WEEK ONE: 9 - 13 July 2012

THEME VIII: 18TH- TO EARLY 20TH-CENTURY ART IN EUROPE

Course 8: Dr Richard Cork

Making it New: Modernism in the Early 20th Century

£435

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 ONE: 9 - 13 July 2012

THEME IX: LATER 19TH-CENTURY TO CONTEMPORARY ART IN EUROPE

Course 9: Dr Natalia Murray

Russian Art 1863-1932: Innovations, Influences and the Roots of Modernity

£435

NEW COURSE

This course is now FULL.  Please contact us if you would like to be added to the waiting list.

This course will examine the history of Russian art in all its diversity from the first artists’ rebellion against St. Petersburg’s almighty Art Academy in 1863, the blossoming of arts in Russia’s Silver Age, and the upsurge of avant-garde art to its subsequent disappearance after 1932, when Socialist Realism became the only artistic style permitted in the Soviet Union. We will look at the cultural as well as geographical boundaries of Russian art, and its contact with developments in European art as well as the shifts of cultural context, which often occurred through emigration, cultural export, exhibitions, publications, and collaborations.  The complex nature of the Russian avant-garde, its origins and roots, will be examined throughout the course. We will also look at traditional Russian art and icons and their influence on the Russian avant-garde and will discuss the works of Repin, Serov, Benois, Bakst, Somov, Vrubel, Malevich, Tatlin, Kandinsky, Filonov, Rodchenko, Chagall, and Popova, among others.  Lastly, we will examine the influence of political changes in Russia under Stalin on the fate of Russian art. Visits include the Victoria and Albert Museum (Ballets Russes drawings and stage designs); the Naum Gabo archive at Tate Britain; Tate Modern and The Courtauld Gallery.


 


WEEK TWO: 16 -20 July 2012

THEME VIII: 18th- TO EARLY 20th-CENTURY ART IN EUROPE

Course 17: Dr Ayla Lepine

Art and Architecture in Victorian London from the ‘Battle of the Styles’ to ‘Art for Art’s Sake’

£435

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 TWO: 16 -20 July 2012

THEME IX: LATER 19TH-CENTURY TO CONTEMPORARY ART IN EUROPE

Course 18: Martin Caiger-Smith

White Walls and Marble Halls: Contexts for Contemporary Art

£435

Contemporary art in Britain has, in recent decades, extended its appeal to an ever-wider public. In Tate Modern it has a museum space of international standing, yet it is also shown in a range of much broader contexts.  Living artists are brought to engage with the spaces, collections and programmes of many established museums and galleries from the National Gallery to the Freud Museum; they are seen on London rooftops and on Trafalgar Square’s Fourth Plinth. New approaches to the display of art question the conventional structures of school, style, medium and chronology. Seeking spectacle and renewed relevance, historic collections are embracing the contemporary; and contemporary art spaces incorporate historical work in their displays and demonstrate a new understanding of historical contexts in which today’s art can be experienced.  This course confronts issues of categorisation, collection, display and interpretation at the heart of the museum and gallery world today.  Where do the boundaries lie between the historic, the modern and the contemporary, between the temporary exhibition and the permanent display, the museum and the street? How do living artists work with (and in) the museum? And what part does context and presentation play in our appreciation of contemporary art?



WEEK THREE: 23 - 27 July 2012

THEME IX: LATER 19TH-CENTURY TO CONTEMPORARY ART IN EUROPE

Course 27: Dr Klara Kemp-Welch

East European Art After Stalin

£435

We regret that this course had to be cancelled.

This course offers a survey of modern and contemporary art from the former Soviet Union and from the countries that became Soviet satellites after 1948. Engaging with developments in a range of traditional and experimental media, we explore the shifting relationship between art and ideology since the death of Stalin. What was the role of culture in the Cold War? How were artists in the Soviet ‘bloc’ affected by the historical events of 1956, 1968, and 1989-91? How, under late socialism, did they operate independently in the absence of an art market? To what extent are ‘former-East European’ artists now free of political history? What is at stake in the increased visibility of East European art in the globalised art world today? The course addresses these and other issues through class discussion, slide lectures, film screenings, and visits to exhibitions and displays of modern and contemporary East European art in London galleries, such as Calvert 22, and major collections, such as Tate Modern.