Optional Courses for 2021-22
Tutor: Professor Alastair Wright
The course examines modernist art produced in France in the later nineteenth and early twentieth centuries, interrogating how diverse artistic practices engaged with the politics of class, gender, and race. Topics will include the relationship between art and mass culture; modernism’s affiliations with both reactionary and revolutionary ideologies of the ‘popular’; the gendering of modern art in period accounts and in later art historical narratives; the connections between modernism and French colonialism; and the encounter with African art and myths of the ‘primitive’. To explore these issues, the writings of artists and their contemporaries will be examined alongside recent art-historical work and a range of theoretical texts on questions relevant to the materials of the course.
Tutor: Dr Costanza Beltrami
The Gothic and the Renaissance have long been viewed as two distinct artistic periods or ‘styles’ in neat succession. But what are the chronological, geographical, and conceptual limits of Gothic and Renaissance architecture? What happens if we recast late-Gothic architecture as a global phenomenon of the fifteenth and sixteenth centuries?
In addition to canonical examples from England, France, and Germany, late-Gothic buildings were erected (and decorated) in newly conquered territories such as the Canary Islands, Madeira, and Santo Domingo. In their materials and decorations, these new foundations responded to local contexts, in spite of being based on models brought from overseas. As the Gothic and other European traditions became global phenomena, they were increasingly in competition with new Renaissance designs. Architecture thus embodies a complex process of cultural interweaving: innovative late-Gothic buildings continued to appear at the height of the Renaissance; master masons constructed dynamic hybrids of different architectural modes; and linear conceptions of influence from the Italian ‘centre’ to global peripheries are dispelled by the intensity of artistic exchanges.
Challenging the perception of the Renaissance as a watershed in the emergence of architectural and cultural modernity, this course will place Gothic and Renaissance buildings not in opposition, but in dialogue. Uniquely, it will invite associations and conversations which are still relatively unexplored in architectural history. We will examine issues of reuse, communication, adaptation, exchange, and hybridisation on continental and intercontinental scales. Additionally, we will take into account the international trade networks where raw materials and luxury artworks were exported and imported, as well as the structures which enabled and enshrined commercial and territorial domination. Finally, we will study both religious and secular structures as lived-in, multi-media creations at the heart of networks of production and communication. This approach to architecture will enable students to develop personal research interests in other media, such as micro-architecture, sculpture or drawing.
Tutor: Dr Neal Shasore
The Arts and Crafts Movement still conjures parochial visions of English domestic life. This course instead provides a postcolonial reading of the wider Design Reform movement in Britain and its Empire in the late-nineteenth and early twentieth centuries. The British Empire loomed large in the Arts and Crafts movement despite William Morris’s anti-imperial stance. Though often considered moribund by the turn of the century, the ethos of the Arts and Crafts persisted well into the twentieth century – there is a ‘Long’ Arts and Crafts still to uncover. The socialist architect and designer CR Ashbee, for instance, was a civic adviser to the British Mandate in Palestine producing a number of studies of and designs for Jerusalem. Cecil Rhodes, inspired by Ruskin and Morris’s mistrust of machine-made design and furniture, worked closely with his favourite architect, Herbert Baker on the refurbishment of his prime-ministerial residence in Cape Colony, Groote Schuur. This seventeenth-century Cape Dutch building was furnished using vernacular Arts and Crafts features. The chronological span of the course will culminate in the British Empire Exhibition at Wembley in 1924. Inter-disciplinary and multi-media, students will come away with an understanding of art, design and architecture’s place within global networks of trade, commerce and exchange. They will also engage deeply with the visual and material culture of the colonies of what we now call the Global South, as well as the White Settler Dominions of Australia, New Zealand and Canada.
In addition to the options listed above, we hope to offer an option on American art to the 1980s.
Details of the tutor and the precise topic will be published on this page as soon as they are available.