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Members’ Early Morning View of Seurat and the Sea

Leonie Houching — Wed, 01 Apr 2026 13:33:08 +0000

Sunday 26 April 2026, 9:00 �C 10:00

Join our members’ early morning view of The Griffin Catalyst Exhibition: Seurat and the Sea.

Enjoy the exhibition without the crowds before the galleries open to the public.

Experience the first ever exhibition dedicated to the seascapes of the French artist Georges Seurat (1859�C1891). This major display charts the evolution of his radical and distinctive style through the recurring motif of the sea. Bringing together 26 paintings, oil sketches, and drawings made by Seurat during the five summers he spent on the northern coast of France between 1885 and 1890.

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‘A Compendium of Disparate Imagery’: R.B. Kitaj’s painted collages?

Alice Rafter — Tue, 31 Mar 2026 15:24:37 +0000

In this talk, Mark Hallett will offer an in-depth exploration of the artistic practice of R.B. Kitaj during the 1960s and 1970s. Focusing on three major works from these two decades, Hallett will argue that the artist��s pictures from the period need to be recognised as ambitious painted collages, the contents of which are drawn from a wide array of visual sources, from film stills to book illustrations. Kitaj translated these materials into kaleidoscopic meditations on history, sexuality, cinema and art, in which the viewer��s role becomes akin to that of the detective poring over the clues of a crime scene.

R. B. Kitaj,?Walter Lippmann,?1966, oil on canvas, 182.88 x 213.36 cm Collection Buffalo AKG Art Museum. Gift of Seymour H. Knox, Jr., 1967 K1967:4 ? the estate of R. B. Kitaj.

With contributions from:

Professor Mark Hallett is the?M?rit?Rausing?Director of the Ģ��Ƶ Institute of Art. As an art historian, he is best known for his many publications on British art, and for his curatorial involvement in a series of major exhibitions at venues including Tate Britain, the Royal Academy, the Wallace Collectionand the Yale Center for British Art. His work ranges from major monographs and exhibitions devoted to the eighteenth-century artists William Hogarth and Joshua Reynolds, to publications on modern artists such as Michael Andrews and Frank Auerbach. He also co-edited and contributed to the major online publication,?The Royal Academy Summer Exhibition: A Chronicle, 1769�C2018. More recently, he oversaw a film project focusing on?The Procession, a celebrated installation by the artist Hew Locke.

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Ģ��Ƶ Institute named best for Art History in latest QS Global rankings

Ashleigh Toll — Wed, 25 Mar 2026 16:43:46 +0000

The Ģ��Ƶ Institute?is the?world��s?top institution?for the study of?History of Art, according to the?QS World University Rankings 2026?published today, Wednesday 25 March 2026.??

The Ģ��Ƶ secured the number one spot out of?fifty?prestigious?institutions worldwide.?This outstanding achievement?reflects?the Ģ��Ƶ��s?long-standing?position as a leading global centre for the visual arts, with an unwavering commitment to delivering academic excellence?and a?cutting-edge?curriculum.??

The Ģ��Ƶ, founded in 1932 by philanthropist and collector Samuel Ģ��Ƶ,?is an internationally renowned centre for the teaching and research of art history,?conservation?and curation, and is home to one of the world��s greatest art collections.??

The QS World University Rankings serve as a highly regarded source of comparative data on university performance, evaluating institutions on five indicators: academic and employer reputation, research citations per paper, H-index, and international research network.

The?number one?world?ranking follows?the announcement of?the Ģ��Ƶ��s plan to create a new?state-of-the-art?campus at Somerset House in London, set to open in 2029. This major milestone in the Ģ��Ƶ��s history will see a?transformation and expansion of its historic Grade I listed building?in the North Wing of Somerset House, including?flexible, modern teaching spaces, a new lecture theatre, and a spectacular library within Somerset House��s historic subterranean vaults.?The new campus will open directly onto the Strand, connecting the Ģ��Ƶ to an exciting new cultural and intellectual quarter in the heart of the city, alongside its partner King��s College London.?

The development comes at a time when the Ģ��Ƶ is expanding into new areas of teaching and research, increasing its focus on global geographies such as the Americas, the African?diaspora?and the arts of Asia. The Ģ��Ƶ has also recently launched a series of new MA programmes, including an MA?Art?Business and?MA?Curating, as it?seeks?to meet the evolving needs of students and the professional art world.??

