You searched for renoir - Courtauld / Wed, 11 Mar 2026 18:31:03 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.1 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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]]> 17-NEW Modernity and the Female Body in late 19th-Century Paris /short-courses-2026/summer-school/summer-school-on-campus/17-new-modernity-and-the-female-body-in-late-19th-century-paris/ Tue, 09 Dec 2025 10:30:37 +0000 /?page_id=160581 The post 17-NEW Modernity and the Female Body in late 19th-Century Paris appeared first on Courtauld.

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Course 17 – Summer School on Campus

Monday 6 – Friday 10 July 2026

Dr Rose Pickering

£695

Course Description:

This course examines how women became a central presence in late nineteenth-century French art. Across avant-garde painting, more traditional Salon works and commercial advertising, artists repeatedly turned to women of all social classes as subjects, using their bodies and appearances to explore the experience of modern urban life. The course asks what these depictions might reveal about modern Paris and considers the extent to which they reflect social reality or male fantasy.

Focusing on women51ݶ growing visibility in the city, the course traces the emergence of new social types, including the fashionable Parisienne. Fashion and commerce provide key frameworks for analysis, supported by the writings of Baudelaire and Zola, which reveal Paris as a deeply gendered urban environment. Representations of women from this period range from the idealised society figures of Jean Béraud and James Tissot to the barmaids, laundresses, dancers and sex workers depicted by Manet, Degas, Renoir and Toulouse-Lautrec, raising questions about the relationship between artist and model, as well as feminine subjectivity and agency.

The course also addresses shifting representations of masculinity through the work of artists such as Caillebotte. It will also consider women artists, including Morisot and Cassatt, whose representations of domestic life offer alternatives to dominant male perspectives. The course concludes with a close study of Symbolist art in Paris, exploring the tension between idealised visions of the femme fatale and saintly, virginal women. Works by Nabis artists, especially Édouard Vuillard, provide a counterpoint to the heightened Symbolist fantasies of painters such as Gustave Moreau and Paul Gauguin, perhaps offering a more realistic representation of modern women51ݶ experience.

Lecturer’s Biography

Dr Rose Pickering is an Art Historian who focuses on nineteenth and twentieth-century French visual culture with a specialist interest in word and image relations. Her PhD project, ‘Édouard Vuillard51ݶ Representations of Women, 1890-1940: Modernity, Femininity and Proust’, explored a word-image connection between Édouard Vuillard51ݶ artwork and Marcel Proust51ݶ novel, À la recherche du temps perdu (1913-1927). In 2024, she organised a conference on word and image relations with King51ݶ College London and The Courtauld. She has taught widely on British, American and European modern art and is currently a Teaching Fellow in Art History at The Courtauld.

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]]> Early Reception of Impressionism in Britain, 1870-1917 /whats-on/early-reception-of-impressionism-in-britain-1870-1917/ Fri, 12 Sep 2025 10:39:46 +0000 /?post_type=events&p=155380 Join us for a conference exploring the development in Britain of the taste for Impressionism during the period 1870-1917.

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This conference will explore the development in Britain of the taste for French Impressionism between 1870, when Paul Durand-Ruel established his Bond Street gallery, and 1917, when the National Gallery in London accepted the Sir Hugh Lane Bequest.Despite Durand-Ruel51ݶ early support of Monet and his contemporaries, Impressionism51ݶ acceptance by the public in Britain was cautious and slow, hampered as much by limited access to the works as by the hostility of the market and the absence of a pertinent vocabulary by which it could be mediated by British critics. For much of the period in question their work was misunderstood, considered sketch-like and inconsequential.

In the period leading up to the First World War, few collectors were interested in buying Impressionist art. The exceptions were artists such as Walter Sickert and John Singer Sargent, and a group of ‘new rich’ industrialists who had made their fortunes through commerce. In the 1880s and 1890s, the only British dealers to exhibit and sell impressionist art in the UK were David Croal Thomson in London and Alexander Reid in Glasgow. Although this period was marked by a number of pioneering exhibitions, it was not until after the First World War that the market for Impressionism was firmly established.

This conference will present new research by leading scholars of Impressionism and of the history of collecting. It will examine the pioneering contribution of key artists and art dealers, as well as the relative reluctance on the part of collectors to appreciate the Impressionist agenda. Speakers will also examine the presentation of Impressionist and relatively more modern works in British galleries between 1870 and 1917.

The conference is organised and chaired by Professor Frances Fowle, Dr. Natalia Murray and MaryAnne Stevens, and Professor Steve Edwards, Manton Professor of British Art and Director of the Manton Centre for British Art, The Courtauld.

