Year Course Programme Chardin to Cézanne: Art and Innovation in Europe,

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Letitia Booker
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1 Year Course Programme Chardin to Cézanne: Art and Innovation in Europe, Thursdays, 22 September July 2017 (over 3 terms) (Each term includes optional gallery talks, commencing at and repeated at 15.30) The period between 1720 and 1900 was one of dramatic change in culture and politics. In 1720, countries like Britain and France were expanding nation states but many other regions of Europe were still parts of empires, only emerging as independent countries during the 19th century. Gradually European nations became industrialised and their capitalist economies depended increasingly on mechanisation at home and colonial expansion throughout the world. Against this background, the course explores the major developments in western painting during the 18th and 19th centuries. Within the framework of a chronological survey, it considers some of the most celebrated artists of the modern age - including the work of Watteau, Hogarth, Blake, Courbet, Degas, Whistler and Van Gogh - together with many others whose names will be less familiar. This course attempts to account for the Why as well as explaining the How, exploring themes such as taste, the market and the avant-garde, and looking at the relationships between art, politics and culture within the context of a rapidly changing world. Course Director Dr is an art historian specialising in French painting and the academic tradition. She has been a year course director since 2005 and has lectured at the V&A since She completed an MA in 19th century painting and a PhD on the work of art students at the French Academy in Rome at the Courtauld Institute, University of London. Kathy has worked the Open University, Birkbeck College, NADFAS and Morley College where she was head of Art & Design.

2 Other Lecturers: -, Lecturer in British painting, currently researching for a PhD in English portraiture - Dr, freelance lecturer, specialist in 19th and 20th century art and design - Joachim Strupp, founder of Art Pursuits Abroad and art historian with specialisation in Italian and German art -, independent art historian, who lectures for the National Gallery, the V&A and NADFAS

3 Autumn Term Programme & Dates: Chardin to Cézanne: Art and Innovation in Europe, Thursdays, 22 September 8 December th Century The 18th century was a comparatively peaceful period, at least until the outbreak of the French Revolutionary wars in the 1790s. Greater wealth among a broader range of people, combined with better opportunities for travel, widened and vitalised the art market. The period also witnessed the Age of Enlightenment, an intellectual movement championing reason, scientific enquiry and a respect for humanity which had a significant impact on the arts. Painting of the early 18th century reveals a considerable variety of interest and style. While artists of the French Rococo delighted in pastoral and mythological themes, creating images that combined fantasy and sensuality, in England Hogarth was developing his moral narratives about everyday life in print and painting. There was, however, one pervasive theme running through the art of this period: a concern with nature, manifest in so many forms academic studies of the human form, Chardin s still lifes, chalk drawings by Watteau or pastel portraits. British artists, including Wright of Derby, Reynolds and Gainsborough, were particularly innovative in the areas of portraiture, genre and landscape. However the uncontested centre of the art world during this period was Rome, and it was there that the new international style of Neoclassicism would first develop during the second half of the 18th century. 22 September Introduction Introduction to the course Historical background Gallery talks Angela Bolger, and 29 September A Civilized Age Defining the Rococo Richard Stemp Watteau and the fête galante Art of Painting

4 6 October The Painter s World Markets for Art The Academy Susan Bracken Venetians Abroad Catherine Parry-Wingfield 13 October After Nature Portraits in Pastel Richard Stemp Chardin and the Still Life Developments in Portraiture 20 October Images Of Everyday Life Italian Genre Catherine McCormack Moral Narratives in England in the Age of Hogarth French Genre from Chardin to Greuze 27 October Decoration Interiors: Introduction Susan Bracken Middle Europe Joachim Strupp Case Study Tiepolo Catherine Parry-Wingfield 3 November The Landscape Aesthetics of Landscape from Classical to Sublime The Pastoral Tradition Watercolours 10 November Careers Perfect Anatomies and the Politics of Proportion Deanna Petherbridge Women Artists British Artists of the Industrial Revolution 17 November 18th Century Europe National Gallery English Portraiture Art in the Age of Enlightenment Barbara Lasic Italy Joachim Strupp 24 November Making A Spectacle Theatre and Celebrity The history of England Artists of America 1 December A New Classicism Italy and the Grand Tour Rediscovery of the Antique Caroline Knight Jacques-Louis David and the True Style 8 December Revolution Revolutionary Art in France Barbara Lasic Marianne Revolution Personified Barbara Lasic Revolutionary Art in France