The Ģ��Ƶ?also?announced a commitment to work with national education and philanthropic partners to broaden access to art history for secondary school children in the UK in the lead-up to the opening of the new campus,?enriching?the Ģ��Ƶ��s existing work in broadening access to its collection and teaching for young people.?

The new campus project is made possible through the recent visionary gift from the Reuben Foundation and the generous long-standing support of the Blavatnik Family Foundation. Additional transformational support is provided by the Deborah Loeb Brice Foundation, the Clore Duffield Foundation, the Garfield Weston Foundation, Oak Foundation, The Julia Rausing Trust, Rothschild Foundation, Georgia and David Winter and the Wolfson Foundation. The Ģ��Ƶ is most grateful to these foundational supporters, alongside others who have already committed to the redevelopment of our home at Somerset House.

Professor?Mark Hallett, M?rit Rausing Director of?the Ģ��Ƶ,?said:?��This ranking by QS is a testament to the dedication, excellence,?and enthusiasm of our faculty, staff?and students and the extraordinary impact?the Ģ��Ƶ has on the wider arts and culture sector. As?the Ģ��Ƶ approaches its centenary, we are continuing to push the boundaries of research and teaching and?are deeply committed to?expanding?access to art history across the?UK?and beyond, building on Samuel Ģ��Ƶ��s founding mission of ��art for all��.??

Find out more about the?.?

Download the press release

QS 2026 Rankings Press Release final

Media Contacts:

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

Ģ��Ƶ?
/about-us/press-office/
media@courtauld.ac.uk???

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 �C such as Van Gogh��s?Self-Portrait with Bandaged Ear?and Manet��s?A Bar at the?Folies-Berge?re. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.?

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.??

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Beatriz Gonz��lez: Frieze of Comedy / Frieze of Tragedy

Grace Williams — Mon, 23 Mar 2026 15:25:57 +0000

Beatriz Gonz��lez (1932�C2026) engaged systematically with political violence and experiences of grief across a multimedia practice encompassing painting, printmaking, interventions on furniture, and installation. Drawing from newspaper photographs, magazine clippings, and popular reproductions of European Old Masters in Colombia, Gonz��lez treated both traumatic historical events and iconic images of a male-dominated artistic canon with the same vivid palette and graphic visual language. Framing disparate registers of suffering, power, and tradition with a bold, vibrant aesthetic, her work foregrounds a productive tension between irony and mourning, accessibility and critique. Humour and stylisation emerge as critical strategies for bearing witness, shaping historical memory, and probing the affective dimensions of political consciousness.

The event takes as its departure point two unlimited editions of posters from 1983, which rework two newspaper images: the first, Frieze of Comedy, is of outgoing President Julio C��sar Turbay Ayala at an official ceremony; the second, Frieze of Tragedy, is of a former corporal who had murdered his friend��s girlfriend and then committed suicide. Hosted in collaboration with the Barbican Art Gallery in conjunction with Gonz��lez��s retrospective exhibition, the event celebrates this central figure in Colombian modern and contemporary art. Bringing together scholars and practitioners, the programme explores how tragedy, grief, comedy, and joy become entangled in artistic responses to ethical and political turmoil.

The afternoon will feature a keynote lecture by art historian and curator Cecilia Fajardo-Hill (Arizona State University), followed by a panel discussion with Amalia Pica (artist), Rory O’Brien (University of Cambridge), Sofia Gotti (Ģ��Ƶ Institute of Art), Barbican curator Lotte Johnson, and assistant curator Diego Chocano. The roundtable situates Gonz��lez’s practice within broader contexts of Colombian history and popular culture, and debates about political representation and dissent. Panelists will examine how popular imagery circulates across social and political spheres, and how and to what end artists negotiate the ethical challenges of depicting violence, loss, and collective trauma.

Organised by Dr Sofia Gotti (Ģ��Ƶ), Lotte Johnson and Diego Chocano (Barbican), this event is convened in partnership between the Ģ��Ƶ Centre for the Art of the Americas and the Barbican Art Gallery, where the exhibition .?