Download the full programme here

Conference Schedule:

10.00 – 10.15: Welcome, Introductory remarks

 

10.15 – 11.15: Session 1: Collecting Impressionism and its reception in Britain before 1917

Chair: Natalia Murray

Overview of Early collecting

MaryAnne Stevens

Durand-Ruel and his British collectors

Flavie Durand-Ruel

 

11.15 – 11.45: Coffee Break

 

11.45 – 13.30: Session 2: Early Collectors

Chair: Tom Stammers

Louis Huth (1821-1905): An Important Early British Collector of Degas

Dr Andrew Watson

Captain Henry Hill: an unexpected collector of French Modern Art

Dr Natalia Murray, Courtauld Institute

A Contradictory Collector: Sir Peter Coats51ݶ Impressionist pictures in context

Professor Frances Fowle

 

13.30 – 14.45: Lunch Break

Provided for speakers and organisers only

 

14.45 – 15.45: Session 3: Artist Collectors

Chair: MaryAnne Stevens

John Singer Sargent: Impressionist Painter and Collector?

Elaine Kilmurray

A Collector Manqué?: Walter Sickert51ݶ Brief Ownership of Impressionist Pictures

Dr Tom Stammers, Courtauld Institute

 

15.45 – 16.15: Coffee Break

 

16.15 – 17.15: Session 4: Collectors and Legacy

Chair: Frances Fowle

Hugh Lane: “He must always be doing for Ireland”

Chris Riopelle

‘The highest ideals in art’: Impressionism in south Wales, 1913-1914

Anne Pritchard

 

17.15 – 17.30: Final Words

 

17.30 – 19.00: Drinks Reception

Speakers:

Frances Fowle

Frances Fowle is Emeritus Professor of Nineteenth-Century Art at the University of Edinburgh. She previously held a Personal Chair in Art History and was Senior Curator of French Art at the National Galleries of Scotland for over twenty years. Her specialism is collecting and the art market and she has curated numerous international exhibitions on Impressionist and Post-Impressionist art. Her publications include Impressionism and Scotland (2008), Van Gogh51ݶ Twin: the Scottish Art Dealer Alexander Reid(2010), Globalizing Impressionism: Reception, Translation and Transnationalism (with Clark, 2020), French Paintings 1500-1900, NGS (with Clarke, 2022) and The Art Market and the Museum (with Cleary, 2025).

Natalia Murray

Natalia Murray is a lecturer in modern art and curating at the Courtauld Institute of Art and a senior curator. She specializes in late nineteenth and early twentieth-century Russian and Western European art and is the curator of the Royal Academy51ݶ major exhibition Russian Art 1917-1932 (2017). Natalia is currently working on several new exhibition projects in the US and in Europe. She has published widely: her most recent book, Two Women Patrons of the Russian Avant-Garde. Nadezhda Dobychina and Klavdia Mikhailova, was published in 2021 and was dedicated to the first gallerists in Russia. Her current research is dedicated to early collectors of French Impressionism in England.

MaryAnne Stevens

MaryAnne Stevens, erstwhile Director of Academic Affairs at the Royal Academy of Arts, London, is a scholar, independent curator, lecturer and consultant. She specializes in 18th-, 19th- and early 20th- century art, with particular reference to British, French and Nordic art in the second half of the 19th and early 20th centuries. She has taught and published extensively in these areas, and curated many exhibitions, covering Nordic art and French Impressionist, Symbolist and early Modern Art. Her most recent exhibition was ‘After Impressionism: Inventing Modern Art’, was presented at the National Gallery, London in 2023.

Christopher Riopelle

Christopher Riopelle is The Neil Westreich Curator of Post 1800 Paintings at the National Gallery. He has held curatorial positions at the J. Paul Getty Museum, CA, and the Philadelphia Museum of Art. Among exhibitions co-curated in London areRenoir Landscapes 1865-1883 (2007);Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market(2015);Delacroix and the Rise of Modern Art(2016);Australia51ݶ Impressionists(2016) and with MaryAnne StevensAfter Impressionism(2023). Forthcoming in 2026 isRenoir and Love, a collaboration of the National Gallery with Musée d’Orsay, Paris, and Museum of Fine Arts, Boston.

Andrew Watson

Andrew Watson, associate lecturer with the Open University, is a specialist in nineteenth-century art, with an emphasis on collecting. He has written extensively on British collectors of French painting, including a book on the remarkable Scottish collector James Duncan of Benmore (1834–1905) and articles for the Société des Amis du Musée National Eugène Delacroix, The Metropolitan Museum of Art Journal, and Burlington Magazine. In his most recent Burlington article he definitively established the early history of Eugène Delacroix51ݶ Death of Sardanapalus. Andrew has written seven entries for Charles Sebag Montefiore51ݶ forthcoming (2027) Dictionary of British Art Collectors: 1600–1939.

