Deterioration can arise from sudden events, for example disasters, or vandalism, through to more slow hazards, like dust. Conservators who treat objects often make recommendations for the object’s future care after treatment. However, preventive conservators focus on whole collections, often prioritising changes based on risk.

Preventive conservation regularly refers to ten agents of deterioration, also known as hazards. These are physical forces (e.g. earthquakes); thieves and vandals; fire; water; pests; pollutants; light, ultraviolet (UV) and infrared; incorrect temperature; incorrect relative humidity (RH); and dissociation. Relative humidity, usually referred to as RH, is a measure of the amount of moisture in the air, at a given temperature. The relationship between temperature and RH is important and often impacts how RH can be controlled, especially in historic houses, where conservation heating might be used. Conservation heating increases temperatures on damp days, and reduces it on dry ones, to help maintain RH levels. This is because many materials are moisture sensitive, think of a wooden door swelling and sticking in the damp.

Preventive conservators have an overview of all of these hazards, and how they impact the collections in their care. However, they also work with many other teams, for example interventive conservators (who carry out treatments), curators, collections managers, estates, front of house, events or hospitality, filming, architects, engineers, as well as volunteers, to deliver their work. Common tasks for a preventive conservator might include:

• condition checking objects
• packing objects for storage or a move
• managing insect pests (that can eat collections)
• monitoring environmental conditions (especially temperature, RH, light and UV, but can be dust and pollutant levels), which can lead to work on how to control, or better manage the environment
• surface cleaning objects
• advising on exhibition methods (including mounts and display cases)
• protecting objects, or buildings, during events, filming, or building works
• advising on ways to reduce the risk of disasters, or what materials might be needed for salvage, should a disaster occur.

Because collections can be made up of almost any material, preventive conservators need to understand these materials, and how they deteriorate, to care for them. This means preventive conservators have a good scientific understanding of materials, as well as being able to identify and record any changes that may have happened. As a result, preventive conservation is a broad field spanning hands-on work with collections, working with others, environmental monitoring and control, data collection and management, and science. These collections may be fine art, archives, archaeology, or anything else that has been collected, so the range of materials is wide. It is important preventive conservators also understand the impact of their actions on a collection, and can explain their decision making. As a result, training also includes understanding the principles, theory and ethics of conservation.

So next time you visit an exhibition, or heritage site, look round and see if you can spot any insect traps, or sensors monitoring environmental conditions. A little glimpse of the behind-the-scenes work that goes into preserving collections for you to see now and in the future.

If you’re interested in learning more about preventive conservation, You can apply now to study MA Preventive Conservation at the Ģ����Ƶ Institute.

Download the PDF: Seurat, Colour and Water

About the resource

This resource explores two small painted studies in the Ģ����Ƶ Collection by the French artist Georges Seurat (1859–1891). Both capture pivotal moments in his career – Boat by the Riverbank (around 1883) as he transitioned towards a radical new way of painting called Neo-Impressionism, and The Beach at Gravelines (1890) that demonstrates this technique of applying pure colour in a dot-like manner fully
developed. These artworks show that water, with its unique ability to diffuse and reflect light, was a central motif for Seurat.

Seurat died at the age of 31, leaving behind fewer than 50 canvases. Boat by the Riverbank and The Beach at Gravelines belong to a separate group of around 160 small paintings on wooden panel that Seurat produced alongside his more famous, larger exhibition canvases. Many of these panels hung in his Paris studio and according to one friend were the artist’s ‘greatest joy’.

Though Seurat left few written clues about his working methods, we can uncover his innovations by looking closely at the artworks and considering their historical impact. Use the discussion and creative activities below to investigate his colourful processes.

How to view the artworks

Virtually:

• : Zoom in close to the details of the brushwork.
• : This allows you to see the artworks as they are displayed in the permanent collection on the Third Floor.

In person:

Visit the Ģ����Ƶ Gallery (Third Floor) to see these works:

• Boat by the Riverbank: On display in the Permanent Collection .
• The Beach at Gravelines: Currently featured in the special exhibition, Seurat and the Sea (13 February – 17 May 2026).

