Application Deadline: 17:00 (UK Time) ,15th March 2024?

Non-PhD offer holders will be notified the scholarship outcome by email from 28th March onward, before the acceptance deadline in May. Unfortunately we are unable to inform exactly when you will hear from us.

PhD offer holders will be notified the scholarship outcome from 20th May onward.

Programme specific scholarships

The below awards are applied for via the typical Courtauld Scholarship process, with eligible students considered for the awards below where appropriate.

The Simon Gillespie Studio Scholarship?is intended to support one student enrolled on the MA Conservation of Easel Painting for the full duration of the scholar¡¯s course.

Other sources of funding

Loan schemes

US / Canadian Government Loans

Education

• 2014-present, PhD Candidate, ÐÇ¿Õ´«Ã½
• 2012-2013,?MA in History of Art, ÐÇ¿Õ´«Ã½
  Funded by: Broad Art Foundation and Courtauld Scholarships
  Special option: ¡®Artists and Friars: the Renewal of Painting in Assisi and Siena in the Thirteenth and Fourteenth Centuries¡¯
• 2000-2003,?MA and Certificate of Advanced ÐÇ¿Õ´«Ã½ in Art Conservation, SUNY Buffalo State College
  Funded by: Andrew W. Mellon Fellowship and SUNY Research Foundation Scholarship
• 1995-1996,?PG Certificate (Corso di Perfezionamento), University of Florence
  Subject: La scienza per la conservazione dei beni culturali
• 1995-1996,?PG Diploma in Art Conservation, SACI, Florence
  Funded by: Jules Maidoff Scholarship
• 1988-1992,?BA in Fine Arts, San Francisco Art Institute
  Major subject: Printmaking

Teaching

• 2019 Autumn term, Graduate Teaching Assistant, ÐÇ¿Õ´«Ã½, Foundations Course Lectures (Classical and Byzantine Art, The Middle Ages, Renaissance Art, Early Modern China, European Architecture)
• 2008-2014,?Adjunct Faculty/Lecturer, American University of Rome
  Lecturer and instructor of undergraduate courses on the History of Art and the Conservation and Restoration of Cultural Heritage
• 2005-2006,?Course Coordinator and Academic Advisor to the Conservation Department, Lorenzo de¡¯ Medici Institute, Tuscania
• 2003-2004,?Adjunct Faculty, SACI, Florence
  Thesis Advisor and Lecturer for the Post-Baccalaureate program in Art Conservation

Professional experience

Print Room Assistant (curatorial support), The Courtauld Gallery, London,?2017-2018

Contract Paintings Conservator, Katherine Ara Limited, London, 2010, 2011

Samuel H. Kress Conservation Fellow, Medieval and Renaissance Galleries Project, Victoria & Albert Museum, London,?2006-2007

Associate Paintings Conservator, Steven Prins and Company, Santa Fe,?1999-2000,?2002,2004, 2005, 2006

Collections Docent for the Sir Harold Acton Collection, Villa La Pietra, New York University, Florence,?2004-2005

Contract Paintings Conservator, Matteo Rossi Doria/Centro di Restauro Studio Barbabianca, Rome,?2004-2005

Research, Special Collections and Archives, Utah State University (conducted in Florence), 2004

Graduate Intern in Paintings Conservation, North Carolina Museum of Art, Raleigh,?2002-2003

Research interests

• Technical art history
• Italian art between?1280-1480
• Artistic networks
• Historic painting practices
• Illuminated manuscript production
• Ecclesiastical and monastic patronage
• Materials use and relationships (particularly relationships between the techniques of painting, manuscript illumination, metalwork, stained glass, leatherwork, embroidery)

