Undergraduate Course: Art History in Action: A Sense of Place (LLLA07177)
Course Outline
| School | Centre for Open Learning |
College | College of Arts, Humanities and Social Sciences |
| Credit level (Normal year taken) | SCQF Level 7 (Year 1 Undergraduate) |
Availability | Not available to visiting students |
| SCQF Credits | 10 |
ECTS Credits | 5 |
| Summary | Explore, through lectures and practical work, how key English 20th century artists dealt with a sense of place |
| Course description |
Provide an academic description, an outline of the content covered by the course, and a description of the learning experience students can expect to get.
In this course students will look at how key English twentieth century artists took their inspiration from a sense of place and their own history. Students will look, in particular, at war artists: Paul Nash, John Piper and Graham Sutherland and the St. Ives artists; Ben Nicholson, Alfred Wallis and Barbara Hepworth, as well as the later generation they inspired: Patrick Heron, Peter Lanyon, Margaret Mellis.
Through a series of mini lectures and practical studio experiments students will work in mixed media with monochrome, colour, texture and composition based on the principles of the artists examined. Students will have an opportunity to devise their own project, developing a personal response to the art historical information examined, but bringing a contemporary relevance to the work. Abstraction will be encouraged, although the work can be figuratively based.
Outline of Content
The course teaching is typically delivered over weekly class sessions of around 3 hours each and totaling 30 hours.
Over the class sessions the course will cover:
Week 1. There will be a short lecture, introducing the work of the First and Second World War artists: Paul Nash, John Piper, Graham Sutherland and Eric Ravilious. Students will make small collages with newspaper and brown paper based on still life set up.
Week 2. There will be a trip to St. Mary¿s or St. Giles Cathedral to gather information through drawing. A demonstration on how to get enough information with thumbnail sketching will be given.
Week 3. Students will make more ambitious collages, based on their drawings.
Week 4. There will be a short lecture on the St. Ives group: Ben Nicholson, Winifred Nicholson, Barbara Hepworth, Alfred Wallis and Christopher Wood. Students will look at different ways of integrating line with collage.
Week 5. Students will make low, monochrome reliefs.
Week 6. There will be a short lecture on the later generation of St. Ives artists; Peter Lanyon, Wilhemena Barnes- Graham, Margaret Mellis and Patrick Heron. Students will examine some of the techniques they used.
Weeks 7-10. Students will complete a project of their own devising, based on the knowledge gained through studying the above artists, but bringing a contemporary relevance to the work. Abstraction is encouraged, although the work can be figuratively based.
The Learning Experience
The teaching will be based and delivered in specialist art and design studios or workshops and will typically include a range of practical exercises, introductions to techniques, processes and concepts, and set projects which lead to more focused and personal exploration. Over the course, students¿ progress will be monitored and supported by the tutor. Teaching will include practical demonstrations, one to one tuition, group discussions and critiques.
For work required to be undertaken after the class hours are complete, the course tutor will set students a ¿directed study plan¿ which can be undertaken without the need for specialist workshops or access to models.
Directed study will include research into a range of suggested artists and their associated movements to engender a contextual awareness. Students are expected to demonstrate how their research has informed their work through annotated sketchbooks, a visual digital journal and practical outcomes.
The Directed Study Plan will include preparing evidence of research and practical work to form an appropriate presentation for assessment.
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Entry Requirements (not applicable to Visiting Students)
| Pre-requisites |
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Co-requisites | |
| Prohibited Combinations | |
Other requirements | None |
| Additional Costs | Unless otherwise stated, all students on this short course pay a published course fee per enrolment.
In addition to the learning and teaching resources and content, this fee also includes;
PVA glue, brown paper, black ink, rollers, black printing ink and acetate monoprinting sheets.
Scissors, charcoal, pencils
In addition to the course fee, students are expected to provide the following list of indicate tools, materials and equipment
please list materials and equipment students must provide here:
Acrylic paints (oils can be used): Cadmium red, Crimson, Cobalt or cerulean blue, Ultramarine, Cadmium yellow, Lemon yellow, Viridian or phthalo green, Yellow ochre or raw sienna, Raw or burnt umber, Black, Titanium white.
Palette- a clean white sheet of plastic (corrugated or melanine) or several disposable plastic plates
Brushes- a range of flat and round hog hair brushes, a few soft sable type brushes, a 2 inch flat brush for priming
Supports- a range of cartridge paper, card or boards |
Course Delivery Information
| Not being delivered |
Learning Outcomes
On completion of this course, the student will be able to:
- Research, context and ideas (33.3%) Demonstrate an insight into the methods and practices of English twentieth century artists, exploring a historical context to foster visual research and develop personal ideas.
- Practice, skills and techniques (33.3%) Demonstrate the use of various techniques, materials and approaches to create a series of experimental and resolved works, developed from the work of English twentieth century artists, to produce a distinctive and personal vision.
- Selection, presentation and reflection (33.3%) Select and present a coherent body of works, including studies and finished pieces that underpin the research and practice.
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Learning Resources
Suggested Readings
HARRIS, A. (2010). Romantic Moderns: English Writers, Artists and the Imagination from Virginia Woolf to John Piper. Thames and Hudson
JENKINS, D.F. and Spalding, F. (2003). John Piper in the 1930s, Abstraction on the Beach. mLondon; Merrel
CAUSEY, A. (2013). Paul Nash: Landscape and the Life of Objects. Farnham; Burlington
LAWSON, Jeremy (1993). Ben Nicholson. Tate Gallery
CARIOU, A. and Toby, M. (1996).Christopher Wood a Painter Between Two Cornwalls. Tate Gallery
MULLIN, E. (1967). Alfred Wallis- Cornish Primitive Painter. Macdonald & Co. Ltd.
HERON, P (1979). The Colour of Colour. University of Texas at Austin
Web sources
www.tate.org.uk/visit/tate-st-ives
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Additional Information
| Graduate Attributes and Skills |
Analysis of paintings.
Knowledge of English 20th Century Artists and art history.
The ability to explore visual ideas through various practical drawing and printing relief techniques, methods and approaches.
The ability to make independent judgements on the selecting, editing and documentation of their work, showing an insight into critical context and reflective practice. |
| Keywords | monochrome reliefs,collage,drawings,sketchbook,research,St. Ives artists,Practical,Lectures |
Contacts
| Course organiser | Mr Oliver Reed
Tel:
Email: |
Course secretary | Ms Kameliya Skerleva
Tel: (0131 6)51 1855
Email: |
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