Making Sense of Twentieth-Century Art - 2017 - The Courtauld Institute of Art

Making Sense of Twentieth-Century Art – 2017

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Spring and Autumn School 2017

Making Sense of Twentieth-Century Art


Spring and Autumn Schools 2017

Making Sense of Twentieth-Century Art – 2017

Monday 18 – Thursday 21 September 2017

This course is now FULL.  Course now completed for 2017.

Provisional course timings:

This intensive, introductory course is designed for anyone with an interest in the art of the first half of the twentieth century.  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.

Twentieth-century art has a reputation for being challenging, perplexing and contentious. This course seeks to examine the problems posed by modern art, revealing these as central to the works, rather than as obscuring their meaning. Our key focus will be the period c. 1900-45, but we will also consider works from the second half of the twentieth century, thinking about the legacies that Modernism leaves to Postmodernism. The course does not pretend to be an overview of the many twentieth-century art movements and artists. Rather, through a number of overarching themes including beauty, skill, originality and function, we will think about the reasons for modern art’s breaks with tradition, its self-conscious meditation on everything from politics to materials and the various ways in which it has been interpreted over time. We will consider artists from Auguste Rodin to Joan Miró, Pablo Picasso, Marcel Duchamp, Donald Judd, Richard Long and many others, using them as case studies, and will visit a number of  London collections, including the Victoria and Albert Museum, Tate Modern and The Courtauld Gallery.

Dr Caroline Levitt is Associate Lecturer at The Courtauld, where she obtained her PhD in 2008. She specialises in late nineteenth- and early twentieth-century French art and literature, with particular research interests in Surrealism, in relationships between text and image and in artists also working in media such as tapestry, ceramics and stained glass. She has written various articles and contributed to books including Phaidon’s The Art Museum (2011) and Art in Time (2014). She is working on a monograph about artists who have owned books and drawn over them, in the context of a history of the avant-garde.

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