Conference papers

• ¡®°Õ³ó±ð?cartolai?connection: assessing the artistic networks of Florentine manuscript production at the turn of the fifteenth century¡¯, Annual Postgraduate Symposium, ÐÇ¿Õ´«Ã½, London, 8-9 October 2020
• ¡®Networks and Allegiances: a brief look at the painter-illuminators of Sant¡¯Egidio c. 1420¡¯,?Giotto¡¯s Circle, ÐÇ¿Õ´«Ã½, London, 3 June 2019
• Session chair, ¡®Workshops and Artistic Methods¡¯ at?Conversing and Connecting Over Time, Annual Postgraduate Symposium, ÐÇ¿Õ´«Ã½, London, 16 May 2019
• ¡®A brief study of the painter-illuminators at Sant¡¯Egidio c.1420¡¯ at?New Dialogues in Art History, The Warburg Institute, London, 27 February 2019
• Session chair,?The Colors of Paradise: Painting Miniatures at Italian Convents, ca.?1300-1700, 5th Annual Jane Fortune Conference, co-organized by the Medici Archive Project and the Museo Nazionale di San Marco, Biblioteca di San Marco, Florence, 11-12 October 2018
• ¡®Santa Maria degli Angeli or not? Considering Florentine artistic networks and the painter-illuminators of Fitzwilliam MS 30¡¯ at?Medieval Collaborations, 22^nd?Annual Medieval Postgraduate Colloquium, ÐÇ¿Õ´«Ã½, London, 4 February 2017
• ¡®Making the Cardinal¡¯s Missal: Looking anew at the Circle of Lorenzo Monaco and the Illuminators of Fitzwilliam MS 30¡¯ at?MANUSCRIPTS in the MAKING: Art and Science, The Fitzwilliam Museum and Departments of Chemistry and History of Art, University of Cambridge, Cambridge, 8-10 December 2016
• ¡®Lorenzo Monaco and the Missal of Cardinal Acciaiuoli: Patronage, Production and the Painter-Illuminators of Early Renaissance Florence. A work in progress.¡¯ at?Leuven-Lille-London study group Annual Conference, ÐÇ¿Õ´«Ã½, London, 1 April 2015
• Session chair,?Movement in Medieval Art and Architecture, 20^th?Annual Medieval Postgraduate Colloquium, ÐÇ¿Õ´«Ã½, London, 7 February 2015
• ¡®Gold, Glass and Light: The Franciscan vision in representations of the stigmata¡¯ at?the Association of Art Historians 40^th?Annual Conference, Royal College of Art, London, 10-12 April 2014
• ¡®Accounting for Taste: Retaining an Historic Restoration from a Sienese Accounts Book¡¯ at?the American Institute for Conservation of Historic and Artistic Works, 36^th?Annual Meeting, Denver CO, 21-24 April 2008
• ¡®Concepts of authenticity as related to a 15^th?century Florentine?Cassone?panel in the V&A Museum¡¯ at?Art, Conservation and Authenticities: Materials, Concept, Context,?2^nd?Annual Conference,?ICON Scotland and University of Glasgow, Glasgow, 12-14 September 2007

Publications

• ¡®Making the Cardinal¡¯s Missal: Looking anew at the Circle of Lorenzo Monaco and the Illuminators of Fitzwilliam MS 30¡¯, in?Manuscripts in the Making: Art and Science, edited by S. Panayotova and P. Ricciardi. London and Turnhout: Harvey Miller/Brepols, 2017
• ¡®Gold, Glass and Light: The Franciscan vision in representations of the stigmata¡¯, in?Colour and Light in Ancient and Medieval Art, edited by C. Duckworth and A. Sassin. Farnham: Ashgate, 2017
• ¡®Concepts of authenticity as related to a 15th century Florentine?cassone?panel in the V&A Museum¡¯ in?Art, Conservation and Authenticities: Material, Concept, Context,?edited by E. Hermens and T. Fisk. London: Archetype Publications, 2009
• ¡®Accounting for Taste: Retaining an Historic Restoration from a Sienese Accounts Book¡¯,?AIC Paintings Group?36th Annual Meeting?post-prints, Denver, 2009
• ¡®Renaissance Painted?Cassoni¡¯?,?V&A Conservation Journal, No. 56, Spring 2008
• ¡®The Not So Secret Formulas of Jacques Maroger: An Investigation of the Manufacture and Use of Maroger Mediums¡¯,?ANAGPIC Conference post-prints, Cambridge, 2004