Talking points: Seurat’s subjects

• What activities do you think took place on the River Seine or the beach at Gravelines?
• What do you think Seurat found interesting about these subjects?
• What might be challenging about painting outdoors?
• Do you prefer a view of nature with or without people? Why?
• Boat by the Riverbank is a quick sketch, while The Beach at Gravelines is more precise. Which style makes the scene feel more “real” to you? Which do you prefer and why?

Mark making activity

1. Fold an A4 sheet of paper in half horizontally and fold this to make a four-panel concertina.
2. For each rectangle, find a painting of water made by Seurat or an artist who was working around the same time (, , or / ). Choose a small area, and carefully capture the shape and direction of the brush marks rather than the whole scene.
3. Observe the water and marks: Is the water still or flowing? Are the marks straight or curved? Are they dots or dashes? Are reflections precise or blurred?
4. Note the artist’s name for each study.

Talking points: technique and perception

• Boat by the Riverbank shows the influence of Impressionism with its loose dashes of paint. Does the artwork feel entirely spontaneous? Can you see any patterns or repeated types of marks?
• The Beach at Gravelines is made up of tiny distinct dots of colour. What do you think would happen if you looked at this painting from far away?
• Looking closely at both artworks – which marks are best for creating the illusion of shimmering movement? Which marks produce a calm glow?
• In each case, what season and what time of day do the colours suggest? Is the overall effect warm or cool?
• What is the mood of each painting? How would it feel to stand on the riverbank or the shoreline?
• What might it sound, smell or feel like?

Seurat and colour theory

As a young man, Seurat studied at the prestigious École des Beaux-Arts in 1878. However, the work of the Impressionists, combined with military service on the coast of Brittany in 1879, exposed him to a new world of colour and subject matter. He supplemented his traditional training by reading modern colour theories. Key influences on his thinking were books by chemist Michel-Eugène Chevreul (1786–1889) and art critic Charles Blanc (1813–1882). They proposed systems for organising colour and predicting the visual results.

Placing colours on the canvas in tiny dashes or dots created opportunities for greater contrast of colour temperature and juxtaposition of complementary (opposite) colours. Seurat believed that this technique would make the painted surfaces feel more vibrant. Whereas Impressionist artists like �� and used large areas of complementary colours to produce strong contrasts and intensify hues, Seurat used his dots to bring a sense of harmony between the entire composition. His painter’s shows that he kept his colours separate, but relied heavily on white to make them appear luminous.

Colour activity: 5 minute mixtures

Look closely at Boat by the Riverbank and record as many interesting colour combinations as you can in 5 mins. Place marks of two or three colours together to see if you can create similar effects.
Once everyone has collected a variety of mixtures, use colour theory to analyse them:

• Who can see complementary colours in any of the combinations? Seurat thought that placing opposite colours side-by-side made them appear more vibrant. Do you agree?
• Who has a warm and a cold colour together?
• Who has a dark and a light colour together?
• Do you think Seurat might have enhanced or exaggerated some of the real-life colours – why or why not?

Colour and Tone activities

The Beach at Gravelines is remarkable for being composed of mostly two colours: blue and its complementary orange. White has been added to lighten these colours for the sea and sky, which produces a strong tonal contrast with the darker areas of land and the blue border.

1. Complementary tones: Select a small area of the painting where the water meets the pebbles. Try to generate the same tonal effects with a different pair of complementary colours. Take your time to apply precise dots.
2. The lost frame: Seurat often painted colourful wooden frames to harmonize with his pictures, though the original for this work is now lost. Design a frame that would enhance your colour combination.

Classroom ‘Croquetons’

Use paint or mixed media to make a small panel artwork that is packed with colour.

Materials

• Brown cardboard cut to 16 x 25 cm
  (e.g. cereal boxes from school breakfast club)
• Paint (poster or acrylic)
• Small brushes or eco cotton buds
• Palettes
• White chalk or white pencils
• Waterpots and paper towel
  (for cleaning brushes only)

Inspiration

As a class, discuss the nearest place where you can see light on water (a pond, river, canal or seafront). Older students might like to make their own direct sketches from a safe distance. Teachers can provide younger students with photographs or a video. Note down the weather conditions and the main colours you can see.

Top tips

Leave gaps between your dots – this will save time and make sure colours stay separate. Seurat did not worry about covering the whole surface and sometimes let the panel show through.

