You searched for manet - Courtauld / Thu, 09 Jul 2026 13:43:51 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.5 First major European exhibition by Salman Toor opens at the Courtauld Gallery on 2 October /about-us/press-office/press-releases/salman-toor-someone-like-you-courtauld-gallery-2-oct/ Thu, 09 Jul 2026 10:01:59 +0000 /?page_id=171858 The post First major European exhibition by Salman Toor opens at the Courtauld Gallery on 2 October appeared first on Courtauld.

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Opening 2 October 2026, the Courtauld presents the first solo exhibition in Europe of the artist Salman Toor, acclaimed for his arresting paintings of the contemporary experience and urban life. The exhibition brings together an outstanding selection of the artist51ݶ most iconic, thought-provoking and at times humorous paintings, never-before-seen in Britain.

Salman Toor (b.1983) was born in Lahore, Pakistan, and lives and works in New York. His paintings capture people in moments of friendship and love, as well as solitude and alienation.The exhibition at the Courtauld will present 19 paintings, all created since 2019,that focus on Toor51ݶ exploration of human interactions and the desire and struggle to experience a sense of belonging, both culturally and emotionally.The exhibition will be complemented by a special display ofToor51ݶdrawingsin the Gilbert and Ildiko Butler Drawings Gallery.

WhileToor51ݶfigures andscenesare fictional, they arerooted inhispersonal experiencesand memories.Speaking of his works, hesays they“depict queer and immigrant lives thatstraddledifferent culturesand inhabit the tension between intimacy and exposure,belongingand estrangement. What it means to find a community, but also the daily costs associated with visibility”.

His paintingsoffering intimate views into the imagined lives of young, queer South Asian men in New York, where he has lived most of his adult life,aretenderand sensual representations of cosmopolitan urban life.Evocative colour palettes and references to art history add a fantastical element to his narratives. The Bar on 13thStreet(2019) depicts a bartender sporting braids, a gold bangle, nail polish, andribbons, drawing on different sources, from the dimly lit scenes of 17thcentury Dutch tavern paintings to the more overt reference to Édouard Manet51ݶA Bar at the Folies-Bergère,inthe Courtauld51ݶ owncollection.InBar Boy(2019),which evokes thenightlife in New York51ݶ East Village, a young man51ݶ face illuminated by his smartphone as he stands isolatedand distractedin a bustlingclub.

Another subject on display is a series that Toor began in 2019, which addresses the experiences of immigrants at border control. Toor51ݶ personal experience has informed these works that depict marginalised individuals’encounterswhen crossing borders, and their senses of freedom or restriction.InMan with Face Creams and Phone Plug(2019), a man with his head down awaits a customs official51ݶ inspection ofhis belongings,laid out on a table.Otherportraitsare depicted inGroup B(2020) andCitizens(2022).

Toor51ݶwork is rooted in a deep engagement with and admiration for the Old Masters, in particular Baroque and 18thcentury painting, and the Courtauld isamuseum heparticularlyadmires. His paintings draw on a broad range of historic and contemporary stylistic references, from European art historytothe Mughal School,but alsocontemporary painting, photography, and graphic novels.The Joke(2024) evokes Parisianfin de siècle nightlife while ironically presenting a contemporary, tourist experience.InMuseum Boys(2021), the dandyish fashion on view – a buckled wide-brim hat, a shawl, a pearl earring – recall Vermeer, as two male figures stand looking at a vitrine containing a pink shoe, a half-naked sleeping man, and aDuchamp-likeinverted urinal.Ghost Ball(2023), one of the artist51ݶ largest and most ambitious paintings, from the Pinault Collection,presents a group offiguresdancingto the sound of musicians, inspired by the masterpieceDancing Villagers(c.1730), attributed torenownedartist Pandit Seu who worked inIndia in the 18thcentury.

Salman Toor: Someone Like Youfeatures key loans from major public collections, including the Whitney Museum of American Art, New York;the Solomon R. Guggenheim Museum, New York;National Gallery of Art, Washington; The Baltimore Museum of Art; Dallas Museum of Arts;and the Pinault Collection,as well as private collections.

The exhibition will be accompanied by a display in the GilbertandIldiko Butler Drawings Gallery ofToor51ݶ works on paper,includingFag Puddle in Vitrine(2021),acquiredby the Courtauld in 2024.The displayshowcasesToor51ݶ mastery of drawing and the way it informs his practice as a painter.

Salman Toor51ݶ first majormuseumsolo exhibition,Salman Toor: HowWill I Knowtook place at the Whitney Museumin New Yorkin 2020. In 2022NoOrdinary Loveopened at the Baltimore Museum of Art,and travelled to the Tampa Museum of Art, the Honolulu Museum of Art, and the Rose Art Museum at Brandeis University, Waltham, MA in 2023-2024. A suite of his works was featured in the 60thVenice Biennale in 2024.

The exhibitionis accompanied by a new catalogue, edited byDr Elena Crippa, Senior CuratorofContemporaryat the Courtauld Gallery,with contributions byRichard Meyer,Robert and Ruth Halperin Professor in Art History, Department of Art and Art History,Stanford University, California; and Aziz Sohail, a curatorresearcher,and Teaching Fellow with the Department of Fine Art, Monash University, Melbourne.

This exhibition at the Courtauld Gallery has received Lead Support from the Bukhman Foundationand the Salman Toor Exhibition Circle, with Additional Support from the Ryan Taylor Collection.The exhibition media partner isAnother Manand Dazed.

Courtauld Memberscan enjoy the exhibition without the crowds at a preview on Thursday 1 October, 14:00 – 18:00,and alsoget free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join atcourtauld.ac.uk/members


2 October 2026 – 10 Jan 2027
Denise Coates Exhibition Galleries, Floor 3


2 October 2026 – 10 Jan 2027
Gilbert andIldikButler Drawings Gallery, Floor 1

Courtauld Gallery, Somerset House, Strand, London WC2R 0RN 

Opening hours: 10:00 – 18:00 (last entry 17:15).
Temporary Exhibition tickets (including entry to our Permanent Collection and displays) from £16. Courtauld Members and 18s andunder gofree. Other concessions available.

MediaContacts:
 dzܰٲܱ 
/about-us/press-office/
media@courtauld.ac.uk į

Bolton & Quinn 
Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000
Daisy Taylor I susie@boltonquinn.com | +44 (0)20 7221 5000

Notes to Editors: 

dzܰٲܱ 
The Courtauld works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renownedcollectionand inspiring exhibitions of its gallery, and engaging and accessible activities,educationand events. 

The Courtauld Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh51ݶ Self-Portrait with Bandaged Ear andManet51ݶ A Bar at theFolies-Bergère. Itshowcasesthese alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day. 

Academically, the Courtauld Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts,cultureand business worlds, helping to shape the global agenda for the arts and creative industries. 

Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Courtauld51ݶ ambition is to transform access to art history education, ensuring as many people as possible canbenefitfrom the tools it offers to better understand the visual world around us. 

The Courtauld is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions,programmesand collections. 

The collection cared for by the Courtauld Gallery is owned by the Samuel Courtauld Trust. 

Download the press release

Salman Toor press release

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]]> Paintings by Picasso, Magritte and Man Ray to go on display at the Courtauld Gallery as part of a major partnership with the Reuben Foundation /about-us/press-office/press-releases/paintings-by-picasso-magritte-and-man-ray-to-go-on-display-at-the-courtauld-gallery/ Tue, 23 Jun 2026 08:27:14 +0000 /?page_id=171446 The post Paintings by Picasso, Magritte and Man Ray to go on display at the Courtauld Gallery as part of a major partnership with the Reuben Foundation appeared first on Courtauld.

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Press images:

A new display,Modern Painting from the Courtauld and ReubenCollections, made possible by the long-term partnership between the Courtauld and the Reuben Foundation, will open at the Courtauld Gallery on18 September 2026.

