You searched for van gogh - Courtauld / Fri, 13 Feb 2026 15:54:43 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.1 The Courtauld Summer School Essay Competition /short-courses-2026/students-voices-students-work/the-courtauld-summer-school-essay-competition/ Fri, 13 Feb 2026 15:54:41 +0000 /?page_id=166555 The post The Courtauld Summer School Essay Competition appeared first on Courtauld.

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In the summer of 2025, we decided to host an essay competition open to all Summer School students, and the question we put to our students was this one:

Is studying art history like Nero fiddling while Rome Burns? In other words: What Impact does the Study of Art History have on the World Today?

Students responded with enthusiasm, and we were able to select two runners-up and a final winner, whose entry you can read below.

We hope to run the essay competition once more in Summer School 2026.

Summer School Student Emily Doswell

Summer School Essay Competition 2025 Winner: Emily Doswell

Is studying art history like Nero fiddling while Rome Burns? In other words: What Impact does the Study of Art History have on the World Today?

On the 24th February 2022, Russia invaded Ukraine. In October the following year, Hamas-led militant groups launched an attack on Israel, in which just under 1200 Israelis and foreign nationals were killed, triggering the Hamas-Israeli war. In September 2024, when famines were announced in Gaza and the Sudan, I began my A level study into History of Art. In the light of such world suffering, there is validity in questioning the relevance of such a course. However, it is precisely in such a context that the importance of Art and the study of Art History becomes more precious. The official website of Ukraine recognises, amid the struggle that Art generated during the conflict, conveys an important message and acts as a powerful tool to help Ukrainians share their emotions and personal narrative. A series of illustrations on the site, by a 15-year-old Ukrainian girl, depicts her family; a mother, a wife, a daughter, dealing with the loss of their son, husband and father; a Ukrainian soldier, a casualty in the war. His jacket, unworn, over the back of a chair depicts for future generations the human face of the suffering. It is a conduit to understand her loss. Over the centuries, Art has recorded human conflict and suffering. From the fractured chaos of Guernica to the impasto of Van Gogh, works that do not soothe; but act to expose frightful struggle; shared tragedy in art, acting as reminder to avoid repetition. Even within everyday education however, this study is increasingly important. As ChatGPT degrees and AI-generated images enter public use, the need for original thought fades. It51ݶ not just the death of art that is at risk, it51ݶ the very act of thinking. Where any book can be summarised and any equation solved, art remains the only thing in resistance to passive consumption. Art History teaches us to examine the visual, not just look. I am taught to confront, analyse and absorb pieces in ways that exhaust me. This act is something I am unable to cheat at. Art History is a window into power, resistance, pain, and most often, ecstatic beauty. Studying art is equivalent to empathising, an act where you look at the world through another51ݶ eyes and feel as they would. Even our machines analyze the past to shape their algorithms and responses, therefore it51ݶ naive to think we can face the future without learning from those who came before us. To confront human experience and live, we must hold on to what is innately human, and since that quality is increasingly rare today, we must turn to art.

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]]> First ever exhibition devoted to Georges Seurat’s seascapes opens at the Courtauld Gallery /news-blogs/2026/first-ever-exhibition-devoted-to-the-seascapes-of-georges-seurat-opens-at-the-courtauld-gallery/ Fri, 13 Feb 2026 10:10:29 +0000 /?p=166139 The post First ever exhibition devoted to Georges Seurat’s seascapes opens at the Courtauld Gallery appeared first on Courtauld.

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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 Seabrings together the largest group of these works ever assembled, 26 in total, offering a detailed look at a significant part of Seurat’s 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 Seurat’s highly original and distinctive style through the recurring motif of the sea, reuniting for the first time a major group of 26 works — paintings, oilsketches 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:

