How our public collections evolve and expand and how they present and represent their collections is fascinating and provides a window into the worlds of private collecting, ideas about taste and how cultural and societal forces affect these ideas. Visiting different galleries and art venues each week this course explores the roles played by patrons, art dealers, curators and art critics across time in shaping our ideas about...
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How do our ideas about taste and what constitutes “good” art develop”? Can art transition from “bad” to “good” art? Who defines the art history canon across time? We will explore these questions in different galleries and art venues in London, considering how our national collections like the National Gallery and the Tate Gallery came into being and how and why they constantly refresh the interpretation of their collections. We will discover and discuss the roles played by individual patrons, by seminal exhibitions like ‘Sensation’ held at the Royal Academy in 1997, by commercial galleries and by art critics including John Ruskin and Roger Fry in directing our ideas about taste and art appreciation. The job of the curator emerges in the 19th century. What is the role of the curator in presenting “iconic” works to us and in directing our opinions? Each week we will visit different venues both large and small including the National Gallery, Tate Britain, the Wallace Collection, Leighton House and the Estorick Collection as well as commercial art galleries to explore these questions around taste.
What will we cover?
The development of art collections across time
The roles played by private collectors in the establishment of national art collections
How our understanding of the path of art history is directed by what we see in art collections and by how it is presented to us
We will explore the work of a range of artists and designers
What will I achieve? By the end of this course you should be able to...
Understand the transition from private art collections to public national art collections in Britain
Discuss how approaches to art and design are connected to cultural and societal change
Identify the important role played by art critics, curators and the open art market in establishing the reputation of artists both in the past and today
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. You 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 in the gallery with informal talks and group discussions. Handouts will be provided by your tutor to support your learning on the course.
Museum/gallery-based courses take place during public access hours. Tutors are not able to control sound levels or behaviours of visitors outside of the course group. Unless you are a wheelchair user, and have confirmed access details with us (as levels of access can vary between galleries), you will need to be able to walk between exhibits and stand for some time while looking at them (you may bring your own portable stool if you have one, but we cannot guarantee access to any gallery stools.) If you feel you may be impacted by these environmental variations, please inform the department on humanities@citylit.ac.uk before the course begins, to discuss reasonable accommodations we can make to assist your learning in the museum space.
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. Entrance to most of the galleries is free, but some of the smaller galleries have an entrance fee (Leighton House, the Estorick Collection).
Julie Barlow has a degree in Art History/History from the University of Hull and an MPhil (Fine Arts) from the University of Birmingham. She has worked in a variety of roles at Leighton House, V&A and Tate Gallery before studying for a PGCE and moving into Museum Education. Julie has over twenty years of experience as a freelance lecturer at the National Portrait Gallery working on all areas of the Education Programme and also for the first ten years at the National Gallery and in the last decade at the Wallace Collection.
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.
product
https://www.citylit.ac.uk/the-art-of-collecting-art-questions-of-taste2621313The art of collecting art: questions of tastehttps://www.citylit.ac.uk/media/catalog/product/t/h/the-art-of-collecting-art-questions-of-taste-1080.jpg249249GBPInStock/Courses/Courses/Culture, history & humanities/Art history/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Art history/Galleries, collecting & curating22851136117718921228511771136<p>How our public collections evolve and expand and how they present and represent their collections is fascinating and provides a window into the worlds of private collecting, ideas about taste and how cultural and societal forces affect these ideas. Visiting different galleries and art venues each week this course explores the roles played by patrons, art dealers, curators and art critics across time in shaping our ideas about art.</p>003075073The art of collecting art: questions of taste249249https://www.citylit.ac.uk/media/catalog/product/t/h/the-art-of-collecting-art-questions-of-taste-1080_2.jpgInStockDaytimeFriOff SiteAvailable courses5-10 weeksWeekday2027-01-08T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allJan 2027Culture, history & humanitiesVB222249249The art of collecting art: questions of taste199162249Julie Barlowthe-art-of-collecting-art-questions-of-taste/vb222-2627<p>How our public collections evolve and expand and how they present and represent their collections is fascinating and provides a window into the worlds of private collecting, ideas about taste and how cultural and societal forces affect these ideas. Visiting different galleries and art venues each week this course explores the roles played by patrons, art dealers, curators and art critics across time in shaping our ideas about art.</p>0000-Available|2027-01-08 00:00:00<p>How do our ideas about taste and what constitutes “good” art develop”? Can art transition from “bad” to “good” art? Who defines the art history canon across time? We will explore these questions in different galleries and art venues in London, considering how our national collections like the National Gallery and the Tate Gallery came into being and how and why they constantly refresh the interpretation of their collections. We will discover and discuss the roles played by individual patrons, by seminal exhibitions like ‘Sensation’ held at the Royal Academy in 1997, by commercial galleries and by art critics including John Ruskin and Roger Fry in directing our ideas about taste and art appreciation. The job of the curator emerges in the 19th century. What is the role of the curator in presenting “iconic” works to us and in directing our opinions? Each week we will visit different venues both large and small including the National Gallery, Tate Britain, the Wallace Collection, Leighton House and the Estorick Collection as well as commercial art galleries to explore these questions around taste. </p><p>How our public collections evolve and expand and how they present and represent their collections is fascinating and provides a window into the worlds of private collecting, ideas about taste and how cultural and societal forces affect these ideas. Visiting different galleries and art venues each week this course explores the roles played by patrons, art dealers, curators and art critics across time in shaping our ideas about art.