Break the scene down into areas – sky, water, land – so that you can easily take a break between sections. Neo-Impressionism takes concentration!

Mix up your media – experiment with different processes to create colourful dots. Oil pastels look vivid on brown card. Hole-punch paint colour cards for a readymade palette with graduated tones.

Artwork, photograph and text by Francesca Herrick

Contemporary connections

MEDIA CONTACTS

Ģ����Ƶ

media@courtauld.ac.uk

Bolton & Quinn
Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000
Daisy Taylor | daisy@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – COURTAULD
Facebook
Instagram ��
Threads
TikTok
YouTube

NOTES TO EDITORS

Ģ����Ƶ
The Ģ����Ƶ works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

The Ģ����Ƶ Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Ģ����Ƶ Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh’s��Self-Portrait with Bandaged Ear��and Manet’s��A Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, the Ģ����Ƶ Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Ģ����Ƶ offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, the Ģ����Ƶ works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Ģ����Ƶ’s ambition is to transform access to art history education, ensuring as many people as possible can benefit from the tools it offers to better understand the visual world around us.

The Ģ����Ƶ is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by the Ģ����Ƶ Gallery is owned by the Samuel Ģ����Ƶ Trust.

About Griffin Catalyst
Griffin Catalyst is the civic engagement initiative of Citadel founder and CEO Kenneth C. Griffin, encompassing his philanthropic and community impact efforts. Tackling the world’s greatest challenges in innovative, action-oriented, and evidence-driven ways, Griffin Catalyst is dedicated to expanding opportunity and improving lives across six areas of focus: Education, Science & Medicine, Upward Mobility, Freedom & Democracy, Enterprise & Innovation, and Communities. For more information, visit griffincatalyst.org.

Research interests

• Materials deterioration
• Preventive conservation, including environmental control and collection display methods
• Conservation science
• Accelerated ageing
• Historic buildings preservation
• Data analysis, interpretation and visualisation

Publications

• Luxford, N., Batool, T., Thickett, D. and Lankester, P. (2025) ‘’ Scientific Culture, 11(1), 41-48.
• Thickett, D., Pretzel, B., Shah, B. and Luxford, N. (2024) ‘’ Color Culture and Science Journal (Cultura e Scienza del Colore), 16(2), 108-117.
• Luxford, N. (2020) ‘’, Studies in Conservation, 65:S1, 199-202.
• Padfield, J. and Luxford, N. (2017) ‘’ in Preprints ICOM-CC 18th Triennial Conference, Copenhagen, 4-8th September 2017
• Stanley, B., Luxford, N. and Downes, S. (2016) ‘Mould Attacks! A Practical and effective method of treating mould contaminated stonework’ in 13th International Congress on the Deterioration and Conservation of Stone, 6-10 September 2016, Glasgow.
• Macmillan, A., Davies, M., Shrubsole, C., Luxford, N., May, N., Chiu, L.-F., Trutnevyte, E., Bobrova, Y. and Chalabi, Z. (2016) ‘’ Environmental Health, 15 (S1) 23-34.
• Curteis, T. and Luxford, N. (2014) ‘’ Journal of Architectural Conservation, 20(3), 170-183.
• Thickett, D., Luxford, N. and Lankester, P. (2014) ‘Environmental Management Challenges and Strategies in Historic Houses’ in The Artifact, Its Context, and Their Narrative: Multidisciplinary Conservation in Historic House Museums, The Getty Research Institute, Los Angeles, Nov 6-9, 2012, Proceedings of the Joint Conference of ICOM-DEMHIST and three ICOM-CC working groups, K. Seymour and M. Sawicki (ed.) Italy: ICOM-CC.
• Luxford, N. and Thickett, D. (2013) ‘Monitoring complex objects in real display environments – how helpful is it?’ in Climate for Collections Standards and Uncertainties. 7-9 November 2012, Munich, J. Ashley-Smith, A. Burmester and M. Eibl (ed.) London: Archetype. 257-270.
• Luxford, N. and Thickett, D. (2013) ‘Change or Damage? Using dissemination to encourage public involvement in conservation research’ in The Public Face of Conservation. E. Williams (ed.) London: Archetype. 66-75.
• Luxford, N., Strlič, M. and Thickett, D. (2013) ‘’ Studies in Conservation, 58(1), 1-12.
• Luxford, N. (2012) ‘Silk durability and degradation’ in Understanding and improving the durability of textiles P. Annis (ed.) Cambridge: Woodhead Publishing, 205-232.
• Luxford, N. and Thickett, D. (2011) ‘’ Journal of the Institute of Conservation, 34, 115-127.
• Luxford, N., Thickett, D. and Wyeth, P. (2011) ‘’ in Preprints ICOM-CC 16th Triennial Conference, Lisbon, 19-23 September 2011, J. Bridgland (ed.) Almada, Portugal: Critério.
• Luxford, N., Thickett, D and Wyeth, P. (2010) ‘Applying Preventive Conservation Recommendations for Silk in Historic Houses’ in Proceedings of the joint interim conference Multidisciplinary Conservation: A Holistic View for Historic Interiors. 23-26 March 2010, Rome, E. Janssen, M. Parris, M. Sawicki, K. Seymour and A. Thorn (ed.) Italy: ICOM-CC.
• Luxford, N., Thickett, D. And Wyeth, P. (2009) ‘’ in Natural Fibres in Australasia: Proceedings of the Combined (NZ and AUS) Conference of the Textile Institute. 15-17 April 2009, Dunedin, C. A. Wilson and R. M. Laing (ed.) Dunedin, New Zealand: The Textile Institute. 151-156.
• Luxford, N. and Thickett, D. (2007) ‘Preventing silver tarnish – Lifetime determination of cellulose nitrate lacquer’ Metal 07, 5, 88 – 93.
• Thickett, D. and Luxford, N. (2007) ‘Development of show cases for archaeological metals in aggressive environments’ Metal 07, 5, 105 – 109.
• Thickett, D., David, F. and Luxford, N., (2005/6) ‘’, The Conservator, 29, 19-34.