A painting of Seascape at Port-en-Bessin, Normandy, a green cliff overlooking the blue sea with clouds in the sky
Georges Seurat (1859-1891), Seascape at Port-en-Bessin, Normandy, 1888, oil on canvas. Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, National Gallery of Art, Washington D.C.
Pointillist view of the Channel at Gravelines, showing the Petit-Fort Philippe shoreline with sandy banks, calm water, and distant structures, bathed in soft light and rendered in small, evenly spaced dots of blue, green, and warm earth tones.
Georges Seurat (1859-1891), The Channel at Gravelines, Petit-Fort Philippe, 1890, oil on canvas, Indianapolis Museum of Art at Newfields, Gift of Mrs. James W. Fesler in memory of Daniel W. and Elizabeth C. Marmon, 45.195. Image courtesy of the Indianapolis Museum of Art at Newfields.
Pointillist seascape showing the harbor at Gravelines at evening, with calm water, breakwaters, and thin ship masts silhouetted against a softly glowing sunset sky, rendered in small, luminous dots of colour.
Georges Seurat (1859-1891), The Channel at Gravelines, Evening, 1890, oil on canvas, The Museum of Modern Art, New York. Gift of Mr. and Mrs. William A. M. Burden, 1963, Digital image, The Museum of Modern Art, New York/Scala, Florence.
Pointillist coastal scene of Port-en-Bessin at low tide, with fishing boats resting in a quiet outer harbor, exposed shoreline and docks in the foreground, and calm sea and sky built from small, precise dots of muted blues, greens, and earth tones.
Georges Seurat (1859-1891), Port-en-Bessin, Outer Harbour Low Tide, 1888, oil on canvas, Saint Louis Art Museum, Museum Purchase. Image: Saint Louis Art Museum
Pointillist harbor scene at Port-en-Bessin, with steep cliffs framing a narrow inlet, small fishing boats moored on calm water, and figures and buildings along the shore, all constructed from dense dots of blue, green, and ochre.
Georges Seurat (1859-1891), Port-en-Bessin, 1888, oil on canvas, lent by the Minneapolis Institute of Art, The William Hood Dunwoody Fund. Photo: Minneapolis Institute of Art
Pointillist beach scene at Bas Butin in Honfleur, with gently sloping sand, small figures along the shoreline, calm sea, and a pale sky, rendered in delicate dots of blues, creams, and soft pastels.
Georges Seurat (1859-1891), Beach at Bas Butin, Honfleur, 1886, Oil on canvas, Collection du Musée des Beaux-Arts de la Ville de Tournai, Image courtesy Musée des Beaux-Arts, Tournai.
Georges Seurat, (1859-1891), Le Bec du Hoc, Grandcamp, 1885, Tate/ Tate images
Georges Seurat's
Georges Seurat (1859-1891), The Lighthouse at Honfleur, 1886, oil on canvas, 66.7 x 81.9cm. Collection of Mr. And Mrs. Paul Mellon, National Gallery of Art, Washington D.C.
‘to cleanse one’s eyes of the days spent in the studio [in Paris] and translate in the most faithful manner the bright light, in all its nuances’
Georges Seurat

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 20:00 throughout the run ofThe Griffin Catalyst Exhibition: Seurat and the Sea, to ensure visitors do not miss out. Late night opening tickets are now on sale to Courtauld Members from Friday 13 February, 10:00 and to the public on Monday 16 February, 10:00.

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

The Griffin Catalyst Exhibition: Seurat and the Sea follows major Impressionist exhibitions at the Courtauld Gallery, includingThe Morgan Stanley Exhibition: Van Gogh. Self-Portraits and, most recently,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 , showcasing the results of research on Seurat’s seascapes and their importance in his ouvre, which is now available to and in-store.

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

Book your tickets now

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Courtauld Gallery Exhibition Exhibitions What’s on Highlights

Seurat and the Sea

13 Feb – 17 May 2026

★★★★★ “Tremendous” – The Guardian; ★★★★★ “Pure joy” – The London Standard. Experience the first ever exhibition dedicated to the seascapes of the French artist Georges Seurat.

Plan your visit

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 First ever exhibition devoted to Georges Seurat’s seascapes opens at the Courtauld Gallery appeared first on Courtauld.

]]> 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

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

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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.

The post A-Level Art History Classes Offer appeared first on Courtauld.

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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…

The post A-Level Art History Classes Offer appeared first on Courtauld.

]]> 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.

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

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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.

]]> The Courtauld Gallery spotlights British Women Landscape Artists in new drawings exhibition /about-us/press-office/press-releases/the-courtauld-gallery-spotlights-british-women-landscape-artists-in-new-drawings-exhibition/ Wed, 28 Jan 2026 10:12:14 +0000 /?page_id=165385 The post The Courtauld Gallery spotlights British Women Landscape Artists in new drawings exhibition appeared first on Courtauld.

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To download press images visit:

The Courtauld Gallery presents a new exhibition of landscape drawings and watercolours by women artists working in Britain between 1760 and 1860, shedding light on a new side of the Golden Age of British Landscape art.

