The Courtauld Prints and Drawings Study Room Presents…
SHOWCASE WEEK: Land to Shore
For one week only the team of postgraduate Print Room Assistants will be presenting a selection of five of our most striking works on paper for public viewing, thereby marking the third presentation of the biannual Courtauld Prints and Drawings Study Room Showcase Week. The first two installments highlighted depictions of The Nude and Scaled-Up, while the forthcoming week is dedicated to the study of prints and drawings that deal with the theme of Land to Shore. The aim of this theme is to focus attention on how artists explore the relationship between land and sea, the extent to which a division is created by the coast or the horizon, and how this is interpreted on paper. Including drawings and prints from the 1500s to the 1900s by artists from Bruegel to Turner to Kokoschka, this Showcase Week presentation encompasses the impressive breadth of The Courtauld’s collection of works on paper in terms of period, media, geography, and function.
‘Land to Shore’ also complements two exhibitions currently on view in The Courtauld Gallery, both of which focus on different elements of landscape. The display in the Gilbert and Ildiko Butler Drawings Gallery, Panorama, explores invented, observed, and mapped panoramas while the Gallery’s major autumn exhibition, Soaring Flight: Peter Lanyon’s Gliding Paintings, highlights the artist’s near-abstract paintings of the coast of his native West Cornwall from the 1950s.
Between 1.30pm and 5pm this week our doors will be open without any appointment necessary, and each work will be on display for one day only. Our friendly Print Room Assistants are eager to introduce their selected prints and drawings to the public and will be on hand to discuss them and answer questions.
The following works will be the focus of each days session:
Pieter the Elder Bruegel (ca. 1525-1569), A storm in the River Schelde with a view of Antwerp, Circa 1559, Pen, brown ink and graphite, D.1978.PG.11
Two-thirds of this striking drawing are dedicated to a vivid study of the motion of waves during a storm. Beyond the receding waves of the river Schelde the city of Antwerp, one of the North Sea’s premier trading ports, can be seen. The visual dominance of the water dwarfs the city and the ships, underscoring the power of nature.
Melchior Küsel (1626-1683) after Johann Wilhelm Baur (1607 – 1642), Coastal Cityscape with Ships, 1670, Etching, G.1990.WL.3018.79
This imaginary harbour scene by the German artist Johann Wilhelm Baur is based upon Venetian cityscapes. Here the manmade quay that cuts at right angles into the water is emphasised through the monumental buildings built along this artificial shoreline.
Claude-Joseph Vernet (1714 – 1789), Harbour scene, Naples, around 1750, Pen and ink, brown watercolour, graphite, D.1952.RW.1798
Vernet drew the Darsena (harbour) of Naples several times on his many trips there while living in Italy between 1734 and 1753. Here, using only his pen, ink, and brown washes on paper (left bare in places to depict the surface of the water reflecting sky) he captures the intensity of Mediterranean light.
Joseph Mallord William Turner (1775-1851), Storm on Margate Sands, around 1835-40, Graphite, watercolour, bodycolour (white and blue) on paper, D.1974.STC.2
J.M.W. Turner produced a number of watercolours depicting the coastal landscape of Margate, a town where he went to school in his childhood and often visited throughout his life. In this vibrant watercolour, Turner focuses on the interplay between land, sea, and sky, as well as light and darkness and atmospheric elements by masterfully combining the use of different media.
In this drawing, Kokoschka achieved rich colouristic effects in the foreground by applying washes in a swift, painterly manner. This vibrancy separates the land from the steel blue sea, rendered in more uniform horizontal strokes.