summer school 2014
keywords: artistic media, materials and techniques:
drawing, sculpture, watercolour
WEEK TWO: 21-25 July 2014
Course 13: Professor Deanna Petherbridge
Lines of Sight and Invention: Techniques, Practices and Uses of Western Drawing across the Centuries
The fee for this course is £475 as the group will be limited to 10 students; this also includes the cost of course materials
This course is now FULL
This course will introduce participants to the ranges of Western drawing that stretch from rough preliminary sketches to completed visualisations for work in other media. It includes a practical session during which participants will explore the possibilities of different drawing materials and techniques. Through the rich resource of the Courtauld’s collection, we will investigate how drawing is the most direct means for observing the world around us or can be an analytical medium for understanding the movement and expressiveness of bodies and the structures of buildings or recording the shapes and textures of landscape. And there will be opportunities to think about how marks and lines operate on the page, how they determine expression, render thought into image, allow for invention of the new or reveal ‘the hand’ of the artist. Participants will see the finest examples of historical drawing up close, view drawings by designers and architects as well as artists and visit a drawing studio where everyday experience is caricatured with graphic wit and economy. It is hoped that at the end of the course students will be familiar with some major concepts about drawing practice and its theories.
WEEK THREE: 28 July - 1 August 2014
Course 19: Dr Peter Dent
The Art of the Embodied Soul: An Introduction to Sculpture
N.B: please note that due to unforeseen circumstances, Peter Dent will not be able to take part in Summer School 2014. This course will now be taught by sculpture specialist Dr Jim Harris
This course is now FULL
Sculpture has a reputation as a difficult art, but nothing could be further from the truth. While it certainly makes demands on the mind, it also moves the body. It can engage the beholder in profoundly physical ways that frame our thoughts before they are even formed. In this course, we will explore this sensory and intellectual appeal by examining sculptural techniques, the significance of materials, texture, and colour, and a fascinating mythology that ranges from the automatons of Hephaistos, to the tales of Pygmalion and the Golem. Drawing on the ideas of writers like Pliny, Herder, and Rosalind Krauss, we will investigate different ways of thinking about sculpture. Above all, we will listen to the voice of the sculptor. Cellini, Hildebrand, and Louise Bourgeois, for example, have all spoken about their art. During the week, these ideas and themes will be pursued through a broadly chronological structure running from ancient through to modern art. There will be visits to the British Museum, The Victoria and Albert Museum and Tate Modern, as well as the opportunity to experience public works in situ. This course is a journey through the art of sculpture: five days, forty sculptures, three collections, and the streets of London.
Course 21: Timothy Wilcox
The Art of Light and Atmosphere: Watercolour Painting in England and Beyond
Watercolour is a medium that achieves an astonishingly wide range of effects and appeals to the professional and amateur artist alike. Rather than thinking of English watercolour painting in artistic isolation and focusing largely on the medium’s technical aspects, we will reconnect it to contemporary contexts of drawing, painting, printmaking and writing. Watercolour painting was of significance to a variety of social and cultural practices, including gardening, travel and tourism, patronage, the rise of art exhibitions and the role of artists’ societies. We will study these rich and varied contexts in conjunction with major works by outstanding English artists, including Paul Sandby, Francis Towne, John Robert Cozens, Thomas Girtin, John Sell Cotman, JMW Turner and Samuel Palmer. The final day will counter the conventional idea that watercolour painting is a particularly English phenomenon by considering watercolour traditions in Scotland, in Continental Europe and in the USA, and will conclude with a session on the international status of watercolour in the modern era.