Exhibitions Archive

Bloomsbury Art & Design

Our special display Bloomsbury Art & Design opened last month. It brings together a wide-ranging selection of work by the remarkable Bloomsbury Group. We asked exhibition curator Dr Rosamund Garrett to tell us about curating the display. 

Bloomsbury Art & Design installation.

In November I was appointed the new Bridget Riley Art Foundation Curatorial Assistant at The Courtauld Gallery, a unique role that allows me to work across the entire collection. With Dr Barnaby Wright, the Daniel Katz Curator of Twentieth-Century Art, I was charged with curating our current Special Display: Bloomsbury Art & Design.

This display brings together the highlights of the Courtauld’s collection of paintings, design drawings, ceramics and furniture by the artists from the Bloomsbury Group to look at the movement that shaped early twentieth-century modernism in Britain. It was my first project after having been completely immersed in my doctoral research in a rather different field – Renaissance tapestry – so I was eager to take up the challenge.

Given my specialisation in tapestry, I was keen to display the large rug designed by Duncan Grant, with its bold colours and eye-catching geometric design. Rugs are usually displayed on the floor, but with several large pieces of furniture featuring in the display, floor space was at a premium.  To ensure the rug could be shown I asked our Head Conservator, Graeme Barraclough, if we could do things a bit differently.

Tapestries are often displayed on slant boards: a board at a slight angle that allows the tapestry to be viewed vertically whilst its weight is gently supported across the entire surface. I thought that Grant’s rug would look striking displayed vertically on one of the short walls, and would complement the series of abstract rug designs that we intended to display beside it.

We started drawing up the plans for the slant board, but, after a thorough examination by conservation, the rug was found to be too fragile to be displayed in this way. Graeme, however, is never deterred. He and our technician, Matthew Thompson, devised a new method of display that combined a slant board with a roller, allowing us to display a section of the rug vertically whilst the roller holds most of the weight. Exhibitions always rely on the expertise, creativity and skills of many individuals, not to mention their physical presence – lifting the roller with the heavy rug onto our adapted slant board was no mean feat!

We are fortunate at The Courtauld to have such an extensive collection of Bloomsbury objects, many of which were given to us directly by one of the leaders of the Group, the artist and art critic Roger Fry. Why not pop in to Bloomsbury Art & Design to see the rug on our new display method as well as other works by the group of artists whose radical and experimental art introduced bold colours and dynamic abstract designs to the domestic interiors of Edwardian Britain.

Book Now: Bloomsbury Art & Design
Until 24 September 2017

The word on drawings!

 

Reading Drawings is our latest display in the Gilbert and Ildiko Butler Drawings Gallery. We asked curator Dr Rachel Hapoienu to tell us about the display and how it came about. 

The subject of inscriptions on drawings was an especially enticing one for me to tackle, as my role as the Drawings Cataloguer (IMAF Project) for The Courtauld Gallery requires me to examine every one of our over 7,000 drawings and meticulously record each inscription and mark. My initial list of potential objects for this display ran to a few hundred works, posing a serious challenge in how to narrow it down.

I knew I wanted to include a large section on signatures and names – these are the most common types of inscriptions, and though their frequency might make them seem a bit banal, for a cataloguer a signature is always exciting! However, this display urges caution in declaring a signature as genuine, because sometimes later owners added names of artists to the drawings they owned, and of course some forgers created fake signatures to deceive buyers into thinking their works were executed by a famous master.  One such drawing in this display, depicting a female nude, is a forgery in the manner of Rodin. The forger, known to scholars simply as ‘Hand B’, attempted to replicate both Rodin’s style and his signature. Closer inspection of the forger’s lines reveals that he applied pressure with his pencil too evenly throughout both the figure and the fake name, which is uncharacteristic of Rodin’s technique. This discrepancy combined with the figure’s unsophisticated anatomy and the prevalence of unnecessary lines helped to identify this work as a deliberate forgery.

