Birkbeck Continuing Education History of Art Society

ULEMHAS REVIEW 2004 2 ULEMHAS Review

EDITORIAL CONTENTS

'No arts; no letters; no society', wrote Thomas : From Urbino to Rome Hobbes in his Leviathan. He went on, 'and which - Carol Plazzotta 3 is worst of all, continual fear and danger of violent death; and the life of man, solitary, poor, nasty, Painted Enamels brutish and short'. While it might be said that he had - Erika Speel 5 overstated his case somewhat, there is no doubt that the Friends of Turner's House arts can be a civilizing influence and a force for good in the lives of many people, as we Birkbeck students can Rewriting His Story: Feminist Art attest; they are not, as is sometimes claimed, irrelevant Practices Since the 1970s fripperies, indulged in by a spoiled elite. Unfortunately - Catherine Mason 8 our politicians seem to be of the latter opinion: there is open philistinism in government, and Arts and Culture Hogarth and Garrick: The Artist, ministers appointed without an appropriate arts-related The Actor and The 'Imitation of Nature' background. Of course, education in the arts produces - Catherine Parry-Wingfield 11 little material wealth for the country, although it may produce spiritual wealth. ULEMHAS Notice Board 13 We in Britain are lucky to have enlightened entrepreneurs prepared to put their considerable fortunes at the service of The Future of History of Art the art-loving public, such as Sainsbury, Lloyd Webber, and Architecture at FCE Saatchi, Clore and Getty; but arts education lies within the - Elizabeth McKellar 14 power of central government, and in spite of their oft- repeated mantra of 'education, education, education' and Book Reviews 15 stated commitment to lifelong learning, the evidence speaks otherwise. One has to ask where the next generation of ULEMHAS Programme 2004/05 16 artists, art historians, lecturers, teachers, archivists and museum curators is to come from, not to mention the myriads of craftspeople who support them. It is further education which is particularly at risk at the moment, as Elizabeth McKellar warns in her article in these pages; but with top-up fees and funding cutbacks, the future for all arts education in the UK looks less than rosy - a matter which should concern us all. The ULEMHAS Review editorial panel (It has been brought to our attention that a 19-page Claire Andrews, Ann Halliday, Erna Karton, Elizabeth Lowry- report entitled 'Government and the Value of Culture' has Corry, Hazel Morris, Liz Newlands, Anne Scott recently been published by the Department of Culture, Media and Sport. It is free on request (020 7211 6200), and should ULEMHAS Committee make interesting reading). Anne Scott (Chair), John Dunlop (Hon. Treasurer), Marian Ann Halliday Donne (Hon. Secretary), Lois Garnier (Membership Secretary), Malcolm Armstrong, Rosalind Brooke Ross, Nicholas Edwards, MEMBERS' FORUM Robert Gwynne, Jacqueline Leigh, Elizabeth Lowry-Corry, Bill The Review panel welcomes comments, suggestions and even Measure, Sonia Rosenthal, John McNeill (Lecturer Member). criticism from ULEMHAS members. Accordingly we are introducing a Members' Forum', which will be included in our autumn Enquiries about membership should be addressed to Lois supplement. Garnier, 9 Fernside Court, Holders Hill Road, London, NW4 Please write to Anne Scott at 18 Farmer Street, Kensington, London, 1JT (Tel: 020 8346 8254). Other correspondence to Anne Scott, W8 7SN or e-mail her at [email protected] by 30 September, 18 Farmer Street, London W8 7SN (Tel: 020 7727 2380) or 2004. We will print as many of your letters as space permits. Marian Donne, 8 Hillway, London N6 6QD.

This issue contains a loose-leaf list of forthcoming FRONT COVER: Raphael (1483-1520) The Virgin and Child with exhibitions, compiled by Liz Newlands. Saint John ('The Alba '), about 1509-10, oil on wood transferred to canvas in 1837, 95.3 cm in diameter (137.2 x

ULEMHAS Review: No reproduction or transmission without prior consent. 735.9 cm). Andrew W. Mellon Collection, 1937, inv.

Views expressed are not necessarily those of the editors. We cannot accept 1937.1.24 of Art, Washington, DC. Board

liability for loss or damage of material which is submitted at owner's risk. of Trustees. Photo Lorene Emerson 2004 ULEMHAS Review 3

RAPHAEL: FROM URBINO TO ROME

By Carol Plazzotta

National Gallery: Sainsbury Wing,

20th October 2004 - 16th January 2005

Catalogue by Hugo Chapman, Tom Henry

and Carol Plazzotta, with contributions from

Jill Dunkerton, Arnold Nesselrath and

Nicholas Penny

he coming Autumn of 2004 will see the launch at the National Gallery of a spectacular exhibition of Tpaintings and drawings by Raphael, the third in a series of major monographic shows devoted to great artists of the which has thus far featured Titian and El Greco. The exhibition will be based around the extraordinary group of nine at the National Gallery that spans the entire scope of Raphael's early career. In addition it will celebrate the UK's magnificent holding of Raphael (1483-1520), , 1507-8 drawings by Raphael, largely garnered in the nineteenth oil on wood (probably cherry), 29 x 23 cm. century, with prestigious loans from the , the The National Gallery, London Ashmolean Museum and the Royal Collection. In order to complete the story of the artist's development as fully as the highly sophisticated court of Pope Julius II in Rome. The possible, major loans have been agreed from all over the show explores the artist's origins in the cultured environment world, and the story of the artist's dramatic artistic journey of the city of Urbino, his early activity as an independent will be investigated through examination of more than one painter in the Marches and Umbria, his studies in Florence, hundred largely autograph exhibits. Because of the rarity and and his first significant projects in Rome. Raphael's success delicate condition of so many of his surviving works, this is was the result of a breathtaking natural ability as a designer the first time that a comprehensive monographic show combined with diligent study of works by other great artists. devoted to Raphael including paintings and drawings has ever His biographer Giorgio Vasari talked of his many styles, and been attempted outside Italy, and it will be seen in London the exhibition explores how he gradually improved his art by only. Indeed, the National Gallery is the only international learning from the best artists past and present, including museum with a sufficient cross-section of works to attempt an and , works by whom are also exhibition of the story of the artist's development based included in the exhibition. Raphael was a consummate around its own material, to which the show will bring all draughtsman and it is through his drawings that one can known related drawings and predellas. appreciate both his study of the work of others, and the Raphael's style developed rapidly over a short life (1483- evolution of his own designs for paintings. 1520) and the aim of this exhibition is to explore how he The exhibition opens with a consideration of Raphael's transformed himself in little over a decade from a competent artistic origins in the workshop of his father seventeen-year old painter of provincial church altarpieces to and the impact upon him of the most successful artists of his become one of the most successful and influential artists at day including the Umbrian masters and 4 ULEMHAS Review

