Gallery blog


The Bloomsbury Boom

30 July 2015 by Celia Knight

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As our 20th century British rooms are re-hung and Life in Squares hits our screens the Bloomsbury Group seems to be on everyone’s lips!

Visit the Gallery to see Vanessa Bell’s A Conversation with its original frame, painted by the artist alongside works by Duncan Grant, Roger Fry and others.

Vanessa Bell - A Conversation
You may not know that The Courtauld also holds the largest collection of surviving working drawings of the Omega Workshops, bequeathed to the Gallery by Fry’s daughter Pamela Diamand in 1958.

Established in 1913 by Roger Fry, the Omega Workshops were an experimental design collective.

Omega

Well ahead of their time, the Omega Workshops brought the experimental language of avant-garde art to domestic design in Edwardian Britain. They were a laboratory of design ideas, creating a range of objects for the home, from rugs and linens to ceramics, furniture and clothing – all boldly coloured with dynamic abstract patterns. No artist was allowed to sign their work, and everything produced by the Workshops bore only the Greek letter Ω (Omega).

Inspired by their works our Gallery shop has developed a beautiful range of gifts both in-store and online.

From jewellery to scarves, prints to rugs and even award-winning wallpaper you can enjoy the striking bold prints of the Omega Workshops wherever you are.

Bloomsbury shop products

Visit our shop at:
Somerset House
Strand
London
WC2R 0RN

Or shop online: courtauldshop.com

 

BLOOMSBURY COMPETITION

We have a copy of The Bloomsbury Cookbook: Recipes for Life, Love and Art to give away, with two complimentary tickets to the Gallery.

This beautiful volume published by Thames and Hudson is packed full of illustrations, quotations and nearly 300 recipes.

The Bloomsbury Cookbook

In July 1913 the Omega Workshops opened to the public. To win, tell us –

What was the London address of the Omega Workshops?

Email your answer, full name and postal address to marketing@courtauld.ac.uk to enter!

Competition closes Thursday 20 August 2015, 10am.

Bloomsbury competition terms and conditions

Categories: Collection, Displays, Shop | Tags: , , , , , , | Leave a comment


Finito! – Illuminating Objects

16 July 2015 by Celia Knight

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The Courtauld’s newest instalment is finally ready and has now been sitting proudly on display for over a week. The Venetian bowl (I have become accustomed to calling it ‘my’ bowl) is small but a lot of time, consideration and work from many people has gone into its display. From Sacha Gerstein’s curatorial eye to Graeme Barraclough’s experience as a conservator, Colin Lindley’s mount-making efforts and many more, the one tiny bowl had a lot of fantastic people working hard behind it, including my own research!

Elly and her bowl

I arrived bright and early on a beautiful sunny day at The Courtauld on the day of the installation. Due to works being carried out on the galleries lifts, the glass case had to be physically carried up the flight of stairs to its new home. However, this was luckily the last hurdle the project had to make before being completed.

Illuminating objects install

After some adjustments to the mount, and the application of new lettering and positioning of text labels, it was time for the bowl to be installed. The chalcedony glass that makes up the bowl has a fascinating quality of glowing bright red when a bright light is shone directly at it. Because of this, we wanted to get the lights in the case at just the right angle to produce some of this for visitors to see.

Another difficulty was how to angle the bowl. The inside of the bowl has a milky pale green colour, nowhere near as beautiful as the swirling patterns on the outside, which is much more interesting to look at, and relevant to the bowl’s history. This faced us with a small problem, because short of displaying the bowl upside down (in which case it would cease to look much like a bowl), one side of the cabinet was going to have a view of the inside of the bowl.

In a last-minute change (quite literally, just minutes before the glass hood was secured into place!) we decided to try turning the bowl round by 90 degrees. It sounds silly, but having the bowl side-on wasn’t something that had occurred to us! This way, both ‘viewing’ sides of the case, where the text panels are, get a brilliant view of the bowl’s exterior.

And with that, we ushered ourselves out of the gallery as the first members of the public arrived for the day.

The whole process of completing the Illuminating Objects internship has been eye-opening to a whole world I had never truly contemplated before. It has been hard work, but also fascinating, and immensely rewarding.

Thank you to everyone at The Courtauld (and beyond) who has given their time and assistance to this project. Special thanks to Sacha Gerstein for her guidance and expertise, and for giving me the opportunity to take part.

Categories: Displays, Illuminating Objects | Tags: , , , , , | Leave a comment


Installation: The Second Hand

17 June 2015 by Celia Knight

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With The Second Hand: Art Reworked Over Time opening this week we asked Coralie Malissard from our MA Curating the Art Museum course to tell us about how it’s been going….

