A brief history of printmaking
This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.
- Course Code: VB948
- Dates: 07/06/24 - 05/07/24
- Time: 10:30 - 12:30
- Taught: Fri, Daytime
- Duration: 5 sessions (over 5 weeks)
- Location: Online
- Tutor: Sarah Jaffray
Course Code: VB948
Duration: 5 sessions (over 5 weeks)
Please note: We offer a wide variety of financial support to make courses affordable. Just visit our online Help Centre for more information on a range of topics including fees, online learning and FAQs.
What is the course about?
Painting and sculpture tend to dominate the art historical conversation, but printmaking makes up a huge component of the history of visual culture. Why don’t we talk about it more? This course will attempt to answer that question while introducing the complex ideas tied up in the histories of this distinct art form.
We begin with the origins of printmaking in the ancient world, used to make devotional images and spread the word of law. We then move into printmaking’s arrival in Europe in the 15th century and how it contributed to cultural revolution in Europe and the domination of colonised cultures. We look at women’s distinct place in the history of European printmaking as well as its role in social and political movements (journalism and satire) of the 17th, 18th and 19th centuries. We end the course by looking at how modern and contemporary artists experiment with the medium’s technologies to create exceeding complex artworks done in collaboration with master printmakers.
We will look at several of examples of printmaking in this course by a variety of artists including, but not limited to: Käthe Kollwitz, Francisco Goya, Maria Sibylla Merian, David Hammons, Anni Albers, Xu Bing, Albrecht Dürer, Honoré Daumier, Wangechi Mutu, Rembrandt, Hokusai, David Hockney, Mary Cassatt, José Guadalupe Posada and Helen Frankenthaler. We are unable to cover the biographies of each of these artists, their work will be used as examples of the ideas we discuss.
A disclaimer: we acknowledge that intaglio (the engraving into metal, stone, clay and textile) exists across geographies and time, but this course is primarily focused on ink and plate/block printmaking on paper and does not have time to cover the full scope of printed art. Additionally, photography, which is a type of printmaking will not be covered in this course.
This is a live online course. You will need:
- Internet connection. The classes work best with Chrome.
- A computer with microphone and camera is best (e.g. a PC/laptop/iMac/MacBook), or a tablet/iPad/smart phone/iPhone if you don't have a computer.
- Earphones/headphones/speakers.
We will contact you with joining instructions before your course starts.
What will we cover?
• What is printmaking, methods and materials
• Ancient printmaking from clay and wood
• Shaping European art and history: we’ve got to mention Dürer
• Printmaking and colonialism
• A woman’s place in European printmaking
• The democracy of print: 17th to the 19th centuries
• Modern and contemporary experiments in printmaking.
What will I achieve?
By the end of this course you should be able to...
• Describe at least 2 of the printmaking methods highlighted in this course
• Discuss the unique quality of printmaking versus other art forms like painting or sculpture
• Identify visual elements associated with one or more of the printmaking processes discussed in this course.
What level is the course and do I need any particular skills?
This course is suitable for all levels.
You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information, and will be invited to take part in group discussion. You should be able to operate the basic elements of Zoom, including camera and microphone.
How will I be taught, and will there be any work outside the class?
You will be taught online with slide presentations and group discussions. Handouts will be provided by your tutor to support your learning on the course; these handouts will be available online/digitally for download via the college’s Google Classroom. You will be sent an invitation to join the Google Classroom within a week of the course start date.
There is light, optional homework that will be used to prompt discussion and questions in class and consolidation of the course materials for those would like extra work. This optional, but recommended, homework is designed to take approximately 30 minutes outside of class time each week.
Are there any other costs? Is there anything I need to bring?
You might wish to purchase a notebook for taking notes. You might wish to buy some of the books on any reading list provided.
When I've finished, what course can I do next?
Representing the foreign in early modern Europe
Visionary experiments: American art of the 1940s and 1950s
Art in Renaissance France.
Sarah Jaffray holds a BA and MA in Art History with an emphasis in 19th/20th century France and a minor in the Italian Renaissance. She holds a second MA in Cultural Theory from Goldsmiths, University of London. Sarah was a lecturer for several colleges and universities in the Los Angeles area before relocating to London in 2012. She has worked in curatorial roles at the British Museum and Wellcome Collection. In addition to her current teaching at City Lit, Sarah is a lecturer at the University of Arts London and the Tutor Coordinator for City Lit's Art History programme. Her art historical practice focuses on experimental narratives, artistic process, art pedagogy, politics and philosophy. Sarah's current research is focused on translation and empathy.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.