Forgery in the manner of Auguste Rodin (1840-1917), Female nude, around 1917-1920

One drawing I knew I had to include is attributed to an artist in Raphael’s studio. The sheet is split in half, with text on the upper portion and below a somewhat puzzling scene of soldiers in a tent surrounding a bare-chested man drinking from a goblet. By comparing the imagery to paintings, prints and drawings with similar iconography, I determined the scene may be of ‘Alexander the Great and his physician’, showing the moment Alexander downs his medicine. Adding to the intriguing quality of this sheet is the text, which was written before the image was drawn. It lists the days of the week with corresponding food items, mainly bread and meat. The idea of keeping a ‘food diary’ is probably familiar to many of our visitors, and offers a charming parallel with the author of the inscription, who lived around 500 years ago. This sheet also helps evoke the atmosphere of a Renaissance workshop, where drawings were not considered prized works of art and every spare bit of paper was utilised.

 

Studio of Raphael (1483-1520), Alexander the Great drinking his medicine, around 1520s

I also wanted to highlight the different reasons artists might annotate their own works. Many of their notes were intended as instructions or explanations for an assistant or another artist, such as an engraver who was meant to transform the drawing into a print, or an architect who would use the drawing as a plan for constructing a building. Sometimes artists were trying so quickly to capture a scene out-of-doors that they would scribble notes to themselves on how to fill in the details once back in the relative calm of their studio.  In the current display, one of the most interesting methods of note-taking is demonstrated by a drawing of Cader Idris in Wales, by James Ward. In one three-month period Ward made over 500 landscape sketches, so he would use a rapid writing system called ‘shorthand’ to facilitate such productivity. In this strange-looking script, each symbol represents a word, and thus is a quicker method than using the conventional alphabet. Ward’s shorthand notes are mainly instructions to himself on what colour washes should be added to each area of the landscape.

James Ward (1769-1859), View of Cader Idris, Wales, 1802 or 1807

Another priority for me was to highlight drawings that have rarely, if ever, been on display before – The Courtauld has so many drawings that inevitably many never see the light of day. Of the twenty-three drawings on view, eight had previously never been exhibited, so a visit to Reading Drawings offers a rare opportunity to see some gems from our collection!

By Dr Rachel Hapoienu

 

Reading DrawingsOn display until 4 June 2017

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A contortionist in the studio

Our Rodin and Dance: The Essence of Movement exhibition is now open. We invited Viola Bruni, Acrobat, Dancer, Movement Director and Teacher to write a blog from her perspective about the works on display.

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Fig 1: Movement A

Contortion is not an art that everybody can practice, but Alda Moreno was definitely gifted with the extraordinary flexibility necessary to practice
 this ancient technique. In the fascinating exhibition “Rodin and Dance: 
the Essence of Movement”, the French model and acrobat is captured on paper and in clay in a series of movements which demonstrate her ability to bend 
in extreme ways. When I look at these sculptures I can see that not all of them are realistic. To my eye, Rodin was playing with exaggerating movements by composing impossible poses. Nevertheless, some of the movements are also realistic, and look similar to movements of the circus discipline of contortion, of Yoga and of gymnastics.

Myriam Peignist in her article “Histoire anthropologique des danses acrobatiques” , suggests that Alda Moreno worked at the Opéra Comique in an environment where dance and circus melt to create the professional figure of  the danseuse-acrobat, a sort of hybrid performer in between dance and circus.

Rodin and dance

Fig 2: Movement B

 By taking part in a collaborative project led by the MA/MFA Movement: Directing and Teaching course leaders at Royal Central School of Speech & Drama, and exhibition curator Dr. Gerstein, it was interesting to note that many of the movements seem to be preparatory ones rather than finished poses. Having a circus background, it was clear to me when certain poses could lead to further acrobatic movements.  Differing art historians suggest that when embarking on a series 
of drawings Rodin used to watch carefully chosen models moving for hours. When he saw something interesting, he was quickly capturing it on paper. Most of the time he did this without interrupting the flow of the models’ movements by asking them to stand still in a pose. Being an acrobat and model for artists myself, I experienced being captured both in stillness and motion. If I imagine being one of Rodin’s models, with others moving around me for an indefinite amount of time, I know that I would reach a state of flow, being liberated from time constraints and the pressure to create a pose. Such a state enables one to find one’s own personal rhythms and ways of exploring movement. Maybe this also happened to Rodin’s models, allowing him to capture normally unseen movements, warm-ups, and transitions. In my experience as performer, these moments retain more intimacy and subtleties than a perfectly finished pose.