Featuring outstanding works by Cezanne, Modigliani, Léger, Picasso, and Magritte, the display explores radicalnew approachesto painting in the first half of the 20th century.

The Courtauld51ݶ partnership with the Reuben Foundation,launched in 2025,enables worksof artfrom the ReubenCollectiontobe made available to the publicas part of the Courtauld Gallery51ݶdisplays. Itallows theGallery to extend its celebratedpresentationof Impressionist and Post-Impressionist art into the modern period.

In October 2025, the Courtauld announced the largest financial gift in its history from the Reuben Foundation,echoing the extraordinary philanthropy of the Courtauld51ݶ founder, Samuel Courtauld. The Foundationissupporting the developmentofthe Courtauld51ݶ new Strand campus,which, when it opens in 2029, willbeone oftheworld51ݶmost important centresfor the study ofthehistory of art.

Modern Painting from the Courtauld and Reuben Collectionsbegins with early 20th century paintings from the Courtauld,including PauléԲԱ51ݶTurning Road(1905), a landscape conjured through near-abstract patches ofcolour, and Amedeo Modigliani51ݶNude(c.1916), a radically direct and expressive painting that upended conventional approaches to the subject of the female nude. These set the stage for works from the Reuben Collection by painters who built on such innovations to chart new artistic directions.

Major Cubist works by Juan Gris and Fernand Léger from 1914-1918, a period of significant avant-garde experimentation in Europe, tookéԲԱ51ݶpatchwork of brushstrokes to new extremes. They broke the illusion of representational painting by depicting their subjects as fragmented parts,seemingly stillin the process of beingformed. A highlight of this area of the display is Man Ray51ݶ monumentalBlack Widow (Nativity), painted in New York in 1915, and lastexhibitedin the UK more than fifty years ago. Although celebrated asamodernist photographer, Man Ray began his career as a painter. With this, one of his most significant early works, he created an epic modern figure painting out of Cubism and painted collage.

A group of three paintings by Pablo Picasso from the period of the Second World Wardemonstratethe artist51ݶ continual reinvention of the traditions of painting. Picasso51ݶ two portraits of his partners,Marie-Thérèse Walter, 1937, and the photographerDora Maar, 1939, neither previouslyexhibitedin this country, challenge and transform classical conventions of portraiture. The latter work offers a raw and unsettling image of Maar during the war. They are shown alongside his remarkableStill Life with Basket of Fruits and Flowers(1942); its spiky and fraught depiction of its humble objects powerfully expressing the tenor of wartime Paris.

The Reuben Collection holds a significant collection of works by the Surrealist artist René Magritte. Some of Magritte’s most famous compositions are included in this display, such asThe Dominion of LightandThe Intimate Friend. Both works date from the 1950s and are characteristically elusive juxtapositions that offer the promise of new and unexpected meanings, such as a nocturnal scene under a sunlit sky, or the artist51ݶ iconic bowler-hatted man, overlaid with a wine glass and baguette. Magritte51ݶLa DomaineArnheim, 1949, is a further highlight of this group. Its surreal image of a landscape through a shattered window is an encapsulation of the transformations and reinventions of modern painting since the time oféԲԱ.

The Courtauld Gallery has grown historically through the generosity of private individuals who haveendowed it with the remarkable collections they formed. This tradition of philanthropy,initiatedat the Gallery by Samuel Courtauld in the 1930s, continues to extend and enhancethe Courtauld Gallery51ݶ world-famous collections.In recent years,the Courtauld Galleryhasalsoenriched itsdisplayswith works of artloanedto it fromother collections,includinga group of paintings fromthe Oskar Reinhart Collectionandexceptional works from the Barber Institute of Fine Artin Birmingham.

Modern Painting from the Courtauld and ReubenCollections
Opening 18 September 2026
Katja and Nicolai Tangen 20th Century Gallery, Floor 3

/whats-on/exh-modern-painting-from-the-courtauld-and-reuben-collections/

Courtauld Gallery, Somerset House, Strand, London WC2R 0RN 
Opening hours: 10:00 – 18:00 (last entry 17:15).
Weekday and weekend tickets from £12. Courtauld Members and Under-18s go free. Other concessions available.

MEDIA CONTACTS
Courtauld

media@courtauld.ac.uk 

Bolton& Quinn
Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000
Daisy Taylor | daisy@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – COURTAULD 
Facebook@Thedzܰٲܱ 
Instagram@Courtauld #Thedzܰٲܱ 
Threadsdzܰٲܱ 
TikTok@Thedzܰٲܱ 
YouTubeTheCourtauld

NOTES TO EDITORS 

About the Courtauld
The Courtauld works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events. 

The Courtauld Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh51ݶ Self-Portrait with Bandaged Ear and Manet51ݶ A Bar at theFolies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day. 

Academically, the Courtauld Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and theconservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries. 

Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Courtauld51ݶ ambition is to transform access to art history education, ensuring as many people as possible canbenefitfrom the tools it offers to better understand the visual world around us. 

The Courtauld is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections. 

The collection cared for by the Courtauld Gallery is owned by the Samuel Courtauld Trust. 

About the Reuben Foundation

Formed in 2002, the Reuben Foundation is a UK charitable foundation focused on the advancement of healthcare, education and the community both in the UK and globally.

Recent projects include the Reuben Scholarship Programme, whichassiststhousands of the most talented students from less advantaged backgrounds with financial support towards university living costs. The Reuben Scholarships Programme runs in partnership with the Universities of Oxford,Cambridgeand Ark Schools. In 2020 the Reuben Foundation made a transformational gift to establish Reuben College at the University of Oxford, marking only the 39th college in the university51ݶ near-1,000-year history and the first new college at the university for 30 years.

In the healthcare space gifts include the creation of the largest centre for paediatric cancer treatment in Europe at Great Ormond Street Hospital, a world-leading treatment and research centre at The Royal Marsden Hospital, and a new maternity ward and neonatal intensive care unit at Chelsea & Westminster Hospital as well as a new young people51ݶ centre designed to provide immediate, specialist and integrated care to young people in mental health crisis.

Further information on the Reuben Foundation can be found at:

Press Release – Modern Painting from the Courtauld and Reuben Collections

The post Paintings by Picasso, Magritte and Man Ray to go on display at the Courtauld Gallery as part of a major partnership with the Reuben Foundation appeared first on Courtauld.

]]> The Courtauld Gallery unveils first exhibition devoted to Barbara Hepworth’s work with colour /about-us/press-office/press-releases/the-courtauld-gallery-unveils-first-exhibition-devoted-to-barbara-hepworths-work-with-colour/ Thu, 11 Jun 2026 11:26:34 +0000 /?page_id=171000 The post The Courtauld Gallery unveils first exhibition devoted to Barbara Hepworth’s work with colour appeared first on Courtauld.

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  • Uniting for the first time Barbara Hepworth’s radical painted sculptures from the 1940s
  • On view in a London gallery for the first time since it was acquired for the nation last year following major £3.8 million fundraising appeal –Sculpture with Colour (Oval Form), Pale Blue and Red(1943) – a breakthrough sculpture in Hepworth51ݶ careerandrecognised as a masterpiece of British abstract modernism.

The Joseph Hage Aaronson & Bremen Exhibition:Hepworth in Colour
12 June– 6 September2026

Press images:

Barbara Hepworth (1903-1975),Sculpture with Colour (Oval Form) Pale Blue and Red, 1943,Wood, paint and strings on a painted wooden base.Wakefield Permanent Art Collection (The Hepworth Wakefield).Acquired with major support from The National Lottery Heritage Fund, Art Fund and the Wolfson Foundation, and further impactful support from the Deborah Loeb Brice Foundation, The Forster Foundation, The Garcia Family Foundation, Garfield Weston Foundation, The Headley Trust, the Hepworth family, The Henry Moore Foundation, The Julia Rausing Trust, John Studzinski CBE and other generous individuals, foundations and trusts. Barbara Hepworth © Bowness. Image © The Hepworth Wakefield. Photo: Mark Heathcote.

