The Courtauld is seeking to appoint a Lecturer/Senior Lecturer/Reader (equivalent to Assistant or Associate Professor) with a specialist knowledge of the history of the art market.  Applications are welcomed from those with a scholarly expertise in any aspect of the art market from the early modern period to the late twentieth century, but who also have a broader knowledge of the histories of art markets both in the UK and internationally. We are seeking candidates who will engage with and drive forward debate and scholarship, who will critically engage with current issues and debates in the field, and whose research is of world-class quality.

Working with a specialist on today’s art market, the post-holder will make a leading contribution to the design and delivery of a new MA in Art and Business at The Courtauld, which will launch in September 2025. This MA will aim to be the leading postgraduate programme in the subject, equipping students with the skills and knowledge they need to succeed in the contemporary art world.

Portrait of a Woman is believed to be one of two ambitious, full-length portraits the artist exhibited at the 1818 Salon in Brussels, her public debut at just 21 years old. A talented pupil of the neoclassical painter Jacques-Louis David, then the most celebrated painter in Europe, Fremiet’s Portrait of a Woman shows how thoroughly she had mastered David’s style, while highlighting her own particular talents in the rendering of different fabrics and materials.

Aroung the same time that Fremiet painted Portrait of a Woman, David tasked her with creating a copy of his The Farewell of Telemachus and Eucharis, which he declared was so skillfully executed that it appeared indistinguishable from his original. She continued to impress David and critics at the various Salons where she exhibited her portraits, historical scenes, and mythological compositions like La Belle Anthia. Upon seeing the last work, a fellow mentee of David wrote to him that Fremiet was “a woman only in clothing but a man by her merit.” While pejorative today, this comment legitimized her in the eyes of her male peers.

The Beaux-Arts de Paris owns a remarkable collection of ten works by Giambattista Tiepolo (1696-1770), making it the second-largest public collection of the artist's drawings in France. Above all, this collection is the only one in France to include drawings not only by Giambattista, but also by his two painter sons, Giandomenico (1727-1804) and Lorenzo (1736-1776), as well as another of Tiepolo's assistants in the 1730s, Giovanni Raggi. This collection alone provides an overview of graphic practices within the family and the studio.

The study of these sheets and prints, combined with works by other artists - sources of inspiration such as Rembrandt, masters such as Piazzetta, and contemporaries such as Canaletto, Guardi and Novelli - highlights the great modernity of their art. This is particularly evident in their ability to produce variations on the same theme, both in traditional religious and mythological subjects and in figure studies, particularly caricatures, as well as scenes from Venetian life. The exhibition also explores the relationship between the father and his sons, and the work within a family of artists.

She said there was a "massive" problem with the condition of National Museum Cardiff.

"Unless we're able to secure more funding for that building that that will have to close," she said.

The chief executive said Cardiff council had already shut the next door building, City Hall, which is the same age and had "exactly the same problems as us".

"So when you have water coming through and failing electrics, there is a question hanging over the future of that building anyway." She said unless there was more money for the Cardiff museum – which houses "extraordinarily special objects" - it could close.

Wenzhou Business College is a top ranked private university approved by the Ministry of Education in China. With nearly 20,000 students and over 1,000 faculty members, the College invites applications for 10-year full-time tenure positions at all ranks in Art or Art History to begin in Fall 2024. The successful candidate will be able to teach lower level undergraduate art or art history courses. English fluency is a must. Applicants should possess a PhD degree in Art, Art History or related field. ABDs with anticipate completion by July 2024 are encouraged to apply. Candidates graduated from a Top 50 ranking university with master degrees in Art, Art History or related field may be considered at Lecturer level with a 10-year contract.

Sofonisba Anguissola (ca. 1532–1625), an Italian Renaissance painter born in Cremona to a relatively poor noble family, was one of the first women artists to establish an international reputation during her lifetime. This stunningly illustrated monograph explores the evolution of Anguissola’s art from her youth in Cremona through her service as a lady-in-waiting to the Spanish queen Elisabeth of Valois to her later years as a married woman in Sicily and Genoa. Alongside discussions of Anguissola and her work, author Cecilia Gamberini offers a tantalizing exploration of Renaissance court life, detailing how the circles of influence and power operated.

This volume highlights the social, political, and cultural preconditions surrounding Anguissola’s role in the court of King Philip II of Spain and her ascent to becoming an internationally acclaimed painter. Gamberini draws on archival documentation, as well as her own original research, to shine a new light on Anguissola’s life, career, and work in this tribute to a truly groundbreaking artist.

Presented in honor of the 250th anniversary of Friedrich’s birth in 2024, Caspar David Friedrich: The Soul of Nature is the first comprehensive exhibition dedicated to the artist held in the United States. Organized in cooperation with the Alte Nationalgalerie of the Staatliche Museen zu Berlin, Staatliche Kunstsammlungen Dresden, and Hamburger Kunsthalle, with unprecedented loans from more than 30 lenders in Europe and North America, the exhibition will present approximately 75 works by Friedrich. Oil paintings, finished drawings, and working sketches from every phase of the artist’s career, along with select examples by his contemporaries, will illuminate how Friedrich developed a symbolic vocabulary of landscape motifs to convey the personal and existential meanings that he discovered in nature. The exhibition will situate Friedrich’s art within the tumultuous politics and vibrant culture of 19th-century German society and, by extension, highlight the role of German Romanticism in shaping modern perceptions of the natural world.

