Learning Academy YEAR COURSE. Wednesdays, 26 September July 2019 (over 3 terms)

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Learning Academy H I G H R E N A I S S A N C E T O B A R O Q U E 1500 1720 Wednesdays, 26 September 2018 10 July 2019 (over 3 terms) (Each term includes optional gallery talks, commencing at 10.

1 Learning Academy H I G H R E N A I S S A N C E T O B A R O Q U E Wednesdays, 26 September July 2019 (over 3 terms) (Each term includes optional gallery talks, commencing at and repeated at 15.30) YEAR COURSE PROGRAMME Study the art, architecture and decorative arts of Europe from the High Renaissance to Baroque, focussing on Italy, France, Germany, the Netherlands and England. Gallery visits will use the great collections of the V&A to look at developments in sculpture, metalwork, textiles, furniture and ceramics. During this period the Renaissance filtered through from Italy, affecting all the arts. The invention of printing meant that books and prints reached a new and wider audience, and quickly popularised new styles. At the same time the Reformation wrought havoc with the established order and a century of war and revolution followed. In some parts of Europe iconoclasm meant the destruction of religious art, and by the mid seventeenth century Europe was divided into Roman Catholic and Protestant states. The course examines the changes in patronage, with the rise of a prosperous middle class wanting portraits and genre paintings as well as consumer goods such as maiolica and textiles. It considers the effect of wars and economic policies on the production of art, metalwork and furniture, and the influence of trading voyages on imports of luxury goods from the East. 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 nineteenth 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 for the Open University, Birkbeck College, The Arts Society and Morley College where she was head of Art & Design. Other Lecturers: Dr, art historian and specialist on collecting in the seventeenth century, freelance lecturer in painting, decorative arts of the sixteenth to eighteenth centuries Caroline Knight, architectural historian specialising in English sixteenth and seventeenth century architecture and patronage. She was the founder of the V&A High Renaissance to Baroque year course and her most recent book is London s Country Houses (Phillimore, 2009) Dr, senior lecturer in Italian Renaissance art at Birkbeck College, specialist in the art of sixteenth century Rome Dr, Course Director of the V&A Late Medieval to Early Renaissance Year Course Angela Cox, Lecturer in British painting, specialist in English portraiture between the 16th and 19th centuries, independent art historian, specialist in European art between the 16th and 18th centuries Detail, Neptune & Triton, Sculpture group, marble and copper, Gian Lorenzo Bernini, Italian, c

2 Autumn Term Programme & Dates: Wednesdays, 26 September 12 December September Introduction Introduction and General Themes 24 October Venice and Italy in the 16th Century Titian and the Venetian Altarpiece 21 November The Netherlands and the North: Art and Display This term will look at the sixteenth century, starting with studies of Rome, Florence and Venice. We will examine how the different societies of each city produced an individual style across the arts, from architecture to sculpture and painting. Vasari, the first modern art historian, recorded the activities of his contemporaries and his writings will be examined. Although an admirer of the High Renaissance, he was working in the new and more elaborate court style, known as Mannerism. It was this style that was later taken up in the courts of northern Europe, although their interpretations of it were very different from those developed in Italy. In painting new genres such as landscape and genre emerged, which were to have a huge influence in later periods. The most important new development was printing, and illustrated books and prints by Dürer and his contemporaries made images familiar to a wide audience, as well as providing sources for design and ornament. Printed books and pamphlets would play a central role in spreading new religious ideas during the Reformation period How to look at a Painting Angela Cox Visits to the Galleries Hendrika Foster,, Angela Cox 3 October World of the High Renaissance Vasari and the Artist Art of the High Renaissance Historical Background to the 16th Century Caroline Knight 10 October Italian Art at the Start of the 16th century Leonardo da Vinci - Artist and Thinker Caroline Brooke Florence at the Dawn of the 16th Century Painting in Central Italy: Siena, Perugia, Orvieto and Rome 17 October High Renaissance Rome Michelangelo and Julius II Raphael in Rome Architecture in Early 16th Century Rome Art for Collectors Poesia and Pastorale The Portrait 31 October Italian Mannerisum The Mannerist Style The Courts of Mantua and Ferrara S usan Bracken Painting in Parma 7 November The North Print Techniques Anita Sganzerla German Prints Anita Sganzerla Painting in the Age of Dürer Anita Sganzerla 14 November French Art and Architecture French 16th century Sculpture French Châteaux of the 16th Century School of Fontainebleau Flemish Painters and Italy Genre Painting from Bosch to Bruegel Measuring Time - Clockwork of the 16th century Philippa Glanville 28 November Decorative Arts in the 16th Century The Art of the Goldsmith TBC th century Ceramics Tapestry in the 16th Century 5 December Art in Germany and the Netherlands The Northern Landscape German Sculpture Hans Hönes The High Renaissance Portrait in the North Hans Hönes 12 December Display and Magnificence The Royal Collection TBC Renaissance Jewellery Beatriz Chadour-Sampson Continental Glass Jane Gardiner 3 4