The CourtauldGallerypresentsthe first exhibition devoted to Barbara Hepworth51ݶ lifelong fascination with colour,shedding light on an unexpected and unexplored aspect of the work of one of the most celebratedBritishartists of the 20thcentury.

Barbara Hepworth (1903–1975)is best knownfor her abstractsculpturesinspired by nature and the rugged seaside landscapes of Cornwall,where she lived and workedfrom 1939.Hepworth51ݶpractice isoften characterisedin terms ofhercommitment todirect carvingand‘truth tomaterials’.Little attention has been given to the importance of colour in her work.Discussing herinnovativeuse of colourin 1970,shesaid:“my colour has beenaccepted,butnever understood.”

Bringing together18sculptures and26drawingsand paintings,The Joseph Hage Aaronson & Bremen Exhibition:Hepworth inColourwill bethe first exhibition to focus on this important butoften overlooked aspect ofHepworth51ݶwork.

Hepworth51ݶ early interest inpaintedcolourdates tothemid-1930swhen she and her future husband, Ben Nicholson, formed part of the European avant-garde.In1939,just beforeoutbreak of theSecondWorldWar,sheleftLondon for Cornwallwith her three young children,takingwith hera single sculpture –herveryfirst study for asculpturewith colour.Over thefollowingyears, the landscape of CornwallinspiredHepworthto develop thisinitialexperiment,moving herwork in new directionsandestablishinga lifelong fascination with colour.At the heart of the exhibitionwill betheremarkable group of painted sculpturesmadebetween1940 and 1948.Hepworthlaterrecalledhow,“I usedcolourand strings in many ofthe carvings of this time. Thecolour in the concavitiesplunged me into the depths of water,cavesor shallows…”.Theseearlyworksincludetheboldly paintedstonecarvingsEidos(1947-8)from the National Gallery of Victoria in Melbourne,AustraliaandSculpture with Colour(Eos)(1946)from a private collection in Hong Kong. Theyareexhibitedtogetherin the UKfor the first timesince1954.

A major highlight of the exhibition will be the painted wood carving,Sculpture with Colour (Oval Form), Pale Blue and Red,of1943, which was acquired by The Hepworth Wakefield in 2025 following the successful national fundraising campaign in collaboration with Art Fund to raise £3.8 million.Sculpture with Colour (Oval Form), Pale Blue and Redmarked a breakthrough moment in Hepworth51ݶ career, combining strings and colour and, for the first time, the beautiful pale blue, which sheassociated with the Cornish skies and coast. In private hands since it was created, and rarelyexhibited, this will be the first time the sculpture is displayed in London since it wasacquiredfor the nation.For Hepworth,the strings in her early sculptures“were the tension I felt between myself and the sea, the wind or the hill”.

Other iconic painted stringed sculptures in the exhibition includeWave, 1943-44, from the National Galleries of Scotland andPelagos(‘sea’ in Greek), 1946 from Tate, the latter directly inspired by the sculptor51ݶ view from her studio onto the bay in St Ives in Cornwall.Theexhibition also unites for the first time from private and public collections the six versions ofSculpture with Colour (Deep Blue and Red),made between 1940and 1943,featuringcontrastingredstringshoveringoverastrikingblueinterior.

Alongsidesculptures,the exhibitionfeaturesa richselectionofHepworth51ݶdrawings with colour.During the first years of the warHepworth lacked the materials, studiospaceand time to produce much sculpturebutherdrawings allowed her to continue toexplore anddevelop her ideas. She recalled,“In the late evenings, and during the night I did innumerable drawings…exploring the particular tensions and relationships of form and colour which were to occupy me in sculpture during the later years of the war.”These drawings, usuallyentitled“drawing for sculpture”areremarkablefor theirintricatecrystalline forms, punctuated with strong blues,redsandgreens.

The exhibition extends into the 1950s and 1960s to reflect how colour continued to occupy Hepworth in newand innovativeways,includingin her expressive paintings, and in herworkwith patinatedbronzeandcolouredmarble.

The Joseph Hage Aaronson & Bremen Exhibition: Hepworth inColouris curated by Dr Alexandra Gerstein, Curator of Sculpture and Decorative Arts at the Courtauld Gallery and Dr Stephen Feeke, independent writer and curator whose PhD from the Courtauld Institute of Art focused on Barbara Hepworth51ݶ bronze sculptures.

To coincide with the exhibition, a display ofrarephotographs, taken in the 1930s by Paul Laib (1932–1936),capturingHepworth and Ben Nicholson(1894–1982)in theirsharedstudio in Hampstead, London,will be presented inthe Project Space.Theseare among the most evocative studio imagestoemergein Britain during the 20th centuryand show the fascinating interrelation of their practicesat this time.

The Joseph Hage Aaronson & Bremen Exhibition:Hepworth in Colouris accompanied by a new catalogue, edited byDrAlexandra Gerstein,Curator of Sculpture and Decorative Artsat the CourtauldGalleryandDrStephen Feeke,independent art historianand Hepworth specialist,withcontributionsbyAlexandra Gerstein,Stephen Feeke,David Batchelor, Eleanor Clayton,Kirstie Dootsonand Kate Edmondson.

The exhibition51ݶ Title Sponsor is Joseph Hage Aaronson & Bremen LLP. The exhibition51ݶ Lead Supporter is the Huo Family Foundation, with Support from Art Mentor Foundation Lucerne.

Courtauld Memberscan enjoy the exhibition without the crowds at a preview on Thursday 11 June, 14:00 – 18:00,and alsoget free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more.Join at courtauld.ac.uk/members

Late openings
DiscoverThe Joseph Hage Aaronson & Bremen Exhibition: Hepworth in Colourafter hours. The Gallery will open until 20:00 on Friday 12 June, 26 June, 31 July, and 4 September 2026.

Relaxed openings
Join us for relaxed openings ofThe Joseph Hage Aaronson & Bremen Exhibition: Hepworth in ColouronWednesday 1 July and Wednesday 19 August, at 10:00 or 10:15.Our relaxed exhibition openings includeadditionalsupport and facilities from our friendly team.

The Joseph Hage Aaronson & Bremen Exhibition:
Hepworth in Colour
12 June – 6 September 2026
Denise CoatesExhibitionGalleries, Floor 3

/whats-on/exh-hepworth-in-colour/

Hepworth and Nicholson: The Hampstead Studio Photographs
6 June – 4 October 2026

Project Space, Floor 2
/exh/hepworth-and-nicholson-the-hampstead-studio-photographs/

Courtauld Gallery, Somerset House, Strand, London WC2R 0RN 
Opening hours: 10:00 – 18:00 (last entry 17:15).
Temporary Exhibition tickets (including entry to our Permanent Collection and displays)from £18.Courtauld Membersand 18sandundergofree. Other concessions available.

Download Press Release

Hepworth in Colour Press Release June 2026

Notes to editors

About the Courtauld
The Courtauld works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events. 

The Courtauld Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh51ݶ Self-Portrait with Bandaged Ear and Manet51ݶ A Bar at theFolies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, the Courtauld Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries. 

Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Courtauld51ݶ ambition is to transform access to art history education, ensuring as many people as possible canbenefitfrom the tools it offers to better understand the visual world around us. 

The Courtauld is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections. 

The collection cared for by the Courtauld Gallery is owned by the Samuel Courtauld Trust. 

About Joseph Hage Aaronson & Bremen LLP
Joseph Hage Aaronson & Bremen LLP (JHAB) is an elite dispute resolution and advisory law firm based in London. Established by barristers Joe Hage and Graham Aaronson KC in 2013, the firm uniquely integrates theexpertiseof leading solicitors and barristers, as well as specialist accountants and data scientists, to provide comprehensive solutions to complex legal challenges. We have an international client base that ranges from ultra-high net worth individuals and trusts to publicly listed blue-chip companies, foreign governmententitiesand the world51ݶ largest funds.

