Summer School Duccio to Degas: Introducing Western European art 1250 1925 Monday 25 Friday 29 September, 4pm Monday 25 September Early altarpieces We begin with an introduction to ways of looking at paintings and how to make the most of a visit to the Gallery. Today, we focus on Renaissance altarpieces. The subject matter of the paintings will be just one of a number of considerations. We will also consider their function, size and status, where and how they were viewed, form and style (including composition and perspective), and the materials and techniques used to create them. Welcome and introduction Sainsbury Wing Conference Room 1 () Ways of looking: Visiting the National Gallery 1 How to look at an altarpiece Jacopo di Cione and workshop, The San Pier Maggiore Altarpiece, 1370 1 Painting in focus: The Wilton Diptych, about 1395 9 Mindful looking Giovanni Bellini, Madonna of the Meadow, about 1500
Tuesday 26 September The Northern and Italian Renaissance The 15th century saw the evolution of a distinct and powerfully influential European culture. But what do we mean by the phrase Renaissance art? Today we will attempt to define the Renaissance, not only in terms of place and time, but also in relation to key developments in art. We will consider the difference between the art of the Early and High Renaissance, and between the Northern and Italian Renaissance. In the Gallery, we will take a close look at Northern Renaissance art and Italian mythological paintings. The afternoon includes an opportunity to learn about the innovation of perspective in Renaissance paintings by trying out some basic drawing techniques for yourself. No previous experience is required. Sainsbury Wing Conference Room 1 () What is the Renaissance? 1 The Renaissance Group A The Italian Renaissance: painting and mythology Group B The Northern Renaissance The Renaissance Draw to look: Drawing perspective Group A Crivelli, The Annunciation with Saint Emidius, 1486 Group B Uccello, Saint George and the Dragon, about 1470
Wednesday 27 September Portraiture and identity Today, everyone has a basic understanding of what portraiture involves. But this was not the case in 15th- and 16th- century Europe, when the portrait as we know it was invented as an independent art form. Portraits were made for multiple purposes, including the conveyance of social status, the commemoration of marriage, and the celebration of the sitter s religious beliefs. Today we will explore the various functions of portraits by artists such as Holbein, Titian, and van Eyck and consider how artists shaped conventions, and also learnt to subvert them. What is portraiture? 1 Conservation in focus: Van Eyck s Arnolfini Portrait, 1434 Italian Renaissance portraits Elizabeth Vigée Le Brun and the politics of representation
Thursday 28 September Continuity and change Today we consider the period 1600 1850, exploring the development of landscape, still life and the depiction of everyday life. We will focus on the art of the Baroque, and the work of Caravaggio, a key painter of the Catholic Counter-Reformation, before moving on to consider Dutch still life painting. Today, there is a second opportunity to learn about perspective, through drawing, in a session focused on the English landscape painting of Turner. No experience required. The power of the Baroque 1 Truth to nature: Dutch painting 1600 1700 Vermeer: life and light, observation and contemplation English landscape painting: Turner and Constable
Friday 29 September Impressionism and the avant-garde We will begin by exploring the aspects of Impressionist paintings that set them apart from the official art of the mid-19th century, and discover why Monet, Renoir and Pissarro found it difficult to gain recognition from the art establishment in France. We will also examine how Gauguin, Van Gogh and Degas invested everyday scenes with emotional power and mystery. Finally, we will consider how the Post-Impressionists perception of colour and form was to prove influential for the art of the early 20th century. And to complete our week, join us for a drink at the bar in the National Café. Sainsbury Wing Conference Room 1 () Impressionism and the avant-garde 1 Degas, Van Gogh, and Post-Impressionism Pushing the boundaries, 1880 1914 Challenge, certificates, and feedback 4 5pm Drinks and awarding of certificates in the National Café Join us for a drink at the bar to celebrate the end of the course. subject to change