28 June 10.30am – 12.30pm Victoria Hall, plus Visit to Tate Britain 2.30pm – 4.30pm Fee: £45 (excluding Tate gallery entry fee)
Frank Bowling is a Guyana born Black-British artist. He came to London at 14, studied at the Royal College of Art and has worked in London and New York ever since. Although he began his career as a figurative painter he is best known for his abstract works. His use of colour and his handling of paint have made him one of the most successful painters of his generation. In 2005 he was elected a member of England’s Royal Academy of Art, the first Black-British artist to be elected a Royal Academician.
If you are interested in British art of the 20th century; abstraction, gestural and colour field painting then you will be interested in Frank Bowling. The day will give you a familiarity with his work, his milieu and his place in the story of British art. It will introduce you to the central issues and debates of the period, and introduce you to visual analysis, particularly approaches to works with no obvious representational clues.
The morning session will be a lecture with class discussion based on Power Point images of Bowling’s (and some contemporaries’) works. The afternoon will be a visit to the retrospective of Bowling’s work at the Tate Britain.
A slide list will be provided, together with a bibliography.
Tutor Jenny Vuglar has previously taught at the HLSI. She holds an MA in History from the University of Auckland, New Zealand and an MA in Art History from the Open University. She specialises in 20th Century British Art. She teaches Art History at Morley College and is an associate lecturer at the Open University.
4 June 10.30am – 4.30pm & 7 June 2.30pm -4.30pm Gosling Room & 5 June BM visit. Fee: £80
This course is suitable for everyone, from those with a general interest in art history to those with a particular interest in prints.
Day 1: An introduction to the history of Western European print making from the 15th to the 20th centuries
This PowerPoint presentation, organised by technique – principally woodcut, engraving, etching, aquatint, linocut and lithography – will give an outline of the role of the print in the history of art. Special emphasis will be given to masters such as Dürer, Rembrandt and Picasso, who in their extensive body of printed works revolutionised the expressive and technical potential of printmaking, creating some of their greatest masterpieces in any medium.
The nature of a print specialist’s work will be discussed, involving establishing the authenticity of a print, judging the quality of impression, rarity, and condition, and valuing it accordingly. Technicalities inherent in printmaking will be elucidated, i.e. the states of a print, proofs and editions, papers used, watermarks, and paper restoration. We will also look at print collecting.
Day 2 (Morning or afternoon): British Museum Print Room
We will have the rare opportunity to examine a selection of 15 prints at first hand in the British Museum Print Room, illustrating the historical range discussed, and including the finest impressions of some of the greatest prints ever made – for example, Dürer’s Melencolia and Rembrandt’s The Three Crosses. A magnifying glass will be provided.
Day 3 (afternoon): Presentation and Discussion at HLSI
Further visual context to the prints seen at the British Museum will be given, after which there will be discussion time when students will be invited to share their thoughts on the works seen there.
Tutor Natasha Broad has been working as a consultant to Sotheby’s Print Department since 2015, which involves valuing and cataloguing Old Master prints for auction. Formerly, she worked as an old master and modern print specialist at Christie’s, King Street, from 1995 to 1999.
13 & 14 June, 10.30am -4.30pm Gosling Room. Fee: £80
This course is for anyone with an interest in art, architecture, gardens, politics – as all these elements are to be found within the subject matter. No prior knowledge of garden history is necessary.
From the formality of the Dutch garden designs of William and Mary at Kensington Palace and Hampton Court we will trace the development of garden design. Through the ‘transitional’ work of Charles Bridgeman to the apogee of the classical Arcadian landscape of William Kent, via Lord Burlington and the Grand Tour. Using influential and significant gardens we will look at the social and cultural aspects of their creation.
Gardens to be investigated include Hampton Court Palace, Kensington Palace, Stowe, Claremont, Rousham, Chiswick House.
Designers/influencers include George London and Henry Wise, Charles Bridgeman, Lord Burlington, William Kent, Alexander Pope, John Vanbrugh
The course will be taught with power point presentations, handouts of useful dates and names will be given to each student.
Key resources (books)
Georgian Gardens, the Reign of Nature, David Jacques, Batsford, 1990
The Arcadian Friends, inventing the English Landscape, Tim Richardson, Bantam, 2007
The Planters of the English Landscape Garden, Douglas D.C. Chambers, Yale, 1993
Visits around London that are useful to assist knowledge for the course (but are not obligatory) include Chiswick House, Kensington Palace, Hampton Court, Claremont.
Tutor Deborah Trentham has a background in Art and Architectural History and has been teaching Garden History for nearly 20 years. She runs courses in garden history from medieval times to the present day and specialises in the gardens of the Italian Renaissance. She arranges and takes garden tours in the UK and abroad, and writes for various publications.