Speakers:

Cecilia Fajardo-Hill?is a Latina/British/Venezuelan art historian and curator of modern and contemporary art, focusing on Latin American and Latinx art. Fajardo-Hill has published and curated extensively on contemporary Latin American and international artists. She was co-curator of?Radical Women: Latin American Art 1960�C 1985?(Hammer Museum, Los Angeles, California, 2017) and?Xican-a.o.x. Body?(Cheech Marin Center for Chicano Art and Culture, Riverside, California, 2023; P��rez Art Museum, Miami, Florida, 2024). She is editor of?Remains-Tomorrow: Themes in Contemporary Latin American Abstraction?(Berlin: Hatje Cantz, 2022). Fajardo-Hill currently works as Associate Professor of Museum Studies and Art History and Director of the Northlight Gallery, Arizona State University.

Amalia Pica?is an artist who lives and works in London. Pica received her Bachelor of Arts from the Escuela Nacional de Bellas Artes P.P. in Buenos Aires, Argentina, in 2001. In 2020, she was awarded the Zurich Art Prize, which included a solo exhibition at Haus Konstruktiv, Zurich, Switzerland, and in 2011, she participated in the 54th Venice Biennale, Italy. Her works are represented in many major collections worldwide. Solo exhibitions include Museo Jumex, Mexico City (2023); Institute of Modern Art, Brisbane, Australia (2017); Kunsthalle Lissabon, Lisbon, Portugal (2013); Chisenhale Gallery, London (2012); and Malm? Konsthall, Sweden (2010) among many others.

Rory O��Bryen is Professor of Latin American Literature and Culture at the University of Cambridge. He has published Literature, Testimony and Cinema in Contemporary Colombian Culture: Spectres of La Violencia (2008), Latin American Popular Culture: Politics, Media, Affect (2013), Latin American Cultural Studies: A Reader (2017), and Transnational Hispanic Studies (2020). His current research project focuses on Colombia��s Magdalena River in the nineteenth and twentieth-century literature and history.

Sofia Gotti is an art historian and curator specialising in modern and contemporary art with a focus on South America. Her work broadly examines the intersections of radical politics, art, and popular culture, to consider how patriarchal, colonial and racial orders can be destabilised or diffused. She has curated exhibitions in a variety of contexts, from commercial galleries to institutions, and in 2024 she was part of the curatorial team of Stranieri Ovunque �C Foreigners Everywhere, the 60th International Art Exhibition La Biennale di Venezia. She currently co-leads the MA Curating at the Ģ��Ƶ Institute and has previously lectured at the University of Cambridge.

Lotte Johnson?is a curator and art historian based in London. She is Curator at Barbican Art Gallery, London, where her previous curatorial projects and publications include?Beatriz Gonz��lez?(2026),?Unravel: The Power and Politics of Textiles in Art?(2024, co-curated with Stedelijk Museum Amsterdam) and?Carolee Schneemann: Body Politics?(2022), as well as solo commissions by artists Citra Sasmita (2025), Toyin Ojih Odutola (2020), SERAFINE1369 (2019), Yto Barrada (2018) and Bedwyr Williams (2016). She has contributed to several other Barbican exhibitions and accompanying books including?Into the Night: Cabarets and Clubs in Modern Art?(2019),?Basquiat: Boom for Real?(2017) and?The World of Charles and Ray Eames?(2015). She previously worked at The Museum of Modern Art, New York. She is a regular contributor to exhibition catalogues, publications and public programmes?on modern and contemporary art.

Diego Chocano?is a curator from Lima, Peru, currently based in London. He is Assistant Curator at Barbican Art Gallery, London, and has held similar positions at Tate Britain and the University of Essex, where he was also a researcher and lecturer. He has curated exhibitions internationally in England, Scotland, Argentina and Chile. His writing has featured in outlets including?Burlington Contemporary,?Artishock Revista?and?MAP Magazine, and in publications for major art exhibitions including?Beatriz Gonz��lez?(Barbican Art Gallery, 2026),?Unravel: The Power and Politics of Textiles in Art?(Barbican Art Gallery, 2024)?and?Foreigners Everywhere?(60th Venice Biennale, Italy, 2024).