Its hard, staring in front of this empty Word document to know where to start. How to express in a few words just how much of a roller coaster these last 10 days were for all of us? I personally haven’t had the time to ponder over these fast paced, jam-packed days spent basically living in the gallery space. I’m still jittering because of the amount of caffeine and sugar I’ve ingested to keep me going. My limbs are still tingling due to all the emotions I’ve been through. Although we had all been preparing The Second Hand: Reworked Art Over Time for the last six months – and had spent much time scrupulously planning this installation week – none of us could fully conceptualise just how much of a ‘journey’ installation would be.

It all started when a van rolled into Somerset House on Friday 5th with the temporary structure for our film booth. What was, customarily, an overly female environment was somewhat jolted by a team of contractors who were busy drilling, hammering and sanding away. The galleries were then revamped over the weekend by a team of expert decorators. What a reassuring feeling to see that the wall colour we had chosen from a colour chart had come out wonderfully! As part of the installation team, it was great to see this ballet of art handlers, conservators, technicians, electricians and decorators I had helped choreograph.

Gainsborough hanging

On Monday 8th we recorded podcasts to go up on the website. From Tuesday onwards, we experienced the sheer excitement of seeing the works in the flesh once they had carefully been removed from their protective crates and polyethylene wrappings. It was Christmas all over again! The works were then carefully condition checked with the help of a raking light, binocular headband magnifiers and the conservators’ expert knowledge.

Kate Edmondson explains condition reports and conservation

Looking back, I salute the team of art handlers who expertly got on with their job while 12 pair of eyes looked over their every move. We were like anxious mothers looking over their children… Talking of parental emotions, we were beaming with pride when our posters went up on the railings around Somerset House; when our project unfolds in the space harmoniously and when the vinyl for our introductory panel was successfully peeled onto the wall. For me, the cherry on the cake was seeing our exhibition come to life thanks to John Johnson’s expert lighting advice. Witnessing these finishing touches washed away the more stressful or tiresome moments, like when we went through each wall label and catalogue page with hawk-eyed scrutiny.

The Second Hand posters outside Somerset House

All in all, this was for me one of the most exciting and challenging projects I’ve worked on. There were some tense, stressful and teary moments, but the feeling of utter pure joy I got from working with incredible works of art made it all worth it. Even now, the works continue to unravel more meanings and surprises, more juxtapositions, correspondences and dialogues between themselves. And now, with the Private view just one day away, we can finally sit, back, relax and enjoy it.

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The Second Hand: Art Reworked Over Time is the collective, culminating project of the MA Curating the Art Museum course at the Courtauld Institute of Art. This year, the 12 students were challenged to respond to The Courtauld Gallery’s summer showcase Unfinished… Works from the Courtauld Gallery

The Second Hand: Art Reworked Over Time is at The Courtauld Gallery 18 June – 19 July 2015

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Introducing: The Second Hand

16 June 2015 by Celia Knight

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The Second Hand: Reworked Art Over Time is the collective, culminating project of the MA Curating the Art Museum course at the Courtauld Institute of Art. This year, the 12 students were challenged to respond to The Courtauld Gallery’s summer showcase Unfinished… Works from the Courtauld Gallery running concurrently and adjacent to our own exhibition.  Equipped with special access to The Courtauld collection and the Arts Council Collection, the MA Curating team has responded with The Second Hand, which is running at The Courtauld Gallery in Somerset House, London, between 18 June and 19 July 2015.

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It all started with a ripped drawing. A mysterious, jutting tear at the top right corner of Wyndham Lewis’ 1920 drawing of Ezra Pound effectively decapitates the seated figure and acts as a boundary between Lewis’ drawing and that of another hand. It was in this torn, incomplete state that 37 years later, and after Lewis’ death, fellow artist and close friend Michael Ayrton found this work and took it upon himself to reunite the body with a new head. He “re-finished” it, if you like. Their mutual admiration of each other’s work gave Ayrton the confidence to replicate Lewis’ stylistic draughtsmanship and return the drawing to a state of completion once more: an act which raises questions of authorship, authority, homage, collaboration, and even forced artistic interventions. Why did Ayrton feel the need to intervene and somehow salvage the damaged sketch? What right did he have to add his own drawing of Pound’s head?  What would Lewis have thought of this intervention, had he been alive to witness the result?