Always regarded as a youthful masterpiece by Titian and generally dated circa 1510, there are however some inevitable variations on the precise dating. In his 2012 exhibition at the National Gallery in London: Titian, A fresh look at nature, Antonio Mazzotta, who dates the picture to circa 1508-9, observed that the monumental figure of the Virgin ‘prefigures other Titian heroines’ from the period, notably that of Judith as Justice in the detached fresco fragment from the Merceria entrance to the Fondaco dei Tedeschi, circa 1508 (Venice, Ca d’Oro), a key early commission, and that of the Magdalen in the artist’s slightly later Noli me Tangere, 1511-12 (London, National Gallery).

The roll call of illustrious provenance for this painting begins with it being first documented in the collection of the Venetian merchant, Bartolomeo della Nave (1571/79-1632), described in 1629 as a ‘mercante da droghe’, whose activities focused on the spice trade. Della Nave's inventory reveals an astonishing collection that is unlikely to have been equalled in Venice during his day and included no fewer than fifteen works by Titian, notably including The Gypsy Madonna of circa 1511; his Violante of circa 1510-15; the Nymph and Shepherd of circa 1570 (all in Vienna, Kunsthistorisches Museum); and the artist’s mature masterpiece of 1565-76, The Death of Actaeon, now in the National Gallery, London. In 1636, the Longleat picture was valued at £200 in della Naves's inventory, twice the amount for the Death of Actaeon, suggesting Titian's early works were more highly prized than their later counterparts.

Through Bartolomeo’s brother, Andrea della Nave, and Basil Feilding, 2nd Earl of Denbigh, King Charles I’s ambassador to Venice, the majority of the collection was acquired en bloc by the latter’s brother-in-law, James, 1st Duke of Hamilton and sent to England. Following Hamilton’s execution by parliament in 1649, the collection was sold to Archduke Leopold Wilhelm of Austria, Governor of the Spanish Netherlands from 1647-1656. The picture appears in Teniers’ copper panel depicting The Archduke Leopold Wilhelm in his Picture Gallery in Brussels (Madrid, Museo del Prado), where it is shown hanging alongside other works by Titian acquired from della Nave’s collection, among which are the Nymph and Shepherd, Violante, and his Christ and the Woman taken in Adultery, circa 1511 (Vienna, Kunsthistorisches Museum), an unfinished panel that the young Anthony van Dyck had made a sketch of during his visit to see the Venetian merchant’s collection in 1622.

The Longleat picture remained in the Imperial collection – passing by descent from Charles VI, Holy Roman Emperor (1685-1740), Vienna, to Maria Theresa (1717-1780), Holy Roman Empress, Archduchess of Austria and Queen of Hungary and Bohemia, to Joseph II, Holy Roman Emperor (1741-1790) – and was transferred to the Belvedere Palace in Vienna by 1781, where it was looted by French troops in 1809 for the Musée Napoléon. It was subsequently owned by Hugh Andrew Johnstone Munro of Novar (1797-1864), a Scottish landowner, amateur artist and one of the most important patrons of Turner. Munro formed a celebrated collection that included Rembrandt’s Lucretia (Washington, National Gallery of Art), Veronese’s Vision of St. Helena (London, National Gallery), and at least ten pictures by Bonington, of which the finest was A fishmarket near Boulogne (New Haven, Yale Centre for British Art).

Responsible for performing a variety of duties and project assignments primarily related to curatorial functions and as assigned by curatorial staff. Supervises Manton Study Center for Works on Paper. This is a one-year project position, with the possibility of an extension for a second year.

Physical Demands:
Ability to sit at a desk/workstation and use a computer for prolonged periods of time.
Ability to stand for up to four hours.
Ability to physically move and handle artwork, which requires being able to lift up to 30 pounds regularly.

Work Environment:
Work will be performed in an office environment and museum spaces. The noise level in the work environment is usually low to moderate.

Anne Stewart, Senior Curator of Art at National Museums NI, expressed the significance of the upcoming occasion and said:

“The connection between the two Caravaggio paintings is remarkable. Both were painted for the same patron, Ciriaco Mattei, and originally displayed in the same family palace in Rome. Reuniting Caravaggio’s The Supper at Emmaus and The Taking of Christ is a highly ambitious and unusual event. Both paintings very rarely travel and they have hardly ever been seen together since the first quarter of the 17th century.

“We are truly honoured and grateful to the National Gallery, the National Gallery of Ireland and the Jesuit Community in Dublin, for allowing us the opportunity to bring together two rare artworks and provide our audiences and the public with a rare chance to access these masterpieces.”

With more than 130 works of art on display, the exhibition comprises sculpture, metalwork, jewellery, glass, textiles, books, manuscripts, paintings, works on paper and exotica, many of which have never previously been shown in Paris. 

This includes works by Antico, Lucas Cranach the Younger, François Clouet, Vittore Crivelli, Donatello, Nicholas Hilliard, Hans Holbein the Younger and Leonardo da Vinci, together with treasures and objets d'art created for noble and royal patrons by many of the most accomplished artists of the period.

The focus of this project is on identifying, researching and analysing the provenance, changing status and visibility of about 500 books of prints in the British Library’s collection, using an 1812 unpublished finding list as a starting point.

This project will be jointly supervised by Kate Retford at Birkbeck (Professor of History of Art, School of Historical Studies) and Felicity Myrone at the British Library (Lead Curator, Western Prints and Drawings). The student will spend time with both Birkbeck and the British Library and will become part of the wider cohort of AHRC CDP funded PhD students across the UK.