A Art History and Appreciation

A10W The Art of Colour

Max: 15, Sessions: 10

Tutor / Leader: Mr John SHIRLAND

Although not face-to-face, email courses have certain advantages, primarily not fixed to a certain time. Members do have, however, to accept that email addresses are ‘open’ to the group. A text document including pictures are emailed as an attachment for each weekly session. They can be opened at any time within the seven days after arrival, before the next session is emailed. This gives time for reading, study and reflection. Course members can share thoughts etc. with other members if they wish by using ‘reply all’ in the emails. I can always be contacted by email or phone to explain further. This type of course was very well received and appreciated in 2020–21.

How colour has been used by painters from pre-historic time to our own day. The discovery of pigments, natural and chemical; how these were used by painters in their palettes; and week by week the various colours of the spectrum in paintings.

Weekly on Mondays

11 Oct to 13 Dec

Venue: email

A11X American Folk Art to Impressionism

Max: 15, Sessions: 10

Tutor / Leader: Mr John SHIRLAND

Although not face-to-face, email courses have certain advantages, primarily not fixed to a certain time. Members do have, however, to accept that email addresses are ‘open’ to the group. A text document including pictures are emailed as an attachment for each weekly session. They can be opened at any time within the seven days after arrival, before the next session is emailed. This gives time for reading, study and reflection. Course members can share thoughts etc. with other members if they wish by using ‘reply all’ in the emails. I can always be contacted by email or phone to explain further. This type of course was very well received and appreciated in 2020–21.

This is the result of the 2019 exhibition ‘Passion for American Art’ at the Peabody Essex Museum, Salem, Massachusetts. The course will include American Folk art to the 1950s, 19th century American landscapes, a session on women Impressionists, leading on to four sessions on principal American male Impresssionist painters.

Weekly on Mondays

10 Jan to 14 Mar

Venue: email

A12Y Spanish Painters (1450–1980)

Max: 15, Sessions: 10

Tutor / Leader: Mr John SHIRLAND

Although not face-to-face, email courses have certain advantages, primarily not fixed to a certain time. Members do have, however, to accept that email addresses are ‘open’ to the group. A text document including pictures are emailed as an attachment for each weekly session. They can be opened at any time within the seven days after arrival, before the next session is emailed. This gives time for reading, study and reflection. Course members can share thoughts etc. with other members if they wish by using ‘reply all’ in the emails. I can always be contacted by email or phone to explain further. This type of course was very well received and appreciated in 2020–21.

A study of Spanish painting through the biographies of native Spanish painters, and those who spent their artistic careers in Spain. There will be the great names: El Greco, Velazquez, Murillo, Goya, Picasso and Dalí, but also Goncalves, Bermejo, Morales, Ribalta, Ribera, Zurbaran and Valdes Leal. There will be one woman, Sofonisba Anguisolla, and the course will conclude with Sorolla and Miró.

Weekly on Tuesdays

11 Jan to 15 Mar

Venue: email

A13Z Michelangelo and Botticelli

Max: 20, Sessions: 5

Tutor / Leader: Mr Thomas COLLETT-WHITE

I shall be giving five lectures on these two great artists of the Renaissance with plentiful visuals (which I collected during the 20 years when we had a holiday cottage half way between Rome and Florence). I shall cover their careers and diverse skills. With Michelangelo, his triple crafts of sculpture, fresco and oil painting. With Botticelli, his oil painting and drawing. I discuss their very different characters, lengths of life and influence today on Western art—500 years on! In addition, I found both had a similar spiritual pilgrimage and reached their ‘discovery’ in later years, which affected their art.

I have had the good fortune to lecture to a wide background of audiences: universities, schools, salons, churches, prisons (I did so at Canterbury prison before it closed) and, more recently, a number of u3a Canterbury groups.

Weekly on Wednesdays 10:30–12:00

6 Oct to 3 Nov

Venue: Upper Lounge, Baptist Church St George’s Place, Canterbury, CT1 1UT

Clashes: F33N H07Z J25W J26X

A14L A French Prospective (1600–1870) – French Baroque, Rococo, Neo-Classicism & Romanticism

Max: 15, Sessions: 10

Tutor / Leader: Mr John SHIRLAND

Although not face-to-face, email courses have certain advantages, primarily not fixed to a certain time. Members do have, however, to accept that email addresses are ‘open’ to the group. A text document including pictures are emailed as an attachment for each weekly session. They can be opened at any time within the seven days after arrival, before the next session is emailed. This gives time for reading, study and reflection. Course members can share thoughts etc. with other members if they wish by using ‘reply all’ in the emails. I can always be contacted by email or phone to explain further. This type of course was very well received and appreciated in 2020–21.

Through the biographies of French painters, a study of how their work reflected the changing political scene: from the sturdy confidence of French Baroque painting, through the playful frivolity of the Rococo to the serious Neo-Classical, and finishing with the emotional French Romantic and realist narrative. A French perspective will begin with Poussin and Claude Lorraine in the 17th Century, and end with Corot, Millet and Courbet in the 19th.

Weekly on Wednesdays

13 Oct to 15 Dec

Venue: email

A15N Ten Ideas that Changed Painting in Europe

Max: 15, Sessions: 10

Tutor / Leader: Mr John SHIRLAND

Although not face-to-face, email courses have certain advantages, primarily not fixed to a certain time. Members do have, however, to accept that email addresses are ‘open’ to the group. A text document including pictures are emailed as an attachment for each weekly session. They can be opened at any time within the seven days after arrival, before the next session is emailed. This gives time for reading, study and reflection. Course members can share thoughts etc. with other members if they wish by using ‘reply all’ in the emails. I can always be contacted by email or phone to explain further. This type of course was very well received and appreciated in 2020–21.

Painting is always subject to change—be it physical, intellectual, spiritual or cultural. Over ten weeks we will consider how some of these changes came about as a result of ideas introduced into European Painting over the centuries.

Weekly on Wednesdays

13 Oct to 15 Dec

Venue: email

A16P “Eyeballing” – Freehand or Optical Aids?

Max: 15, Sessions: 10

Tutor / Leader: Mr John SHIRLAND

Although not face-to-face, email courses have certain advantages, primarily not fixed to a certain time. Members do have, however, to accept that email addresses are ‘open’ to the group. A text document including pictures are emailed as an attachment for each weekly session. They can be opened at any time within the seven days after arrival, before the next session is emailed. This gives time for reading, study and reflection. Course members can share thoughts etc. with other members if they wish by using ‘reply all’ in the emails. I can always be contacted by email or phone to explain further. This type of course was very well received and appreciated in 2020–21.

A study of the changes and developments in the history of European painting in the last two thousand years, especially those brought about by mathematics and science. The course is loosely based on David Hockney’s book Secret Knowledge, revised edition published in 2006.

Weekly on Wednesdays

3 May to 12 Jul

Venue: email

A17R ‘Why does it look like that?’

Max: 12, Sessions: 10

Tutor / Leader: Ms Anthea DANIELS

The title is the question which drives the course and discussion This is a course about the language of art and artists. We look at how artists understand, and respond to, and explain the world through their work.

The course is wide ranging; we start with Constable and Turner. After that we will look at major movements in western art and expand into ancient art of early communities and to art marking major historical events.

Weekly on Wednesdays 10:15–12:15

12 Jan to 2 Feb, 23 Feb to 30 Mar

Venue: Lounge, St Mary Bredin Church, Nunnery Fields, Canterbury, CT1 3JN

Clashes: C23L F33N