Showcasing Art History - Britain ∩ Europe - Part II - The Courtauld Institute of Art

Showcasing Art History – Britain ∩ Europe – Part II

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Art History Short Courses, Evening Lecture Series
Showcasing Art History – Encounters in Art: 18th century to 2018

Showcasing Art History – Britain ∩ Europe – Part II

Vernon Square, Penton Rise, Kings Cross, London

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Speakers include

  • Dr Kate Grandjouan
  • Dr Anne Puetz
  • Nicola Moorby
  • MaryAnne Stevens
  • Revd Dr Ayla Lepine
  • Dr Martin Hammer
  • Dr Chris Stephens
  • Dr Mark Godfrey
  • Dr Edwin Coomasaru

Organised by

  • Dr Anne Puetz - Short Courses, Courtauld Institute of Art

Ticket / entry details:

£195 for 10 lectures Tuesdays, 6.30 pm

Lectures cannot be attended individually

A notion of the distinctiveness of British art emerged strongly in the early modern period, at home and abroad, with definitions ranging from the refreshingly individual to the frankly eccentric. Some observers celebrated what they saw as a proudly independent artistic heritage, particularly associated with landscape painting and with a native brand of humour. 

At the same time, many artists, patrons and critics argued for the arts produced in Britain to be seen as part of a continuum of ‘high’ European art, a desire expressed in the traditions of the Grand Tour, and in the foundation of the Royal Academy for instance.

More recently, scholars have debated whether there is a necessary correlation between cosmopolitanism and avant-garde status.  Is art ‘advanced’ only in proportion to its closeness to leading international modern and particularly ‘modernist’ developments? On that count, where do we place the enduring figurative strand of twentieth-century British art? In the latter part of the last century, London emerged as one of the foremost European centres of contemporary art, British artists were increasingly represented abroad, and a ‘new internationalism’ was perhaps begun to be taken for granted.  In that context, we shall ask whether there was anything specifically ‘British’ about the ‘YBAs’ and others representing that scene.  Since the referendum on membership of the European Union in June 2016, the question of cultural identity has once again become an urgent concern for many artists. We shall investigate the ideological as well as practical ties many contemporary practitioners have with mainland Europe and discuss what the future might hold for British art post Brexit.

Spring Term 2019 Timetable

Spring Term 2019 Timetable

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