Focus on: British printmaking in the late 19th and early 20th century
Time: 10:30 - 16:30
Location: Keeley Street
Course Code: VB765
Duration: 1 session
What is the course about?
In mid-nineteenth-century Britain most printmakers were trained to work producing illustrations for popular magazines. The days of adventurous, independent artist-printmakers such as William Hogarth and William Blake were over. Readers of magazines such as ‘The Strand’ wanted realistic images to illustrate the stories told. Wood or metal engravers were employed to replicate photographs or work from images produced by other artists in order to produce these illustrations. Their role had no creative element, and they worked long hours in workshops.
Many artists began looking back to non-commercial, traditional techniques, to produce prints that could stand for themselves as works of art. The revival of original printmaking began in the 1850s with the so-called ‘Etching Revival’. It gained traction in Britain in part thanks to the painter-printmaker James Abbott Mc Neil Whistler, and his brother-in-law Francis Seymour-Hayden.
The Etching Revival’ was followed in the late nineteenth and early twentieth century by renewed interest in other processes such as lithography, wood engraving, wood cutting, and lino cutting. A generation of influential art teachers in schools such as London’s Central School of Arts and Crafts, and the Royal College of Art would go on inspire the printmakers of the 1920s and 1930.
In this one-day introductory course we will track printmaking in Britain from the mid-nineteenth century till the 1930s, discovering some of the techniques, styles, personalities and social networks that produced some of the period’s most memorable images.
What will we cover?
· The Etching revival: James Abbot McNeill Whistler and Francis Seymour Hayden
· Wood engraving: Noel Rooke and Society of Wood Engravers; Leon Underwood, Gertrude Hermes, Blair Hughes-Stanton and the Brook Green School
· Modernist printmaking: Claude Flight and Sybil Andrews and the Grosvenor School; Edward Wadsworth and the Vorticists
· New Pastoralists and New Romantics: F.L. Griggs, Graham Sutherland, and Eric Ravilious
· The techniques of printmaking – wood block, wood engraving, metal engraving, etching, and lino cut.
What will I achieve?
By the end of this course you should be able to...
· Describe three styles/techniques of printmaking that developed from 1880–1939 in Britain.
· List three printmakers working in Britain from 1880–1939 and give examples of their work
· Describe how you might identify the printmaking techniques used to create an image.
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.
How will I be taught, and will there be any work outside the class?
You will be taught with slide presentations and group discussions.
Are there any other costs? Is there anything I need to bring?
You might wish to bring a notebook. You might wish to buy some of the books on any reading list given out in class.
When I've finished, what course can I do next?
· VB723 Art in Britain 1890-1918 - New English Art Club to WWI
· VB539 Art in Britain 1918-1945 - The Interwar years and WWII
· VB724 Focus on: James McNeill Whistler
· VB550 Art in Britain 1950-2000 – 'This is Tomorrow' (Part 1)
· VB655 Art in Britain 1950-2000 – 'This is Tomorrow' (Part 2).
Julia Musgrave got her first degree in Chemical Engineering and went on become a Chartered Information Systems Engineer and IT project manager. In 2008 she decided that life was too short for just one career and decided to become an art historian. She has a Graduate Diploma in the History of Art from the Courtauld Institute of Art and an MLitt in ‘Art, Style and Design: Renaissance to Modernism, c.1450 – c.1930’ from the University of Glasgow. She gained her Ph.D. at the University of York for her research into the involvement of Roger Fry and the Bloomsbury Group and the social networks of the British art world in the development of the Contemporary Art Society from 1910 to 1939. She is Co-Director of the London Art Salon and an accredited Arts Society lecturer.
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.