Year Course Programme 2016 17 High Renaissance to Baroque 1500 1720 Wednesdays, 21 September 2016 12 July 2017 (over 3 terms) 11.10 15.30 (Each term includes optional gallery talks, commencing at 10.00 and repeated at 15.30) Study the art, architecture and decorative arts of Europe from the High Renaissance to Baroque, focussing on Italy, France, Germany, the Netherlands and England. Gallery visits will use the great collections of the V&A to look at developments in sculpture, metalwork, textiles, furniture and ceramics. During this period the Renaissance filtered through from Italy, affecting all the arts. The invention of printing meant that books and prints reached a new and wider audience, and quickly popularised new styles. At the same time the Reformation wrought havoc with the established order and a century of war and revolution followed. In some parts of Europe iconoclasm meant the destruction of religious art, and by the mid 17th century Europe was divided into Roman Catholic and Protestant states. The course examines the changes in patronage, with the rise of a prosperous middle class wanting portraits and genre paintings as well as consumer goods such as maiolica and textiles; and considers the effect of wars and economic policies on the production of art, metalwork and furniture, and the influence of trading voyages on imports of luxury goods from the East. Course Director: Dr is an art historian specialising in French painting and the academic tradition. She has been a year course director since 2005 and has lectured at the V&A since 1990. She completed an MA in 19th century painting and a PhD on the work of art students at the French Academy in Rome at the Courtauld Institute, University of London. Kathy has worked the Open University, Birkbeck College, NADFAS and Morley College where she was head of Art & Design.
Other Lecturers: - Dr, art historian and specialist on collecting in the 17th century, freelance lecturer in painting, decorative arts of the 16th to 18th centuries. -, architectural historian specialising in English 16th and 17th century architecture and patronage. She was the founder of the V&A High Renaissance to Baroque year course and her most recent book is London s Country Houses (Phillimore, 2009). - Dr, Course Director of the V&A Late Medieval to Early Renaissance year course. - Dr, specialist in German art with a particular interest in German and Venetian 16th century painting and prints, and German Baroque architecture. -, Lecturer in British painting, currently researching for a MPhil in English portraiture
Autumn Term Programme & Dates: High Renaissance to Baroque 1500 1720 Wednesdays, 21 September 7 December 2016 This term will look at the 16th century, starting with studies of Rome, Florence and Venice. We will examine how the different societies of each city produced an individual style across the arts, from architecture to sculpture and painting. Vasari, the first modern art historian, recorded the activities of his contemporaries and his writings will be examined. Although an admirer of the High Renaissance, he was working in the new and more elaborate court style, known as Mannerism. It was this style that was later taken up in the courts of northern Europe, although their interpretations of these styles were very different from those developed in Italy. In painting new styles such as landscape and genre emerged, which were to have a huge influence in later periods. The most important new development was printing, and illustrated books and prints by Dürer and his contemporaries made images familiar to a wide audience, as well as providing sources for design and ornament. Printed books and pamphlets would play a central role in spreading new religious ideas during the Reformation period. 21 September Introduction 10.45 Introduction & general themes 12.00 How to look at a Painting 14.00 Visits to the Galleries, and 28 September World of the High Renaissance 11.10 Historical Background to the 16th Century 12.15 Vasari and the artist Sue Bracken 14.30 Art of the High Renaissance Dorigen Caldwell 5 October Italian Art at the Start of the 16th century 11.10 Leonardo da Vinci artist and thinker Dorigen Caldwell 12.15 Florence at the Dawn of the 16th Century 14.30 Painting in Central Italy Siena, Perugia, Orvieto and Rome 12 October High Renaissance Rome 11.10 Michelangelo and Julius II 12.15 Raphael in Rome 14.30 Architecture in Early 16th Century Rome Dorigen Caldwell
