考陶德開放時間 – 插曲 1 S4: Radical Printmaking

Open Courtauld Hour – The Courtauld’s digital series on all things art history – is back for monthly instalments in 2021!

The Courtauld houses one of the most significant collections of works on paper in Britain, with approximately 26,000 prints ranging from the late Middle Ages to the 20th century avant-garde. This Open Courtauld Hour will celebrate the ways in which printmaking is radical. As an art form with a potential mass audience, with the ability to be produced in abundance, it is culturally democratic and inexpensive in comparison to paintings. In addition to this, it is permeable into the public sphere through advertising.

‘Radical Printmaking’ aligns with, and explores, the exhibition ‘Renoir and the New Era: Impressionist works from The Courtauld’ at our partner organisation, National Museums NI (Ulster Museum). This exhibition, and the prints included, explore the Impressionists in the late 1900s, refocusing attention on their position as agitators and anarchists against the established art system. Fast-forward to 2020 we will contextualise this ‘radicalism’ in relation to contemporary works in the Courtauld Collection and further afield. The parallels between the impressionist artists and contemporary printmakers — works addressing marginalisation, identities, inequalities, conflict, censorship and environmental concerns — will make-up the bedrock of this episode.

We are delighted to be collaborating with Anna Liesching (Curator of Art, National Museums NI), Elaine Shemilt (Artist and Professor of Contemporary Art Practice at Duncan and Jordanstone College of Art and Design) and Nathan Crothers (藝術家) for an Open Courtauld Hour which will delve into our impressionist print collection, explore how a political drive continues to permeate contemporary practice while also giving you the opportunity to get creative yourself and make your own radical prints!

這個在線迷你係列將提供簡潔的一小時彈出講座包, 表演和詳細的對象研究課程，探索和慶祝我們的收藏, 藝術史研究, 策展和保護.

該系列將觸及相關問題——通過藝術史領域放大當代社會思維. These episodes will explore how the public, artists and galleries are adapting to a digital world, showcasing art historical research in light of this global pandemic and providing a platform for creative practice in the age of social distancing.

最重要的是, 因為藝術與所有人有關, 這些非正式會議將使與會者有機會訪問, 通過不同的視角參與和閱讀藝術和藝術史——通過重述隱藏的故事來改造和重新思考藝術史討論. 這些劇集將提供新的視角, 藝術實踐的新途徑, 通過影響我們所有人的主題來看待藝術並閱讀其歷史.

Reading list from Anna Liesching:

David Blamires, Sarah Hyde and Patricia Jaffé, Margaret Pilkington 1891-1974, Hermit Press, 1995.

Simon Brett, Bryan Robertson and Judith Russell, The Wood-Engravings of Gertrude Hermes, Scolar Press, 1993.

Carla Briggs and Niamh MacNally, Margaret Clarke: An Independent Spirit, (Exhibition Catalogue), National Gallery of Ireland, 2017.

Judith K. Brodsky, ‘Some notes on Women Printmakers’, Art Journal, 卷. 35, 不. 4, Summer 1976, p374-377.

Meaghan Clarke, Critical Voices: Women and Art Criticism in Britain 1880-1905, Routledge, 2005.

Peter Copley, John Copley and Ethel Gabain, Catalogue Thirty-four, Garton and Cooke, 1985.

Pat Donlon, ‘Women Artists as Illustrators’, Irish Arts Review Yearbook, 卷. 18, 2002, p80-92.

Diane Allwood Egerton, Artist and Aristocrat: The Life and Work of Lady Mabel Annesley, 1881-1959, Ulster Historical Foundation, 2010.

Colin Harrison and Anne Stevens, The wood engravings of Gertrude Hermes and Blair Hughes-Stanton, Ashmolean Museum, 1995.

Patricia Jaffé, Women Engravers, Virago, 1990.

Patricia Jaffé, The Wood Engravings of Clare Leighton, Silent Books, 1992.

Clare Leighton ‘Wood-engraving and Woodcuts’, How To Do It Series, The Studio Publications, 1944.

Ian Rogerson, The Wood Engravings of Agnes Miller Parker, 大英圖書館, 2005.

Frances Spalding, Gwen Raverat: Friends, Family and Affections, Pimlico, 2004.

Barbara Ann Taylor, ‘Wood Engraving by Women Artists’ Oxford Art Journal, 卷. 3, 不. 1, 1980, p79-81.

Harold JL Wright, The lithographs of Ethel Gabain, Albert Roullier Art Galleries Chicago, 1924.