The Courtauld Gallery Café

The Courtauld Gallery Café is an oasis of calm set within the elegant surroundings of Somerset House.The Café has indoor and outdoor seating and is the perfect spot to relax and unwind. The team of chefs ensure that delicious seasonal food is made on site all year round including freshly baked cakes, salads, soups and light meals. We spoke to Café Manager, Karolina Grazulyte about her role and whats it like work at The Courtauld Gallery.  

Tell us about your role at The Courtauld Gallery?

I work as a General Manager in both: The Gallery and Student cafés here in Courtauld.

What does your job involve on a daily basis?

I don’t think I ever have a ‘typical day’. In catering industry every day is different from another and brings new challenges! My main responsibility is to manage two Courtauld cafés sand provide catering and hospitality for various events. Enough to keep myself busy!

What’s your favourite thing about being working at The Courtauld Gallery?

I think it’s the fact that I have a privilege to work in a gallery with such a superb collection which includes world-class masterpieces.

 What is your work of art in The Courtauld collection?

It is really hard to choose just one; however, my favourite piece is Édouard Manet ‘A Bar at the Folies-Bergère’. Not only because of its popularity and the fact that it was Manet’s last major work, but I like the mystery which can be found looking in the mirror at the counter. I also admire it because every time I look at it I can discover a new details – like a pair of green feet in the upper left-hand corner!

Finally, what’s your favourite item on the Café menu?

My favourite dish is free range chicken salad with blood orange, chicory, mange tout and mint vinaigrette. It is very healthy, light and full of flavour!

Visit Karolina in The Courtauld Gallery Café Open daily 10.00 – 17.30

 

Inscribing Prints

The Prints and Drawings Study Room is hosting a new displays that responds our Reading Drawings in The Courtauld Gallery. Print Room Assistants Imogen Tedbury and Sean Ketteringham talk us through the latest display.

Timed to coincide with the exhibition Reading Drawings, which showcases inscriptions on drawings in the Courtauld collection, this display in the Prints and Drawings Study Room looks at the function of inscriptions in prints. The Courtauld Gallery has 7,000 drawings, but it also has over 26,000 prints – so we had plenty of works to choose from!

Printed text in printed images can function very differently to handwritten text in drawings. So, we decided to leave aside the themes thoroughly examined in the drawings exhibition – attribution, the history of collecting and working practices – instead exploring why and how prints include text, and what functions word and image can serve together, across a broad range of dates and places. Playing around with the word and concept of ‘Authority’, we thought about the relative ‘authorities’ of text in an image: what happens when text moves from the frame or border to take up an active role in the image itself?

Some Early Modern printmakers represented God by representing the Word of God – his textual ‘authority’, if you like. In these prints, the physical representation of God’s Word as visual sign plays a central role within the image. In the Fall of the Tower of Babel, for example, the illegible rotation of the Latin text signifies the fragmentation of earthly language.

We were also interested in how an authority – whether political, religious or artistic – can be undermined by the use of inscription. Two eighteenth-century satirical prints chosen for the display use fragments of text to make fun of their subjects, subverting them by parodying religious language. An attack by an anonymous artist on Robert Walpole, the first prime minister of Britain, even seems a forerunner for 2017 Turner Prize nominee Anthea Hamilton’s installation of a giant bottom, Project for Door (After Gaetano Pesce), or Pauline Boty’s 1966 painting, Bum!

Printmaking’s close relationship with book-printing inspires the last group of prints – a selection of title pages and cover images from Canaletto to Wyndham Lewis considering how frontispieces reveal and conceal their textual and pictorial content. In these prints no clear boundary can be drawn between word and image, as together they combine to communicate the author’s identity.