Raphael (1483- the Bridgewater Madonna from the collection of the Duke of 1520), Saint Sutherland and the National Gallery's own recently acquired Catherine of Madonna of the Pinks. The style and technique of this Alexandria, exquisite little will be complemented by the about 1507-8, oil immaculately crafted Holy Family with the Lamb from the on wood, 71.1 x Prado in Madrid. The National Gallery's St Catherine shows 55.7 cm. Raphael's increasing mastery of dynamic form and subtle The National colouring and will be shown alongside its preparatory cartoon Gallery, London from the . The culmination of Raphael's pre-Roman period is the altarpiece of the Entombment which he painted for Atalanta Baglioni's chapel in S. Francesco al Prato in in 1506-7. Although this large and fragile panel cannot travel from the Borghese Gallery in Rome, a faithful copy by Cavalier d'Arpino, made to substitute the picture when it was stolen away to Rome by Cardinal Scipione Borghese, will be Pintoricchio. Splendid examples of the works of all these accompanied by six drawings charting the extraordinary artists will join paintings in the National Gallery to explain the transformation of the design in the course of its genesis, as artistic culture out of which the talented youth first emerged. well as two of the grisaille predellas from the Vatican. Two of the most spectacular loans are Perugino's Portrait of Raphael's career changed gear following his move to Rome Francesco delle Opere from the Uffizi and his poetic to work for Pope Julius whose complex character he brilliantly mythology depicting Apollo and Daphnis from the Louvre. captured in the National Gallery's magisterial portrait. The The exhibition continues by exploring Raphael's own first exhibition will include a suite of eight drawings for the independent works, including designs and some fragments Disputa, the first of the frescoes Raphael painted in the Stanza from his first documented altarpiece (destroyed in an della Segnatura. The painstaking genesis of his ambitious earthquake) and a ruined processional banner from Città di design reveals how concerned Raphael was to demonstrate Castello, the only time his first tentative essays in his his skill in this sophisticated arena in which many talented profession as a painter have ever been seen in this country. artists were vying for favour. Among the highlights of the The National Gallery's own shows how exhibition will be the beautiful newly cleaned brilliantly Raphael learned to imitate Perugino, and he quickly from the in Washington (front cover), assumed the older master's mantle as the leading painter of which recent research suggests may also have been Perugia. As well as work for religious institutions, Raphael commissioned by Pope Julius. also produced exquisite small-scale paintings for private A monographic Raphael show, particularly one devoted to patrons, such as the National Gallery's jewel-like Vision of a the transition from the artist's fresh early style to the assured Knight, here reunited with its preparatory cartoon, a tiny classicism of his Roman maturity, is long overdue in this tondo known as the Conestabile Madonna from the country. Its aim is to reintroduce the public first-hand to an Hermitage in St Petersburg, and the miniature-like paintings extraordinarily versatile artist, and to provide a fitting of St Michael and St George connected through heraldic testament to an artist whose facility and unparalleled grasp of associations with the court of the Montefeltro Dukes at design revolutionised the art of painting, and whose Urbino. intelligence, innate culture and political savoir-faire contributed In 1504, Raphael went to Florence to study the works of to raising the intellectual profile of his profession. the great masters of his day, seeking also to promote his own career. The exhibition brings together works by Leonardo and Carol Plazzotta is Myojin Curator of 16th-century Michelangelo, to which Raphael clearly had direct access, and Italian Painting his own response to them captured in the form of brilliantly at the National clear, simply outlined drawings. It also acknowledges the Gallery, London. importance of sculpture in Raphael's exploration of form, and several drawings and paintings inspired by statues by Michelangelo and Donatello are included. One of the most spectacular rooms in the exhibition will be devoted to Raphael's paintings from the period 1504-8. Raphael (1483- The exhibition has prompted new research regarding the 1520, Saint patronage, location, genesis and technique of the National Michael, 1503-4, Gallery's Ansidei Madonna, a majestic altarpiece painted for a oil on poplar, 30.9 family of wool merchants in Perugia. The fertility of the artist's x 26.5 cm, Musée imagination can be seen from sheets of drawings containing du Louvre, Paris. several studies of the Madonna and Child, from which intense RMN, Paris. Photo campaigns of creativity several paintings emerged, including J.G. Berizzi ULEMHAS Review 5

LIMOGES PAINTED ENAMELS

by Erika Speel

School of Jean I Pénicaud, first half of 16th century. Detail of the plaque depicting 'The Betrayal'. Limoges polychrome painting and gilding. Herzog Anton Ulrich Museum, Brunswick, Germany

imoges painting describes a characteristic art form temperatures at which the metal bases would become for the making of figurative pictures with enamels. unstable. For traditional (non-painting) enamelling, the glassy LThe city of Limoges, in central , had been colours are reduced to grainy powders, laid into the design, famous in the 12th and 13th centuries for distinctive and fixed to the metal by a short firing, often only up to three champlevé work (a method of inlaying enamels into minutes. Painting with these materials required the addition engraved copper). By 1475, Limoges workshops rose of different types of enamels as well as processes that were again to eminence with an innovative technique whereby not known to the craftspeople working in other methods. enamels could be used for true painterly work. The painterly effects required the enamels to be prepared as As for all types and qualities of fired enamelwork, the non-granular pastes, and these were applied in successive materials for Limoges painting are coloured glasses that are stages, in such a way that the upper layers did not sink down fused at red heat to a prepared metal base. For jewellery, into the grounding with refiring. The firing systems for goldsmithing and champlevé enamelwork the bases are of painted work were also markedly different to other methods gold, silver or copper. For that type of work, the designs are of using enamels. usually outlined by metal strips or formed with recessed cells, A copper base of a typical thickness of 0.6 to 0.9 mm was to contain coloured enamels. Limoges painted enamels of the suitable for the eight to twelve stages of firing needed for Renaissance period, in contrast, were based on smooth complex pictures in the Limoges method. Such comparatively copper, which was wholly coated with the glaze, without thin copper bases were also appropriate for the size and form needing structuring metal divisions or outlines. of the pieces, typically 10 to 20 cms wide. The painted Enamels are types of glass that start to soften and flow at methods depended on using a quality of white enamel which, temperatures up to about 860oC, therefore below the unlike other types, would fuse with more or lesser density 6 ULEMHAS Review

