SUMMER SCHOOL 2012
THEME VIII: 18th- to early 20th- century art in europe
WEEK ONE: 9 - 13 July 2012
Course 8: Dr Richard Cork
Making it New: Modernism in the Early 20th Century
This course is now FULL. Please contact us if you would like to be added to the waiting list.
With seismic explosiveness, young artists across Europe changed the course of painting and sculpture soon after the new century began. A series of revolutionary movements erupted, beginning with Fauvism in France and Expressionism in Germany. The Italian Futurists were the most clamorous but the Cubists in Paris proved the most far-reaching. Then, in 1914, London was shocked by the advent of Vorticism and its rumbustious magazine BLAST. This course explores the rebellious momentum of an exciting period. However, it terminates in the tragedy of the First World War when many avant-garde artists found themselves caught up in a blood-bath. Visits include The Courtauld Gallery’s display of 20th-century art, Tate Modern, the Estorick Collection of Modern Italian Art and the Imperial War Museum.
WEEK TWO: 16 - 20 July 2012
Course 17: Dr Ayla Lepine
Art and Architecture in Victorian London from the ‘Battle of the Styles’ to ‘Art for Art’s Sake’
Victorian art and architecture had an immense impact on London, leaving us with such diverse structures, collections and art movements as the Pre-Raphaelite Brotherhood and the Red House, Leighton House and the Aesthetic Movement, St Pancras Station, Goldsmiths’ Hall, the Victoria and Albert Museum, the Houses of Parliament and the Albert Memorial. Examining all of these legacies closely, this course will encourage students to look afresh at nineteenth-century taste and innovation, and question to what extent Victorian art and architecture relied on old traditions to convey modern values. Both in the classroom and in a series of visits to London buildings and art collections, students will consider different approaches to this important period in British history.
Students will have unique opportunities to engage first-hand with the forms and functions of buildings and objects, using collections held in the Victoria and Albert Museum, Tate Britain and the RIBA to gain in-depth understanding of nineteenth-century art and ideas. Decorative arts, interior design, fashion and the popular press will also be taken into account. By looking closely and applying an array of art historical methodologies, we will engage with fundamental ideas about beauty, labour and commerce when London was at the centre of the world’s largest empire.
WEEK THREE: 23 - 27 July 2012
Course 26: Dr Christian Weikop
German Romanticism to Expressionism: From the Nazarenes to the Brücke
This course examines the artistic quest for the origins of Germanic identity, and the romantic-idealist roots of early Expressionism. Goethe’s essay ‘On German Architecture’ (1772) is our starting point, and we will discuss how his interest in the idea of a Gothic German identity reverberated in the art of the long 19th century, from the Nazarenes to the Brücke group. We will consider the ideals of the German Romantic movement, from early organic theories of art to an ‘aesthetics of inwardness’, which might be what unites the work of artists as diverse as Philip Otto Runge and Franz Marc. The course will cover a wide range of subject matter: from the forest cult in works by artists like Caspar David Friedrich and Ludwig Richter, to the anti-urban ‘back-to-nature’ tradition as seen in the art of Wilhelm Leibl and Paula Modersohn-Becker, and the expressions of a ‘free body culture’ in the Symbolist canvases of artists like Hugo Höppener. We will also investigate the Romantic cult of Albrecht Dürer as ‘the’ German master par excellence, and his influence on both 19th- and early 20th-century German artists. This course includes visits to the print rooms of the British Museum and the Victoria and Albert Museum.