About Huo Family Foundation
The Huo Family Foundation is a grant-giving foundation based in London. Its mission is to support education,communitiesand the pursuit of knowledge. Its current areas of focus are education; the arts; and science. Through its donations, the Foundation hopes to improve the prospects of individuals, and to support the work of organisationsseekingto ensure a safe and successful future for all society.The Foundation aims to make art more accessible to all through its support for galleries,museumsand centres for the performing arts. For more information,

The post The Courtauld Gallery unveils first exhibition devoted to Barbara Hepworth’s work with colour appeared first on Courtauld.

]]> Ella Walker to undertake next Courtauld Commission /ella-walker-to-undertake-next-courtauld-commission/ Wed, 20 May 2026 14:25:23 +0000 /?page_id=170138 The post Ella Walker to undertake next Courtauld Commission appeared first on Courtauld.

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Artist Ella Walker (b.1993, Manchester, UK) will create two new site-specific commissions for the Courtauld Gallery. Opening 3 September 2026, the new artworks will be presented in The John Browne Entrance Hall and the Ticketing Hall of the Courtauld Gallery and will be free to visit.

This is the second Courtauld Commission, a series of annual commissions by contemporary artists for the Courtauld Gallery, which launched in 2025 with new works by artist Rachel Jones.

Ella Walker creates monumental canvases that act like dream-like stages. They are dominated by female figures whose gestures and interactions are both familiar and confounding, eschewing expected behaviour and transcending fixed roles.

The new artworks continue the artist51ݶ dialogue with traditional techniques and subjects from the Renaissance period, richly represented at the Courtauld Gallery. Walker is particularly drawn to the Blavatnik Fine Rooms on the second floor of the Courtauld, including The Trinity with Saints Mary Magdalen and John the Baptist altarpiece (around 1491-94) by Sandro Botticelli (around 1445-1510).

Ella Walker said: “The Courtauld Commission is an opportunity to think deeply about the surface of my paintings, the method of applying pigment to an absorbent ground, a ground that is rich with marble and chalk, and is very absorbent and textured. I hope the colours will glow, have transparency and 51ݶ within the collection of particles.”

Walker lives and works in London. She studied Fine Art at The Glasgow School of Art and The Royal Drawing School. Recent solo exhibitions include DZâٰ, Le Château – Centre for Contemporary Art and Heritage of Aubenas, France (2025); The Romance of the Rose, Pilar Corrias, London (2024); After great pain, a formal feeling comes, Casey Kaplan, New York (2024); and Chorus, Kestner Gesellschaft, Hanover, Germany (2023).

This is the second in a series of annual commissions by contemporary artists that will be displayed in The John Browne Entrance Hall and Ticketing Hall at the Courtauld Gallery.Since the transformation of its Gallery in 2021, the Courtauldhas significantly expanded its offering ofcontemporary art, including major exhibitions by Peter Doig and Claudette Johnson, and a major commission by Cecily Brown. The first European solo exhibition of acclaimed New York painter Salman Toor will open on 2 October 2026. In January, the Courtauld also announced it will be creating two new galleries dedicated to contemporary art, set to open in 2029 as part of the development of its new world-class campus at Somerset House

Ella Walker: Courtauld Commission 2026
Opening 3 September 2026
The John Browne Entrance Hall and Ticketing Hall
Free display

Download the press release

Ella Walker Courtauld Commission 2026 Press Release

Somerset House, Strand
London WC2R 0RN
Opening hours: 10.00 – 18.00 (last entry 17.15)
Weekday tickets from £10; Weekend tickets from £12
Ella Walker: Courtauld Commission 2026 is free to visit
Members, students and Under-18s go free. Other concessions available

MEDIA CONTACTS

Courtauld
www.courtauld.ac.uk/gallery/press
media@courtauld.ac.uk

Bolton & Quinn
Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000
Daisy Taylor I susie@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA
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NOTES TO EDITORS

Courtauld

The Courtauld works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

The Courtauld Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh51ݶ Self-Portrait with Bandaged Ear and Manet51ݶ A Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, the Courtauld Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Courtauld51ݶ ambition is to transform access to art history education, ensuring as many people as possible can benefit from the tools it offers to better understand the visual world around us.

The Courtauld is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by the Courtauld Gallery is owned by the Samuel Courtauld Trust.

The post Ella Walker to undertake next Courtauld Commission appeared first on Courtauld.

]]> Courtauld Institute named best for Art History in latest QS Global rankings /courtauld-institute-named-best-for-art-history-in-qs-global-rankings/ Wed, 25 Mar 2026 16:43:46 +0000 /?page_id=168160 The post Courtauld Institute named best for Art History in latest QS Global rankings appeared first on Courtauld.

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The Courtauld Instituteis theworld51ݶtop institutionfor the study ofHistory of Art, according to theQS World University Rankings 2026published today, Wednesday 25 March 2026.

The Courtauld secured the number one spot out offiftyprestigiousinstitutions worldwide.This outstanding achievementreflectsthe Courtauld51ݶlong-standingposition as a leading global centre for the visual arts, with an unwavering commitment to delivering academic excellenceand acutting-edgecurriculum.

The Courtauld, founded in 1932 by philanthropist and collector Samuel Courtauld,is an internationally renowned centre for the teaching and research of art history,conservationand curation, and is home to one of the world51ݶ greatest art collections.

The QS World University Rankings serve as a highly regarded source of comparative data on university performance, evaluating institutions on five indicators: academic and employer reputation, research citations per paper, H-index, and international research network.

Thenumber oneworldranking followsthe announcement ofthe Courtauld51ݶ plan to create a newstate-of-the-artcampus at Somerset House in London, set to open in 2029. This major milestone in the Courtauld51ݶ history will see atransformation and expansion of its historic Grade I listed buildingin the North Wing of Somerset House, includingflexible, modern teaching spaces, a new lecture theatre, and a spectacular library within Somerset House51ݶ historic subterranean vaults.The new campus will open directly onto the Strand, connecting the Courtauld to an exciting new cultural and intellectual quarter in the heart of the city, alongside its partner King51ݶ College London.

The development comes at a time when the Courtauld is expanding into new areas of teaching and research, increasing its focus on global geographies such as the Americas, the Africandiasporaand the arts of Asia. The Courtauld has also recently launched a series of new MA programmes, including an MAArtBusiness andMACurating, as itseeksto meet the evolving needs of students and the professional art world.

The Courtauldalsoannounced a commitment to work with national education and philanthropic partners to broaden access to art history for secondary school children in the UK in the lead-up to the opening of the new campus,enrichingthe Courtauld51ݶ existing work in broadening access to its collection and teaching for young people.

The new campus project is made possible through the recent visionary gift from the Reuben Foundation and the generous long-standing support of the Blavatnik Family Foundation. Additional transformational support is provided by the Deborah Loeb Brice Foundation, the Clore Duffield Foundation, the Garfield Weston Foundation, Oak Foundation, The Julia Rausing Trust, Rothschild Foundation, Georgia and David Winter and the Wolfson Foundation. The Courtauld is most grateful to these foundational supporters, alongside others who have already committed to the redevelopment of our home at Somerset House.

ProfessorMark Hallett, Märit Rausing Director ofthe Courtauld, said:“This ranking by QS is a testament to the dedication, excellence,and enthusiasm of our faculty, staffand students and the extraordinary impactthe Courtauld has on the wider arts and culture sector. Asthe Courtauld approaches its centenary, we are continuing to push the boundaries of research and teaching andare deeply committed toexpandingaccess to art history across theUKand beyond, building on Samuel Courtauld51ݶ founding mission of ‘art for all’”.

Find out more about the.