simulated miniature cabochon gemstones, known as 'pierreries', could be added with droplets of clear blue, green, amber or red enamels over burnished foils. The high gloss finish of the enamels, the use of translucent colours, the bright touches of gilding and the imitation gems gave the costly and mysterious effects which would be especially striking seen by flickering candlelight. The Limoges paintings made prior to 1530 lacked the durability, so characteristic of most other enamelwork, with regard to the fine, vivid blue and rich purple hues: these were made to a flawed glass recipe. As a result, these sections tend to suffer chemical breakdown, with irreversible scaling (crizzling). The later Limoges enamels did not incorporate such defective materials. In the decade from about 1530, the next generation of Limoges artists became established and several family workshops were active in enamel painting. As the chief models for the enamel artists changed to the works of Italian painters patronised by the French court, the treatment and process had to be adapted. The enamel pictures now changed from the highly ornamental treatment to a more representational style. Colour took a secondary role, often with muted hues or wholly omitted for the full grisaille style, for which at most a little tinting was added for the flesh tones Leonard Limosin [attributed], mid-16th century. and with touches of gilding. Limoges painting on an oval plate, of 'The The grisaille paintings of the mid-l6th century with Judgement of Paris': grisaille with toning and religious and narrative scenes showed figures proportionately gilding. Herzog Anton Ulrich Museum, Germany large and with greater individuality than for earlier work. The foreground figures of the compositions were shown with according to the thickness with which it was applied. This was strong outlines and well-defined features. The clever shading the blanc de Limoges for which the recipe was kept secret to and low impasto work gave visual depth, emphasising the these workshops, and gave the essential character for the athletic physique of the figures and simulated bas- work. figurework. The white enamel, prepared as a very smooth Devotional pictures remained as a mainstay of the Limoges paste with a medium, was laid where needed over a output, but as the 16th century progressed, there was contrasting dark grounding layer. Before the firing, the white increasing demand for the paintings to show allegorical and paste was worked with a stylus, to incise outlines, to thin mythological themes, displaying well-muscled, heroic figures. down in a gradated manner for the grey shadow effects, and As well as for framed plaques, which often were made to be to build up with impasto for highlights, in the method known set together in a series, it became fashionable to add Limoges as enlevage a l'aiguille. paintings to large display vessels and objects. These took the Nardon Pénicaud (cl470 - cl542) is the only enamel form of lidded tazzas, high-handled ewers and great oval painter active prior to 1530 who is now known by name from plates up to 50cm across. While for technical reasons Limoges this first stage of Limoges painting. The style of this master painted work always requires that both sides of the metal was closely followed by his younger brother, Jean Pénicaud I, were coated with glaze, for the standing objects it was and was also maintained by a few contemporary Limoges aesthetically necessary to add ornamental enamel paintings to painters of this early period. all the visible surfaces. The early Limoges paintings, made as insets for altarpieces, The rarest pieces were the fine, large portraits that could were iconic images. The subjects were after engravings by be produced with Limoges painting and the large multi- leading north European artists, recreated with colourful, figurative narrative scenes. The most spectacular of the vessels glossy enamels. In the custom of the period, figures were and plates with Limoges paintings combined several subjects. depicted in symbolic poses, with the faces and limbs shown in For example, a plate would have a central narrative picture or opaque white with purple-grey shading. This treatment was battle scene, while the wide borders carried subsidiary suitable to suggest the 'unearthly' and timeless religious ornamentation, as vignettes or with friezes of exotic figures. The stylised, usually small-scale figures were thrown grotesques, masks or Bacchanalian processions, or with into visual contrast against the bright enamel colours chosen interlacing geometric patterns. for the draperies and backgrounds. The colourful effects The large narrative plaques and ornamental vessels with could be heightened by fusing clear enamels over paillons of Limoges paintings were eventually succeeded by less costly silver or gold leaf, and with surface gilding for haloes, and objects. These included sets of display plates showing labours details such as the folds of the draperies. For splendour, of the months, the seasons or profile portraits of the Roman ULEMHAS Review 7

Caesars. The secondary production also included small hat Pierre badges, insets for lockets and devotional plaquettes. Reymond, In the mid-l6th century and up to about 1580, the period mid-l6th of greatest achievement in terms of artistic innovation and century. calibre, several important enamel painters headed larger, Large ewer, workshops. The most renowned, and especially with regard ornamented to the unequalled portraits, the finest of these artists, Léonard with Limoges Limosin (1505 - cl577), worked for the French court. Pierre painting in Reymond (d.1584) headed a very prolific workshop, receiving grisaille with great commissions from wealthy patrons. The master I.C. also gilding. produced a great diversity of enamel paintings. The active Herzog Anton Limoges enamel painters in the 16th century were otherwise Ulrich Museum, chiefly members of the close-knit families of Poillevé, Mouret, Brunswick, Court, De Court, Courtois, Nouailher and Laudin. From the Germany 1580s there was a return to the use of bright colour for Limoges paintings, characterized especially by the highly ornamental plaques and plates made by Susanne Court [de Court] and Jean I Limosin. Successive members of the Nouailher and Laudin families remained dedicated to Limoges painting into the 17th century, with some continuity into the 18th century. However, from the 1630s Limoges painting was virtually eclipsed by other enamel painting methods, but there was an important revival in the 19th century.

References: Baratte, Sophie (2000) Les Émaux Peints de Limoges, Paris. Caroselli, Susan L. (1993) The Painted Enamels of Limoges, Los Angeles. Müesch, Irmgard, Heike Bronk and Erika Speel (2002) Maleremails des 16. und 17. Jahrhunderts aus Limoges, Herzog Materials and Recipes in Europe from c. 1500 to c. 1920', Anton Ulrich Museum, Brunswick [Braunschweig]. Berliner Beitraege zur Archaeometrie, Vol. 18, pp. 43-100. Netzer, Susan (1999) Maleremails aus Limoges: Der Bestand Verdier, Philippe (1993) 'Renaissance Enamels', Western der Berliner Kunstgewerbemuseum, Berlin. Decorative Arts, Washington. Speel, Erika (1998) Dictionary of Enamelling, London. Speel, Erika and Heike Bronk (2001) 'Enamel painting: Erika Speel is an historian of enamel work

FRIENDS OF TURNER'S HOUSE

he great J.M.W. Turner designed and built a have formed a 'Friends of Turner's House' to assist house in Twickenham, and lived in it for some Professor Livermore in his aims, and to ensure that Tyears with his elderly father, producing many Turner's wishes for the house are carried out. There will paintings and sketches of the river and the be a newsletter, a website, and a programme of lectures surrounding area. and visits. The present owner of the house, art historian Anyone interested in the joining the group should Professor Harold Livermore, intends to leave the house contact Ann Halliday on 020 8891 0177. to the nation, and a group of local Turner enthusiasts Email: [email protected]. 8 ULEMHAS Review