When the Royal Academy was founded in 1768, its members included two women, yet there would not be another female academician until Dame Laura Knight was elected in 1936. Despite this institutional exclusion, women artists in Britain continued to train, practice, and exhibit during this period, particularly in the field of landscape watercolours.

The exhibition features 10 remarkable women artists who have remained mostly unknown and their works largely unpublished. They include Harriet Lister and Lady Mary Lowther, who were among the first to depict the Lake District; Amelia Long, Lady Farnborough, one of the first British artists to travel to France following the Napoleonic Wars; and Elizabeth Batty – whose works appearing in the show were only rediscovered a few years ago.

The twenty-four works on paper on display include recent acquisitions and promised gifts and form part of a project to extend and diversify the collection of British watercolours.

The display takes on special resonance at the Courtauld Gallery in Somerset House, once the eighteenth-century home of the Royal Academy of Arts, where several of the featured artists including Amelia Long, Lady Farnborough, and Harriet Lister exhibited work.

A View of One51ݶ Own: Landscapes by British Women Artists 1760-1860 is curated by Dr Rachel Sloan, Associate Curator for Works on Paper, and is accompanied by a new catalogue with contributions by Dr Susan Owens and Dr Paris Spies-Gans.

Entry to this exhibition is included with Gallery Entry.

A View of One51ݶ Own: Landscapes by British Women Artists 1760-1860
28 January – 20 May 2026
Gilbert & Ildiko Butler Drawings Gallery, Floor 1

Download Press Release

Download Press Release

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

Facebook @TheCourtauld
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CourtauldGallery
Somerset House, Strand
London WC2R 0RN

Opening hours: 10.00 – 18.00 (last entry 17.15)
Friends and Under-18s go free. Other concessions available.

Friends get free unlimited entry to theCourtauldGallery and exhibitions,priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join today atcourtauld.ac.uk/friends

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 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 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.

media@courtauld.ac.uk

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]]> Courtauld announces new Contemporary Galleries at Somerset House /about-us/press-office/press-releases/courtauld-announces-new-contemporary-galleries-at-somerset-house/ Tue, 27 Jan 2026 09:59:42 +0000 /?page_id=165330 The post Courtauld announces new Contemporary Galleries at Somerset House appeared first on Courtauld.

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The Courtauld today announced a new gift from the Blavatnik Family Foundation — bringing the Foundation51ݶ total support for the institution to £20 million — supporting the creation of two new galleries dedicated to contemporary art. The galleries are expected to open in 2029 as part of the development of the Courtauld51ݶ new world-class campus at Somerset House.

The distinguished Blavatnik Family Foundation has supported the Courtauld for many years: in the words of Lord Browne of Madingley, Chair of the Courtauld51ݶ Board of Trustees, “Sir Leonard and Lady Emily Blavatnik, and their Foundation, have been central to our recent history and success, and all of us at the Courtauld want to thank them for their exceptional and continuing generosity.” The Blavatnik Fine Rooms opened in 2021 as part of the major redevelopment of the Courtauld Gallery. This latest gift of £10m, which also includes the realisation of the Blavatnik Reading Room within the Courtauld51ݶ remodelled library, builds on that longstanding partnership.

The Blavatnik Contemporary Galleries will provide a distinctive space for visitors and students to experience contemporary art through special exhibitions, commissions, and events. Located on the top floor of the North Wing of Somerset House within the new Courtauld Campus, the two new galleries restore a space designed in the 18th century as a display room for the Royal Society. They will be accessible to visitors via a dedicated entrance opposite the main Gallery entrance, providing full public access to the historic East Wing staircase. Since the transformation of its Gallery in 2021, completed by 2025 RIBA Stirling Prize-winning architects Witherford Watson Mann, the Courtauld has significantly expanded its offering of contemporary art, including successful exhibitions dedicated to Peter Doig and Claudette Johnson, and a major commission by Cecily Brown. An annual commission for The John Browne Entrance Hall launched in 2025 with a pair of new works by Rachel Jones. The first European solo exhibition of acclaimed New York painter Salman Toor will open on 2 October 2026.

The Blavatnik Contemporary Galleries, which form part of the Courtauld51ݶ transformation of its historic Grade I listed building at Somerset House, will provide a space for working with

artists on new projects, championing original practice and offering fresh perspectives on the most compelling and influential developments in contemporary art. The galleries will also be a site for experimentation and collective learning for the students on the Courtauld Institute51ݶ MA in Curating, who will play a significant role in delivering the programme.