Download the press release

QS 2026 Rankings Press Release final

Media Contacts:

Bolton & Quinn 
erica@boltonquinn.com
0207 221 5000
07711 698 186 

dzܰٲܱ 
/about-us/press-office/
media@courtauld.ac.uk į

Notes to Editors: 

dzܰٲܱ 
The Courtauld works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events. 

The Courtauld Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh51ݶSelf-Portrait with Bandaged Earand Manet51ݶA Bar at theFolies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day. 

Academically, the Courtauld Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries. 

Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Courtauld51ݶ ambition is to transform access to art history education, ensuring as many people as possible can benefit from the tools it offers to better understand the visual world around us. 

The Courtauld is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections. 

The collection cared for by the Courtauld Gallery is owned by the Samuel Courtauld Trust. 

The post Courtauld Institute named best for Art History in latest QS Global rankings appeared first on Courtauld.

]]> The Courtauld Gallery presents first Barbara Hepworth exhibition devoted to her work with colour /about-us/press-office/press-releases/the-courtauld-gallery-presents-first-barbara-hepworth-exhibition-devoted-to-her-work-with-colour/ Thu, 19 Mar 2026 10:43:00 +0000 /?page_id=167847 The post The Courtauld Gallery presents first Barbara Hepworth exhibition devoted to her work with colour appeared first on Courtauld.

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Press images:

The Courtauld Gallery will present the first exhibition devoted to Barbara Hepworth51ݶ lifelong fascination with colour, shedding light on an unexpected and unexplored aspect of the work of one of the most celebrated British artists of the 20th century.

Barbara Hepworth (1903 – 1975) is best known for her abstract sculptures inspired by nature and the rugged seaside landscapes of Cornwall where she lived and worked from 1939. Throughout her life she emphasised the primacy of direct carving and adhered to the ethos of ‘truth to materials’. Discussing her innovative use of colour with her son-in-law, the art historian Sir Alan Bowness, she said: “In a way my colour has been accepted but never understood.”

Bringing together some 20 sculptures and 30 drawings and paintings, The Joseph Hage Aaronson & Bremen Exhibition: Hepworth in Colour will be the first exhibition to focus on this important but often overlooked aspect of her work.

Hepworth51ݶ early interest in colour dates to the mid-1930s, when she and her future husband, Ben Nicholson, formed part of the European avant-garde. When in 1939, days before the outbreak of the Second World War, she left London for Cornwall with her three young children, Hepworth took with her a single sculpture – her first study for a sculpture with colour. Over the coming years, the landscape of Cornwall inspired her to develop this initial experiment, taking her work in new directions and establishing a lifelong fascination with colour.

At the heart of the exhibition will be the remarkable group of painted sculptures which Hepworth made between 1940 and 1948. She later recalled how, “I used colour and strings in many of the carvings of this time. The colour in the concavities plunged me into the depths of water, caves or shallows…”. These early works include the boldly painted stone carvings Eidos (1947-8) from the National Gallery of Victoria in Melbourne, Australia and Eos (1946) from a private collection in Hong Kong. They are exhibited together in the UK for the first time since 1954.

A major highlight of the exhibition will be the painted wood carving, Sculpture with Colour (Oval Form), Pale Blue and Red (1943), which was acquired for the nation by The Hepworth Wakefield in 2025 following the successful national fundraising campaign in collaboration with Art Fund to raise £3.8 million. Sculpture with Colour (Oval Form), Pale Blue and Red marked a breakthrough moment in Hepworth51ݶ career, combining strings and colour and, for the first time, the beautiful pale blue associated with the Cornish skies and coast. In private hands since it was created, and rarely exhibited, this will be the first time the sculpture is displayed in London since it was acquired. For Hepworth the strings in her early sculptures ‘were the tension I felt between myself and the sea, the wind or the hill’.

Other seminal painted stringed sculptures in the exhibition include Wave, 1943-44, from the National Galleries of Scotland and Pelagos (‘sea’ in Greek), 1946 from Tate, which was inspired by the bay in St Ives in Cornwall. The exhibition also unites for the first time from private and public collections the six progressively larger versions of the stringed Sculpture with Colour (Deep Blue and Red).

Alongside sculptures, the exhibition features a rich selection of Hepworth51ݶ drawings with colour. Hepworth lacked the materials, studio space and time to produce much sculpture during the first years of the war but her drawings allowed her to continue to explore and develop her ideas. She recalled, ‘In the late evenings, and during the night I did innumerable drawings…exploring the particular tensions and relationships of form and colour which were to occupy me in sculpture during the later years of the war.’ These drawings, usually entitled ‘drawing for sculpture’ are striking for their intricate crystalline forms, punctuated with strong blues, greens, reds and yellows.

The exhibition extends into the 1950s and 1960s to reflect how colour continued to occupy Hepworth in new ways, including in her expressive paintings of the mid and late 1950s, and in her work with patinated bronze and painted marbles.

To coincide with the exhibition, a display of photographs of Barbara Hepworth and Ben Nicholson51ݶ shared London studio at No. 7 the Mall Studios in Hampstead will be presented in the Project Space. Taken between 1932 and 1936 by Paul Laib (1869–1958), these are among the most evocative studio images to emerge in Britain during the 20th century and show the fascinating interrelation of their practices at this time.

The Joseph Hage Aaronson & Bremen Exhibition: Hepworth in Colour is accompanied by a new catalogue, edited by Dr Alexandra Gerstein, Curator of Sculpture and Decorative Arts at the Courtauld and Stephen Feeke, with essays by Alexandra Gerstein, Stephen Feeke, David Batchelor, Eleanor Clayton and Kirstie Dootson.

The exhibition51ݶ Title Sponsor is Joseph Hage Aaronson & Bremen LLP. The exhibition51ݶ Lead Supporter is the Huo Family Foundation, with Support from Art Mentor Foundation Lucerne.

The Joseph Hage Aaronson & Bremen Exhibition:
Hepworth in Colour
12 June – 6 September 2026
Denise Coates Exhibition Galleries, Floor 3
/whats-on/exh-hepworth-in-colour/

Hepworth and Nicholson: The Hampstead Studio Photographs
6 June – 4 October 2026
Project Space, Floor 2
/exh/hepworth-and-nicholson-the-hampstead-studio-photographs/

Download Press Release

Hepworth in Colour Press Release March 2026

MEDIA CONTACTS

Courtauld

media@courtauld.ac.uk

Bolton & Quinn
Erica Bolton |erica@boltonquinn.com| +44 (0)20 7221 5000
Daisy Taylor |daisy@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – COURTAULD

Facebook @TheCourtauld
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Threads @courtauld
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NOTES TO EDITORS

About the Courtauld
The Courtauld works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

The Courtauld Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh51ݶSelf-Portrait with Bandaged Earand Manet51ݶA Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, the Courtauld Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts,cultureand business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Courtauld51ݶ ambition is to transform access to art history education, ensuring as many people as possible can benefit from the tools it offers to better understand the visual world around us.

The Courtauld is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by the Courtauld Gallery is owned by the Samuel Courtauld Trust.

About Joseph Hage Aaronson & Bremen LLP
Joseph Hage Aaronson & Bremen LLP (JHAB) is an elite dispute resolution and advisory law firm based in London. Established by barristers Joe Hage and Graham Aaronson KC in 2013, the firm uniquely integrates the expertise of leading solicitors and barristers, as well as specialist accountants and data scientists, to provide comprehensive solutions to complex legal challenges. We have an international client base that ranges from ultra-high net worth individuals and trusts to publicly listed blue-chip companies, foreign government entities and the world51ݶ largest funds.