RE-WRITING HIS STORY: FEMINIST ART PRACTICES SINCE THE 1970s

by Catherine Mason

Monica Sjöö, God Giving Birth, 1969, oil on hardboard (collection of Museum Skelleftea, Sweden, reproduced courtesy of the artist)

n the 1970s there was a questioning of the discipline men to apply to men. With the dominance of Modernism of Art History. Art History defines who and what an being called into question, Enlightenment notions of Iartist is. Historically, this has relied on the myth of progress, the independent subject, truth and the external artistic genius - a free, individual creative spirit. The world were dethroned. It was no longer possible to imagine creativity of this 'genius' is recorded almost exclusively in that history takes a single course, or that the viewer is not an a biographical or autobiographical mode in monographs, essential component of any text, or that our sense of self is catalogues raisonnés and retrospective exhibitions. not deeply implicated in relationships of power and authority. Historically, this definition has been gender specific, Possible alternatives to Modernism began to be sought and exclusively masculine. The language of Art History uses terms the Women's Liberation movement of the late 1960s was to such as 'masterpiece' and 'old master painting' - devised by provide a model for some. ULEMHAS Review 9

In 1971, the art historian and pioneer of feminist art in their work, as a site of difference. Sylvia Sleigh painted theory Linda Nochlin asked, "Why have there been no great male nudes in the traditional pose reserved for the female (as women artists?" In her groundbreaking essay, she refuted the model and muse). She implied that women could be statement: "There are no great women artists because women consumers of visual imagery, just as men had been are incapable of greatness." Nochlin suggested that the reason throughout history. The Swedish-born, Bristol-based Monica why there were no women artists in the mould of Sjöö drew on Pre-Columbian representations of female Michelangelo or Manet, was because of male-dominated divinities in her painting God Giving Birth. Inspired by the educational and institutional structures that suppressed home birth of her second son, an event which she describes women's talents. as her first mystical experience of the power of the Great Historical conditions made being an artist exceedingly Mother, it depicts a woman of indeterminate race giving birth difficult for most women. During the Renaissance, women to the world, whilst asserting that God is a woman. Banned were excluded from artists' workshops and from conventional from an arts festival in St Ives a few years previously, this forms of training. Art historians Rozsika Parker and Griselda painting became an icon of feminist art when it was exhibited Pollock identified that the great majority of women artists in at Exhibition on Womanpower: Women's Art, at Swiss Cottage the 16th and 17th centuries came from families of painters in library in 1973. It aroused intense controversy, accusations of which the absence of sons or the availability of materials and sacrilege, complaints of blasphemy and obscenity and a visit free teaching gave daughters an entry to an artistic career that from the porn squad, but ultimately no prosecution. By taking would otherwise have been far less accessible to them. place in a library, the show attracted perhaps a broader public Angelica Kauffmann, trained by her father, was one of two than it might have done in a gallery. female founding members (with Mary Moser) of the Royal The largest, most ambitious work of feminist art during Academy in 1772 - almost unbelievably, the only women this time was Chicago's Dinner Party (1974), a celebration of admitted to this institution until 1922. It is clear that women sexual difference and affirmation of woman's otherness (to have always produced art. It had simply been overlooked, men). The Dinner Party was both a reclamation of, and a unrecognised or misattributed to male artists. Nochlin called tribute to, women's historical, political and cultural on historians and artists, "... to dig up examples of worthy or contributions. A triangular table of 48 feet on each side insufficiently appreciated women artists throughout history; denied a hierarchical seating arrangement; its 39 place- ... to posit a different kind of 'greatness' for women's art than settings commemorated women from all periods and walks of that for men's ... [and] to create a world in which equal life - from early goddesses to Eleanor of Aquitaine, Mary achievement will be not only made possible but actively Wollstonecraft to Georgia O'Keeffe. An additional 999 names encouraged by social institutions." of significant women in history covered the floor under the Feminist artists on the West Coast of America were among table. Techniques of ceramic painting, tapestry, needlework - the first to take up the challenge. Judy Chicago found that her all traditionally associated with women's hobbies or pastimes experiences of art school bore no relation to her actual and historically barred from consideration as fine art - were experience of life. During her training at the University of employed by teams of workers to create each place setting. California, she studied art history, but found the male The use of vaginal imagery (seen in the plates) was a way to teachers didn't teach any female painters. The studio classes combat the patriarchal obsession with phallic forms were overly competitive and personal expression or sharing throughout history and a celebration of something amongst class members was not encouraged. Chicago went recognisably and distinctively female. Ultimately, however. The on to organize the first feminist art course at Fresno State Dinner Party probably raised more questions than it College in 1970, which had studios restricted to women only. answered. Should women adopt the men's cult of individual She encouraged her students to share and create works heroes? Was it demeaning or courageously subversive that related to their own experiences of being women in a Virginia Woolf be represented with vaginal imagery? The patriarchal society. She later moved the art course to work's problematic status is indicated by the fact that, having California Institute of the Arts and a collaborative exhibition travelled for nearly a decade, it was put into storage until arising out of this programme was Womanhouse (1972). The 2002, when it finally acquired a permanent home at the group rented an abandoned Hollywood mansion and altered Brooklyn Museum of Art, 25 years after its creation. its interior through decor, creating installations including, a Also in the 1970s, John Berger's BBC series and book Ways 'menstruation bathroom' and a 'bridal staircase'. A of Seeing, postulated that femininity is formed in part from performance by Sandra Orgel, Ironing, consisted of the artist the reflected or mirror images against which women are simply ironing for five hours in front of the audience. taught to measure themselves. The fact that woman must Womanhouse was opened to the public for one month only, continually watch herself being looked at has implications for yet was viewed by nearly ten thousand people (having been visual art. Cindy Sherman's Untitled Film Stills (1977-80), a advertised by word of mouth). It was important in its series of sixty-nine photographs, draws on stereotypes found assertion that women's domestic lives and concerns had in television, films and the press - which supplies a constant validity as artistic subject matter. stream of images of how we are now and the ways in which How could women begin to create a female art? How to we might appear, might dress and behave. They portray the describe an experience that is fundamentally different? artist in a series of roles defined within specific but unknown Several artists during the 1970s used the imagery of the body narratives, which we can only guess at. Cornelia Parker's 10 ULEMHAS Review

THE ADVANTAGES OF BEING A WOMAN ARTIST: Working without the pressure of success. Not having to be in shows with men. Having an escape from the art world in your 4 free-lance jobs. Knowing your career might pick up after you're eighty. Being reassured that whatever kind of art you make it will be labeled feminine. Not being stuck in a tenured teaching position. Seeing your ideas live on in the work of others. Having the opportunity to choose between career and motherhood. Not having to choke on those big cigars or paint in Italian suits. Having more time to work when your mate dumps you for someone younger. Being included in revised versions of art history. Not having to undergo the embarrassment of being called a genius. Getting your picture in the art magazines wearing a gorilla suit.