19 October Venice and Italy in the 16th Century 11.10 Titian and the Venetian Altarpiece 12.15 Art for Collectors Poesia and Pastorale 14.30 The Portrait 26 October The North 11.10 Print Techniques 12.15 German Prints 14.30 Painting in the Age of Dürer 2 November Italian Mannerisum 11.10 The Mannerist Style 12.15 The Courts of Mantua and Ferrara 14.30 Painting in Parma 9 November French Art & Architecture 11.10 French 16th Century Sculpture 12.15 French Châteaux of the 16th Century 14.30 School of Fontainebleau 23 November Art in Germany and the Netherlands 11.10 Landscape Painting in Germany 12.15 German Sculpture 14.30 The High Renaissance Portrait in the North 30 November The Netherlands and the North: Art & Display 11.10 Flemish Painters and Italy 12.15 Genre Painting from Bosch to Bruegel 14.30 Measuring Time Clockwork of the 16th Century TBC 7 December Display and Magnificence 11.10 Magnificence and Display in Metalwork Philippa Glanville 12.15 Renaissance Jewellery 1500 1620 Beatriz Chadour-Sampson 14.30 Continental Glass Jane Gardiner 16 November Decorative Arts in the 16th Century 11.10 16th Century Ceramics 12.15 Tapestry in the 16th Century 14.30 The Art of the Goldsmith Philippa Glanville
Spring Term Programme & Dates: High Renaissance to Baroque 1500 1720 Wednesdays, 11 January 29 March 2017 The impact of the Reformation on intellectual and artistic life was enormous. Reform of the Roman Catholic Church was essential, and the Council of Trent was set up in the late 16th century to do this. The resulting Counter- Reformation successfully revived the Roman Catholic Church. The second term considers changes to religious art in Protestant countries, together with the impact of the Counter Reformation s guidelines for ecclesiastical buildings, sculpture and art. In the 17th century the new Baroque style of architecture and sculpture developed in Rome, most spectacularly in the work of Bernini and Borromini, before spreading rapidly all over Europe. England under the Tudors saw a flowering in portraiture, architecture and the luxury arts. With the Stuarts, ties between England and Europe became closer, and consequently continental artists and sculptors came to London and the English court. Flemish artists such as Rubens and van Dyck were patronised by the crown, and Charles I built up a fine art collection. France also saw the development of strong ties between the court and the arts during the 17th century, and with the founding of the French Academy in Paris and its outpost in Rome art training would become more formal and intellectual. 11 January Age of Reformation and Counter Reformation 11.00 Introduction 11.10 Historical Background: Reformation to Counter-Reformation 12.15 Art and Reformation 14.30 The Culture of Collecting in Northern Europe 18 January Architecture and Sculpture in Italy 11.10 16th Century Italian Sculpture Caroline Brooke 12.15 Veronese and Decorative Painting in Italy 14.30 16th Century Architecture in Venice and the Veneto
25 January England: Renaissance and Reformation 11.10 Tudor Architecture 12.15 Tudor Portraiture 14.30 The Portrait Miniature 1 February Arts of Luxury and War 11.10 Mars and the Muses: The Renaissance Art of Armour Tobias Capwell 12.15 Richly Set Forth: Renaissance Swords and Firearms Tobias Capwell 14.30 Renaissance Dress Jane Bridgeman 8 February Age of Grandeur 11.10 Art and Counter Reformation 12.15 The Baroque style 14.30 Art of Illusion Ceilings 15 February Baroque Painting in Italy 11.10 The Carracci Family and Art 12.15 Caravaggio 14.30 17th Century Painting in Rome Dorigen Caldwell 22 February French Classicism 11.10 Architecture and Gardens in early 17th Century France 12.15 Art for the French Court 14.30 Poussin and Claude in Rome Kathleen McLauchlan 1 March The Baroque in Rome 11.10 Bernini as Sculptor Nicola Smith 12.15 Bernini, Borromini and the Baroque church Nicola Smith 14.30 Baroque Fountains 8 March Status of the Artist 11.10 Academies of Art Kathleen McLauchlan 12.15 Women Artists 16th 17th Centuries 14.30 Rubens International Artist 15 March Religion and the Arts in Spain 11.10 Architectural Fusions: Dispelling and Preserving the Moors in Spain 12.15 Polychrome Sculpture: Bringing Religion to Life 14.30 El Greco: Rebel or Visionary? 22 March Stuart England 11.10 Architecture at the Early Stuart Court 12.15 Furnishing the Great House 14.30 Painting at the Early Stuart Court 29 March The Decorative Arts 11.10 17th Century Dress TBC 12.15 Pietra Dura 14.30 Jewellery 1620 1720 Beatriz Chadour-Sampson