5 Spring Term Programme & Dates: Chardin to Cézanne: Art and Innovation in Europe, Thursdays, 12 January 30 March th Century The age of rational enlightenment was shattered by the French Revolution of In the longer term the consequences of the Industrial Revolution would be just as significant. By the late 19th century, the western world had altered radically in terms of population growth and the emergence of new nations, industrialisation and colonial expansion. These social, economic and political changes found expression in the visual arts. Two of the main cultural and artistic movements in the early 19th century were Neo-classicism and Romanticism, which had both begun in the previous century. These are often positioned as opposing qualities order, reason and the influence of classical antiquity in the former; disorder, subjectivity and a fascination for the exotic in the latter. In fact the differences were rarely so clear cut and the two movements co-existed and indeed re-energised each other. By the mid-century the increasing economic and political power of the middle classes was reflected in changes within the art world. Painters and patrons placed increasing emphasis on realism and naturalism in picturing the contemporary world, and the art market was increasingly vibrant and diversified, with dealers and independent galleries taking their place alongside traditional, government sponsored exhibitions. This is the context within which a new avant garde emerged from the mid 19th century, which would culminate in the first Impressionist exhibition of January 19th Century Art: Setting the Scene Introduction Start of a New Age: Historical and Social Context Key trends Art of the Museum 19 January Reaction Brotherhood of Art the Nazarenes Joachim Strupp The Primitives and David s Studio Mary Acton The Academy in Rome

6 26 January Rebels and Outsiders Romantics at the Salon, from Géricault to Delacroix Blake, Palmer and revolution Case study: Goya 2 February History and National Identity The Romance of the Past Jo Rhymer History, Literature and Nation Italy after Napoleon 9 February The Romance of Place America s Spirit of the Sublime Artists in the Near East Andrew Kennedy Friedrich and the Spirit of Longing 16 February Domestic Scene British genre Ingres and the Art of Dress Clare Rose Biedermeier 23 February Truth to Nature Constable s Landscape Turner and the Sea Andrew Kennedy School of Barbizon 2 March Realism French Social Realism Jo Rhymer Manet and Degas Rivals in Modernity Jo Rhymer Case Study: Adolph Menzel and Modern Germany Joachim Strupp 9 March Grand Ambitions Public Art Commissions for the Nation: the New Houses of Parliament Art for the Public in Mid-19th Century France Art of a New Monarchy Munich 16 March Faces of Modern Life Pre Raphaelites the First Decade Moral Narratives Images of the American Civil War 23 March Aesthetic Revisions Art of Dress Clare Rose Challenge of the Grosvenor Gallery Whistler Case Study 30 March 19th Century Europe National Gallery England Early 19th Century French Romanticism to Realism Colour in the Eye of the Beyolder