About Huo Family Foundation
The Huo Family Foundation is a grant-giving foundation based in London. Its mission is to support education, communities and the pursuit of knowledge. Its current areas of focus are education; the arts; and science. Through its donations, the Foundation hopes to improve the prospects of individuals, and to support the work of organisations seeking to ensure a safe and successful future for all society. The Foundation aims to make art more accessible to all through its support for galleries, museums and centres for the performing arts. For more information,

 

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]]> FOCUS: Seurat, Colour and Water /take-part/schools/secondary/focus-seurat-colour-and-water/ Tue, 17 Feb 2026 12:03:39 +0000 /?page_id=166190 The post FOCUS: Seurat, Colour and Water appeared first on Courtauld.

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A small boat rests along a grassy riverbank beneath a pale, softly glowing sky. The calm water reflects the boat and surrounding greenery, painted in finely textured brushwork.
Boat by the Riverbank, c.1883, Georges Seurat (1859-1891). Object id P.1948.SC.397. NP193.

Download the PDF: Seurat, Colour and Water

About the resource

This resource explores two small painted studies in the Courtauld Collection by the French artist Georges Seurat (1859–1891). Both capture pivotal moments in his career – Boat by the Riverbank (around 1883) as he transitioned towards a radical new way of painting called Neo-Impressionism, and The Beach at Gravelines (1890) that demonstrates this technique of applying pure colour in a dot-like manner fully
developed. These artworks show that water, with its unique ability to diffuse and reflect light, was a central motif for Seurat.

Seurat died at the age of 31, leaving behind fewer than 50 canvases. Boat by the Riverbank and The Beach at Gravelines belong to a separate group of around 160 small paintings on wooden panel that Seurat produced alongside his more famous, larger exhibition canvases. Many of these panels hung in his Paris studio and according to one friend were the artist51ݶ ‘greatest joy’.

Though Seurat left few written clues about his working methods, we can uncover his innovations by looking closely at the artworks and considering their historical impact. Use the discussion and creative activities below to investigate his colourful processes.

A tranquil harbor scene at Gravelines: a wide expanse of pale blue water meets a low horizon of land and sky.
Gravelines, 1890, Georges Seurat (1859-1891). Object id P.1948.SC.397. NP193.

All activities in this resource are suitable for both the Gallery and Classroom with the exception of Classroom ‘Croquetons’ (pages 6-7) which requires paint which is not permitted within the Gallery.

Materials: Students will need a pencil, colouring pencils, 2-3 sheets of A4 paper.

How to view the artworks

Virtually:

  • : Zoom in close to the details of the brushwork.
  • : This allows you to see the artworks as they are displayed in the permanent collection on the Third Floor.

In person:

51ݶ the Courtauld Gallery (Third Floor) to see these works:

Working en plein air

Seurat51ݶ small panel paintings are known as ‘croquetons’ (from ‘croquis’ or ‘sketch’). The panels were purchased readymade and all measure around 16 x 25 cm, which was ideal for emphasising a long horizontal stretch of river or sea. The panels were designed to slot into the lid of a travel paint box, with a palette, paint tubes and turpentine stored in the base. Such boxes were widely available in artist supply catalogues and enabled Seurat51ݶ generation to paint outdoors or en plein air.

The ‘croquetons’ show Seurat at his most free and experimental. Some were produced in preparation for large exhibition canvases – Boat by the Riverbank is one of fourteen studies for (1884), Seurat51ݶ first major work, which depicts working class people at rest on an industrial stretch of the River Seine.

The croquetons reveal Seurat settling into a happy routine of spending winters in Paris and summers on France51ݶ northern coast (he took five such trips from 1885 to 1890). The Beach at Gravelines was made as an independent artwork, purely for pleasure. We know it was painted from direct experience because technical investigation carried out by the Courtauld51ݶ Conservation and Technology department has revealed grains of sand are embedded in the paint.

Talking points: Seurat51ݶ subjects

  • What activities do you think took place on the River Seine or the beach at Gravelines?
  • What do you think Seurat found interesting about these subjects?
  • What might be challenging about painting outdoors?
  • Do you prefer a view of nature with or without people? Why?
  • Boat by the Riverbank is a quick sketch, while The Beach at Gravelines is more precise. Which style makes the scene feel more “real” to you? Which do you prefer and why?
A grayscale pencil sketch of a landscape framed by two black horizontal bars.

Mark making activity

 

  1. Fold an A4 sheet of paper in half horizontally and fold this to make a four-panel concertina.
  2. For each rectangle, find a painting of water made by Seurat or an artist who was working around the same time (, , or / ). Choose a small area, and carefully capture the shape and direction of the brush marks rather than the whole scene.
  3. Observe the water and marks: Is the water still or flowing? Are the marks straight or curved? Are they dots or dashes? Are reflections precise or blurred?
  4. Note the artist51ݶ name for each study.

Seurat and Neo-Impressionism

Seurat developed a technique known as Neo-Impressionism or Pointillism. Instead of mixing paints on a palette, pure colours were painted on the canvas or panel in distinct dots, leaving the viewer51ݶ eye to blend them. Seurat preferred ‘chromoluminarism’ or ‘divisionism’ to describe his method since it was about the careful separation and placement of tones rather than the dots or ‘points’ themselves. These were simply the means towards achieving shimmering effects.

The term ‘Neo-Impressionism’ was coined by the critic Félix Fénéon after he observed a new type of art present in the eighth and final Impressionist exhibition in Paris 1886. Seurat and his friend the artist Paul Signac (1863–1935) were invited to participate by Camille Pissarro (1830–1903), who shared their interest in creating optical colour mixtures. People had come to expect modern subject matter, visible brush marks and bright colours from the Impressionists, but the artworks composed of tightly packed dots felt like a new direction. Whereas Impressionism was associated with intuition, Neo-Impressionism was viewed as scientific. Both 51ݶs involved personal colour choices.

Talking points: technique and perception

  • Boat by the Riverbank shows the influence of Impressionism with its loose dashes of paint. Does the artwork feel entirely spontaneous? Can you see any patterns or repeated types of marks?
  • The Beach at Gravelines is made up of tiny distinct dots of colour. What do you think would happen if you looked at this painting from far away?
  • Looking closely at both artworks – which marks are best for creating the illusion of shimmering 51ݶ? Which marks produce a calm glow?
  • In each case, what season and what time of day do the colours suggest? Is the overall effect warm or cool?
  • What is the mood of each painting? How would it feel to stand on the riverbank or the shoreline?
  • What might it sound, smell or feel like?

Seurat and colour theory

As a young man, Seurat studied at the prestigious École des Beaux-Arts in 1878. However, the work of the Impressionists, combined with military service on the coast of Brittany in 1879, exposed him to a new world of colour and subject matter. He supplemented his traditional training by reading modern colour theories. Key influences on his thinking were books by chemist Michel-Eugène Chevreul (1786–1889) and art critic Charles Blanc (1813–1882). They proposed systems for organising colour and predicting the visual results.

Placing colours on the canvas in tiny dashes or dots created opportunities for greater contrast of colour temperature and juxtaposition of complementary (opposite) colours. Seurat believed that this technique would make the painted surfaces feel more vibrant. Whereas Impressionist artists like and used large areas of complementary colours to produce strong contrasts and intensify hues, Seurat used his dots to bring a sense of harmony between the entire composition. His painter51ݶ shows that he kept his colours separate, but relied heavily on white to make them appear luminous.

Six circular clusters of multicolored brush strokes arranged in two rows.

Colour activity: 5 minute mixtures

Look closely at Boat by the Riverbank and record as many interesting colour combinations as you can in 5 mins. Place marks of two or three colours together to see if you can create similar effects.
Once everyone has collected a variety of mixtures, use colour theory to analyse them:

  • Who can see complementary colours in any of the combinations? Seurat thought that placing opposite colours side-by-side made them appear more vibrant. Do you agree?
  • Who has a warm and a cold colour together?
  • Who has a dark and a light colour together?
  • Do you think Seurat might have enhanced or exaggerated some of the real-life colours – why or why not?