3 Spring Term Programme & dates: Wednesdays, 9 January 3 April 2019 The impact of the Reformation on intellectual and artistic life was enormous. Reform of the Roman Catholic Church was essential, and the Council of Trent was set up in the late sixteenth century to do this. The resulting Counter-Reformation successfully revived the Roman Catholic Church. The second term considers changes to religious art in Protestant countries, together with the impact of the Counter Reformation s guidelines for ecclesiastical buildings, sculpture and art. In the seventeenth century the new Baroque style of architecture and sculpture developed in Rome, most spectacularly in the work of Bernini and Borromini, before spreading rapidly all over Europe. England under the Tudors saw a flowering in portraiture, architecture and the luxury arts. With the Stuarts, ties between England and Europe became closer, and consequently continental artists and sculptors came to London and the English court. Flemish artists such as Rubens and van Dyck were patronised by the crown, and Charles I built up a fine art collection. France also saw the development of strong ties between the court and the arts during the seventeenth century, and with the founding of the French Academy in Paris and its outpost in Rome art training would become more formal and intellectual. 9 January Age of Reformation and Counter Reformation Introduction Historical Background: Reformation to Counter-Reformation Caroline Knight Art and Reformation The Culture of Collecting in Northern Europe Albert Godycki 16 January Architecture and Sculpture in Italy th century Italian Sculpture Caroline Brooke Veronese and Decorative Painting in Italy Anita Sganzerla th Century Architecture in Venice and the Veneto Caroline Knight 23 January England: Renaissance and Reformation Tudor Architecture Caroline Knight Tudor Portraiture Angela Cox The Portrait Miniature Angela Cox 30 January Counter Reformation and War Mars and the Muses: The Renaissance Art of Armour Tobias Capwell Richly set forth: Renaissance Swords and Firearms Tobias Capwell Art and Counter Reformation 6 February Arts of Grandeur and Luxury The Baroque Style Art of Illusion - Ceilings Renaissance Dress TBC 13 February Baroque Painting in Italy The Carracci Family and Art Caravaggio th Century Painting in Rome 20 February Religion and the Arts in Spain Dispelling and preserving Islamic Spain: Architectural Fusions Jacqueline Cockburn Polychrome Sculpture: bringing Religion to Life Jacqueline Cockburn El Greco Jacqueline Cockburn 27 February French Classicism Architecture and Gardens in Early 17th Century France Art for the French Court Poussin and Claude in Rome Kathleen McLauchlan 6 March The Baroque in Rome Bernini as Sculptor Anita Sganzerla Bernini, Borromini and the Baroque Church Anita Sganzerla 13 March Status of the Artist Academies of Art Kathleen McLauchlan Women Artists 16th - 17th Centuries Rubens - International Artist 20 March Stuart England Architecture at the Early Stuart Court Caroline Knight Furnishing the Great House Painting at the Early Stuart Court Angela Cox 27 March The Decorative Arts th Century Dress Susan North Pietra Dura Jewellery Beatriz Chadour-Sampson 3 April Art and Exploration Historical Background to 17th Century Europe Caroline Knight Key Developments in the Arts, mid to late 17th Century Baroque Fountains Presenting the World: the Role and Development of Maps during the 17th Century Tom Harper 5 6