The new Courtauld Campus, generously supported by the Reuben Foundation and other philanthropists, with a masterplan by Witherford Watson Mann and designed in collaboration with Purcell and Lawson Ward Studios, will see the creation of a flexible teaching, learning and creative environment which will reunite the Gallery, Institute and conservation studios under one roof and strengthen the Courtauld51ݶ position as a leading global centre for the visual arts.

Mark Hallett, Märit Rausing Director of the Courtauld, said: “Sir Leonard and Lady Emily Blavatnik have been foundational supporters of the Courtauld for many years, and we are thrilled that they share our excitement about our expanded engagement with contemporary art. Thanks to their enlightened philanthropy, visitors to the Courtauld51ݶ galleries will be able to enjoy the most exciting art of today alongside our extraordinary array of historic masterpieces.”

Elena Crippa, Senior Curator of Contemporary Art: Exhibitions and Projects at the Courtauld, said: “The new galleries will be a site of possibilities for artists to present exceptional artworks. These new spaces will help us connect past and present art and ideas, engage students and bring living artists to the core of our activities.”

Sir Leonard Blavatnik, said: “My family and I have taken great pride in our association with the Courtauld over the past decade. It has been a privilege to play a leading role in shaping the Gallery51ݶ future. We congratulate all involved and look forward to many more years of close collaboration.”

Sir Antony Gormley, artist, said: “Wonderful to have, in such a lively intellectual context, a new place to look at, experience, and discuss the art of our time.”

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Courtauld

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.

Blavatnik Family Foundation
Led by Sir Leonard Blavatnik, founder of Access Industries, the Blavatnik Family Foundation promotes innovation, discovery and creativity to benefit the whole of society. Through the Foundation, the Blavatnik family has contributed over $1.3 billion globally to advance science, education, arts and culture, and social justice. The Blavatnik Family Foundation has also supported more than 180 leading cultural organisations, including the National Gallery, National Portrait Gallery, Royal Academy, V&A, Courtauld, Tate Modern, and English Heritage. www.blavatnikfoundation.org

About Witherford Watson Mann Architects
Witherford Watson Mann Architects started off their collaboration, more than twenty years ago, with a series of walks through the edges of London; since then, they have approached every project as an open-ended enquiry. Witherford Watson Mann Architects work with what they find, turning the constraints of inherited situations into surprising opportunities. They develop designs in conversation with their clients, helping progressive institutions do more of what they excel at. Combining imagination with collaboration has led to an exceptional level of ambition, the significance of which has been recognised with two RIBA Stirling Prizes: Appleby Blue Almshouse (2025), reimagining independent urban living for older people; and Astley Castle (2013), a bold entwining of past and present. Appleby Blue also won the 2025 RIBA Neave Brown Award for Social Housing and was the overall winner across all categories of the 2024 Housing Design Awards.

In addition, Witherford Watson Mann Architects’ re-imagination of the Courtauld Institute of Art in the Grade 1 Listed Somerset House and theatre for Nevill Holt Opera, built within the courtyard of an historic stable block, were shortlisted for the 2023 and 2019 RIBA Stirling Prizes respectively. Three of their projects won the ‘Stirling Prize People’s Vote’.

Witherford Watson Mann Architects have transformed existing buildings for Amnesty International UK, the Whitechapel Gallery, Arts Council England and Clare College, Cambridge. Strategic projects at the city scale include the Walthamstow Wetlands, Bankside Urban Forest and Olympic Park Legacy Plan. They continue to work with extraordinary institutions on re-imagining them in their buildings with the second phase of the Courtauld Institute of Art, Albany Theatre Deptford and Royal College of Art51ݶ home in Kensington all underway.

About Lawson Ward Studio
Established in 2020 by Hannah Lawson and Georgina Ward, Lawson Ward Studio is a London-based architecture and design practice recognised for thoughtful and collaborative design. The studio works across cultural, educational and residential projects, from small-scale refurbishments to major new developments, with a particular focus on the reinvention of existing buildings through careful remodelling or dramatic intervention.

Clients include the Courtauld Institute of Art, The National Gallery, The Science Museum, The Natural History Museum, The Wallace Collection, the British Film Institute and the Warwick Schools Foundation, alongside a range of private clients and developers. Recent work includes the Roden Centre for Creative Learning at The National Gallery, which won an AJ Architecture Award in 2025, in the Cultural Project category.