Colour and Tone activities

The Beach at Gravelines is remarkable for being composed of mostly two colours: blue and its complementary orange. White has been added to lighten these colours for the sea and sky, which produces a strong tonal contrast with the darker areas of land and the blue border.

  1. Complementary tones: Select a small area of the painting where the water meets the pebbles. Try to generate the same tonal effects with a different pair of complementary colours. Take your time to apply precise dots.
  2. The lost frame: Seurat often painted colourful wooden frames to harmonize with his pictures, though the original for this work is now lost. Design a frame that would enhance your colour combination.
Brighton beach
Brighton beach around 12pm on a cold, cloudy and windy day. Photo credit: Francesa Herrick.

Classroom ‘Croquetons’

Use paint or mixed media to make a small panel artwork that is packed with colour.

a drawing of a beach landscape using pointillist technique.
a drawing of a beach landscape using pointillist technique.

Materials

  • Brown cardboard cut to 16 x 25 cm
    (e.g. cereal boxes from school breakfast club)
  • Paint (poster or acrylic)
  • Small brushes or eco cotton buds
  • Palettes
  • White chalk or white pencils
  • Waterpots and paper towel
    (for cleaning brushes only)

Inspiration

As a class, discuss the nearest place where you can see light on water (a pond, river, canal or seafront). Older students might like to make their own direct sketches from a safe distance. Teachers can provide younger students with photographs or a video. Note down the weather conditions and the main colours you can see.

a drawing in progress of a beach landscape using pointillist technique.

Step 1

Mark out the structure of your
composition with white chalk or a white pencil. Seurat started his paintings by plotting out key shapes and sections. Keep it simple.

Step 2

Pick a palette of 3-4 main colours, 1-2
complementary colours, plus white. Do not mix!
Do make a lighter version (tint) of each colour using the white.

a pointillist painting of a person standing on a beach looking into the horizon.

Step 3

Apply your colours as small dots on the
carboard with brushes or cotton buds.

You might like to start with your mid tone/s (sky blue in this case). Add lighter and darker dots, while keeping a careful balance – you want it to feel light and bright overall.

Finally scatter some dots in the complementary colour (orange in this instance) to make your artwork stand out.

Top tips

Leave gaps between your dots – this will save time and make sure colours stay separate. Seurat did not worry about covering the whole surface and sometimes let the panel show through.

Break the scene down into areas – sky, water, land – so that you can easily take a break between sections. Neo-Impressionism takes concentration!

Mix up your media – experiment with different processes to create colourful dots. Oil pastels look vivid on brown card. Hole-punch paint colour cards for a readymade palette with graduated tones.

Artwork, photograph and text by Francesca Herrick

Contemporary connections

Additional Seurat resources by the Courtauld

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]]> First exhibition devoted to the seascapes of Georges Seurat opens at the Courtauld Gallery /about-us/press-office/press-releases/first-exhibition-devoted-to-the-seascapes-of-georges-seurat-opens-at-the-courtauld-gallery/ Thu, 12 Feb 2026 12:09:46 +0000 /?page_id=166163 The post First exhibition devoted to the seascapes of Georges Seurat opens at the Courtauld Gallery appeared first on Courtauld.

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Download press images, here:

The Courtauld Gallery presents the first-ever exhibition devoted to the seascapes of French painter Georges Seurat (1859–1891) from 13 February to 17 May 2026. The first UK exhibition devoted to Seurat in almost 30 years, The Griffin Catalyst Exhibition: Seurat and the Sea brings together the largest group of these works ever assembled, 26 in total, offering a detailed look at a significant part of Seurat51ݶ production.

Seurat is best known for developing a radical new technique of painting with dots of pure colour, which gave birth to Neo-Impressionism. This exhibition charts the evolution of Seurat51ݶ highly original and distinctive style through the recurring motif of the sea, reuniting for the first time a major group of 26 works—paintings, oil sketches and drawings—created over five summer trips to the northern coast of France between 1885 and 1890. A particular highlight is the presentation of the complete series of paintings made in Port-en-Bessin in 1888 and Gravelines in 1890.

Due to his early death at the age of 31, Seurat has a very small body of works and exhibitions devoted to him are rare. Over the course of his short career, he produced more views of the Channel coast than any other type of picture. Working along the coast, in Grandcamp, Honfleur, Port-en-Bessin, Le Crotoy and Gravelines, Seurat captured views out to sea as well as of harbours and ports. They show a different side to an artist better known for paintings of leisure in Paris and its suburbs. In contrast, these quiet and contemplative seascapes are an exploration of light in open spaces often devoid of people. They represented for Seurat a return to nature that enabled him to develop his technique. He sought, in his words, ‘to cleanse one51ݶ eyes of the days spent in the studio [in Paris] and translate in the most faithful manner the bright light, in all its nuances’.

This exhibition includes loans from major private collections and public institutions, including the Museum of Modern Art, New York; the National Gallery of Art, Washington, D.C.; the Barnes Foundation, Philadelphia; the Baltimore Museum of Art; the Indianapolis Museum of Art; the Minneapolis Institute of Art, the Nelson-Atkins Museum of Art, Kansas City; the National Gallery of Australia, Canberra; the Musée d’Orsay Paris; the Musée des Beaux-Arts de la Ville de Tournai; the Kröller-Müller Museum, Otterlo; the National Gallery, Prague; Tate, the Victoria & Albert Museum and the National Gallery, London.

Due to unprecedented demand, the Courtauld has extended its opening hours on every Friday evening until 8pm throughout the run ofThe Griffin Catalyst Exhibition: Seurat and the Sea, to ensure visitors do not miss out. Late night opening tickets go on sale to Courtauld Members on Friday 13 February, 10:00and to the public on Monday 16 February, 10:00.

The Griffin Catalyst Exhibition: Seurat and the Sea follows major Impressionist exhibitions at the Courtauld Gallery, such as The Morgan Stanley Exhibition: Van Gogh. Self-Portraits and, most recently, the acclaimed The Griffin Catalyst Exhibition: Monet and London. Views of the Thames, which was seen by a record 120,000 visitors.

The exhibition is accompanied by a beautifully illustrated catalogue, showcasing the results of research on Seurat51ݶ seascapes and their importance in his oeuvre.

The exhibition51ݶ Title Supporter is Griffin Catalyst, the civic engagement initiative of Citadel Founder and CEO Kenneth C. Griffin.

The Griffin Catalyst Exhibition: Seurat and the Sea
13 February – 17 May 2026
/whats-on/exh-seurat-and-the-sea/

Tickets for 13 April – 17 May are on sale to Courtauld Members from Friday 13 February, 10:00, and to the public on Monday 16 February, 10:00.

Courtauld Members can enjoy the exhibition without the crowds at a preview on Thursday 12 February, 14:00 – 18:00, and also get free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join at courtauld.ac.uk/friends

Relaxed openings
There will be two relaxed exhibition openings on Wednesday 8 April and Tuesday 5 May 2026 between 10:00 – 10:30. Our relaxed openings provide a quieter moment to enjoy the exhibition, with additional support and facilities from our friendly team.

Courtauld Gallery, Somerset House, Strand, London WC2R 0RN
Opening hours: 10.00 – 18.00 (last entry 17.15), and until 20:00

Temporary Exhibition tickets (including entry to our Permanent Collection and displays) – Tickets from £18. Friends and Under-18s go free. Other concessions available.

Download Press Release

Seurat and the Sea Press Release – Feb 2026 FINAL

MEDIA CONTACTS

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Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000
Daisy Taylor | daisy@boltonquinn.com | +44 (0)20 7221 5000

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NOTES TO EDITORS

Courtauld
The Courtauld works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

The Courtauld Gallery cares for one of the greatest art collections in the UK, presenting these works to the public at the Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh51ݶSelf-Portrait with Bandaged Earand Manet51ݶA Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, the Courtauld Institute is the largest community of art historians and conservators in the UK, teaching and conducting research on subjects ranging from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, the Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, art and business and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld works to increase understanding of the role of art throughout history, across all societies and geographies, and to champion its importance in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible short courses; digital engagement, innovative school, family, and community programmes; or taking a formal qualification. The Courtauld51ݶ ambition is to transform access to art history education, ensuring as many people as possible can benefit from the tools it offers to better understand the visual world around us.