A PUBLIC SERVICE MESSAGE FROM Guerrilla Girls CONSCIENCE OF THE ART WORLD 532 LaGUARDIA PLACE. #237 NY.NY 10012

Guerrilla Girls poster, 1988 (courtesy of www.guerrillagirls.com)

exhibition, The Maybe (1995) at the Serpentine Gallery counterparts to the mostly male tradition of anonymous 'do- consisted of actress Tilda Swinton sleeping in a glass case, gooders' like Robin Hood, Batman, and the Lone Ranger. eight hours a day for seven days. Imprisoned in, and protected Calling themselves "the conscience of the art world", they use by her glass 'coffin', the sleeping figure existed as an object to humour to convey information, provoke discussion and fight be gazed upon as well as the subject of her own narrative. discrimination. In 17 years they have produced over 80 Also during the 1990s, Jo Spence set out to investigate how posters, printed projects and actions that expose sexism and photography and the media operated, particularly in the racism in politics, the art world and culture at large. Of the sphere of women's identity. Her series of photographs work reproduced here, The Advantages of Being a Woman document her own battle with cancer and feelings of Artist, they say, "This is our all-time favourite, which we did to powerlessness at the hands of the medical establishment - encourage female artists to look on the sunny side. Women all they were also a means of reclaiming her body and over the world, not just artists, identified with it. One sent us rediscovering her sense of self. The YBAs (young British $1,000 to run it as an ad in Artforum, a top U.S. art magazine." artists) of the 1990s were largely male dominated, but Tracey Art historian Alicia Foster recently pointed out that Emin has remained one of the most prominent of the handful currently under 11% of artists in the Tate collection are of Brit-art gals. Emin presents us with her raw and unedited women, so it looks as if there is still some way to go. personal history and life experiences in Everyone I have Ever Slept With 1963-1995 (1995), a tent appliquéd with the names References: of everyone she has shared a bed with. This airing of private John Berger, Ways of Seeing, BBC and Penguin Books, 1972 and personal details subverts traditional notions of acceptable Judy Chicago, Through the Flower: My struggle as a woman feminine behaviour. In her highly self-confessional style, Emin artist, The Women's Press, 1982 manages to tell us something about what it was to be a young Alicia Foster, Tate Women Artists, Tate Publishing, 2003 woman growing up in the latter half of the 20th century. Linda Nochlin, Women, Art and Power and Other Essays, Women and artists of colour are greatly under-represented Harper & Row, 1988 in the art world even though they constitute a great proportion Rozsika Parker and Griselda Pollock, Framing Feminism: Art of working artists. For example, over 50% of graduates from and the Women's Movement 1970-85, Pandora, 1987 art schools in America are female, but somewhere along the line they disappear. The Guerrilla Girls are a group of Catherine Mason is currently researching the history of American women artists, writers, performers and filmmakers, British Computer Arts with the CACHe Project in the School of established in 1985, who remain anonymous by wearing History of Art, Film and Visual Media, Birkbeck College gorilla masks. They have declared themselves feminist (www.bbk.ac.uk/hafvm/cache) ULEMHAS Review 11

HOGARTH AND GARRICK: THE ARTIST, THE ACTOR AND THE 'IMITATION OF NATURE'1

by Catherine Parry-Wingfield

David Garrick in the Character of Richard III, 19th century engraving after Hogarth, private collection

ctors, artists, theatres, studios, clubs, taverns, group were entranced by Garrick's performances, his youthful coffee houses - in 1740s London these abounded ebullience, his command of his audience and above all the A in the area between St Martin's Lane and Drury innovative realism of his facial and bodily expression. Lane. Hogarth and his circle gathered at the Beefsteak Hogarth must have sensed a kindred spirit as he watched Club and at Old Slaughter's Coffee House, 'a rendezvous Garrick breathing life into Shakespearean roles, taking of persons of all languages & Nations, Gentry, artists and inspiration from the life around him. Some years later, Andre others'2 where innovative ideas were forged out of Rouquet would comment: Thus the celebrated Mr Garrick

gossip, camaraderie and a wealth of talent. 25-year-old takes his lessons only from nature'.3 Hogarth's own debt to Garrick, Hogarth's junior by 20 years, lodged above a Shakespeare is acknowledged in the Self-portrait with Pug of wigmaker's shop in Covent Garden, and would soon 1745; a volume of Shakespeare literally supports him, with become manager of the Theatre Royal. Swift, for satire, and Milton, for the epic. Satan, Sin and Hogarth's interest in the theatre is shown in several works Death (1738), Hogarth's powerful response to Paradise Lost of the 1730s, based on stage performances, The Beggar's was later bought by Garrick and would have provided an Opera (several versions between 1728-31), and Falstaff ample resource for the study of evil. Examining his Troops (Henry IV, part 2) of 1730, which Garrick's debut in 1741 was in the role of Shakespeare's Garrick would buy in 1777. Engraved prints such as Strolling Richard III, and in 1745 Hogarth began the demanding task of Players Dressing in a Barn (1738) and The Laughing painting his now famous friend in this role. Garrick was Audience (1733) showed his sharp eye for detail among already alert to the propaganda possibilities of paintings of players and audiences. Hogarth and the Old Slaughter's himself both in and out of role; Francis Hayman, another of 12 ULEMHAS Review

The Suspicious Husband, a role he played more than any other. In accepting Hoadly's invitation, Garrick sends both himself and Hogarth up: 'the little-ingenious Garrick with the ingenious little Hogarth, will take the Opportunity of the plump Doctor's being with you [the physician Messenger Monsey] to get upon a Horse-block, mount a pair of Quadrupeds (or one if it carries double) & hie away to the Rev'd Rigdum Funnidos at yr aforesaid Old Arlesford; there to be as Merry, facetious, Mad & Nonsensical, as Liberty, Property & Old October can make Em!' Old October, a strong ale, was clearly abundant, as was mirth, facetiousness and nonsense. Garrick wrote a scatological spoof of Julius Caesar, in which Hogarth played Grilliardo, the Devil's Cook. With Garrick's rising fame came prosperity, more quickly and in greater measure than for Hogarth. Although the friendship continued, there were changes. Horace Walpole had mercilessly observed Garrick's courtship of Eva Maria Veigel, a young Viennese dancer known as La Violette (Hogarth obstinately referred to her as the Violette') who had been taken under the wings of Lord and Lady Burlington: 'Garrick ... stood ogling and sighing the whole time, while my