</p><ul><li><p>The development of art collections across time </p></li></ul><ul><li><p>The roles played by private collectors in the establishment of national art collections </p></li></ul><ul><li><p>How our understanding of the path of art history is directed by what we see in art collections and by how it is presented to us </p></li></ul><ul><li><p>We will explore the work of a range of artists and designers </p></li></ul><ul><li><p>Understand the transition from private art collections to public national art collections in Britain </p></li></ul><ul><li><p>Discuss how approaches to art and design are connected to cultural and societal change </p></li></ul><ul><li><p>Identify the important role played by art critics, curators and the open art market in establishing the reputation of artists both in the past and today </p></li></ul><p>This course is suitable for all levels. </p><p>You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information. You will be invited to take part in group discussion. </p><p>You will be taught in the gallery with informal talks and group discussions. Handouts will be provided by your tutor to support your learning on the course. </p><p>Museum/gallery-based courses take place during public access hours. Tutors are not able to control sound levels or behaviours of visitors outside of the course group. Unless you are a wheelchair user, and have confirmed access details with us (as levels of access can vary between galleries), you will need to be able to walk between exhibits and stand for some time while looking at them (you may bring your own portable stool if you have one, but we cannot guarantee access to any gallery stools.) If you feel you may be impacted by these environmental variations, please inform the department on humanities@citylit.ac.uk before the course begins, to discuss reasonable accommodations we can make to assist your learning in the museum space. </p><p>You might wish to purchase a notebook for taking notes. You might wish to buy some of the books on any reading list provided. Entrance to most of the galleries is free, but some of the smaller galleries have an entrance fee (Leighton House, the Estorick Collection). </p><p>A history of art in 100 objects</p><p>An introduction to art history</p>Art historyGalleries, collecting & curatingvirtual199249162VB222NONEFri08/01/27 - 05/03/2711:00 - 13:0011:0013:008 sessions (over 9 weeks)85-10 weeksDaytimeWeekdayOSOff SiteJulie BarlowBeginners, Some experience, Advanced, Suitable for allAvailable courses2027-01-08T00:00:00+00:00Jan 2027Culture, history & humanities249249The art of collecting art: questions of tastethe-art-of-collecting-art-questions-of-taste/vb222-2627<p>How our public collections evolve and expand and how they present and represent their collections is fascinating and provides a window into the worlds of private collecting, ideas about taste and how cultural and societal forces affect these ideas. Visiting different galleries and art venues each week this course explores the roles played by patrons, art dealers, curators and art critics across time in shaping our ideas about art.</p>0000-Available|2027-01-08 00:00:00<p>How do our ideas about taste and what constitutes “good” art develop”? Can art transition from “bad” to “good” art? Who defines the art history canon across time? We will explore these questions in different galleries and art venues in London, considering how our national collections like the National Gallery and the Tate Gallery came into being and how and why they constantly refresh the interpretation of their collections. We will discover and discuss the roles played by individual patrons, by seminal exhibitions like ‘Sensation’ held at the Royal Academy in 1997, by commercial galleries and by art critics including John Ruskin and Roger Fry in directing our ideas about taste and art appreciation. The job of the curator emerges in the 19th century. What is the role of the curator in presenting “iconic” works to us and in directing our opinions? Each week we will visit different venues both large and small including the National Gallery, Tate Britain, the Wallace Collection, Leighton House and the Estorick Collection as well as commercial art galleries to explore these questions around taste. </p><p>How our public collections evolve and expand and how they present and represent their collections is fascinating and provides a window into the worlds of private collecting, ideas about taste and how cultural and societal forces affect these ideas. Visiting different galleries and art venues each week this course explores the roles played by patrons, art dealers, curators and art critics across time in shaping our ideas about art.</p><ul><li><p>The development of art collections across time </p></li></ul><ul><li><p>The roles played by private collectors in the establishment of national art collections </p></li></ul><ul><li><p>How our understanding of the path of art history is directed by what we see in art collections and by how it is presented to us </p></li></ul><ul><li><p>We will explore the work of a range of artists and designers </p></li></ul><ul><li><p>Understand the transition from private art collections to public national art collections in Britain </p></li></ul><ul><li><p>Discuss how approaches to art and design are connected to cultural and societal change </p></li></ul><ul><li><p>Identify the important role played by art critics, curators and the open art market in establishing the reputation of artists both in the past and today </p></li></ul><p>This course is suitable for all levels. </p><p>You should be able to follow simple written and verbal instructions, demonstrations, hand-outs and health and safety information. You will be invited to take part in group discussion. </p><p>You will be taught in the gallery with informal talks and group discussions. Handouts will be provided by your tutor to support your learning on the course. </p><p>Museum/gallery-based courses take place during public access hours. Tutors are not able to control sound levels or behaviours of visitors outside of the course group. Unless you are a wheelchair user, and have confirmed access details with us (as levels of access can vary between galleries), you will need to be able to walk between exhibits and stand for some time while looking at them (you may bring your own portable stool if you have one, but we cannot guarantee access to any gallery stools.) If you feel you may be impacted by these environmental variations, please inform the department on humanities@citylit.ac.uk before the course begins, to discuss reasonable accommodations we can make to assist your learning in the museum space. </p><p>You might wish to purchase a notebook for taking notes. You might wish to buy some of the books on any reading list provided. Entrance to most of the galleries is free, but some of the smaller galleries have an entrance fee (Leighton House, the Estorick Collection). </p><p>A history of art in 100 objects</p><p>An introduction to art history</p>Art historyGalleries, collecting & curatingconfigurable