If we look closely at Movement A (fig. 1) we can see both hands catching the lifted feet. This pose could be finished in itself, or it could be caught at the middle stage of a ‘back catch’ or ‘leg in hand’ pose. If that is the case, the hands grasping the feet have the function of helping lift the leg until it reaches the maximum extension.

Acrobats Blog

Fig 3: Split with back catch

What makes Movement A interesting for me, is its versatility. Both the movement as Rodin portrayed it, and the final pose it could lead to can be performed in a variety of ways. This means that Rodin might have seen Alda Moreno performing Movement A in a number of different orientations: standing, lying on one side, lying on the chest, in a split (fig. 3).

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Fig. 4 Y scale pose

Movement A can also originate from Movement B (fig. 2): one arm catches the opposite lifted leg, creating a hole for the other arm to pass through it. If the flexibility permits, as in the case of a contortionist, the lifted leg can be rotated to reach a back catch pose, with the shoulder involved in the rotation and the knee of the floor leg bending then extending again to allow the movement.

Movement B could also simply lead to the pose in fig. 4 which is also part of the rhythmic gymnastic vocabulary. In this case, in order to reach the finite position, the shoulder of the free arm passes through the hole. It is then positioned close to the knee, so to lock the torso in a stable pose. The arm is then stretched on the side, and can potentially hold an object. For example a ribbon in rhythmic gymnastic, or be positioned according to various expressive functions.

Visit Rodin and Dance: The Essence of Movement, until 22 January 2016

Photo credits
Artist: Claudia Hughes
Photographer: Despina Photography

 

Kenneth Clark Travel Award Winner

On Tuesday we were thrilled to welcome Rosie Shackleton to The Courtauld Institute of Art’s galleries. Rosie, a sixth form student from Dixons Academy in Leeds, chose to visit The Courtauld after she was awarded the Kenneth Clark Travel Award during her participation in the ARTiculation Prize, a competition encouraging young people to speak publicly about art. Courtauld undergraduate student Annabelle Birchenough tells us about Rosie’s visit:

693a3064As a current Courtauld Student Ambassador who took part in ARTiculation in 2013, I was delighted to accompany Rosie during her visit. The day comprised of a number of fascinating behind the scenes insights into the workings of The Institute, including a visit to the Gilbert and Ildiko Butler Drawings Gallery, and Prints and Drawings Study Room.

First, we were fortunate to have Assistant Curator of Works on Paper, Dr Rachel Sloan talk us through the curation processes involved in her current drawings gallery display Regarding Trees, before taking us to the treasure trove that is The Courtauld Prints and Drawings Study Room. On learning that Rosie has a particular interest in Impressionism, Rachel pulled out a wonderful box of early Impressionist drawings and prints that Rosie really enjoyed getting up close to. The Programming Manager, Learning, Stephanie Christodoulou then talked Rosie through the general workings of the main gallery before we finished the day with a detailed walk around The Courtauld Gallery’s permanent collection, as well as the temporary display of Georgina Houghton’s work. By the end of the visit, Rosie told me she couldn’t have asked for more and summed the success of the day up as follows:

“I really enjoyed the visit. There were great insights into how a gallery is run, particularly on the paper and prints side of the institute, and I really loved the Van Gogh drawing we saw! The Impressionist gallery was just luscious and brilliant. I really loved the Georgia Houghton too – it was really interesting.”

Congratulations again Rosie, we hope to see you soon!

 

Evince Your Inner Colourway at The Courtauld Shop: Getting to Know Jan Allison Jewellery

Founded in 2005, and based in the picturesque Cornish seaside town of St Ives, Jan Allison Jewellery is a partnership between Janet Stevens and Alison Carter.  Janet and Allison have been the closest of friends since childhood. Their unique, hand-crafted pieces of jewellery reflect the vibrant, colourful watercolours of  our latest exhibition Georgiana Houghton: Spirit Drawings . They are available for purchase at The Courtauld Gallery Shop and online . Jan Allison Jewellery is exhibited in galleries across the UK and has been purchased by clients from all over the world.