Flavie Durand-Ruel

Flavie Durand-Ruel devotes herself to studying the fascinating life of her ancestor Paul Durand-Ruel (1831–1922), a visionary and innovative art dealer. At the Durand-Ruel Archives in Paris, she published, with her uncle, her ancestor51ݶ Memoirs (Flammarion, 2014 & 2024). Since 2018, as FDR Fine Arts Director in Brussels, she researches provenance of pictures, published Tribute to Impressionism: Paul Durand-Ruel, dealer and friend of the Impressionists (2024) and works on the catalogue raisonné of Albert André. She participates in exhibitions and conferences, and studies the correspondence of Claude Monet, and Mary Cassatt to be published in 2026.

Tom Stammers

Tom Stammers is Reader in Art and Cultural History at the Courtauld Institute, and co-leader of the new MA in Art and Business. His first book, The Purchase of the Past: Cultures of Collecting in Post-Revolutionary Paris, c.1790-1890 (Cambridge, 2020) won the RHS Gladstone Prize. He was co-investigator on the major AHRC project ‘Jewish Country Houses: Objects, Networks, People’ (2019-2024). Tom has published widely on French art, the history of collecting, the art market, museums and heritage politics, and contributes regularly to publications including Apollo and the London Review of Books.

Elaine Kilmurray

Elaine Kilmurray is an independent scholar. She was Research Director of the John Singer Sargent catalogue raisonné and co-author, with Richard Ormond, of the nine published volumes of the catalogue (Yale University Press 1998-2016). She has co-curated exhibitions of Sargent51ݶ work in London, the United States and Italy, most recently ‘Sargent and Spain’ (2022), and has written and lectured internationally on the artist and related subjects. She is interested in Sargent51ݶ interaction with Impressionism and in his artistic relationship with Claude Monet.

Anne Pritchard

Anne Pritchardwas Senior Curator at Amgueddfa Cymru, overseeing Historic Art and the renowned Davies Collection of Impressionist art. In addition to the redisplay of those galleries (2010), her exhibitions includedFrance and Britain: Art for a New Age 1817-1917(Japan, 2017-2018), and partnering with Tate to take Stott51ݶLe Passeurto west Wales (2018).Specializing in French art of the long nineteenth century, and particularly its relationship with national identities, her publications have included articles on the landscapes of Sisley, Monet, and Harpignies. After a sabbatical in the USA, she recently joined the National Galleries of Scotland.

Homage to Manet, William Orpen. Painting of a group of men stood and sat around a table
Homage to Manet, Sir William Orpen Image courtesy of Manchester Art Gallery ©Manchester City Galleries

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]]> Idealists, Realists and the Avant-Garde: The Battle for Nineteenth-Century French Painting /whats-on/idealists-realists-and-the-avant-garde-the-battle-for-nineteenth-century-french-painting/ Fri, 21 Feb 2025 16:24:10 +0000 /?post_type=events&p=143989 This course explores the reasons behind the profound innovations in subject matter and technique that characterised nineteenth-century French painting, and the obstacles faced by avant-garde artists in getting their work exhibited and accepted.

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Course 18 – Summer School on campus

Monday 7 – Friday 11 July 2025
Dr Lois Oliver
£645

Course description

In a cartoon published in 1855, Honoré Daumier imagined a battle between two rival aesthetic schools in France: ‘Idealism’ appears as an ageing neoclassical nude, wearing an antique helmet, with his palette as a shield, heroically raising his mahlstick as a spear, to defend himself against ‘Realism’, a scruffy figure in rustic clogs, brandishing a small square palette and clumsy paintbrush. The image perfectly encapsulates the artistic and political differences between these two entrenched aesthetic positions, but the real joke is that neither of these veteran combatants is as vigorous as he used to be: both would be vulnerable to a new avant-garde challenger. The French art world witnessed a series of battles as traditionalists grappled with the successive challenges presented by Romanticism, Realism, Impressionism, Post-Impressionism and Symbolism.

This course explores the reasons behind the profound innovations in subject matter and technique that characterised the age, and the obstacles faced by avant-garde artists in getting their work exhibited and accepted. We shall explore the work of Ingres, Delacroix, Delaroche, Courbet, Millet, Rousseau, Manet, Renoir, Degas, Cassatt, Morisot, Seurat, Cézanne, Gauguin and Van Gogh.