Installation view of Identidad nacional (National Identity), Galer��a Garc��s Vel��squez, Bogot��, 1983, with Z��calo de la comedia (Frieze of Comedy) and Z��calo de la tragedia (Frieze of Tragedy), 1983. ? Beatriz Gonz��lez. Courtesy the artist

In collaboration with

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The Ģ��Ƶ Gallery presents first Barbara Hepworth exhibition devoted to her work with colour

Dervla O'Shea — Thu, 19 Mar 2026 10:43:00 +0000

Press images:

The Ģ��Ƶ Gallery will present the first exhibition devoted to Barbara Hepworth��s lifelong fascination with colour, shedding light on an unexpected and unexplored aspect of the work of one of the most celebrated British artists of the 20^th century.

Barbara Hepworth (1903 �C 1975) is best known for her abstract sculptures inspired by nature and the rugged seaside landscapes of Cornwall where she lived and worked from 1939. Throughout her life she emphasised the primacy of direct carving and adhered to the ethos of ��truth to materials��. Discussing her innovative use of colour with her son-in-law, the art historian Sir Alan Bowness, she said: ��In a way my colour has been accepted but never understood.��

Bringing together some 20 sculptures and 30 drawings and paintings, The Joseph Hage Aaronson & Bremen Exhibition: Hepworth in Colour will be the first exhibition to focus on this important but often overlooked aspect of her work.

Hepworth��s early interest in colour dates to the mid-1930s, when she and her future husband, Ben Nicholson, formed part of the European avant-garde. When in 1939, days before the outbreak of the Second World War, she left London for Cornwall with her three young children, Hepworth took with her a single sculpture �C her first study for a sculpture with colour. Over the coming years, the landscape of Cornwall inspired her to develop this initial experiment, taking her work in new directions and establishing a lifelong fascination with colour.

At the heart of the exhibition will be the remarkable group of painted sculptures which Hepworth made between 1940 and 1948. She later recalled how, ��I used colour and strings in many of the carvings of this time. The colour in the concavities plunged me into the depths of water, caves or shallows��. These early works include the boldly painted stone carvings Eidos (1947-8) from the National Gallery of Victoria in Melbourne, Australia and Eos (1946) from a private collection in Hong Kong. They are exhibited together in the UK for the first time since 1954.

A major highlight of the exhibition will be the painted wood carving, Sculpture with Colour (Oval Form), Pale Blue and Red (1943), which was acquired for the nation by The Hepworth Wakefield in 2025 following the successful national fundraising campaign in collaboration with Art Fund to raise ?3.8 million. Sculpture with Colour (Oval Form), Pale Blue and Red marked a breakthrough moment in Hepworth��s career, combining strings and colour and, for the first time, the beautiful pale blue associated with the Cornish skies and coast. In private hands since it was created, and rarely exhibited, this will be the first time the sculpture is displayed in London since it was acquired. For Hepworth the strings in her early sculptures ��were the tension I felt between myself and the sea, the wind or the hill’.

Other seminal painted stringed sculptures in the exhibition include Wave, 1943-44, from the National Galleries of Scotland and Pelagos (��sea�� in Greek), 1946 from Tate, which was inspired by the bay in St Ives in Cornwall. The exhibition also unites for the first time from private and public collections the six progressively larger versions of the stringed Sculpture with Colour (Deep Blue and Red).

Alongside sculptures, the exhibition features a rich selection of Hepworth��s drawings with colour. Hepworth lacked the materials, studio space and time to produce much sculpture during the first years of the war but her drawings allowed her to continue to explore and develop her ideas. She recalled, ��In the late evenings, and during the night I did innumerable drawings��exploring the particular tensions and relationships of form and colour which were to occupy me in sculpture during the later years of the war.�� These drawings, usually entitled ��drawing for sculpture�� are striking for their intricate crystalline forms, punctuated with strong blues, greens, reds and yellows.

The exhibition extends into the 1950s and 1960s to reflect how colour continued to occupy Hepworth in new ways, including in her expressive paintings of the mid and late 1950s, and in her work with patinated bronze and painted marbles.

To coincide with the exhibition, a display of photographs of Barbara Hepworth and Ben Nicholson��s shared London studio at No. 7 the Mall Studios in Hampstead will be presented in the Project Space. Taken between 1932 and 1936 by Paul Laib (1869�C1958), these are among the most evocative studio images to emerge in Britain during the 20th century and show the fascinating interrelation of their practices at this time.