Lawson Ward Studio is committed to delivering architecture that is collaborative, context-driven and rooted in ideas of place, space, material and light – resulting in work that is considered, meaningful and enduring.

About Purcell
Purcell is an international practice of architects, masterplanners and heritage consultants, trusted for its expertise in conserving and reimagining the world51ݶ most significant historic places. Founded in 1947, the practice pioneered the post-war conservation 51ݶ and continue to champion adaptive reuse as a pathway to a sustainable, low-carbon future.

With a conservation-first mindset, Purcell combines design excellence with technical rigour to deliver inclusive, planet-positive solutions. Its award-winning portfolio includes the National Gallery51ݶ Sainsbury Wing with Selldorf Architects; Manchester Town Hall; the Wallace Collection masterplan; and twice nominated for the Stirling Prize for National Portrait Gallery with Jamie Fobert Architects and the 2025 Stirling Prize-nominated Elizabeth Tower.

With 14 studios (10 across the UK and four in Asia Pacific) – Purcell is proud to be a Certified B Corporation®, ranked No.1 for Heritage in the World Architecture 100 and recognised for creating places that celebrate heritage while making space for new stories to unfold.

Rendering of the Blavatnik Contemporary Galleries at the Courtauld featuring, left to right: Peter Doig, Alpinist (2022), Claudette Johnson, Blues Dance (2023), and Rachel Jones, STRUCK (2025). Illustration: Secchi Smith.

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]]> Ambition is the Last Refuge Before Failure /take-part/schools/sense-of-self-online-exhibition/ambition-is-the-last-refuge-before-failure/ Mon, 19 Jan 2026 11:15:45 +0000 /?page_id=164997 The post Ambition is the Last Refuge Before Failure appeared first on Courtauld.

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Will, Ambition is the Last Refuge Before Failure, Sense of Self Online Exhibition 2025 | The Courtauld.
Will, Ambition is the Last Refuge Before Failure, Sense of Self Online Exhibition 2025 | The Courtauld.

Will, aged 17

Using myself as the subject I try to embody the themes of Van Gogh’s Self-Portrait within this piece: personal struggles fought internally, physically manifested as fragmented pieces of my face emphasised by the change in texture. The rest of the piece has symbolic meaning: the wing to represent one51ݶ own ambition, the multiple faces representing personalities, and the kintsugi lines drawn from Japanese art to show inspiration.

 

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]]> Saturday Study /short-courses-2026/saturday-study/ Tue, 09 Dec 2025 13:39:52 +0000 /?page_id=162363 Short, intensive and enjoyable events giving context to our temporary exhibitions or exploring themes suggested by our permanent collections

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Saturday Study happens once a term and delivers short, intensive and sociable events that draw from our temporary exhibitions or our permanent collection to explore significant art-historical themes. Saturday Study events take place in the Lecture Theatre at Vernon Square; they will also be recorded and made available online from the following week. Refreshments and entry to The Courtauld Gallery are included in the course fee for on-campus attendees. Where Saturday Study events contextualise temporary exhibitions at The Courtauld Gallery, booking for online access remains open until the end of the relevant exhibition. The lecture recordings will be sent in the week directly after the Saturday in question, or once a week on Tuesdays thereafter. Recordings will be accessible for ten days from delivery.

Upcoming – Seurat’s Seascapes: Dr Karen Serres and Dr Anne Puetz in Conversation

Saturday 25 April 2026. Available on campus and online.

Find out more
An oil painting by Seurat in his classic pointillism style of a beach with a large stretch of water and sky in the distance. Georges Seurat, ‘The Beach at Gravelines,’ 1890, oil on panel, The Courtauld, London (Samuel Courtauld Trust), © The Courtauld”

Archive of previous Study Events

“An Object of National Splendour”: Somerset House and the British Empire

The Courtauld Gallery reopened its doors to the public on 19 November. As audiences return to its home in Somerset House, our Study Day explores this magnificent building in depth. Somerset House was the most significant public building project in Britain in the late eighteenth century, and originally housed a number of key government offices, including the headquarters of the Navy Board, alongside England51ݶ major learned societies. Our Study Day investigates the building51ݶ sophisticated construction and external ornamentation, as well as its function and symbolic role within a wider network of British imperial spaces and architectures.rnrnSpeakers: Kyle Leyden, Dr Emily Mann, Dr Anne PuetzrnrnModerated by Dr Anne PuetzrnrnSaturday 11 December 2021