Find out more about Summer School

Lecturer’s biography

Dr Lois Oliveris Professor in History of Art at the University of Notre Dame in London, Lecturer at Boston University London, and a 51ݶing Lecturer at The Courtauld. She has worked as a Curator at the V&A, the National Gallery, and the Royal Academy. Her recent exhibitions include ‘Berthe Morisot: Shaping Impressionism’ at Dulwich Picture Gallery, the first major UK exhibition of Morisot51ݶ work since 1950, and ‘Jock McFadyen: Tourist without a Guidebook’ for the Royal Academy. She is currently working on a new exhibition project ‘Edouard Manet & Music’ for the Royal Academy. Lois studied English Literature at Cambridge University, and History of Art at The Courtauld, completing an MA in Venetian Renaissance Art and writing her PhD thesis on The Image of the Artist, Paris 1815-1855.

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]]> Major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection opens at The Courtauld /about-us/press-office/press-releases/major-exhibition-of-impressionist-and-post-impressionist-masterpieces-from-the-oskar-reinhart-collection-opens-at-the-courtauld/ Thu, 13 Feb 2025 14:36:17 +0000 /?page_id=143301 The post Major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection opens at The Courtauld appeared first on Courtauld.

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To download press images visit:

The Courtauld Gallery presents an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection is on display from 14 February – 26 May 2025.

The exhibition opens with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ51ݶ highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ51ݶ moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ51ݶ provocative The Hammock (1844).

At the heart of the exhibition are some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ51ݶ striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ51ݶ groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne. A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The Courtauld51ݶ collection. The two paintings are presented together for the very first time in London at The Courtauld.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 works of art, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world51ݶ leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel Courtauld, founder of 51ݶ. They shared a similar taste in artists and are known to have met. The Oskar Reinhart Collection51ݶ close affinities with that of The Courtauld Gallery51ݶ permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart51ݶ paintings to the United Kingdom for the very first time.

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

The Griffin Catalyst Exhibition Series has recently been extended to 2028. This collaboration will continue to support the deeply researched and varied exhibitions programme that Kenneth C. Griffin has supported since The Courtauld’s reopening in 2021.

The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection
14 February – 26 May 2025
The 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) – Weekday tickets from £14; Weekend tickets from £16.
Friends and Under-18s go free. Other concessions available

Download the press release

Goya to Impressionism press release

MEDIA CONTACTS

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

Bolton & Quinn Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000 Susie Gault | susie@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – THE COURTAULD

Facebook @TheCourtauld

Instagram @Courtauld #TheCourtauld

Threads @courtauld

TikTok @TheCourtauld

Twitter @TheCourtauld

YouTube TheCourtauld

SOCIAL MEDIA – THE OSKAR REINHART COLLECTION ‘AM RÖMERHOLZ’

Facebook @roemerholz

Instagram @roemerholz

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 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 ѲԱ51ݶ 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 faculty is the largest community of art historians and conservators in the UK, teaching and carrying out research on subjects from creativity in late Antiquity to contemporary digital artforms – 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 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 played by art throughout history, in all societies and across all geographies – as well as being a champion for the importance of art 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 and expert 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 by extending the horizons of what this is and ensuring as many people as possible can benefit from the tools 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 Oskar Reinhart Collection ‘Am Römerholz’ In his former home – The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland – the art collector and patron Oskar Reinhart (1885-1965) left behind one of the

most important private collections of the 20th century. Outstanding paintings of French Impressionism and its forerunners engage in a stimulating dialogue with masterpieces of older art. The two main collection groups correspond to this day more or less exactly to the two architectural components of the residence. On the one hand, there are a few Old Master paintings displayed in the villa of 1915, Oskar Reinhart51ݶ former home, being visually attuned to their surroundings. On the other, there are works of French Impressionism and its immediate forerunners, which form the main focus of the collection and which Reinhart juxtaposed with examples of earlier art in the gallery building of 1925.

The Oskar Reinhart Collection ‘Am Römerholz’ ranges from Lucas Cranach the Elder, Bruegel, Chardin and Goya to Cézanne, van Gogh and early Picasso. The approximately 200 works of art also include masterpieces by Géricault, Manet, Monet and Toulouse- Lautrec, as well as entire groups of works by Delacroix, Courbet, Daumier and Renoir. Pursuing the aim of acquiring art based solely on aesthetic rather than historical and geographic criteria, Reinhart managed to gather a harmonious selection of European masterpieces that belongs among the finest of its kind worldwide. In an aesthetically unique way, the Oskar Reinhart Collection ʻAm Römerholz̕ enables visitors to trace the history of European art from the fourteenth to the early twentieth century in the form of a magnificent celebration of the art of painting, abetted by a group of drawings and some sculptures and textiles.