Lady kept a most fierce lookout'.8 Notwithstanding the fierce looks, they married in 1749. In 1757 Hogarth embarked on an even greater challenge David and Eva Maria Garrick, 19th century engraving than painting his friend as Richard III: he began a double by H. Bourne after Hogarth, private collection portrait of the Garricks. The canvas bears evidence of many alterations, not unusual for Hogarth, who repainted his the St Martin's Lane/Old Slaughter's fraternity, had painted original background of plentiful domestic detail with neutral him in the same year with William Windham, a relaxed and greenish-brown walls, against which the figures glow. John informal outdoor conversation piece. Hogarth's painting was Hoadly watched its progress: 'He has almost finished a most to be an entirely grander project, as important to the artist, noble one of our sprightly friend David Garrick and his wife: ever hungry for the opportunity to display his talent for large- they are a fine contrast. David is sitting at a table smilingly scale history painting, as to the sitter. The naturalism of thoughtful over an epilogue or some composition (of his own Garrick's performance in the chosen scene from Act V, where you may be sure) ... & Madam, archly enough stealing away

the king recoils from the ghosts of his conscience, startled the his pen unseen behind'.9 In fact Garrick was penning a playwright Arthur Murphy: 'When he started from his dream prologue to Samuel Foote's comedy, Taste, in which he he was a spectacle of horror - in all this the audience saw the played Mr Puff, the crafty art auctioneer. But Garrick at the exact imitation of nature'. Clearly, that mobile face and time did not find the painting 'noble', and it suffered from 'speaking eye' which brought Garrick such rapid fame, were Hogarth's rage as he struggled to capture the famous face. used to tease Hogarth, so famous for capturing a likeness, as This portrait remained in Hogarth's studio, until after his

Hogarth's revisions show.4 Artistically, the painting was a death his widow Jane gave it to the Garricks. For a few years it

success; commercially, it sold very well, for £200,5 and the hung over the fireplace in the dining parlour of the Garricks' print run which Hogarth made in 1746 with the engraver prestigious new house in the Adelphi, valued more then than

Charles Grignion took the fame of artist and actor to a wide in Hogarth's lifetime.10 Perhaps relations had cooled between market. A letter survives in Hogarth's inimitable style, in the two men before their differences over this portrait, and which he responds to an enquiry about 'likeness': 'The perhaps the closeness of Eva Maria to Lord and Lady picture from which the Print in question was taken, was Burlington, no favourites of Hogarth's, had added to this. In painted from Mr. Garrick, big as the life, & was sold for two the 1757 portrait the finery of Eva Maria's dress and jewels is Hundred pounds on account of its Likeness, which was the astounding, a contrast to Hogarth's portrait of his own wife reason it was called Mr. Garrick in the Character of Richard Jane of 1738: Jane, though handsome and well-dressed,

the 3rd and not any body else'.6 appears robust beside Eva Maria's coquettish delicacy - the Clearly the mid-1740s were years of balmy friendship. In viewer is unlikely to take Jane for an actress. the summer of 1746 Garrick and Hogarth were invited to stay In 1749 the Hogarths acquired a village house at Chiswick in Hampshire with a mutual friend, the Rev. Dr John Hoadly. to use in the summer months, and five years later the Garricks Hogarth had painted Hoadly in 1741, his brother Benjamin in acquired a grander establishment about five miles away on the 1738, and a magnificent portrait of their genial father, Bishop riverside at Hampton, where they would display Hogarth's Hoadly, in 1741. The younger Hoadlys were also talented Election series, bought by Garrick after they failed to sell in playwrights; in 1747 Garrick first played the part of Ranger in 1762, and some of the oil sketches from the unfinished ULEMHAS Review 13

Happy Marriage. The contacts continued, if lacking some of Hogarth's tomb, the earlier 'nonsensical' delight in one another's company. St Nicholas While Garrick's fame and fortune grew with his ability to churchyard, please his public, Hogarth spent much of the waning energies Chiswick of his last years in battles of words and paint. The Garricks left England in September, 1763 for a tour of France and Italy. In Rome in October the next year, to their great distress, they received the news of Hogarth's death. Their friendship had united the 'sister arts' of literature and painting; Hogarth for all his chagrin at the elusive pursuit of 'nature' in the capturing of his friend's features has left us strikingly original works to commemorate Garrick's achievements. Perhaps Garrick loved to see himself in paint because it fixed the ephemeral nature of his own art - as the Apology for the Life of Colley Cibber written by himself (1740) put it, 'Oh what a pity it is that the strong and beautiful strokes of a great actor should not be as lasting as the strokes of the pencil...'. 4. The area of canvas containing Garrick's face was cut out To Garrick on his return from Italy fell the mournful task and replaced by Hogarth. of composing an epitaph to his friend for his tomb at St 5. Sold to Mr Duncombe of Duncombe House, now in the Nicholas' graveyard in Chiswick: Walker Gallery, Liverpool 6. Letter, Royal Library, quoted in Paulson, R. Vol. 11, 'Farewell, great painter of mankind, Hogarth, High Art and Low, 1732-50, p. 257 Who reached the noblest point of art; 7. Paulson, R. Hogarth, op. cit., p. 259 Whose pictur'd morals charm the mind, 8. Horace Walpole, Correspondence, XX, 48 And through the eye correct the heart. 9. John Hoadly to Joseph Wharton, 21st April, 1757, If Genius fire thee, reader, stay, Genuine Works of William Hogarth, J. Nichols and G. If Nature touch thee, drop a tear; Steevens, 1808-17, quoted in J. Uglow: Hogarth. If neither moves thee, turn away, 10. The Inventory taken of Garrick's possessions at the For Hogarth's honoured dust lies here.' Adelphi after his death in 1779, now in the National Art Library, Victoria and Albert Museum, London, describes the Notes painting and its position accurately; this portrait is now in the 1. Arthur Murphy's comments on Garrick's performance Royal Collection. 2. George Vertue's Notebooks, III, p. 91 3. Andre Rouquet, The Present State of the Arts in England, Catherine Parry-Wingfield is a freelance lecturer, specializing 1755 in the visual arts of the 18th century.