Come and see these printed treasures, some of which have not been on display before. The Prints and Drawings Study Room is open by appointment Monday-Thursday 10am-5pm, or drop in on Wednesday afternoons during term time, 1.30-4pm, no appointment needed

Idol-Worship or The Way to Preferment, a portrait of Robert Walpole., 1740, © The Samuel Courtauld Trust, The Courtauld Gallery, London

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 21 September 2017

Tis ‘The Seasons’

This week a new display opened at The Courtauld Gallery following an important new acquisition of work by the American artist Jasper Johns (born 1930).

The Seasons

Between 1984 and 1991, Johns focused on the theme of the four seasons and produced a significant body of work, which included paintings, drawings and the nine prints gifted to The Courtauld Gallery. Johns’ The Seasons are complex works, weaving together themes relating to artistic creation, the passage of time and the artist’s own biography. Most prominently, Johns’ own shadow appears in each of the compositions, cast across themulti-layered imagery.

This body of work comes from the generosity of Barbara Bertozzi Castelli, the widow of Leo Castelli, the legendary New York dealer who ‘discovered’ Johns in the 1950s. It was with Castelli that Johns first exhibited The Seasons series in 1987. The works bear a personal dedication —‘For Leo’— in pencil on each sheet. This gift was made possible by The American Foundation for The Courtauld Institute of Art.

Don’t miss this unique opportunity to view Johns’ work, rarely shown in the United Kingdom on display in room 14.

Book online

Free for Friends

Drawn from the Age of Dante: John Flaxman’s Illustrations of the Divine Comedy

Our Botticelli and Treasures from the Hamilton Collection exhibition is currently under way and the Prints and Drawings Study Room is also celebrating Dante’s Divine Comedy. We asked Alexander J. Noelle, Print Room Assistant, to tell us more:

As a doctoral student whose research focuses on the Italian Renaissance, I was thrilled when I heard that the Gallery was planning an exhibition of Botticelli’s exceptional drawings for Dante’s Divine Comedy, now on view. I thought that the arrival of these masterworks would provide an excellent opportunity to showcase related prints from the Courtauld’s collection of works on paper. In my role as a Print Room Assistant, I began searching through the 26,000 prints to select a small group for a temporary display in the Prints and Drawings Study Room. What I found was the first full set of widely distributed illustrations for Dante’s epic poem.

In 1792, British sculptor John Flaxman (1755 – 1826) designed 111 plates depicting the complete narrative of Dante’s journey through Hell, Purgatory, and Heaven. Although other artists had responded to the visually evocative text before Flaxman, he was the first to draw an illustration for every canto (an Italian term for the sections of a long poem) and, through print, disseminate his work to a wide audience. Flaxman was praised for his ability to reduce Dante’s complex language to simple symbolic icons that still managed to capture the spiritual essence of the story.

Flaxman Dante Title

Title Page: Compositions from the Hell, Purgatory, and Paradise, of Dante Alighieri, by John Flaxman, Sculptor. Tommaso Piroli (ca.1752-1824) after John Flaxman (1755-1826), 1793 (1807 edition), engraving.

The prints certainly look modern when compared to Botticelli’s depictions, yet when they were first published they were celebrated as belonging stylistically to the age of Dante himself. Flaxman was living in Rome when he drew the illustrations, actively studying artworks made by ‘primitive’ Medieval and Renaissance artists, and sometimes copying exact motifs into his illustrations. This influence, combined with the simple outline design, led Flaxman’s contemporaries to associate his drawings with Dante’s own era.

The sixteen prints on view in the Prints and Drawings Study Room correspond to specific drawings of the same canti by Botticelli in the Gallery. While it is unlikely that Flaxman saw Botticelli’s own illustrations, the comparisons query whether the viewer today can see the Renaissance influence in Flaxman’s prints.

Installation Shot

 

‘Drawn from the Age of Dante: John Flaxman’s Illustrations of the Divine Comedy’ is on view in the Prints and Drawings Study Room until 15 May. See opening times here.

There is also the opportunity to hear Alexander do a lunchtime talk in the Gallery on this exhibition at 1:15pm on Thursday 10 March.