This term begins with the developments of Renaissance ideas in Italy and Northern Europe. We will discuss the rise of the independent artist, the development of new media, the transformation of subject matter and the influence of scientific and mathematical innovations.
The term will then cover the seventeenth century and look at how the transformation of patronage, the new functions of religious art, the innovations in painting technique and the rise of new subject matter impacted on the arts from the Baroque era and how these ideas were challenged in the Rococo of the eighteenth century.
Creating New Ground – This first session will look at the pioneering work of Giotto, Masaccio and Paolo Uccello and seek to explain how a new interest in perspective and realism created a shift in late medieval picture making. The session will also explore how new ideas borrowed from antiquity influenced the Renaissance works of Piero della Francesca and Botticelli.
Capturing Reflections – This session will be spent looking at how the introduction and perfecting of painting in oils created new possibilities of realism in the Netherlandish art of Jan van Eyck and Rogier van der Weyden.
Perfection Attained – This week will look at the High Italian Renaissance and the triumphs, achievements, fame and rivalries of three giants of art: Leonardo da Vinci, Michelangelo and Raphael.
New Visions from the North – This week will seek to explain the imagined and realist visions of artists working in Northern Europe. Focusing on the works of Hieronymus Bosch, Albrecht Dürer, Hans Holbein and Lucas Cranach, we will explore how religious reformation impacted on European visual culture.
Telling Tales – This week the mythological and religious paintings made in Venice by Titian, Tintoretto and Veronese will demonstrate how narratives were told through the medium of paint and colour.
Perfection Inflated and Return to the Real – This week will look at how the images of Pontormo and Brozino created stretched and twisted figures typical of Mannerism and explore how Caravaggio and the Carracci returned to the practice of direct observation at the turn of the new century.
Artists at Court – This week will focus on the art of Rubens and Velázquez and look at how the relationship between artists and kings heralded a new role in society for artists.
Painting for a New Republic – This session will look at the works of the Dutch Golden Age and seek to explain why artists such as Vermeer, Franz Hals and Jan Steen created a new visual language to meets the needs of a new nation.
Method and Order – This session explore the developments in the works of Poussin and Claude which created ordered classical visions and developed an Italianate tradition of landscape painting.
Disorder and Decadence – Through the paintings of Watteau, Fragonard and Boucher, this week will chart the fanciful and seemingly light-hearted style of the French Rococo.
The second term begins with the rediscoveries of the Classical world, charting artistic and social changes in style, technique and materials from the end of the eighteenth century to the first few decades of the twentieth century ending with the Surreal world of the 1920’s and 30’s.
Finding Pompeii – This week we will look at the discoveries of the Classical world in the eighteenth century which led artists such as David, Canova and Ingres towards a new style of painting, architecture and sculpture; a neoclassical style.
A Romantic Vision – In an increasingly industrialised world, nineteenth century artists such as Delacroix and Goya sought refuge in literature and stories, colour and brushstrokes. This session will take us to France, Spain, England and Germany in painting and sculpture.
Ploughing the Fields of Realism – This week we will explore how French artists such as Courbet, Millet and Manet, during a period of social and historical upheaval, revolutionised painting by depicting real events and moments influenced by photography and philosophy.
Painting Surface – This session will explore Impressionist painters and their techniques which changed due mainly to new paints, brushes canvasses and other innovations. Artists such as Monet transformed the painterly surface with brilliant colours and visible brushstrokes.
Making Art Solid and Durable – Artists such as Van Gogh, Gauguin and Cézanne sought to express the surface in a different way to the Impressionists. This session will seek to compare the ways they went on to be some of the most influential artists of their time.
A Three-dimensional World – Artists of the late nineteenth century collected so called primitive art for its beauty and essential characteristics. Painters such as Picasso, informed by his collection sought to render a three-dimensional world on a two-dimensional surface. This session will explore how he and others went about such an inventive task.
A Mystical World – This session will uncover the delights of artists such as Moreau, Puvis de Chavannes and Redon who delved into the world of literature and music to discover a new aesthetic. We will also explore the interest in Japan, the collecting of prints and objects from a ‘floating world’ and the impact on artists in the last few decades of the nineteenth century.
Expressing the Self – Artists from France, Germany, Austria and Norway explored ways to express their inner emotions as a new century overwhelmed their exterior senses. In a bid to reach new heights of understanding their works are both haunting and disturbing.
Rejecting the old order – Artists in Italy and Russia wanted a brave new world where art could express change and reject what they saw as a Capitalist world without modern values. This session will explore how both movements engaged with war and revolution.
Tapping into the Unconscious – As war raged around them artists in Switzerland began to respond to war in ways which changed the materials as well as the meaning of art. Duchamp’s Ready-Mades revolutionised the value of art and the early works of Joan Miro, Salvador Dali, Andre Masson and others responded to the writings and teachings of Freud to uncover and explore the Unconscious and represent their new-found awareness on canvas and in sculpture.
This last term charts the developments in art from the work of the late nineteenth century to the present. We will look at how industrialisation, war, political upheaval, technology and consumerism shaped new visual languages fit to describe the modern world.
Joy and Anger in Colour – This week the Fauve works of Matisse and Derain and the works of the German Expressionism will explore how colour was harnest to explore human emotions.
Death to the Past: Futurism & Supremacism – This session will explore how modern art became a pan-European phenomenon and look at the works of Italian futurists Boccioni and Balla and the Russian artist Malevich.
Shattered Visions: Cubism – This week will explore how Picasso and Braque created a new and influential visual language at the start of the new century.
Alternate Realities: Surrealism – This week will look at the works of Surrealist and Dada artists and look at how the catastrophe of modern warfare was responded to by Dali, Magritte and Duchamp.
Pure Painting: Abstract Expressionism – This session will look at how modern art shifted from its base in Paris to New York in the wake of the Second World War and how artists like Rothko and Pollock moved modern art to complete abstraction.
Art in Space – This week will focus on twentieth century sculpture and how the concerns of modern art were expressed in three dimensions by artist such as Rodin, Brancusi and Moore.
Here it is Again: Pop Art – This session will look at the work of Roy Lichtenstein and Andy Warhol and investigate how the visual language of mass media and advertising was absorbed and questioned by the visual arts.
An Art of the Body and Mind: Conceptualism & Land Art – This week will look at how art became simultaneously intellectualised and physically experiential in the works of artist such as Joseph Kosuth, On Kawara and Richard Long.
Photography as Art – In a world where the photographic image has become ubiquitous with contemporary living, this week will look at how the fine art have embraced photography as an art medium.
Return to the Real – After the advent of complete abstraction and in an area of mass production, capitalism and consumerism, this last session will look at how painting today is making a return to realism.
Term Dates and How to Register
Certificate fee: £1900 - click here to register
1 October - 10 December, 2018
Half Term: 22 October
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14 January - 25 March, 2019
Half Term: 11 February
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1 April - 1 July, 2019
Easter: 22 April
May Bank Holiday: 6 May
Half Term: 27 May
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*Standard course fee: £1,500 - for those who wish to do the full course without academic assignment (you will not receive the certificate).
*If you have paid the standard fee, but you would like to change to the Certificate strand of the course you need to:
- Have attended at least 80% of classes (documented on the registry)
- Submit an essay
- Pay a submission fee
The submission fee differs based on the course and the level of the certificate (Foundation or Advanced).
- Submission fee for Foundation Certificate £200
- Submission fee for Advanced Certificate £200 further to the Foundation submission fee
*Per term: £600
*Individual sessions: £65
*Please contact firstname.lastname@example.org or telephone +(0)207 752 2025 to book the options marked with an asterisk.