4 Summer Term Programme & dates: Wednesdays, 1 May 10 July May The Dutch Republic 29 May Art for Interiors II 26 June Design and Decoration Seventeenth-century Spain saw a flowering of art and architecture for both church and state. But for much of this period Europe was politically and artistically dominated by France, and Louis XIV s palaces, gardens and court life would be widely imitated. By the mid seventeenth century the wars and rebellions of the early part of the century were over and the Netherlands had achieved independence as a republic. Artists there painted for a new market, with buyers going to shops and auctions rather than commissioning works. England s leading Baroque architect, Wren, designed palaces for the Stuart kings. After the Great Fire of London in 1666 he rebuilt St. Paul s Cathedral and other churches, combining Baroque grandeur with Protestant simplicity. By the end of the century, the country houses of the English nobility reflected their political power and great wealth. Luxury goods, such as lacquer, textiles and ceramics, came from the East in far greater quantities, imported tea and coffee became fashionable drinks and fine wares were produced to serve them Introduction The Rise of the Dutch Republic The Caravaggisti Dutch Portraits TBC 8 May Art of the Spanish Golden Age Royal Building from El Escorial to Buen Retiro Gail Turner Velázquez Gail Turner Zurbaran and Murillo: Aspects of Spanish Religious Painting Gail Turner 15 May Baroque France Architecture in the Age of Louis XIV th century French Sculpture Interiors and Furnishings: Louis XIV to Régence Adriana Turpin Dutch Landscape English Country Houses, 1660 Catherine Parry-Wingfield Textiles in the Country House Annabel Westman 5 June Trade and the Exotic The London Art Market The Chinese Export Trade Helen Glaister Trade in Exotic Woods after 1600 Adam Bowett 12 June The Golden Age of Dutch Painting Rembrandt Genre Painting in the Netherlands Vermeer Artist of Delft Furniture types Adam Bowett Luxury Objects The Italian Garden TBC 3 July The Baroque Court Style The Baroque beyond Rome Albert Godycki Central European Architecture Painting in Late 17th century France 10 July Into the 18th Century New Directions in Painting Hawksmoor and Church Building in London TBC Baroque Time: English and European Clocks TBC 19 June Baroque England 22 May Art for Interiors I Decorative Painting in England Catherine Parry-Wingfield The Practice of Portraiture in Later Stuart England Angela Cox Wren and the Royal Palaces of the Later Stuarts Caroline Knight The 17th Century Church in London Caroline Knight Early Developments in English Glass Jane Gardiner Art of Still Life 7 8

5 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. 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 College and Christie s Education. The option involves 16 seminars throughout the year which take place on Wednesdays 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 one object report of 750 words Submit one comparison essay of 1,500 words Submit one essay of 3,000 words Submit one essay 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 tutor: Course Fees 1992 per year, 1873 Senior, 1600 Disabled Person/Jobseeker 845 per term, 794 Senior, 640 Disabled Person/Jobseeker 75 per day, 70 Senior, 57 Disabled Person/Jobseeker 410 certificate option External visits may incur additional costs. Booking and Further Information All courses are listed and available to book online at vam.ac.uk/courses from 14 May 2018 at 9am. Our Bookings team are also available by calling from , Monday Sunday to take bookings or answer questions. Subject to availability, tickets to attend an individual term will be made available twelve weeks before the term starts. Day tickets will be made available two weeks before the start of each term. Please note the full fee applies to V&A Members, patrons, and students. Discounts are available for seniors, jobseekers and disabled people. A carer may accompany a registered disabled course student for free. Refunds are only given in cases of extenuating circumstances such as illness or other personal difficulty and are not guaranteed. Any refund must be applied for no less than fourteen days after an event. If approved, 90% of the price of the ticket will be refunded. 10% will be retained for administration costs. 9 10

Year Course Programme High Renaissance to Baroque

Year Course Programme High Renaissance to Baroque Year Course Programme 2016 17 High Renaissance to Baroque 1500 1720 Wednesdays, 21 September 2016 12 July 2017 (over 3 terms) 11.10 15.30 (Each term includes optional gallery talks, commencing at 10.00