Schedule for the day:

Programme

Day One

10:00 – 10:30 Registration & Refreshments

10:30 – 11:00 GoGreen Project Overview – Clare Richardson

11:00 – 11:30 Defining Green Conservation and putting the parameters into practice – Gwendoline Fife

11:30 – 12:00 GoGreen Digital Support App (DSA) – Roberta Zanini & Giorgio Brugnone

12:00 – 13:00 Lunch

13:00 – 14:00 Module Demonstrations – Parallel Sessions I

Leadership in Green Conservation (Caitlin Southwick)

HERIe platform to support preventive conservation decisions (Lukasz Bratasz)

Green Paintings Conservation in Theory and Practice (Beatrice Menegaldo, Claire Betelu, Francesca Ramaccioti & Silvia Prati)

Green Conservation: Object analysis and treatment assessment for greener preventive and remedial practice (David Thickett and Roberta Zanini)

14:00 – 14:10 Refreshment Break

14:10 – 15:00 Module Demonstrations – Parallel Sessions I (continue)

15:30 – 17:00 Tour of Somerset House Conservation Laboratories

Day Two

10:00 – 10:30 Teaching Greener Conservation Practices – Edith Joseph & Marta��Caroselli

10:30 – 11:00 Networking Break & Refreshments

11:00 – 12:00 Module Demonstrations – Parallel Sessions II (continued)

Leadership in Green Conservation (Caitlin Southwick)

HERIe platform to support preventive conservation decisions (Lukasz Bratasz)

Green Paintings Conservation in Theory and Practice (Beatrice Menegaldo, Claire Betelu, Francesca Ramaccioti & Silvia Prati)

Green Metal Conservation: a practical overview (Edith Joseph)

12:00 – 12:10 Refreshment Break

12:10 – 13:00 Module Demonstrations – Parallel Sessions II

13:15 – 14:15 Lunch

14:15 – 14:45 Group Discussion: Reflections on Modules (Chair: Maartje Stols-Witlox)

14:45 – 15:45 ��Case Studies: Green Conservation in Higher Education

14:45 – 15:10: Claire Betelu

15:10 – 15:35: Loic Bertrand

15:35 – 15:45: Q&A

15:45 – 16:00 Closing Remarks – Clare Richardson

Additional Information

Module demonstrations run simultaneously in parallel rooms; participants choose one session per slot (each attendee will participate in 2 demonstrations over the conference). Further details of each modules will be released closer to the event. For module content overview, see the .

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