ULEMHAS NOTICEBOARD

Committee news write to all tutors of diploma courses in September, enclosing Happily the appeal for members to volunteer for election to flyers for the Society which carry the programme for the year the Committee, which went out in the December supplement, ahead. In spite of exhortations to distribute these among their achieved its aim. John Dunlop has taken over from Malcolm students, there are always some who fail to do this. If you will Armstrong as Hon. Treasurer, and Marian Donne succeeded be enrolling in a class this autumn, and your tutor is one of Yvette Thompson as Secretary; Jacky Leigh has shouldered the these, please raise the matter; failing all else telephone Anne task of organizing the lecture programme, formerly carried by Scott on 020 7727 2380 for some flyers to distribute yourself. Kusuma Barnett. We are very grateful to Malcolm, Yvette and Kusuma for all the hard and effective work which they put in. Programme for 2004/05 Details of the lecture programme are carried on the back page Membership of the Review. Flyers for the study days and trips will go out In order to keep the subscription at an easily affordable level with the mailings in August and December. These events are and still maintain a lecture programme of a high standard, we likely to be popular so please deal with the application forms need a minimum membership of at least 250. Given that there as soon as you feel able to make up your mind. If bookings is always some erosion of numbers as people move away or seem to flag we make places available to friends and other otherwise disappear from our books, constant recruitment is interested individuals; this can result in members being a necessity. Word of mouth is a great help, and in addition we disappointed if they do not apply until late in the day. 14 ULEMHAS Review

THE FUTURE OF HISTORY OF ART AND ARCHITECTURE AT FCE

by Elizabeth McKellar

ollowing Claire Andrews' article on the founding of Birkbeck, our operations and policies have become ULEMHAS in the 2003 Review I have been asked, as progressively integrated. Students will experience this most Fthe academic responsible for the History of Art and directly in relation to the Library which has merged all its Architecture programme, to write a piece on the present holdings onto one site this year. Increasingly FCE students and future prospects for Birkbeck Continuing Education. have gained parity with other students in terms of their access As many of you will be aware, despite the government to computers, online learning resources and other key rhetoric about the importance of lifelong learning, adult and educational tools. continuing education continues to be the Cinderella of the Our partnerships with many other institutions have sector. We are caught between rigid funding formulas on the regrettably ended, as they too face severe funding pressures one hand, which only recognize student numbers in relation and prefer to put on their own courses in popular subjects to the submission of assessed work, and on the other, an like History of Art. This has applied to places such as Morley instrumentalist view of education which favours vocational College, the Mary Ward Centre and the City Lit, although we training and the economically 'relevant'. All of this has left continue to have a fruitful relationship with the WEA. The traditional adult liberal education in the humanities in an same pressures affect the museums and galleries, although uneasy position, despite its still undoubted attraction as next year we will be offering courses for the first time at the demonstrated in its high student numbers. Many of the National Maritime Museum and Hampton Court (run by the flagship continuing education departments which specialized Royal Palaces Agency). However, increasingly we have to fall in provision of this type have been attached to universities back on our own resources and thus the Bloomsbury campus and now find themselves facing severe financial pressures. is becoming our prime central venue, rather than being one There has recently been an attempt to close Leeds University of several. There is, needless to say, a huge demand for Continuing Education Department and others such as Bristol accommodation in the area and this therefore becomes yet have become absorbed into the mainstream university another limiting factor in determining the number and range departments with a consequent dilution of their unique of courses we can run each year. identity and focus. There will then undoubtedly be changes to come, largely At Birkbeck the situation of the Faculty overall is more dictated by central funding, but the picture overall is not a healthy due to a wider range of subject areas across the arts, gloomy one. History of Art and Architecture at Birkbeck sciences and social sciences as well as an expansion into remains one of the largest programmes in the Faculty. We are specialist postgraduate provision, often in new and generally acclaimed to be the leading provider of History of developing subject areas. However, the place of the old liberal Art courses at our level, and work hard to maintain our core, which includes subjects such as psychology and academic standards and rigour. We regularly send students on archaeology besides the humanities, is under scrutiny at to further study at BA and even MA level at all the leading present. The emphasis has shifted over the past five years or departments in the country. We also ensure that we offer a so onto the accredited Certificate and Diploma programme, wide-ranging and evolving programme of courses, which is and this trend will certainly continue. It remains to be seen constantly under review. The introduction of the Architecture whether we will be able to continue to operate a mixed stream, for example, has been very successful with a economy in these classes, which at present incorporate both significant number of students now taking this option. We are students undertaking assessment and other students who are also considering what we might offer outside the Diploma, for not producing written work. It is quite likely that there will be example at post-Diploma level, while not overlapping with a division between these two groups in future, although it is the existing BA and MA courses in the College. There will be important too that we continue to cater for the latter in some tough challenges to be met in the future, but we have coped way. How exactly this will be done is not clear as yet, although with the problems posed thus far, and I am confident that we increased fees are almost inevitable. can do so again through a mixture of creativity, compromise We have also undergone significant changes in recent years and doubtless some cunning too. in our relationships with the rest of the College and with our outside partners. Once we ceased to be the Centre for Extra- Dr Elizabeth McKellar is Senior Lecturer in History of Art and Mural Studies and became one of the four Faculties of Architecture, Birkbeck College ULEMHAS Review 15

BOOK REVIEWS

Westminster Abbey Cellini: The Lady Chapel of Henry VII Artist, Genius, Fugitive

edited by Tim Tatton-Brown & Richard Mortimer By Derek Parker

The Boydell Press, 2003 (£50.00) Sutton Publishing, 2003 (£20.00) ISBN 1-8438-3037-X hardback ISBN 0-7509-2967-X hardback