The Courtauld is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by the Courtauld Gallery is owned by the Samuel Courtauld Trust.

About Griffin Catalyst
Griffin Catalyst is the civic engagement initiative of Citadel founder and CEO Kenneth C. Griffin, encompassing his philanthropic and community impact efforts. Tackling the world51ݶ greatest challenges in innovative, action-oriented, and evidence-driven ways, Griffin Catalyst is dedicated to expanding opportunity and improving lives across six areas of focus: Education, Science & Medicine, Upward Mobility, Freedom & Democracy, Enterprise & Innovation, and Communities. For more information, visit griffincatalyst.org.

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]]> A-Level Art History Classes Offer /take-part/schools/a-level-art-history-classes-offer/ Mon, 02 Feb 2026 13:52:36 +0000 /?page_id=165231 We offer free workshops, seminars and gallery tours to state school/colleges classes studying A-Level Art History or A-Level Critical & Contextual Studies.

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A-Level Art History Classes Offer

We offer bespoke workshops to state school/college classes offering A-Level Art History or A-Level Critical & Contextual studies. Classes are allowed one of the following options below, per year, free of charge.

If the below doesn’t meet your requirements, please drop us an e-mail (at learning@courtauld.ac.uk), we are always keen to develop our offer in ways that can support your curriculum.

Work with students? Why not sign up to our here to learn more about our one-off events including our popular teacher workshops.

For bookings please e-mail:learning@courtauld.ac.uk

51ݶ the gallery

  • Gallery Tours – Bring your class for a guided tour of the Courtauld collection. We offer highlight tours, or specific tours focusing on an aspect of the collection, such as Impressionism, identity or gender. Tours are led by our experienced gallery educators who encourage engagement through active looking. Tours last between 1hr – 2hrs and can be request Monday to Friday.
  • Our 19th Century Research Day see students tour the Courtauld collection and highlights from the Courtauld51ݶ Prints & Drawings department, before breaking into groups to devise their own short presentation about an artwork they have chosen. Groups will then present their research in front of the artwork in the gallery, supported by Courtauld staff. Timings: 10am-2:30pm but can be adjusted. Usually available Tuesday and Friday, subject to availability.
  • Our University taster Day looks at the theme of Modern Life, Art, and the City. Students will take part in an interactive tour of the gallery, a seminar taster led by a current PhD student and a trip to the Prints and Drawings department. Timings: 10am-2:30pm but can be adjusted. Usually available Tuesday and Friday, subject to availability.
Two students looking at two drawings. Part of the summer university programme.
Summer University 2023 attendees, taking part in a Prints & Drawings department workshop.
A student looking animated while in a seminar.
Student taking part in the Courtauld’s Summer University programme, ran by the Courtauld’s Learning Team

In your classroom

  • Art History Seminar – Led by a Courtauld PhD student, your students can take part in an Art History seminar taster which aims to encourage students to develop their voice through discussion. Our seminars offer a range of topics, from identity and portraiture, to gender and architecture. Sessions feature a short reading before your visit for a true seminar experience. Seminars last around 1hr and are usually available Monday – Friday, subject to PhD student availability.
  • Have a current Courtauld student visit your school to talk about their experiences of studying Art History at the Courtauld. Our Studying at the Courtauld presentation will look at student life, living in London and feature some highlights from the students’ studies. Talks last between 15-45mins, and are usually available Monday through to Friday, subject to availability.
  • Themed workshops on the following subjects:
    Sense of Self (focusing on Van Gogh51ݶ Self-Portrait with Bandaged Ear, 1889)
    Reworking Manet (focusing on Manet51ݶ A Bar at the Folies-Bergère, 1882)
    A hidden history of colour (What can colours tell us about the past)
    Impressionism (key concepts and timeframes for the Impressionist 51ݶ)
    Workshops last between 1hr – 2hrs and can be requested for Monday to Friday. Sessions can be delivered online or in-person.
Don’t teach Art History A-Level? Check out our offer for Year 12/13 classes here

Learning Resources

We have short Focus resources which look in detail at single artworks along with more in depth resources to help you plan and deliver exciting projects…

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]]> Year 12/13 (or equivalent) offer /take-part/schools/year-12-13/ Mon, 02 Feb 2026 13:48:47 +0000 /?page_id=165227 We offer free workshops and gallery tours to state school/college classes wishing to embed Art History into their curriculum.

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We offer free workshops and gallery tours to state school/college classes wishing to embed Art History into their curriculum. Please see below our Year 12/13 (or equivalent) offer.

If the below doesn’t meet your requirements, please drop us an e-mail (at learning@courtauld.ac.uk), we are always keen to develop our offer in ways that can support your curriculum.

Work with students? Why not sign up to our here to learn more about our one-off events including our popular teacher workshops.

For bookings please e-mail: learning@courtauld.ac.uk

51ݶ the Gallery

  • Gallery Tours – Bring your class for a guided tour of the Courtauld Gallery. We offer highlight tours, or specific tours focusing on an aspect of the collection, such as Impressionism, identity or gender. Tours are led by our experienced gallery educators who encourage engagement through active looking. Tours last between 1hr – 2hrs and can be requested Monday to Friday.

  • Prints and Drawings – Take your students behind the scenes with a visit to the Courtauld51ݶ Prints and Drawings Get up close with a selection of artworks which aren’t usually on display due to their sensitivity to light. 51ݶs usually last 30 minutes and are available Tuesday and Friday, subject to availability.

  • Seminar Taster – Led by a Courtauld PhD student, your students can take part in an Art History seminar taster, which aims to encourage students to develop their voice through discussion. Our seminars are usually themed around cities and can feature a short reading before your visit for a true seminar experience. Seminars last around 1hr and are usually available Tuesday and Friday, subject to availability.
Van Gogh workshop attendees. Insights into Art History 2025. (c) Learning Centre.
Students in a classroom within their school watch a Courtauld Learning Team educator present on a projector screen,
In-school workshop. Learning Team at the Courtauld 2024. © Learning Team

In your classroom

  • Introduction to Art History – Our most popular in-school workshop supports students in understanding the key components to deconstructing and discovering meaning behind an artwork. Using the Courtauld Collection and connected contemporary artworks, students will develop their visual analysis skills through this interactive workshop. Workshops last between 1hr – 2hrs and can be requested for Monday to Friday.
  • The Courtauld Collection – Bring the gallery to your classroom with a workshop looking at the Courtauld51ݶ most famous artworks. From Manet51ݶ A Bar at the Folies-Bergère (1882) to Van Gogh51ݶ Self-Portrait with Bandaged Ear (1889).
  • Themed workshops on the following subjects:
    Sense of Self (A session focusing on Van Gogh51ݶ Self-Portrait with Bandaged Ear, 1889)
    Reworking Manet (A session focusing on Manet51ݶ A Bar at the Folies-Bergère, 1882)
    A hidden history of colour (What can colours tell us about the past)
    Impressionism (key concepts and timeframes for the Impressionist 51ݶ)
    Workshops last between 1hr – 2hrs and can be requested for Monday to Friday. Sessions can be delivered online or in-person.
Teach A-Level Art History class? Check out our focused offer

Young People (16-18)

The Courtauld51ݶ Young People51ݶ Programme offers an exciting series of free workshops, courses and events for young people aged 16-18 to explore The Courtauld Gallery Collection and engage with art history and art practice.

Learning Resources

We have short Focus resources which look in detail at single artworks along with more in depth resources to help you plan and deliver exciting projects…

The post Year 12/13 (or equivalent) offer appeared first on Courtauld.

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