We met up with Allison to find out a little bit more:

Janet Stevens and Allison Carter

Janet Stevens and Allison Carter

Q: Allison, you and Janet have been the closest of friends since childhood, do you have a favourite childhood memory you’d like to share with us?

We were bridesmaids together when our siblings got married. It was my sister and her brother. We were teenagers at the time and the relationship may not have survived but our friendship certainly did.

Q: Is there anything else from your long-standing friendship that you’d like to share?

In school, we were on the same hockey team and netball team. Janet was absolutely brilliant at sewing and embroidery, whereas I went to Art College at Birmingham Polytechnic and did fabric and textiles. Years later, I actually had my own business where I decorated glass wear. I did that for quite some time. Then when I started working at the jeweller’s, that’s when I started making my jewellery.

Q: Allison, throughout your worldwide travels as an air stewardess, was there a place or event that made you realise you wanted to create colourful, unique pieces of jewellery?

It has to be Sri Lanka. It was my favourite place. There were so many colours and so much beauty. My idea of paradise. I actually purchased my first natural stones on a market stall. Janet actually went to Sri Lanka herself years later and she enjoyed it just as much as me.

Q: Janet, was there something specific that prompted you to enrol in your jewellery course at Penzance College?

The love of jewellery inspired me. My intention was to create personal pieces of jewellery for my friends and family. At that stage, a business was far from my mind, we just sort of fell into it.

Q: How did you start the business?

We were working together in a jewellery gallery, Pebbles Jewellery Gallery in St.Ives. It has recently closed. I worked there for twenty years out of the thirty-four years they were in business. The owner of the business and I had been going to trade shows. While she was buying jewellery to supply the shop, she was picking up necklaces and I was saying ‘I could make that.’ I had said it so many times that she ended up buying some stones and giving them to me, telling me to give it a try.

Our first batch of jewellery was sold through the owner of the business. We probably made about twenty. Now we’ve probably made thousands. We are still making every piece ourselves. We don’t make every day at the moment. We normally make stuff very regularly. We probably work a few hours a week now. When we start a new collection that’s when we spend a lot of time together.

Q: Does the natural semi-precious stone hold a special meaning for you?

Semi-precious stones have great healing properties that appeal to both. We both love colour and mix different colours together because we like the combinations.

Q: We noticed that you use very colourful stones; does something inspire the choice in design and colour of your work?

Not really. We both have different ideas which when we put together seem to work. We like asymmetric patterns and our work often portrays that.

Q: Is there an art period, style or movement that has majorly influenced your work?

I am a big lover of Art Deco and Art Nouveau.

Q: How long does it take to create one piece?

I cannot commit to how long it takes to design one piece, because each piece is very different. Each strand of stones is laid out and sort of played around with until we get the look that we want. Then, the silver components are added before we start the threading.

Q: We know that lapis, sodalite and Andean opal are among the semi-precious stones used in your designs, how do you source the stones?

We’ve been making jewellery for over 11 years, over that time we have sourced many different stones. We’ve become great friends with our suppliers. One of which actually mines the stones himself in South America, an amazing man and his wife. They bought a mine in South America. My sister lives in Egypt and gets our lapis lazuli from there.

Q: You live in a beautiful place, does it inspire you?

Oh yes, sometimes it inspires us a great deal. The natural light here has made it one of the UK’s major art havens. We are surrounded by a wealth of incredibly talented artists, sculptors and potters. Many of which are friends of ours so we’ve grown up with amazing creativity around us.

Q: Finally, looking forward, what are your plans for your next collection?

We will probably start sourcing for our next collection in September. We’re thinking of turquoise, carnelian, and lapis lazuli. We’re thinking to go with gold-plated accents. A bit of an Egyptian influence will be present.

Q: Do you know what the future holds for Jan Allison Jewellery?

Who knows what the future holds for anyone. We can be assured ours will include lots of colour, creativity, and laughter.

Jan Allison Jewellery

 

 

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