Ezra Pound by Wyndham Lewis

Thanks to the ripped drawing, a number of questions and ideas began to germinate in our minds. Is this type of “re-finishing” a common artistic practice? How does it manifest in art history? What are the reasons behind one artist physically altering, changing, or adding to the work of another? What are the different ways in which artists “re-work” existing art? They lead us to explore both the Courtauld and Art Council collections with a more focused intent: to discover works of art that had, at some point, been touched by more than one artist’s hand. And so began our search for the ‘Second Hand’.

Visit the blog of the MA Curating students to read more

Image credit:
Wyndham Lewis; repaired and reworked by Michael Ayrton,
EZRA POUND, 1920 (reworked 1957). Pencil, 35.5 x 51 cm.
The Wyndham Lewis Memorial Trust:
On long-term loan to The Courtauld Gallery, London ©
The Wyndham Lewis Memorial Trust/ The Bridgman Art Library

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Print Room Showcase Week

15 June 2015 by Celia Knight

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The Courtauld Prints and Drawings Room Presents…

SHOWCASE WEEK : Scaled Up

The week of the 15 – 19 June 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 for public viewing, focusing on preparatory drawings used by artists to increase the scale of their works, from the sixteenth to the twentieth century.

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 15 June, Rosamund Garrett on Tommaso di Andrea Vincidor’s Head of a Warrior, 1520-35, bodycolour and black chalk, The Courtauld Gallery, D.1975.WF.4775 

Head of a Warrior
The bold outlines, simple colour washes and evidence of wear from the loom identifies this profile of a Roman soldier as a rare fragment of a tapestry cartoon. A pupil of Raphael, Vincidor travelled to Flanders at the behest of Pope Leo X in order to prepare cartoons for tapestries to be woven in Brussels.

Drafting full-scale cartoons from initial smaller designs required the artist to be adept at enlargement without distortion, with a thorough understanding of how graphic qualities translate into woven form.

 

Tuesday 16 June, Tatiana Bissolati on Claude Lorrain’s Arrival of Aeneas at Pallanteum, 1675, graphite, pen and brown ink and bodycolour, The Courtauld Gallery, D.1978.PG.215  

 Arrival of Aeneas at Pallanteum
This drawing is one of the many Claude Lorrain produced for his painting of The Arrival of Aeneas at Pallanteum. It depicts an episode from Virgil’s Aeneid recounting the meeting of Aeneas with Pallas, son of King Evander at Pallanteum, the future site of Rome.

Combining the use of pen and brush in applying ink, the work has a distinct painterly quality, typical of Claude’s drawings. The graphite lines, probably drawn in the very end, show that the sheet played a role in the design process when the artist reflected on the scale and proportion of the image.

 

Wednesday 17 June, Bryony Bartlett-Rawlings on James Thornhill’s Decoration of the Dome of St Paul’s, 1715-21, Graphite, pen, ink and watercolour, The Courtauld Gallery, D.1952.RW.2228 

Decoration of the Dome of St Paul’s
The decoration of St Paul’s was the most important ecclesiastical commission from Sir James Thornhill, the main English exponent of Baroque decorative painting. This is an early design for the project, which explores the possibilities of ornamenting a section of the dome with illusionistic architecture.

The broad applications of wash and the low viewpoint allow the artist to envision how this decorative scheme would appear in the final large scale work, to be seen from below, from a distance of over sixty metres.

 

Thursday 18 June, Rachel Sloan on Pierre Auguste Renoir’s Designs for the decoration of a panel, 1895, black chalk, The Courtauld Gallery, D.1978.PG.244 

 Renoir’s Designs for the decoration of a panel
The figures in classical drapery on this sheet, delineated with rapid strokes of black chalk, represent initial ideas for a set of painted wall panels inspired by Sophocles’s tragedy Oedipus Rex, commissioned by Renoir’s patron Paul Gallimard. Initially trained in the decorative arts, Renoir maintained a keen interest in painted decoration throughout his career.

These studies give insight into how he addressed the challenges of translating a design drawing into a different medium, format and scale, including finding dynamic yet balanced poses that would sit gracefully within the tall, narrow panels.

 

Friday 19 June, Alexander Noelle on Frank Auerbach’s Study for Oxford Street Building Site, 1957-59, Pencil and red pastel , The Courtauld Gallery, D.2010.XX.2 

Study for Oxford Street Building Site
Auerbach recorded in a sketchbook scenes from the construction sites on Oxford Street in London in the decades following the devastation of World War II. Both the recto and verso of this sheet are covered in notations that describe the colours and details he observed in person.

The numbered red squaring grid was added later in the studio as a compositional tool whilst also easing the process of transfer to a painting surface roughly ten times larger.

 

We hope to see you there!

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