The Joseph Hage Aaronson & Bremen Exhibition: Hepworth in Colour is accompanied by a new catalogue, edited by Dr Alexandra Gerstein, Curator of Sculpture and Decorative Arts at the Ģ��Ƶ and Stephen Feeke, with essays by Alexandra Gerstein, Stephen Feeke, David Batchelor, Eleanor Clayton and Kirstie Dootson.

The exhibition��s Title Sponsor is Joseph Hage Aaronson & Bremen LLP. The exhibition��s Lead Supporter is the Huo Family Foundation, with Support from Art Mentor Foundation Lucerne.

The Joseph Hage Aaronson & Bremen Exhibition:
Hepworth in Colour
12 June �C 6 September 2026
Denise Coates Exhibition Galleries, Floor 3
/whats-on/exh-hepworth-in-colour/

Hepworth and Nicholson: The Hampstead Studio Photographs
6 June �C 4 October 2026
Project Space, Floor 2
/exh/hepworth-and-nicholson-the-hampstead-studio-photographs/

Download Press Release

Hepworth in Colour Press Release March 2026

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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 �C such as Van Gogh��s?Self-Portrait with Bandaged Ear?and Manet��s?A Bar at the Folies-Berge?re. 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 �C 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 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,

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Sotiris Felios Collection Art History Residency 2026

Caitlin Brooker — Wed, 18 Mar 2026 14:59:56 +0000

The Residency Programme for Academic and Curatorial Research of Contemporary Greek Art 2026 is now open for applications for the Art History Programme. This funded residency offers current Ģ��Ƶ BA3, MA and PhD students as well as those who graduated in 2025 opportunity to develop their practice as art historians through engagement with the .

Building on a broad network of art professionals from Athens-based institutions and leading art practitioners living and working in Greece, this residency programme aims to create support channels for emerging art historians who want to expand academic research around contemporary figurative art and its connection to the international art scene.

Residents are invited to spend six weeks in Athens to develop a self-initiated project that builds on themes linked to The Sotiris Felios Collection and the community of Athens while learning about the collection, meeting the artists associated with it and art professionals from leading museums and galleries.

To apply, applicants must provide the following:

A completed and signed application form.
Curriculum Vitae (no more than two pages).
A selection of previous projects (include documentation of past projects, such as exhibitions, essays, publications, or other relevant work �C no more than 2 pages).
A 500-word proposal on the research willing to undertake while on residency
A 300-word text outlining your motivation for participating in this residency and explaining how it would benefit your long-term academic or curatorial practice.
�� completed and signed reference form.

More information about the Art History and the Curatorial residencies can be found below. A call for applications to the Curatorial Programme will be shared at a later date.

The submission deadline is 16 April 2026. Any submissions received after this date will not be considered.

*Eligible current students include PhD candidates, MA students, and final year BA students.

Further documents

Further Information

Application form

Reference form

Erika Dovey at Alecos Levidis studio

Erika Dovey at Alekos Fassianos Museum, private tour

Jeanne at Irini Iliopoulou’s studio

Jeanne at Nikos Moschos’ studio

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The New Taste: Fashion and Art in the 1820s and 1830s

Grace Williams — Tue, 17 Mar 2026 15:47:53 +0000

Across the visual arts in France and Britain in the 1820s and 1830s a dynamic culture of fashion was taking shape. Wide-ranging in taste and driven by a quest for the new, fashion flourished in the period��s expansive print production, while the fine arts negotiated demands for novelty more paradoxically, partly by reviving styles from the past. examines depictions of clothing and hairstyles in fashion plates, paintings, prints, and sculpture by artists including Jean-Auguste-Dominique Ingres, Horace Vernet, Achille Dev��ria, and Bertel Thorvaldsen, alongside texts by writers such as Honor�� de Balzac and Thomas Carlyle. Susan L. Siegfried argues that the intersections between fashion, costume, and art in these pivotal decades embody the fractured conditions of early nineteenth-century modernity.

Organised by Professor Steve Edwards, Manton Professor of British Art.?