Reflecting on Van Gogh51ݶ Self-Portraits

Today, Vincent Van Gogh51ݶ paintings achieve fantastic sums at auctions, his style is unmistakable, and his popular recognition arguably the highest of any modern painter. Collectively, we feel that we ‘know’ this artist.The Courtauld Gallery51ݶ exhibition u003cemu003eVan Gogh51ݶ Self-Portraitsu003c/emu003e (3 February – 8 May 2022), the first ever devoted to the artist51ݶ self-portraits across his entire career, asks us to think again, drawing on new research about his social networks, and about the works themselves. Exhibition curator Dr Karen Serres will reflect on both entrenched myths and the new perspectives gained about Van Gogh as man and artist.rnrnSpeakers: Dr Karen Serres in conversation with Dr Anne PuetzrnrnSaturday 12 March 2022

Object/Subject: Modern Women in Impressionist, Post-Impressionist and Expressionist Art

Women feature prominently in a number of key works from The Courtauld51ݶ modern collections, appearing as barmaids, nudes, dancers or fashionable sitters in portraits. Looking beyond our own collections, it is clear that in much u003cemu003eavant-gardeu003c/emu003e art – mostly painted by men – women abound as ‘subject-matter’; as objects to be looked at, to put it another way. This event foregrounds a number of striking women artists of the later nineteenth and early twentieth centuries, including Berthe Morisot, Gabriele Münter, Marianne Werefkin and Paula Modersohn Becker, and explores the connections between women (as subject-matter and as agents) and wider nineteenth-century concepts and connotations of modernity. We shall look closely at the ways nineteenth century attitudes to women and their experience reveal themselves in paint, and ask how these differ when the woman herself is the producer of the work. Progressing into the early twentieth century, we shall discuss the boundaries to be negotiated by female painters, considering the ways in which they bridged the gap between their desire to work in a man51ݶ world, and society51ݶ expectations of an appropriate feminine identity. For each of these artists, complex questions of creative agency are at stake.rnrnSpeakers: Dr Anne Puetz and Dr Niccola ShearmanrnrnSaturday 14 May 2022

Henry Fuseli and his Drawings of the ‘Modern Woman’

Exhibition curators Professor David Solkin and Dr Ketty Gottardo discuss the life and work of one of British Romantic art51ݶ most unusual figures, the Swiss-born painter and draughtsman Henry Fuseli (1741-1825). We’ll try to make sense of Fuseli51ݶ private and highly inventive drawings of the ‘modern woman’, by considering their relationship to previous and contemporary figure studies.rnrnSpeakers: Professor David Solkin and Dr Ketty GottardornrnModerated by Dr Anne PuetzrnrnSaturday 26 November 2022

The Morgan Stanley Exhibition: Peter Doig. New and Recent Works – In Context

Our Saturday Study event accompanies The Courtauld Gallery51ݶexhibition of new and recent paintings and prints by Peter Doig(10 Feb – 29 May 2023). One of the most renowned British contemporary figurative artists, Doig lived and worked in Trinidad since 2000 before re-establishing himself in London in 2021. Our lecturers will set Doig into the wider context of post WWII British figurative painting before exploring his working practices and the themes of his large-scale expressive landscapes and figure paintings of Canadian and Trinidadian subjects, and of the recent experience of cultural relocation.

With exhibition curator Dr Barnaby Wright, independent curator and art historian Catherine Lampert and Dr Catherine Howe, Research Officer at Zaha Hadid Foundation. Moderator: Dr Anne Puetz (The Courtauld)

Drawing on Arabian Nights – Orientalism in Context

Saturday 29 April 2023

This Saturday Study event will provide an opportunity to delve deeper into the ideas raised in The Courtauld Gallery exhibitionDrawing on Arabian Nights(22 February – 3 June 2023). The first of three talks will introduce the exhibition and the works: a selection of Orientalist works on paper from The Courtauld51ݶ collection, and explore the curatorial decision to present them in the context of the folk talesArabian Nights.The second talk will look more broadly at the history and complexity of Orientalist paintings, and examine the multiple interpretations they invite. Our final talk will introduce the reception and production of Orientalist visual and written material in the region of Turkey and the Levant in the nineteenthand twentiethcentury.

Speakers: Dr Emily Christensen and Dr Ambra D’Antone. Moderator: Dr Anne Puetz

Frank Auerbach. The Charcoal Heads – In Context

Saturday 23 March 2024

This Saturday Study event accompanied The Courtauld Gallery51ݶ spring exhibition Frank Auerbach. The Charcoal Heads.

