If you have visited The Courtauld Gallery recently you may have encountered a builder in a hard hat and wondered what the occasional hammering sound coming from the mezzanine floor was.
Cladding of the room and first fit of main ducts for environmental control feeds in the small ceiling void
Since August this year, our new Gilbert and Ildiko Butler Drawings Gallery has been taking shape. A talented team of architects and structural engineers have been assisting us with the challenging task of transforming a former storage facility into an impressive dedicated drawings gallery for the public.
Withereford Whatson Mann are the architects behind this project and have been working with us to create a welcoming space, that will not only display our exceptional collection of drawings but give our visitors an enriched gallery experience with greater access to our collection.
The new gallery space, with struts to support the ceiling prior to structural works, and walls stripped back to original brickwork
Ceiling prior to raising
Major changes are already taking place with some significant structural work, included raising the ceilings, already completed. Over the next few months the room will start to come together as the contractors lay the floors, finalise the environmental controls and add the finishing touches.
The Gilbert and Ildiko Butler Drawings Gallery will open to the public on 15 January 2014 with its first display Unseen, drawing attention to the range and depth of our collection by focusing on works which have not been exhibited to the public in the last 20 years.
A selection of 20 works will make up this display dating from Two men in conversation, a 15th century Renaissance drawing from the school of Francesco Squarcione (c. 1395 – after 1468), the teacher of Andrea Mantegna, to Africa, a work from 1962 by Larry Rivers (1923-2002), considered to be the godfather of Pop Art.
Each year the new Gallery will host a dynamic programme of displays and will also function as a platform for research and experimentation, encouraging the development of new approaches in the study of drawings.
This project has been made possible by a generous gift from American philanthropist Gilbert Butler and his wife Ildiko alongside substantial donations from a range of significant stakeholders. We are confident that this fantastic new addition to the Gallery will be a welcome enhancement for all our visitors.Categories: Uncategorized | Leave a comment
Jennifer Seymour, Individual Campaigns and Legacies Manager
In this occasional series we ask Courtauld staff to tell us about their favourite painting in the collection.
My favourite painting in the Gallery is Paul Cézanne’s Lac d’Annecy.
When I first started at The Courtauld, I knew very little about art and our amazing collection. In my first few weeks in post, we held a telethon to raise money for our 80th anniversary Annual Fund appeal.
Whilst going through the notes from our student callers, I read about one call with a long-standing supporter of The Courtauld, who said she loved the painting Lac d’Annecy so much that she asked her husband to take her there on their honeymoon.
Paul Cézanne, Lac d’Annecy, 1896
Intrigued and touched by this story, I just had to see the painting for myself. I adored it immediately, and every time I see it I am not only reminded of the lovely honeymoon story, but I also find something new to admire about it. I find Cézanne’s use of colour spectacular and I love the way the whole scene is framed by the tree – to me, it gives the painting more depth. I always feel very peaceful when I look at it.
I find it wonderful to wander round the Gallery and imagine so many of the paintings hanging in Samuel Courtauld’s house in Portman Square, which was the original home of The Courtauld for over 60 years.
In 1932, Samuel Courtauld, Robert Witt and Viscount Lee of Fareham came together to bequeath the collections that were the founding of The Courtauld. Today, the legacy gifts we receive help support the future of The Courtauld, enabling us to care for our world-class collections and supporting future generations of students.
Find out more about leaving a gift in your will here
Categories: Collection, Uncategorized | Tags: cezanne, Collection, display, Fundraising, Lac D'Annecy, legacy, Paintings, will | Leave a comment
It’s been open less than a week and our latest exhibition Egon Schiele: The Radical Nude has received fantastic reviews and record visitor numbers, but it’s not just The Courtauld Gallery that has a fascination with Schiele.
Kate Macfarlane, Drawing Room Co-Director & Guest Blogger
‘The Nakeds’ includes artists’: David Austen, Fiona Banner, Joseph Beuys, Louise Bourgeois, George Condo, Enrico David, Marlene Dumas, Tracey Emin, Leon Golub, Stewart Helm, Chantal Joffe, Maria Lassnig, Paul McCarthy, Chris Ofili, Carol Rama, Egon Schiele, Nancy Spero, Georgina Starr, Alina Szapocznikow, Rosemarie Trockel, Nicola Tyson, Andy Warhol and Franz West.
In ‘The Nakeds‘ exhibition, drawings by Egon Schiele are presented alongside the work of 22 modern and contemporary artists. We present a perfect pair of exquisitely sensitive pencil drawings by Schiele: a self-portrait in which he assumes an unusually effeminate attitude and a portrait of Wally, his mistress. Both are partially clothed, with the pubic area exposed.