Additionally, the property is surrounded by a beautiful park with old trees and important sculptures. In summer, guests can order picnic baskets at the museum café and enjoy the silence of nature in Reinhart’s vast historical garden. Throughout the year, audio guides in five languages, special tours, painting workshops for young and old, and a wide range of activities for children are available.

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/

The post Major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection opens at The Courtauld appeared first on Courtauld.

]]> Major Exhibition of Impressionist and Post-Impressionist Masterpieces From the Oskar Reinhart Collection opens at The Courtauld /news-blogs/2025/major-exhibition-of-impressionist-and-post-impressionist-masterpieces-from-the-oskar-reinhart-collection-opens-at-the-courtauld/ Thu, 13 Feb 2025 14:26:25 +0000 /?p=143290 The post Major Exhibition of Impressionist and Post-Impressionist Masterpieces From the Oskar Reinhart Collection opens at The Courtauld appeared first on Courtauld.

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★ ★ ★ ★ ★ The Independent
★ ★ ★ ★ The Times
★ ★ ★ ★ The Telegraph

The Courtauld Gallery presents an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection is on display from 14 February – 26 May 2025.

The exhibition opens with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ51ݶ highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ51ݶ moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ51ݶ provocative The Hammock (1844).

At the heart of the exhibition are some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ51ݶ striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ51ݶ groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne. A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The Courtauld51ݶ collection. The two paintings are presented together for the very first time in London at The Courtauld.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 works of art, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world51ݶ leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel Courtauld, founder of 51ݶ. They shared a similar taste in artists and are known to have met. The Oskar Reinhart Collection51ݶ close affinities with that of The Courtauld Gallery51ݶ permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart51ݶ paintings to the United Kingdom for the very first time.

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

The Griffin Catalyst Exhibition Series has recently been extended to 2028. This collaboration will continue to support the deeply researched and varied exhibitions programme that Kenneth C. Griffin has supported since The Courtauld’s reopening in 2021.

Courtauld Friends 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

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Find all the information you need ahead of your visit to The Courtauld Gallery from admission prices to how to get here and more.

The post Major Exhibition of Impressionist and Post-Impressionist Masterpieces From the Oskar Reinhart Collection opens at The Courtauld appeared first on Courtauld.

]]> Hidden Picasso portrait discovered beneath important painting from his Blue Period /about-us/press-office/press-releases/hidden-picasso-portrait-discovered-beneath-important-painting-from-his-blue-period/ Mon, 10 Feb 2025 10:51:52 +0000 /?page_id=142975 The post Hidden Picasso portrait discovered beneath important painting from his Blue Period appeared first on Courtauld.

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Who is the mystery woman revealed by technical imaging underneath Pablo ʾ51ݶ Blue Period portrait?

Painting to be exhibited at The Courtauld Gallery as part of new exhibition The Griffin Catalyst Exhibition: Goya to Impressionism.
Masterpieces from the Oskar Reinhart Collection, opening 14 February

Download press images:

An undiscovered painting by Pablo Picasso (1881-1973) of a mystery woman, hidden for more than a century beneath one of the very first paintings from the artist51ݶ famous Blue Period, has been revealed by conservators at The Courtauld Institute of Art, London, using specialist imaging technology to examine the work for the first time.

Conducted in collaboration with the Oskar Reinhart Collection, ‘Am Römerholz’, Switzerland, the unknown artwork was discovered when The Courtauld took x-ray and infrared images of Portrait of Mateu áԻ de Soto – a portrait depicting ʾ51ݶ sculptor friend painted in 1901 and one of the earliest examples of the artist51ݶ Blue Period – ahead of its display as part of the upcoming exhibition The Griffin Catalyst Exhibition. Goya to Impressionism:Masterpieces from the Oskar Reinhart Collection, opening 14 February.

The Courtauld51ݶ analysis of the painting reveals it played an important role at a crucial stage in the young ʾ51ݶ stylistic development, at a time when he was moving away from colourful, Impressionistic paintings towards a distinctly more melancholy artistic style which became the defining phase of his career known as his Blue Period.

Portrait of Mateu áԻ de Soto is emblematic of ʾ51ݶ sombre Blue Period, hailed as a defining moment in his career. Nineteen-year-old Picasso had arrived in Paris from Spain in May 1901 for his first exhibition in the city, which opened at the gallery of the modern art dealer Amboise Vollard the following month. Picasso made a range of paintings for that show in an Impressionistic style, with lively brushwork and bright colour. However, by the Autumn of 1901, when he painted Portrait of Mateu áԻ de Soto, Picasso began to change his artistic style to an approach that was more contemplative and sombre, painted in tones of blue.