Uniquely, this show brings together a series of large-scale portrait drawings of the artist51ݶ friends, and one self-portrait, accompanied by a selection of related paintings the artist made of the same sitters. Join exhibition curator Dr Barnaby Wright and independent curator and writer Jane Alison to explore these poignant images over which the artist took evident care, characteristically re-working them in numerous sessions with the sitters. We shall also set these works of the 1950s and early 1960s into the context of post-war British portraiture.

Speakers: Dr Barnaby Wright, Jane Alison. Moderator: Dr Anne Puetz

Vanessa Bell: A Pioneer of Modern Art – In Context

Saturday 22 June 2024

Our summer term Saturday Study event accompanied The Courtauld Gallery51ݶ first focused display of works by the important Bloomsbury artist and designer Vanessa Bell.

We’ll investigate Bell51ݶ artistic development and milieu in the context of the wider British art world of the time, ask what it took to be a pioneering woman artist at the time, what we understand by Modernism in Britain in the early years of the 20th century and in what ways Bell, and the Bloomsbury group more widely, contributed to it. We’ll weigh the benefits of belonging to a collaborative avant-garde group against the disadvantages of later commentators’ excessive focus on the Bloomsbury artists’ notoriously unorthodox private lives, and ask why it took so long for female artists like Bell to step out of the shadow of her better-known male colleagues.

Speakers are the exhibition curator Dr Rachel Sloan (The Courtauld) and Dr Wendy Hitchmough (formerly curator at the Bloomsbury artists’ home, Charleston, and senior lecturer emerita at the University of Sussex).

Moderator: Dr Anne Puetz

Monet and London. Views of the Thames – In Context

Saturday 30 November 2024

This study morning accompanies The Courtauld Gallery51ݶ exhibition Monet and London. Views of the Thames (27 September 2024 – 19 January 2025). The show brings together a number of remarkable serial paintings of major London landmarks that Monet had painted over three visits to the British capital from 1899-1901, and realises his plan for a London exhibition of these works.

Join exhibition curator Dr Karen Serres in conversation with Dr Anne Puetz, as they discuss, among other topics, Monet51ݶ London, the concept of seriality, and the artist as curator.

The Reinharts of Winterhur: Merchants, Philanthropists and Collectors

Saturday 8th March 2025

This study event accompanies The Courtauld Gallery51ݶ exhibitionGoya to Impressionism: Masterpieces from the Oskar Reinhart Collection.Exhibition curators Dr Ketty Gottardo and Dr Rachel Sloan will illuminate the collecting activities and patronage of the wider Reinhart family, and delve into the riches of a collection which has intriguing historical parallels to that donated by Samuel Courtauld to The Courtauld Gallery.

Moderator: Anne Puetz

With Graphic Intent: German and Austrian Modernist Prints in Context

Saturday 31st May 2025

This study event accompanies the display of works on paper from the German and Austrian Expressionist era With Graphic Intent. Looking at fine examples from our collection, we will discover how the inherent material properties of prints and drawings inspired new forms of artistic expression. Join display curators Emily Christensen and Niccola Shearman as they explore the connections between these innovations and the uneasy climate of idealism and anxiety we associate with early twentieth-century Germany and Austria.

Moderator: Anne Puetz

Food in Art – From Velazquez to Wayne Thiebaud

Saturday 22 November 2025

This Study event accompanies The Courtauld Gallery51ݶ pioneering UK exhibition of Wayne Thiebaud51ݶ quintessentially post-war American subjects, such as diner food and deli counters. Our speakers will explore the exhibition themes, and more widely, the rich symbolic and formal potential of food and its consumption in sixteenth- to eighteenth-century still-lifes and genre scenes, in the artistic innovations of artists like Cézanne and Picasso, and investigate the use of food as subject-matter and artistic medium in twentieth-century and contemporary installation and performance art.

With Dr Karen Serres, Dr Chloe Nahum, Dr Thomas Balfe and Janine Catalano

Great Teaching Collections of the 1930s: The Barber Institute of Fine Arts and 51ݶ

Saturday 24 January 2026

This study event accompanies The Courtauld Gallery51ݶ hosting of a selection of masterpieces from the Barber Institute of Fine Arts, University of Birmingham, while the latter is closed for refurbishment. The Barber and The Courtauld Institutes were both founded in the same year (1932) as university galleries and their exceptional collections have always been intended to encourage both theacademic study and the public understanding of the fine arts.