Speakers:

Susan L. Siegfried is Denise Riley Collegiate Professor Emerita of the History of Art and Women��s Studies at the University of Michigan. Her acclaimed books include: The Art of Louis-Leopold Boilly: Modern Life in Napoleonic France (1995); Staging Empire: Napoleon, Ingres and David (with Todd Porterfield, 2007) and Ingres: Painting Reimagined (2009). She has organised and contributed to major exhibitions in her field (The Age of Watteau, Chardin and Fragonard: Masterpieces of French Genre Painting, National Gallery of Canada, National Museum of Art, and Gemaldegalerie, 2003-4; The Art of Louis-L��opold Boilly, Kimbell Art Museum and National Gallery of Art, 1995-6; and Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum, 1980). In previous work for the J. Paul Getty Trust, Los Angeles, she helped develop national and international policy for the arts and humanities in the area of information policy; publications in this area include “The Policy Landscape” in The Politics of Culture, 2000.

Richard Taws is Professor and Head of Art History at University College London. His research focuses on everyday, ephemeral, or obsolete forms of visual and material culture; the social and political stakes of printed images; and histories and theories of science, media, and technology from the eighteenth century to the present. He is the editor of several collections and the author of The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013) and Time Machines: Telegraphic Images in Nineteenth-Century France (2025), which won the CAA Charles Rufus Morey Prize. He is also a member of the editorial group for Oxford Art Journal.

Caroline Evans?is Professor Emerita at Central Saint Martins and has acted as specialist consultant on fashion exhibitions at international museums, including The Victoria & Albert Museum London, Mus��e Galli��ra de la Mode de la Ville de Paris, Museum of London, and Mus��e de la civilization, Qu��bec, and sits on the editorial/advisory boards of several journals including Fashion Theory, Vestoj, Film, Fashion and Consumption, The International Journal of Fashion Studies, dObra[s], and Fashion Studies (Ryerson), and is an Academic Advisor for the Bloomsbury Fashion Photography Archive. She has been instrumental in developing the discipline of fashion history and theory, publishing 7 books and over 40 scholarly articles in the field. These include Fashion at the Edge: Spectacle, Modernity and Deathliness (2003), The Mechanical Smile (2013), and, Time in Fashion: Industrial, Antilinear and Uchronic Temporalities (with Alessanda Vaccari, 2020). Professor Evans was awarded a Leverhulme Trust Major Research Fellowship in 2007-2010; and two AHRC-funded research projects, the Archaeology of Fashion, and Exploding Fashion: Cutting, Constructing and Thinking Through Things.

Sarah Betzer is Professor of Art History at the University of Virginia, where she has recently completed a term as Associate Dean for Arts and Humanities. In the academic year 2025-26 she is a Visiting Fellow at King��s College, University of Cambridge. Her research focuses on the intersections of art theoretical debates and artistic process; the enduring power of the classical past; and the dynamics of gendered and sexed bodies in representation. She is the author of Animating the Antique: Sculptural Encounter in the Age of Aesthetic Theory (2021) and Ingres and the Studio: Women, Painting, History (2012).? Her current research investigates the art-theoretical and philosophical stakes of relief sculpture in the long nineteenth century, considered as an? unruly, liminal, art form.

Susan L. Siegfried, The New Taste: Fashion and Art in the 1820s and 1830s, Yale University Press, 2026

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Living by the Rule: Contemporary Art meets the Medieval Monastery?

Grace Williams — Wed, 11 Mar 2026 12:30:12 +0000

The exhibition?(Sainsbury Centre, Norwich) presents medieval monastic art in dialogue with contemporary works. The aim of?these juxtapositions is to shine a strange new light on the rules we live by today. Can anachronism release us from the deadening familiarity of the present, and?open up?new ways of thinking about the future??The exhibition��s?co-curator will be in dialogue with a?specialist in medieval spiritual practice.?

The seminar on Sacred Traditions and the Arts is a joint venture between the Department of Theology and Religious Studies at King��s and the Ģ��Ƶ Institute. It seeks to place researchers in dialogue who are working on any aspect of the sacred and visual culture. It is open to all scholars and students who have an interest in exploring the intersections of religion and art regardless of period, geography, or tradition.??

Organised by Dr Caroline Levitt (Ģ��Ƶ Institute) and Professor Ben Quash (King��s College London).?