This Blue Period was inspired in part by the suicide earlier that year of ʾ51ݶ good friend Carlos Casagemas. Picasso took over the rooms where Casagemas had lived in Paris and set up his studio there. Another friend, the young Spanish sculptor Mateu áԻ de Soto, arrived in the city in the Autumn of 1901 and was staying in this studio with Picasso where this portrait was made. The painting on the wall in the background of Portrait of Mateu áԻ de Soto is one of ʾ51ݶ memorial paintings depicting the burial of Casamegas.

Infrared and x-ray images beneath the contemplative portrait of de Soto have revealed another figure, a painting of a woman, likely created just a few months earlier. The form of her head, curved shoulders and the fingers can clearly be seen. Wearing a distinctive chignon hairstyle, fashionable in Paris at the time, she bears a resemblance to several paintings of seated women that Picasso made that year, such as Absinthe Dinker (Hermitage Museum, St Petersburg) and Woman with Crossed Arms (Kunstmuseum, Basel). There is also evidence of a further head at an even lower level in the painting, suggesting it was a much-reworked canvas. She might have been a figure painted in his earlier Impressionistic style, akin to the painting of a woman in shimmering colours called Waiting (Picasso Museum, Barcelona).

Further research into the painting and detailed analysis could reveal more about the mystery woman, but it is not certain her identity will be established. She may have been a model, a friend or even a lover posing for one of ʾ51ݶ colourful Impressionistic images of Parisian nightlife, or a melancholic woman seated in a bar.

Picasso often reused his canvases at this time because he did not have much money. However, he also embraced the process of painting one work over another, resisting whitewashing old images in favour of beginning a new figure directly on top of an earlier one. It is as if the portrait of de Soto grew out of the figure of the woman below as one style gave way to another.

Kerstin Richter, Director of the Oskar Reinhart Collection “Am Römerholz,” said: “This is truly a picture of great complexity, revealing its secrets over the years. When Oskar Reinhart acquired it in 1935, it was simply considered to be a portrait of an unknown woodcarver. Now we not only know the personality depicted, his significance in Picasso’s life after the death of his closest friend, but we can also visualise the artistic development process of the young painter layer by layer.”

Barnaby Wright, Deputy Head of The Courtauld Gallery, said: “We have long suspected another painting lay behind the portrait of de Soto because the surface of the work has tell-tale marks and textures of something below. Now we know that this is the figure of a woman. You can even start to make out her shape just by looking at the painting with the naked eye. ʾ51ݶ way of working to transform one image into another and to be a stylistic shapeshifter would become a defining feature of his art, which helped to make him one of the giant figures of art history. All that begins with a painting like this.”

Aviva Burnstock, Professor of Conservation at The Courtauld, said: “Specialist imaging technology such as that used by conservators at The Courtauld may allow us to see the hand of an artist to understand their creative process. In revealing this previously hidden figure we can shed light on a pivotal moment in ʾ51ݶ career.”

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

Book now: /whats-on/exh-goya-to-impressionism-masterpieces-from- the-oskar-reinhart-collection/

Courtauld Friends 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

The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection
14 February – 26 May 2025

The 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) – Weekday tickets from £14; Weekend tickets from £16.

Friends and Under-18s go free. Other concessions available

A painting from Pablo ʾ51ݶ Blue Period depicting a man in a dark blue coat peeling a piece of fruit, possibly an orange, with a knife. The man51ݶ face is melancholic, with downcast eyes and a somber expression. The color palette is dominated by shades of blue, contributing to the introspective mood. In the background, a framed painting or decoration hangs on the wall, featuring a reclining figure. The brushwork is textured and expressive, characteristic of ʾ51ݶ early 20th-century style.
Pablo Picasso, Portrait of Mateu Fernández de Soto, 1901, oil on canvas, 61.3 x 46.5 cm Oskar Reinhart collection ‘Am Römerholz’, Winterthur, Switzerland.
An infrared reflectography image of Pablo ʾ51ݶ Blue Period painting, revealing an underlying composition beneath the visible artwork. The hidden image shows a woman with delicate features, wearing what appears to be a hat or headpiece, gazing towards the viewer. Her figure overlaps with the seated man in the final composition, suggesting that Picasso reused the canvas, painting over an earlier work.
Infrared image Portrait of Mateu áԻ de Soto (Oskar Reinhart Collection ‘Am Römerholz’), Department of Conservation, 51ݶ, London
An X-ray image of Pablo ʾ51ݶ Blue Period painting, revealing the underlying structure and earlier layers beneath the final composition. The X-ray captures variations in paint density, showing hidden details, compositional changes, and possibly an earlier, abandoned scene. The image highlights ʾ51ݶ process of reusing canvases, with visible brushstrokes and forms that suggest remnants of a different painting beneath the surface. Cracks in the paint layer and areas of thicker impasto are also visible, providing insights into the artist51ݶ materials and techniques.
X-ray image of Mateu áԻ de Soto (Oskar Reinhart Collection ‘Am Römerholz’), Department of Conservation, 51ݶ, London

