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Short Courses 2020 Short Courses 2020 THE COURTAULD INSTITUTE OF ART DECEMBER 2020 ALL INFORMATION CORRECT AT THE TIME OF PRINT 2 Contents WELCOME FROM THE DIRECTOR 5 INTRODUCTION: THE COURTAULD INSTITUTE OF ART AND ITS SHORT COURSES 6 SPRING AND AUTUMN COURSES 8 SPRING COURSES 2020 9 AUTUMN COURSES 2020 14 SUMMER SCHOOL 2020 20 REPRESENTATIVE COURSE TIMETABLE 23 WEEK 1 MONDAY 6–FRIDAY 10 JULY 2020 25 WEEK 2 MONDAY 13–FRIDAY 17 JULY 2020 33 WEEK 3 MONDAY 20–FRIDAY 24 JULY 2020 41 WEEK 4 MONDAY 27–FRIDAY 31 JULY 2020 49 STUDY TOURS 2020 57 THE LECTURERS – SUMMER SCHOOL AND STUDY TOURS 63 EVENING LECTURE SERIES SHOWCASING ART HISTORY 68 SATURDAY STUDY EVENTS IN ART HISTORY 70 TERMS AND CONDITIONS 71 CONTACT US 74 IMAGE CREDITS 74 3 4 Welcome from the Director I am delighted to introduce The Courtauld Institute of Art’s Spring and Autumn Courses, Summer School and Study Tours for 2020. As ever, these programmes offer you the opportunity to learn with teachers who are highly respected scholars in their specialities: our own teaching staff, Courtauld alumni and colleagues from key UK and overseas art-historical institutions. Since January 2019, all our teaching activities have taken place at The Courtauld’s temporary campus at Vernon Square, so that our main home at Somerset House can undergo the major development programme, Courtauld Connects. Courtauld Connects consists of two phases that together will enable us to offer all of our students - undergraduates, postgraduates, life-long learners and school children - up-to-date teaching and research facilities. We are enhancing our Gallery too, and extending our reach here in London, nationally and abroad. During the closure of the Gallery for redevelopment, major works from our collections are loaned to partner institutions across the UK, while ‘Masterpieces of Impressionism’ will tour three venues in Japan in 2019-20. You can find full information on our Gallery’s exhibitions and educational activities during closure here: connects.courtauld.ac.uk/partnerships. This year’s Short Courses programme is richer and more varied than ever, featuring an extended offer of our popular Study Tours and of our Spring and Autumn courses. Whether you are interested in these, or in our intense, week-long courses in the Summer School, I am confident you will find our programme appealing. I look forward to seeing many of you at The Courtauld at Vernon Square. Professor Deborah Swallow Märit Rausing Director The Courtauld Institute of Art 5 Introduction: The Courtauld Institute of Art and its Short Courses The Courtauld Institute of Art is the foremost centre in Britain for the study of art history, conservation and curating and enjoys an international reputation. Our Short Courses are designed to share The Courtauld’s expertise with the wider public. Each year, we welcome over 1000 students, of all ages over 18 and from around the world, to participate in our Spring and Autumn courses, Summer School, Study Tours, evening lectures and Saturday Study events. For the vast majority of the courses, no previous art–historical experience is required. Our tutors combine scholarly excellence and an enthusiasm for their subject with the ability and willingness to communicate with a non– specialist audience. All you need to take part in, and benefit from our courses, is a passion for the visual arts and for art history, an open mind and a willingness to learn, along with a good command of the English language. Courses are not assessed and while we provide selected texts and other course materials on our Virtual Learning Environment for most parts of the programme, it is up to you how much preparatory and subsequent study you wish to undertake. At The Courtauld’s Short Courses department, we teach and learn for love of the subject. The Spring and Autumn Courses, Summer School, Study Tours, evening lectures and Saturday Study events have been programmed by Dr Anne Puetz. If you require further information on the content and scope of these programmes, please contact Anne by email [[email protected]]. Questions about the administration of the short courses should be directed to Jackie Sullivan [[email protected]]. 6 7 Spring and Autumn Courses Introductory and intermediate Art History and Art Theory Short Courses Course fees include expert tuition, provision of reading material on the Virtual Learning Environment (VLE), hand–outs, refreshments, and where relevant, all admission charges to temporary exhibitions and permanent collections, and print–room and handling–session charges. Students will have reference access to the Book Library during their course after classes finish until 17.30 and in the holidays adjoining their courses, from 20 March – 21 April (please note that The Courtauld is closed from 9–14 April inclusive), and 1 September – 2 October respectively. Library staff have kindly offered to give brief introduction sessions as part of each course. Representative course timings for all Spring Courses – On the first day: from 09:30 for registration; classes until 16:30 / 17:00. – Then on all other days, classes are from 10:00 to 16:30 / 17:00. Refreshments are served mid-morning, and also in the afternoon if you are at Vernon Square. Lunch is not provided. 