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She moved to the NPG in 2002 to become the 16th
Century Curator. She led the seven-year "Making Art in Tudor Britain" project. This project encompassed a detailed and comprehensive scientific survey of Tudor paintings in the NPG. The NPG received a grant from the
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which was held at the NPG from
October 2013 to January 2014. This exhibition included a miniature portrait of Elizabeth I found in a house clearance in 2012, that Cooper described as "a very high quality image by a 16th-century artist".
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In
January 2018 she became the National Trust's Curatorial & Collections Director. In this role she will deliver the Trust’s curatorial strategy, including research, engagement, and care for collections and buildings.
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Cooper received her MA in art history from The
Courtauld Institute of Art in 1996 where she studied Dutch and Flemish art. She obtained a D Phil from the University of Sussex in 2002. The title of her thesis (2001) was:
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at the
National Portrait Gallery (12 September 2014 – 1 March 2015), which includes results from the NPG's "Making Art in Tudor Britain" research project. She is co-editor of
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based in part on her D Phil dissertation together with her research in her role as curator at the NPG. In 2010 she was awarded a senior research fellowship by the
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During her time at UCL, she curated two exhibitions from the college's collections. She co-curated (with David
Starkey) the exhibition
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Memento mori portraiture: painting, Protestant culture and the patronage of middle elites in
England and Wales, 1540 - 1630
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Cooper, Tarnya (2010). "The enchantment of the familiar face". In
Hamling, Tara; Richardson, Catherine (eds.).
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She was appointed Chief
Curator at the NPG in 2011 and was elected as a fellow of the
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Refashioning Death; Vanitas and
Memento Mori Prints from Northern Europe, 1514-c1640
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She was Assistant Curator of the College Art Collections and taught art history at
303:"Dr Tarnya Cooper to join National Trust as Curatorial & Collections Director"
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at the National Maritime Museum in 2003 and was a contributor to the catalogue.
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at the National Portrait Gallery in 2006. She was the curator of the exhibition
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Cooper, Tarnya (2003). "The Queen's Visual Presence". In Starkey, David (ed.).
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Cooper, Tarnya; Burnstock, Aviva; Howard, Maurice; Town, Edward, eds. (2015).
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Everyday Objects: Medieval and Early Modern Material Culture and Its Meanings
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She has previously been the Chief Curator and Curatorial Director at the
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Painting in Britain 1500 - 1630: Production, Influences, and Patronage
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Painting in Britain 1500 - 1630: production, influences and patronage
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Cooper, Tarnya; Archer, Ian W; Orlin, Lena Cowen (2013).
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The Real Tudors : kings and queens rediscovered
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is an art historian and author who is currently the
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173:Drawing Practices, Mediums and Methods, 1500–1950
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502:Fellows of the Society of Antiquaries of London
46:Curatorial & Collections Director. Former
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202:. National Portrait Gallery Publications.
193:. National Portrait Gallery Publications.
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252:. London: National Portrait Gallery.
182:Elizabeth I; The Exhibition Catalogue
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271:. Oxford: Oxford University Press.
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492:Alumni of the University of Sussex
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211:. Ashgate Publishing. p. 173.
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449:"Painting in Britain 1500 - 1630"
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229:. National Portrait Gallery.
144:She also curated the display
227:Elizabeth I & Her People
171:Cooper, Tarnya, ed. (2000).
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138:Elizabeth I & her people
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472:Making Art in Tudor Britain
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437:National Portrait Gallery
191:Searching for Shakespeare
134:Searching for Shakespeare
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220:. Yale University Press.
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380:5 December 2012 at the
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184:. Chatto & Windus.
113:in June of that year.
175:. University College.
166:. University College.
512:Women art historians
33:University of Sussex
477:The Faces of a King
354:, Acknowledgements
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29:Education
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378:Archived
248:(2014).
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312:19 July
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.