Summer Term Programme & Dates: High Renaissance to Baroque: 1500 1720 Wednesdays, 26 April 12 July 2017 17th-century Spain saw a flowering of art and architecture for both church and state. But for much of this period Europe was politically and artistically dominated by France, and Louis XIV s palaces, gardens and court life would be widely imitated. By the mid 17th century the wars and rebellions of the early part of the century were over and the Netherlands had achieved independence as a republic. Artists there painted for a new market, with buyers going to shops and auctions rather than commissioning works. In England, Wren the leading Baroque architect, designed palaces for the Stuart kings. After the Great Fire of London in 1666 he rebuilt St. Paul s Cathedral and other churches, combining Baroque grandeur with Protestant simplicity. By the end of the century, the country houses of the English nobility reflected their political power and great wealth. Luxury goods such as lacquer, textiles and ceramics, came from the East in far greater quantities, imported tea and coffee became fashionable drinks and fine wares were produced to serve them. 26 April Art and Exploration 11.00 Introduction 11.10 Historical Background to 17th Century Europe 12.15 Key Developments in the Arts Mid to Late 17th Century 14.30 Presenting the World: The Role and Development of Maps During the 17th Century Tom Harper 3 May Art of the Spanish Golden Age 11.10 Spanish Still-Life Painting of the Golden Age 12.15 Velázquez at the Court in Madrid 14.30 Zurbarán, Ribera and Murillo: the Spiritual and the Theatrical 10 May The Dutch Republic 11.10 The Rise of the Dutch Republic Clare Ford-Wille 12.15 The Caravaggisti Clare Ford-Wille 14.30 Dutch Portraits Catherine Wilson 17 May Baroque France 11.10 Architecture in the Age of Louis XIV 12.15 Interiors and Furnishings: Louis XIV to Régence Adriana Turpin 14.30 17th Century French Sculpture
24 May Art for Interiors I 11.10 Decorative Painting in England Catherine Parry-Wingfield 12.15 Textiles in the Country House Annabel Westman 14.30 Art of Still Life 31 May Art for Interiors II 11.10 The Practice and Theory of Portraiture in Stuart England 12.15 Dutch Landscape Catherine Wilson 14.30 English Country Houses, 1660 Nicola Smith 7 June Trade and the Exotic 11.10 The London Art Market Sue Bracken 12.15 The Chinese Export Trade Helen Glaister 14.30 Trade in Exotic Woods after 1600 Adam Bowett 14 June Baroque England 11.10 Wren and the Royal Palaces of the Later Stuarts 12.15 The 17th Century Church in London 14:30 Early Developments in English Glass Jane Gardiner 21 June The Golden Age of Dutch Painting 11.10 Genre Painting in the Netherlands Clare Ford-Wille 12.15 Rembrandt Clare Ford-Wille 14.30 Vermeer Artist of Delft 28 June Design and Decoration 11.10 Furniture Types 1660 1720 TBC 12.15 17th Century Ceramics 14.30 The Italian Garden Katie Campbell 5 July The Baroque Court Style 11.10 The Baroque Beyond Rome 12.15 Central European Architecture 14.30 Painting in Late 17th Century France 12 July Into the 18th Century 11.10 Baroque Time: English and European Clocks 1650 1720 TBC 12.15 Hawksmoor and Church Building in London Nicola Smith 14.30 New Directions in Painting The V&A reserves the right to alter the programme at short notice if circumstances make it necessary. If you are booking for a particular day please confirm the programme of the day with the V&A booking office a few days in advance.
Certificate Option The certificate option offers the chance to study the subject in greater depth. It is designed to suit both the returning student and those keen to attempt academic study for the first time. In recent years Certificate students have gone on to further study at, amongst others, the Courtauld Institute, Birkbeck and Christie s Education. The option involves 16 seminars throughout the year which take place on Wednesdays and begin promptly at 10.05. In these seminars, tutors cover topics complementary to the main programme and encourage students to participate in discussion. There are opportunities for: Studying objects in the V&A s collections Developing study skills: researching, essay writing, referencing and compiling bibliographies. Individual discussion with the course tutor Acquiring a reader s ticket for the National Art Library at the V&A Certificate requirements Up to 15 students will be accepted for the Certificate option. They will be required to: Attend at least 75 percent of the seminars Submit two object reports of 500 words each Submit two essays, one of 2,000, the other of 4,000 words. Upon satisfactory completion of these conditions, the V&A will award the Certificate. The course tutor is happy to discuss the certificate option with any potential student. Certificate tutors: Dr Course Fees 1950 per year, 1600 concessions 825 per term, 640 concessions 73 per day, 57 concessions 410 Certificate Option External visits may incur additional costs. How to Book Book online at www.vam.ac.uk/whatson or call 020 7 942 2211 Please note term tickets will be released 4 weeks before the start of each term and day tickets will be released 2 weeks before the start of each term. Full Fee applies to V&A Members, Patrons, students and senior citizens. Concessions are available to ES40 holders and registered disabled people. A carer may accompany registered disabled course students for free.