These works are exhibited with tender line drawings of naked male figures made by Andy Warhol in the 1950s, delicate drawings celebrating female power made by Joseph Beuys in the 1950s, through to new works made by contemporary London based artists Enrico David and Chantal Joffe and New York based Nicola Tyson. Direct from the artists’ studios come drawings by Rosemarie Trockel collectively titled ‘I feel something’ and a ‘wordscape’ describing the performance of a stripper by Fiona Banner.
Presenting drawings made today alongside those produced in the early part of the 20th century has the effect of demonstrating that drawing is an enduring and in some ways unchanging medium. Drawing and nakedness sit very comfortably together. Drawing is a stripped down thing. With the simplest of means it can capture an arresting image or conjure a sensation, a feeling. Nakedness is not simply a physical condition. It suggests a figure stripped of clothing, perhaps by force; like drawing, the word naked conjures a raw and spare condition.
‘The Nakeds’, like most of Drawing Room’s projects, evolved through a collaborative process. In this case myself and co-director Mary Doyle developed the exhibition in partnership with artist David Austen and art historian Professor Gemma Blackshaw.
The latters specialisation in Austrian art of the nineteenth and twentieth centuries, and Austen’s exploration of the fragility of the human condition through watercolour, painting and film, provided refreshingly divergent starting points. Drawing Room’s activities are inspired by spending time in the studios of contemporary artists (indeed we share our building with 25 artists), and this exhibition gave Gemma the opportunity to engage with contemporary female practitioners and to look at the work of Schiele through their eyes.
Her incisive and revealing findings are presented in her essay for the exhibition catalogue which also includes a ‘film script’ by David Austen and a ‘Letter to Egon Schiele’ by artist Nicola Tyson.
Various events compliment the exhibition including film screenings and a seminar on 10 November which will include contributions from David Austen, Gemma Blackshaw, Professor Jon Bird, Simon Grant, and by artists Stewart Helm and Chantal Joffe.
In Outset Study (our unique open access resource comprising a growing reference library of books on contemporary international drawing) we feature Artists’ Reading Lists, fascinating titles hand-picked by artists in ‘The Nakeds’.
Coming up at Drawing Room is the first solo exhibition in a UK public gallery of Mexican artist Daniel Guzmán (opening 13 December– 21 February 2015).
In March our renowned Drawing Biennial 2015 will open (5 March – 29 April 2015) and include drawings by over 200 key contemporary practitioners which are available for sale from £250.Egon Schiele: The Radical Nude, Uncategorized | Tags: Contemporary Art, drawing, Drawing Room, Egon Schiele, Egon Schiele: The Radical Nude, The Nakeds | Leave a comment
Last week The Courtauld Gallery was recognised as London’s top destination for paintings, with A Bar at the Folies-Bergère taking first place in a poll by leading art world figures.
This masterpiece from our collection made it through a tough nomination process, 600 artworks were initially selected by ‘top figures in the art world’ and a second vote narrowed the number of paintings to just 100.
It wasn’t just the top spot we claimed, Gauguin’s Nevermore was also selected in the top ten and placed seventh.
TimeOut is also asking its readers to tell them their favourite, voting is open so why not take part?
This isn’t the first time this year that A Bar at The Folies Bergeres has reached the top spot, winning “most unforgettable face” in poll by the The Guardian.
It’s not hard to see why it is one of the art world’s best-loved works; this masterpiece helped define modern painting in the 19th century with its unorthodox composition of figures in space, and with the barmaid’s notorious look conveying mystery and melancholy to the viewer.
Painted between 1881 – 1882 and first exhibited in 1882at the annual fine arts exhibition in Paris, the Salon, this work was bought by Samuel Courtauld in 1926 and it consequently became part of The Courtauld Gallery Collection when Samuel Courtauld bequeathed his collection to The Courtauld Institute of Art.
For more information watch our short film here.
Why not tell us about your favourite works from our collection in the comments below?
Categories: Uncategorized | Tags: Edouard Manet, Paul Gauguin, TimeOut London | Leave a comment
The Courtauld Prints and Drawings Room Presents…
The week of the 13 – 17 October is an exciting time for the Prints and Drawings Room. For one week only the staff have selected five of our most striking works on paper featuring the nude for public viewing.
Between 1.30pm and 5pm our doors are open without an appointment with each work selected for one day only. Our friendly staff are eager to introduce their chosen works to the public and will be on hand to discuss them and answer questions.
Our Prints and Drawings Study Room Assistants introduce their selection…
Monday 13 October: Bryony Bartlett-Rawlings on Jacopo Tintoretto’s Studies after Michelangelo’s ‘Samson and the Philistines’ from 1550-55.