This study day brings together colleagues from both institutes who are engaged in working with the collections for teaching purposes. Together, we will probe the origins, underlying ethos, and contents of our respective collections, and use case studies from our practice to demonstrate ways of teaching with university collections to serve a wide range of audiences.

With Robert Wenley (Deputy Director Barber Institute of Fine Arts, University of Birmingham); Flora Kay (Head of Learning and Public Engagement, Barber Institute of Fine Arts); Dr Chloe Nahum (Bridget Riley Art Foundation Curatorial Fellow, The Courtauld Gallery) ; Helen Higgins (Head of Learning & Oak Foundation Young People51ݶ Programme Manager, Courtauld Institute of Art) ; Dr Anne Puetz (Head of Short Courses, Courtauld Institute of Art)

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]]> Showcasing Art History /short-courses-2026/showcasing-art-history/ Tue, 09 Dec 2025 13:37:02 +0000 /?page_id=162361 On campus and online. This series shares the latest art-historical thinking and the Courtauld's excellence in teaching and research with the public

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Our evening lecture series Showcasing Art History builds on the Courtauld51ݶ excellence in research and teaching to share the latest art-historical thinking with the public. Lectures are given by members of the Courtauld faculty, associate lecturers, and by eminent external scholars and curators, and aim to be both scholarly and engaging.

Each new season of Showcasing Art History offers three free-standing terms, so you can book for one or two terms, or for the whole year. You can choose whether to join us on campus at Vernon Square, or if you opt for online, you will receive pre-recorded lectures and are invited to participate in live Zoom discussion sessions. There will be extensive course materials on the VLE for both in-person and online learners.

Lectures are given live on campus at 19:00 on Tuesdays and Zoom discussions for our online audience members take place on Wednesdays at 20:00 [London time]. Terms may be booked in isolation or in combination, and discounts apply if more than one term is booked.

Watch this space: the new programme for autumn 2026 – summer 2027 will be online in mid June 2026

J.M.W. Turner, ‘Dawn after the Wreck’, c. 1841, graphite, watercolour, bodycolour, chalk (red) on laid paper, Courtauld Gallery, London (Samuel Courtauld Trust), © Courtauld

Ocean Tales – The Sea as Motif from the Eighteenth Century to the Present

Spring Term: Tuesday 13 January – Tuesday 17 March 2026, 19:00 On campus OR Wednesday 21 January – Wednesday 25 March 2026, 20:00 [London time] Online

Find out more
Tania Bruguera, 10,148,451. Hyundai Commission 2018, Tate Modern, Turbine Hall, © Tania Bruguera. Photo © Tate (Andrew Dunkley)

When Artworks Live: Performance in the Visual Arts

Summer Term: Tuesday 28 April – Tuesday 26 May 2026, 19:00 On campus OR Wednesday 6 May – Wednesday 3 June 2026, 20:00 [London time] Online

Find out more

Archive: Showcasing Art History 2021-2025 series

Click on the titles below to read the archived course descriptions

Autumn 2021: Liberator, Despot, (fallen) Hero: Napoleon Bonaparte and the Visual Arts

Spring 2022: Portraying van Gogh: Biography, Mythology and New Research

Summer 2022: Between Power and Conflict: Case Studies of Art in Times of War and Revolution from 1868 to Today

Autumn 2022:Agents of Change: Women Artists in German and Austrian Modernism

Spring 2023: Flesh, Spirit, Power: The Body in Spanish Art 1400s-1700s

Summer 2023: Photography and the French Avant-Garde from Delacroix to Cézanne

Autumn 2023: Ordinary People: Paintings and Prints of Everyday Life from Bruegel to Hopper

Spring 2024: Antiquity, Taste, and the Self: Revisiting the Discoveries of the Grand Tour

Summer 2024: Re-Framing: Modern and Contemporary Art by Women 1870s to Today

Autumn 2024: Monet51ݶ Thames Series: Painting Modernity at The Turn of the Twentieth Century

Spring 2025: Anatomy of an Art World: The American Scene 1850-1950

Summer 2025: Art, Experience, and the Psychology of Perception: Milestones of Curating European Modernism

Autumn 2025: The Stuff of Still Life: Objects in Art from the Dutch Golden Age to Wayne Thiebaud

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