Download the press release

Goya to Impressionism press release

MEDIA CONTACTS

The 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 daisy@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – THE COURTAULD

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Threads @courtauld
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SOCIAL MEDIA – THE OSKAR REINHART COLLECTION ‘AM RÖMERHOLZ’

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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 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 ѲԱ51ݶ 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 faculty is the largest community of art historians and conservators in the UK, teaching and carrying out research on subjects from creativity in late Antiquity to contemporary digital artforms – 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 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 played by art throughout history, in all societies and across all geographies – as well as being a champion for the importance of art 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 and expert 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 by extending the horizons of what this is and ensuring as many people as possible can benefit from the tools 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 Oskar Reinhart Collection ‘Am Römerholz’
In his former home the art collector and patron Oskar Reinhart (1885-1965) left behind one of the most important private collections of the 20th century. Outstanding paintings of French Impressionism and its forerunners engage in a stimulating dialogue with masterpieces of older art. The two main collection groups correspond to this day more or less exactly to the two architectural components of the residence. On the one hand, there are a few Old Master paintings displayed in the villa of 1915, Oskar Reinhart51ݶ former home, being visually attuned to their surroundings. On the other, there are works of French Impressionism and its immediate forerunners, which form the main focus of the collection and which Reinhart juxtaposed with examples of earlier art in the gallery building of 1925.

The Oskar Reinhart Collection ‘Am Römerholz’ ranges from Lucas Cranach the Elder, Bruegel, Chardin and Goya to Cézanne, van Gogh and early Picasso. The approximately 200 works of art also include masterpieces by Géricault, Manet, Monet and Toulouse- Lautrec, as well as entire groups of works by Delacroix, Courbet, Daumier and Renoir. Pursuing the aim of acquiring art based solely on aesthetic rather than historical and geographic criteria, Reinhart managed to gather a harmonious selection of European masterpieces that belongs among the finest of its kind worldwide. In an aesthetically unique way, the Oskar Reinhart Collection ʻAm Römerholz̕ enables visitors to trace the history of European art from the fourteenth to the early twentieth century in the form of a magnificent celebration of the art of painting, abetted by a group of drawings and some sculptures and textiles.

Additionally, the property is surrounded by a beautiful park with old trees and important sculptures. In summer, guests can order picnic baskets at the museum café and enjoy the silence of nature in Reinhart’s vast historical garden. Throughout the year, audio guides in five languages, special tours, painting workshops for young and old, and a wide range of activities for children are available.

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/

 

Press release – PDF download

Press Release – Hidden Picasso Portrait Discovered Beneath Important Painting from his Blue Period, 10 Feb 2025 | The Courtauld

The post Hidden Picasso portrait discovered beneath important painting from his Blue Period appeared first on Courtauld.

]]> The Courtauld Gallery announces major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection /about-us/press-office/press-releases/oskar-reinhart/ Thu, 28 Nov 2024 10:07:44 +0000 /?page_id=137482 The post The Courtauld Gallery announces major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection appeared first on Courtauld.

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The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection

14 February – 26 May 2025

Denise Coates Exhibition Galleries, The Courtauld Gallery

To download press images visit:

The Courtauld Gallery will present an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection will be on display from 14 February – 26 May 2025.

The exhibition will open with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ51ݶ highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ51ݶ moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ51ݶ provocative The Hammock (1844). 

At the heart of the exhibition will be some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ51ݶ striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ51ݶ groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne.  A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The Courtauld51ݶ collection.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 paintings, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world51ݶ leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel Courtauld, founder of 51ݶ. They shared a similar taste in artists and are known to have met. The Reinhart Collection51ݶ close affinities with that of The Courtauld Gallery51ݶ permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart51ݶ paintings to the United Kingdom for the very first time.

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

Tickets are available to buy on our website:/whats-on/exh-goya-to-impressionism-masterpieces-from-the-oskar-reinhart-collection/

Courtauld Friends 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

The 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) – Weekday tickets from £14; Weekend tickets from £16.

Friends and Under-18s go free. Other concessions available  

Download The Griffin Catalyst Exhibition: Goya to Impressionism Press Release PDF

The post The Courtauld Gallery announces major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection appeared first on Courtauld.