Speakers:

Dr Jessica Barker?is a senior lecturer in medieval art at the Ģ��Ƶ Institute, with a particular interest in sculpture. Her prize-winning monograph,?Stone Fidelity: Marriage and Emotion in Medieval Tomb Sculpture?(2020), explores the intersection of love and death in funerary art. Other publications explore ideas of inventiveness in medieval art; scale and viewing experience; and histories of care.

Dr?Claire Gilbert?is an author, visiting professor at King��s College,?London?and lay canon of Norwich Cathedral. ?She was formerly founding director of Westminster Abbey Institute for ethics in public life. ?Her books include?I, Julian?(Hodder, 2023) and?Julian of Norwich and the Ecological Crisis: restoring porosity?(Routledge, 2024).

Plumbing diagram from the Eadwine Psalter, c.1155�C60; Christ Church, Canterbury; Parchment; 46 �� 33 cm (18 1/8 �� 13 ins; Trinity College, Cambridge MS R.17.1, fols. 284v and 285r.

The post Living by the Rule: Contemporary Art meets the Medieval Monastery? appeared first on Ģ��Ƶ.

Members’ Early Morning View of Seurat and the Sea

Leonie Houching — Wed, 11 Mar 2026 10:30:39 +0000

Tuesday 31 March?2026, 9:00 �C 10:00

Join our members’ early morning view of The Griffin Catalyst Exhibition: Seurat and the Sea.

Enjoy the exhibition without the crowds before the galleries open to the public.

Free for Ģ��Ƶ Members

Ģ��Ƶ Members go free

Get free, unlimited entry to our permanent collection and exhibitions, access presales, exhibition previews, exclusive events, discounts and more.

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Looking at Ourselves – a Historical and Practical Exploration of Portrait Photography

Kitty Ristuccia — Wed, 18 Feb 2026 20:34:51 +0000

Media, Materials and Methods

Spring School on Campus

Alistair Morrison and Dr Tim Satterthwaite

Monday 13 �C Thursday 16 April 2026

?545

Course Description

This course explores the paradoxical nature of portrait photography, as both a public and private art form, an expression of social identity and of psychological vulnerability. Through discussion of photographic portraiture from different periods and contexts, and practical experiments in photography and curation, we shall search for insights into the history and contemporary meanings of this vital cultural practice.

The course is intended for everyone interested in the history of photography and portraiture and in the practice of photography. It does not require previous photographic experience, and students can use any digital device �C including mobile phones �C as their camera.?Theoretical and practical classroom sessions will be complemented by visits to exhibitions and museum collections relating to the history and theory of portraiture. On the final day of the course there will be a digital exhibition of students��?work in the company of a guest speaker of note,?with an invited audience including students��?friends and families.

Click here to see work produced by last year’s students

The post Looking at Ourselves – a Historical and Practical Exploration of Portrait Photography appeared first on Ģ��Ƶ.

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Members’ Early Morning View of Seurat and the Sea

Ģ����Ƶ Members go free

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Ģ����Ƶ Patrons

Gift Membership

‘A Compendium of Disparate Imagery’: R.B. Kitaj’s painted collages?

With contributions from:

Ģ����Ƶ Institute named best for Art History in latest QS Global rankings

Download the press release

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Speakers:

Cecilia Fajardo-Hill

Amalia Pica

Rory O��Bryen

Sofia Gotti

Lotte Johnson

Diego Chocano

In collaboration with

The Ģ����Ƶ Gallery presents first Barbara Hepworth exhibition devoted to her work with colour

Download Press Release

Sotiris Felios Collection Art History Residency 2026

Further documents

The New Taste: Fashion and Art in the 1820s and 1830s

Speakers:

Living by the Rule: Contemporary Art meets the Medieval Monastery?

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Members’ Early Morning View of Seurat and the Sea

Ģ����Ƶ Members go free

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Gift Membership

Looking at Ourselves – a Historical and Practical Exploration of Portrait Photography

Media, Materials and Methods

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You searched for exhibitions - Ģ��Ƶ

Ģ��Ƶ Members go free

Ģ��Ƶ Patrons

Ģ��Ƶ Institute named best for Art History in latest QS Global rankings

The Ģ��Ƶ Gallery presents first Barbara Hepworth exhibition devoted to her work with colour

Ģ��Ƶ Members go free

Ģ��Ƶ Patrons