7 Summer Term Programme & Dates: Chardin to Cézanne: Art and Innovation in Europe, Thursdays, 27 April 13 July 2017 Late 19th Century During the late 19th century competitive colonial expansion by European nations brought them considerable wealth and influence, but also increased the danger of conflict. At the same time, closer proximity to different cultures had an impact on taste and the aspirations of artists such as Paul Gauguin. For the arts as for society, the late 19th century was complex and dynamic. A powerful drive towards originality and innovation was matched by a strong sense of nostalgia for the past. The growth of European commerce was countered in the arts by dissatisfaction with materialism and a desire to return to a simpler world. While some artists - including Herkomer and Fildes in England or Ilya Repin in Russia chose to confront the realities of urban and rural poverty, others sought escape in idyllic visions of country life. Similarly, one response to contemporary scientific advances was retreat to the interior world of the mind, while other painters embraced the modern world of technology with confidence and energy. In part as a result of these contradictions, the drive to experiment and innovate continued with unabated vigour to the end of the 19th century. 27 April Setting the Scene Introduction History Trends and Venues in Late 19th Century Art The Image of the Artist in Late 19th Century France Rachel Sloan 4 May Sources of Inspiration Japan and its Impact on Western Art Monika Hinkel Impressionism and Modernity Gauguin s Search for the Primitive, from Brittany to Tahiti Mary Acton

8 11 May Brave New World Risorgimento Hard Times Art of the Republic 18 May Life of the Country The Artist Colony from Barbizon to Skagen Russia s Wanderers Newlyn, Artists Colony Geoff Opie 25 May Symbolism Symbolism in France and Britain Dr Rachel Sloan Belgium and Les Vingt Holland 1 June New Languages of Art Divisionism and Colour Theory Synaesthesia The Nabis Dr Rachel Sloan 8 June New Media Graphic Style Anne Anderson Art of the Street Geoff Opie Beardsley Anne Anderson 15 June Grand Ambitions International Exhibitions Rachel Sloan International Star: Singer Sargent and His Patrons Gesamtkunstwerk Anne Anderson 22 June Ideas and Anxieties Italian Divisionists Nordic Angst Femme Fatale 29 June Secession German Secession Anne Anderson To the Age its Art and to the Art its Freedom Klimt s Modern Icons 6 July Fin de Siècle Max Klinger Mir Iskusstva Russia s World of Art Paris July Form and Expression Van Gogh, Between Reality and Dream Cézanne A New Language of Form Defining the Modern The V&A reserves the right to alter the programme at short notice if circumstances make it necessary. If you are booking for a particular day please confirm the programme of the day with the V&A booking office a few days in advance.

9 Certificate Option The certificate option offers the chance to study the subject in greater depth. It is designed to suit both the returning student and those keen to attempt academic study for the first time. In recent years Certificate students have gone on to further study at, amongst others, the Courtauld Institute, Birkbeck and Christie s Education. The option involves 16 seminars throughout the year which take place on Thursdays and begin promptly at In these seminars, tutors cover topics complementary to the main programme and encourage students to participate in discussion. There are opportunities for: Studying objects in the V&A s collections Developing study skills: researching, essay writing, referencing and compiling bibliographies. Individual discussion with the course tutor Acquiring a reader s ticket for the National Art Library at the V&A Certificate requirements Up to 15 students will be accepted for the Certificate option. They will be required to: Attend at least 75 percent of the seminars Submit two object reports of 500 words each Submit two essays, one of 2,000, the other of 4,000 words. Upon satisfactory completion of these conditions, the V&A will award the Certificate. The course tutor is happy to discuss the certificate option with any potential student. Certificate tutors: Dr Course Fees 1950 per year, 1600 concessions 825 per term, 640 concessions 73 per day, 57 concessions 410 Certificate Option External visits may incur additional costs. How to Book Book online at or call Please note term tickets will be released 4 weeks before the start of each term and day tickets will be released 2 weeks before the start of each term. Full Fee applies to V&A Members, Patrons, students and senior citizens. Concessions are available to ES40 holders and registered disabled people. A carer may accompany registered disabled course students for free.

Year Course Programme Rococo to Art Nouveau:

Year Course Programme Rococo to Art Nouveau: Year Course Programme 2017 18 Rococo to Art Nouveau: 1720 1900 Mondays, 18 September 2017 16 July 2018 (over 3 terms) 11.10 15.30 (Each term includes optional gallery talks, commencing at 10.00 and repeated