Jacopo Tintoretto explores the body in action in this drawing after Michelangelo’s lost model for a sculpture of Samson and the Philistines, originally designed as a pendant to his David. Although the sculpture was never realised, numerous small-scale copies of the model were produced in the 1550s and Tintoretto would have studied the group from such a model. Throughout his career Tintoretto was fascinated by Michelangelo’s representations of the heroic nude, making numerous studies of them.
Here the figures are shown from behind. Tintoretto explores the musculature of Samson’s twisting, tense body as he raises his arm to launch a blow on his foe. Tintoretto is particularly interested in capturing the position and form of the muscles and upper body of Samson, which he investigates in two further sketches on the sheet.
Tuesday 14 October: Camilla Pietrabissa on Peter Paul Rubens’ Female Nude from 1628-30.
There are few surviving drawings from the nude female model by Rubens. It may be that female models were uncommon in Rubens’s studio or that the artist’s wife, Helena Fourment, destroyed the drawings, as was the case with a number of his paintings.
In this large study, an opulent reclining female figure seems to emerge out of the bare paper. The draped garments or sheets behind the figure’s head, and the detail of the narrow lace band on her left arm, suggest the possibility of a study after life. Rubens was interested in the plasticity of the body, so he used a combination of red and white chalk as a means to render the different tones of the flesh and the light rippling on its surface.
The figure’s pose is strikingly similar to Ruben’s copy of a painting by Titian (The Bacchanal of the Andrians, Museo Nacional del Prado, Madrid), and may thus be a reworking of another drawing or painting in preparation for Ruben’s masterful copy (Nationalmuseum är Sveriges, Stockholm).
Wednesday 15 October: Rachel Hapoienu on Georges Seurat’s Female Nude from 1879-81.
Life classes at the École des Beaux-Arts in Paris, where Seurat was a student, focussed on the male form. As a result he produced relatively few studies of the female nude, of which this is a rare example. This sheet may have been produced at one of the city’s open studios, or perhaps from a session with a private model.
The drawing is defined by its heavy use of chiaroscuro, or deep shadows, composed through the vigorous web of crayon marks and his use of stumping (smudging the crayon) to produce an image of great atmosphere and drama. The stillness of the figure emerging from Seurat’s infinitely varied and rapid marks exudes an extraordinary sense of restrained energy and sensuality.
Thursday 16 October: Niccola Shearman on Oskar Kokoschka’s Homage to Hellas Volume I – Wrester I (Ringer I) from 1961-62.
Oskar Kokoschka wrestled with depictions of the human figure throughout his career. This lithograph belongs to a series resulting from a trip to Greece in 1961.
The journey was evidently a form of pilgrimage for the artist, who believed that it was an insight into the ‘light of the human spirit’ which had led the ancient Greeks to create art from the human image. In retaining his humanist faith in the physical form, Kokoschka was unusual in the post-WWII art world, where a collective despair at the inhumanity of events led the deliberate pursuit of non-figurative abstraction amongst the majority of avant-garde painters.
Having developed a form of ‘blind drawing’ aimed at producing a dynamic image over painstaking linear accuracy, Kokoschka executed his drawings straight onto lithographic transfer paper for later printing in the studio. The resulting print preserves the gestural energy of the crayon in a manner that matches the vigour of the subject, particularly noticeable in the generous sweep of the figure’s robust arms.
Friday 17 October: Rosamund Garrett on Lucian Freud’s Reclining Figure from 1993.
Freud made a number of paintings and etchings of the larger than life character of Leigh Bowery, the performance artist and transvestite fashion designer notorious on the London club scene in the late 1980s and early 1990s. Although he often relished depicting Bowery’s muscular and heavy-set physique, here Freud focuses on the quieter and more reflective side of the man, capturing him in the vulnerable intimacy of sleep.
Referring to his nudes as ‘naked portraits’, Freud chose unflattering poses that are natural in the way that individuals sleep or relax alone. His unusual vantage points and extreme foreshortening rebuke the tradition of the ideal nude. Working from life directly onto the etching plate, the artist’s frank scrutiny of his subject in blatant disregard of any persisting taboos about the body aims, in his own words, to ‘astonish, disturb, seduce, convince’.
Drop in to the Prints and Drawings Room on the mezzanine floor of the East Wing between 1.30 and 5pm from the 13 – 17 October for a thoroughly revealing exploration of the nude in art through the centuries!
Categories: Collection, Displays, Egon Schiele: The Radical Nude, Prints, Public Programmes, Talks | Tags: Freud, Prints and Drawings Study Room, rubens, seurat, Showcase Week: The Nude, The Nude, Tintoretto, Works on paper | Leave a comment