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Courtauld Insights

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11 to 20 of 33

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Eleanor's Crosses

"whom living we dearly cherished, and whom dead we cannot cease to love." Agnieszka Sadraei on a King's commemoration of his wife's final journey

The De Laszlo Gift

Barbara Thompson on a collection of 22,000 negatives by the photographer Paul Laib available for study in the Courtauld's Witt Library

Sacred Icon or Secular Portrait?

A woman and her child - but who, and why? Stephanie-Suzanne Durante reveals the not so straightforward story of this enigmatic painting by Jan Gossaert

Three Interiors by Guercino

From baking and cooking, to drying your hair: Danielle Carrabino on three seventeenth-century drawings that ennoble every-day life.

Studying at the Courtauld

If A&A has sparked your interest in art history, find out more about our range of courses from informal Summer schools to diploma and degree programmes

Impressionist Dealers and Collectors

Rebecca Virag on the people who created markets for the works of Monet, Degas, Cézanne and Renoir

Egypt in the Alps

Michelangelo wasn't impressed with Flemish painting, and there's no sign of a pyramid either. Stephanie-Suzanne Durante tells the story

Jacob Epstein: Sculptor in Revolt

An iconoclast with a respect for tradition: Grace Brockington on one of the leading British sculptors of the 20th century

The A59 photographer

Lindy Grant on the artistry and itinerary of an unknown traveller and master photographer

Spontaneity and Intention

From private, personal works to grand designs - Stephanie-Suzanne Durante on Rubens' use of the oil sketch and its place as a work of art in its own right