8 Spring Courses 2020 23 – 26 March Nicola Moorby An Introduction to J.M.W Turner: Theory and Practice: a three–day course Dr Matthias Vollmer Ideas on Art: a four–day beginners' course in art theory Dr Caroline Levitt Making Sense of TwentiethCentury Art: a four– day introductory course Dr Federico Botana An Introduction to Christian Iconography: a four– day course SPRING COURSE An Introduction to J.M.W. Turner: Theory and Practice Monday 23–Wednesday 25 March 2020 Nicola Moorby £355 This intensive, introductory course is designed for everyone with an interest in the art of J.M.W. Turner. No previous knowledge is required and the course is open to everyone over the age of 18. The number of participants is limited to 16. This course introduces students to the art of J.M.W. Turner through an exploration of his ground–breaking theories and techniques. Each day we shall take as our starting point a different medium– oil, watercolour and print– and examine the material properties and technical challenges specific to that art form. We shall discuss the contexts within which Turner operated and demonstrate the ways in which his art was both traditional and innovative, engaging with the past while also forging a modern sensibility designed to establish the pre–eminence of landscape within the contemporary British school. In order to unlock some of the secrets of his extraordinary technical genius, the sessions will include accessible explanations of painting techniques and print–making processes, and thereby offer an enjoyable introduction to historical media and materials. Morning sessions in the classroom will be complemented by focused site visits in the afternoons. We shall take the 9 opportunity to study some of Turner’s most famous masterpieces at first– hand, but also gain access to some of his lesser–known working materials, including sketchbooks and colour studies. LECTURER’S BIOGRAPHY: Nicola Moorby is an independent curator, writer and lecturer specialising in British art of the nineteenth and early twentieth centuries. An alumna of the University of York (BA) and of Birkbeck (MA), she was formerly a curator and researcher at Tate Britain. Nicola curated several exhibitions, including most recently, Turner and the Sun (Winchester Discovery Centre and Willis Museum and Sainsbury Gallery, Basingstoke, 2017). She has contributed to numerous publications on J.M.W. Turner, was co–editor and author of How to Paint Like Turner (Tate Publishing 2010) and is currently part of the team preparing Tate’s online catalogue of the Turner Bequest. Nicola is an art society (NADFAS)-accredited lecturer. SPRING COURSE Ideas on Art: A Beginner’s Course in Art Theory, c. 1790–c. 2000 Monday 23–Thursday 26 March 2020 Dr Matthias Vollmer £475 This intensive, introductory course is designed for everyone with an interest in art theory. No previous knowledge is required and the course is open to everyone over the age of 18. The number of participants is limited to 16. Philosophical theories on the nature, characteristics and function of art, and more narrowly, on beauty, have been very influential in the development of art history and in the ways we have interpreted, and sometimes also made, images. The names of their authors crop up time and again in art–historical texts – Immanuel Kant and Georg Wilhelm Friedrich Hegel, among others – but for all their impact, the theories of these philosophers are not always well or widely understood. From the later nineteenth and early twentieth centuries, art history came into its own as a serious academic discipline and influential art historians like Heinrich Wölfflin, Aby Warburg, Erwin Panofsky and Ernst Gombrich developed their own approaches to the study of art. Charles Sanders Peirce’s semiotic reading of visual signs was stimulating and influential for art and art theory. A more recent approach is represented by W.J.T. Mitchell´s 1992 ‘pictorial turn’ in the humanities, registering a 10 renewed interest in, and prevalence of, images in a so–called ‘age of simulation’, with its extensive and increasingly diverse visual culture. Bildgeschichte (the history of the image) is a more recent form of German art history and focuses primarily on meaning, message and composition, not as an end in itself, but in pursuit of the image as a vehicle by which political and social power is enacted and disseminated. Art historians Hans Belting and Horst Bredekamp have extended the scope of their studies to investigate a much greater range of visual material and the contexts of its production, proposing a Bildwissenschaft (the study of images) with a complex relationship to the older, institutionally more secure discipline of art history.
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