]]> Tickets on sale for major exhibition of masterpieces from The Oskar Reinhart Collection /news-blogs/2024/tickets-on-sale-oskar-reinhart/ Thu, 28 Nov 2024 10:04:13 +0000 /?p=137418 Tickets are now on sale for The Courtauld's next major exhibition - The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.

The post Tickets on sale for major exhibition of masterpieces from The Oskar Reinhart Collection appeared first on Courtauld.

]]>

The Courtauld Gallery will present an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection will be on display from 14 February – 26 May 2025.

The exhibition will open with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ51ݶ highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ51ݶ moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ51ݶ provocative The Hammock (1844). 

At the heart of the exhibition will be some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ51ݶ striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ51ݶ groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne.  A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The Courtauld51ݶ collection.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 paintings, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world51ݶ leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel Courtauld, founder of 51ݶ. They shared a similar taste in artists and are known to have met. The Reinhart Collection51ݶ close affinities with that of The Courtauld Gallery51ݶ permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart51ݶ paintings to the United Kingdom for the very first time.

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

Tickets are on general sale from Thursday 28 November, 10am (GMT):

Book now: /whats-on/exh-goya-to-impressionism-masterpieces-from-the-oskar-reinhart-collection/

Courtauld Friends 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

The post Tickets on sale for major exhibition of masterpieces from The Oskar Reinhart Collection appeared first on Courtauld.

]]> Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection /whats-on/exh-goya-to-impressionism-masterpieces-from-the-oskar-reinhart-collection/ Wed, 14 Aug 2024 08:26:34 +0000 /?post_type=events&p=126709 For the first time in its history, a rich array of Impressionist and Post-Impressionist highlights from the Reinhart collection are on display outside Switzerland.

The post Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection appeared first on Courtauld.

]]>

14 Feb – 26 May 2025
Denise Coates Exhibition Galleries, Floor 3

The Courtauld Gallery presents an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. This exhibition is a unique opportunity to see some of its masterpieces – including works by Goya,Monet, Renoir, Van Gogh, Picasso,and Cezanne among others.

The exhibition opens with a group of major paintings by artists who preceded the Impressionists, including ҴDzⲹ51ݶ highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ51ݶ moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ51ݶ provocative The Hammock (1844).

At the heart of the exhibition are some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ51ݶ striking representation of the female performer  The Clown Cha-U-Kao (1895), ѲԱ51ݶ groundbreaking depiction of modern life  Au Café (1878), and a group of sensational works by Renoir and Cezanne.  A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The Courtauld’s collection.

About the Oskar Reinhart Collection ‘Am Römerholz’

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 works of art, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world51ݶ leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel Courtauld, founder of 51ݶ. They shared a similar taste in artists and are known to have met in 1932, the year when The Courtauld was founded. The Reinhart Collection51ݶ close affinities with that of The Courtauld Gallery51ݶ permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart51ݶ paintings to the United Kingdom for the very first time.

Title Partner

Griffin Catalyst logo

Supported byKenneth C. Griffin

Highlights

Toulouse-Lautrec painting of a vibrant cabaret scene, figure in yellow and green, red lips, feathered hat.
Henri de Toulouse-Lautrec (1864 – 1901), The Clown Cha-U-Kao, 1895. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Painting of two women and a man sitting at a counter in a cafe
Edouard Manet, Au café, 1878. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
A painting of flowers
Pierre-Auguste Renoir, Lily and Greenhouse Plants, 1864, Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Painting of a man in military dress
Théodore Géricault, A Man suffering from Delusions of Military Rank, c. 1819-22, Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Painting of a hospital courtyard, featuring an arched walkway, trees and a fountain.
Vincent van Gogh, The Courtyard of the Hospital at Arles, 1889. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
A painting of a hospital ward, with men sat in the foreground
Vincent van Gogh, A Ward in the Hospital at Arles, 1889. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Impressionist painting of a jug and bowls of fruit on a table
Paul Cézanne, Still Life with Faience Jug and Fruit, c. 1900. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
An oil painting of three salmon stakes by Francisco Goya
Francisco Goya, Still Life with Three Salmon Steaks, 1808-12. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Impressionist painting of a partially frozen river with ice floes reflecting the sky, bare trees lining the banks, and a misty background.
Claude Monet, The Break up of Ice on the Seine, 1880-81. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur

Discover The Oskar Reinhart Collection

Dive into some of the works on display

★★★★★

“Fall in love with Impressionism all over again”

★★★★★

“A jewel of an exhibition”

★★★★★

★★★★

“This greatest hits selection is off the scale”

★★★★

“The cream of a rather delicious crop”

“An electrifying meeting of painters”

Shop the catalogue

This catalogue accompanies The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection, which presents an extraordinary group of masterpieces from the Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland.

The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection catalogue

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