Education

• PhD Student, ÐÇ¿Õ´«Ã½ (2018 ¨C present)
• MA History of Art, ÐÇ¿Õ´«Ã½ (2017 ¨C 2018)
  • Thesis:?The Portrayal of Male Prostitution and Sex Work as Affective Labour in
    Documentary Film: A Case ÐÇ¿Õ´«Ã½ of Wiktor Grodecki¡¯s?Not Angels But Angels
    and?Body Without Soul?and Rodrigue Jean¡¯s?Men for Sale
• MA Art Theory, Hongik University (2014-2017)
  • Thesis: How Art is Made, the Nuances of Artistic Labour : a Case ÐÇ¿Õ´«Ã½ of Marcel Duchamp and Robert Morris
• BA Fine Art,?Chelsea College of Art and Design (University of the Arts London)?(2009 ¨C 2012)

Research Interests

• Art and politics
• Warfare
• Photography
• Soft power

Scholarships

• Hongik Scholarship, Hongik University (2015)
• BAJS (British Association for Japanese Studies), John Crump Studentship (2022)
• BAJS (British Association for Japanese Studies), John Crump Studentship (2023)

Teaching

• Teaching Assistance, BA1 Foundation 2, Courtauld Institute of Art (2023)
• Teaching Assistance, British and American art in the cultural field,?1950-2016,?Hongik University (2016)
• Teaching Assistance, Urban Space and Cultural Studies, Hongik University (2015)
• Teaching Assistance, Modernism and its Visual Mechanisms: Art, Technology and Culture in a Global Context,?1850-1950,?Hongik University (2015)

Conference Papers

• ‘FRONT?no. 8-9 (1943), Japan¡¯s War Pictorial Propaganda: Selling Japan as?Meishu?to Asian colonies during the Pacific War’. ‘Faces of War’ International War Studies Conference. London Centre for Interdisciplinary Research. 21 March 2020.
• ‘The Barbizon-esque Rural Imagery in 1930s Manchuria: Fuchikami Hakuy¨­¡¯s Art Photography and the Cult of Millet in Modern Japan’ ‘Dialogues: Modern and Contemporary Approaches to Politics and Place’. The Courtauld annual postgraduate symposium. 4-5 May 2020.
• ‘Mut¨­ Tomio¡¯s Media Control of Photography in Wartime Japan: The Guidance of the Arts, Registration Photography and the Manipulation of Photographic Visibility’. ‘Identity and Power’ International Conference. London Centre for Interdisciplinary Research. 1-2 August 2020.
• ‘Colonial Discourse in 1930s Manchurian Pictorial Photography: The Barbizon-esque Rural Landscape as the Erasure of Colonial Violence’. ‘Violence and Society’ International Conference. London Centre for Interdisciplinary Research. 22 August 2020.
• ‘Running a Graphic War: The CID/CIB’s H¨­d¨­ shashin for Propaganda War’. The Courtauld annual postgraduate symposium. 22-21 June 2021.
• ‘Politicising Photojournalism: Ina Nobuo’s Photography Criticism and Natori Y¨­nosuke’s H¨­d¨­ shashin’. The British Association for Japanese Studies Conference. 7-9 September 2022.

Talks

• Vincent van Gogh’s Self-Portrait with Bandaged Ear. Lunchtime Talks at The Courtauld Gallery (2022-23)
• ‘Western Realism as War Spectavle in Early Meiji Japan’. µÂˇÉç Courtauld Chinese Art & Culture Society. 20 February 2019.

Publications

• ‘Printmaking as Artistic Self-Expressions: 1950s Japaense Creative Prints,’ immediations, no. 19 (2022) (review)
• ‘Jae Ko: Mnemic Stroing, Forming, Evoking,’ published in conjuction with the exhibition Jae Ko – Gi (šâ Vital Force) organised by and presented by Opera Gallery London, 22 March 2023 – 9 May 2023. (exhibition catalogue essay)