escribed by John Leland in 1545 as "the wonder of envenuto Cellini, Renaissance artist extraordinary, the entire world", Henry VII's Chapel at Westminster lived a life which was exceptional even by the standards DAbbey is the crowning achievement of late Gothic B of that extraordinary age. Born in Florence in 1500 he architecture in England. was best known as a goldsmith, producing exquisite objects For this volume, published 500 years after work on the characterized by the most refined workmanship, but ended chapel began, fourteen scholars have analysed aspects of its his career as a sculptor, receiving at last the rare praise of his architecture, furnishings, building history and uses. The title of idol Michelangelo. Described by a contemporary as 'spirited, the book underlines the fact that it replaced a 13th-century proud, vigorous, most resolute and truly terrible', Cellini had Lady Chapel, and was itself a Lady Chapel. a violent temper and was responsible for at least three In 1498 the Abbey of Westminster established a legal claim murders and numerous assaults. It is almost inconceivable as the preferred burial place of Henry VI, whose canonization that the same hands which fashioned delicate, beautiful was then being pursued. Thereupon Henry VII transferred from objects such as intricately-engraved gold medals, ornate St. George's Chapel Windsor to Westminster Abbey his plans for jewellery and enamel work, could also have launched such a chantry for himself and a shrine for Henry VI. brutal attacks; but during his career Cellini suffered continual Christopher Wilson bases a convincing account of the King's hardships, including periods of imprisonment, bouts of intentions for the chapel on his will, printed here, and a set of plague and fever, the deaths of two small sons, a year of indentures as to its usage. The new saint's shrine was to occupy house arrest for sodomy, and the plotting of jealous rivals. He the apse, behind the high altar, while the bronze chantry also endured arduous travels on horseback throughout Italy containing the tomb of Henry and his Queen was to be and France, seeking the patronage of popes and princes. immediately in front of the altar. In the event the canonization The author of an acclaimed life of Casanova, Derek Parker was never accomplished: Henry VI's body remained at Windsor adopts in this new biography an admirably detached attitude and the chantry was placed in the position in the apse intended to Cellini the man, offering neither praise nor blame, but does for his shrine. not conceal his admiration for Cellini the artist. The book is Many foreign craftsmen were involved with the magnificent loosely based on Cellini's lively autobiography, My Life, but the furnishings of the chapel. The contract for the tomb with its endnotes refer to the 2002 Bondanella translation (Oxford gilt-bronze effigies of Henry and Elizabeth went to the World Classics, Penguin, £9.99), a copy of which it would be Florentine, Pietro Torrigiano; the bronze chantry grate was useful (and entertaining) to have beside you while reading this made by Thomas the Dutchman. biography. Both books provide an insight into the struggle for Netherlandish sculptors are credited by Phillip Lindley with recognition of the Renaissance artist, even one with Cellini's the freestone images which fill the continuous niches of the shining gifts. Parker's book is eminently readable (something triforium and the walls of the chapels - the greatest sculptural not always noted in scholarly writings) carrying the reader on a survivals from Tudor England. The , destroyed with roller-coaster ride through all the adventures of Cellini's Torrigiano's high altar during the Civil War, was the work of turbulent life. He examines the artist's work in some detail, Netherlandish glaziers; Charles Tracy argues that the fine choir- although frustratingly some objects are described but not stalls, built to an English design, were also made by illustrated. There are no colour photographs - a serious Netherlandish craftsmen. omission, since superbly-crafted pieces such as the famous The design of the lower parts of the chapel itself is gold and enamel saltcellar should be seen in all their attributed by Tim Tatton-Brown to Robert Janyns; the faceted, technicolour glory. One whole chapter is given to the making undulating exterior with its domed turrets can be related to his of the great bronze Perseus for Cosimo I de'Medici, charting work for Henry at Windsor. The virtuoso execution of the the niggardly payments made by Cosimo for this magnificent spectacular pendant fan vault he gives to William Vertue, on the work. The statue now stands in the Piazza della Signoria, basis of a comparable vault at Bath Abbey. Florence, rivalling even the Michelangelo David nearby. Each of the book's contributors illuminates an aspect of this The publishers recommend the book to art historians but, amazing building, enhancing our understanding and due to a certain superficiality in its approach, it might best be appreciation. It needs, but repays, close study. considered as background reading material, rather than as a Anne Scott core text for students of Cellini's work. Ann Halliday 16 ULEMHAS Review

ULEMHAS LECTURE PROGRAMME

2004 Wednesday 13 October Tim Ayers Perceptions of Stained Glass in the . Dr Tim Ayers teaches at the Courtauld Institute and is Secretary of the Corpus Vitrearum Medii Aevi in Great Britain. His publications include Salisbury Cathedral, the West Front (2000) and The Medieval Stained Glass of Wells Cathedral (2004). He is now working on the glass at Merton College, Oxford for the Corpus Vitrearum.

Monday 8 November Dominic Janes The Problem with Suffering: why the Crucifixion was rarely depicted in Late Antiquity. This lecture will examine the reasons why this major component of medieval religious art is strikingly absent from the decoration schemes for late antique churches. Dr Janes has come to Birkbeck, where he lectures in History of Art for Continuing Education, after working at Lancaster, Cambridge and King's College, London. He has published God and Gold in Late Antiquity (1998) and Romans and Christians (2002).

Wednesday 8 December Jill Cook The Human Figure in Ice Age Art. The recent discovery of mural art at Creswell Crags in Nottinghamshire has underlined the unity of an Ice Age culture in Britain with that of Europe. Dr Jill Cook is Head of Prehistory, in the Department of Prehistory and Europe at the British Museum; she is an archaeologist specialising in the Stone Age. This lecture will relate the art of the distant past to that of more recent times.

2005 Saturday 22 January After the AGM at 2pm William Filmer-Sankey will lecture on The Midland Grand Hotel at St. Pancras. An archaeologist, and formerly Director of the Victorian Society, Dr Filmer-Sankey is involved as historic buildings adviser in the restoration of this landmark building, neglected for 30 years, to enable it to reopen as a hotel, to coincide with the opening of the Eurostar rail terminal at St. Pancras.

Monday 7 February Lindsay Stainton Samuel Palmer and his Contemporaries. Formerly in charge of British drawings and watercolours in the Prints and Drawings department of the British Museum, Lindsay Stainton is currently engaged upon a catalogue raisonné of Gainsborough. She has published on Turner and on British artists in Italy. Her lecture will look at the work of Samuel Palmer in the context of contemporaries such as William Blake.

Wednesday 9 March Kate Eustace The Dilemma of the Figurative in Twentieth-Century Portraiture. Kate Eustace is curator of the twentieth-century collections at the National Portrait Gallery. She was formerly assistant keeper of the Department of Western Art at the Ashmolean Museum, with responsibility for sculpture from 1540, and is by training an antiquary.

All lectures are at the Courtauld Institute, Somerset House, Strand and, except on 22 January, are at 6 pm. Wine is served after evening lectures.

STUDY DAYS AND OTHER EVENTS

Saturday 27 November 2004 People, Palaces, Painting in Two Italian Renaissance Courts Michael Douglas-Scott and Norman Coady

Saturday 26 February 2005 Late Gothic Architecture in Central Europe

Paul Crossley and Zoe Opacic

Tuesday 19 - Monday 25 April 2005 Study Tour to Early Christian Rome

Saturday 14 May 2005 Study Visit to the Ashmolean Museum, Oxford: Greek Sculpture & Vases

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