Art History with Anne

Live zoom lectures for April/May

Modern art comes to Scotland:

From the Glasgow Boys and to the Scottish Colourists 1880-1930

George Henry, Playmates, 1884.

In my last series of lectures, I considered the impact of Naturalism and en plein air painting on Scandinavian artists. Now coming closer to home, my next series of three inter-connected lectures concentrates on Scotland. This is not an easy story to tell for while the Glasgow Boys and Scottish Colourists were influenced by progressive French painting, the Glasgow Four, led by Charles Rennie Mackintosh, were not interested in en plein air painting or rural life. Rather they were integral to the emergence of European Symbolism in the 1890s. While the Boys and the Colourists could be deemed ‘followers’, the Four were leaders shaping the development of the Viennese Secession.

Glasgow Boys: Followers of Bastien-Lepage’s Naturalism

Wednesday 27th April at 11.00 am and repeated at 7pm

During the 1880s the city of Glasgow emerged as a major cultural centre rivalling the nation’s capital, Edinburgh.  New money and a determination to collect modern art provided great opportunities for a generation of up-and-coming artists.  Now known collectively as the Glasgow Boys this loose confederation of artists numbered James Guthrie, Edward Atkinson Hornel, George Henry, and the Irish Glasgow Boy, John Lavery.  Influenced by Japan, and contemporary French and Dutch painting, notably Jules Bastien-Lepage, these, artists brought a breath of fresh air to Glasgow.  They adopted en plein air painting, working from nature directly out of doors, and escaped to the countryside in search of rural life. They paved the way for the city’s renaissance during the 1890s, laying the foundations for the Glasgow school, led by Charles Rennie Mackintosh and the Glasgow Four. 

Jules Bastien-Lepage, October Gathering Potatoes 1878
James Paterson, The Last Turning, Winter, Moniaive, 1885

‘The Spook School’: Mackintosh and the Glasgow Girls

Wednesday 4th May at 11.00 am and repeated at 7pm

The Four, who numbered Charles Rennie Mackintosh’s talented wife Margaret Macdonald and her sister, Francis MacDonald McNair, worked across different mediums: watercolours, gesso plaster panels and metalwork.  Nicknamed the Spook school, due to their elongated, ethereal human figures, symbolic meaning lay at the heart of their work. At the cutting edge, their influence in Europe was profound, forging a new design ethos that blended symbolism with decorative pattern.  Absorbing elements from Aubrey Beardsley and 1890s Decadence, their art has been labelled subversive and even, in the case of the girls, categorised as Feminist.   Whereas progressive French painters influenced the Glasgow Boys, the Four inspired their European contemporaries, especially Gustave Klimt.

Frances Macdonald McNair, Tis a Long Path which Wanders to Desire, after 1911
Margaret Macdonald Mackintosh, Seven Princesses, 1906

Scottish Colourists: Peploe, Ferguson, Hunter, and Cadell

Wednesday 11th May at 11.00 am and repeated at 7pm

The work of the Four seems but an interlude, when we come to the Scottish Colourists, who once again turned to French painters, notably Matisse, and the bright colours of the Fauve (Wilde Beast) painters. The Scottish Colourists, Samuel Peploe, John Duncan Ferguson, George Leslie Hunter, and Francis Cadell were a loose grouping.   They never issued a manifesto and they rarely painted together.  But when they exhibited as a group their debt to French painting became clear.   Even more than the Glasgow Boys, the Colourists were concerned with the art of painting and the impact of pure colour.  Their paintings are tactile, the paint thick and creamy. The subjects, landscape and still life, are easily understandable- there is no deep, hidden meaning, just a celebration of light and colour that all can appreciate.

Samuel Peploe, Tulips and Fruit, c. 1919.
John Duncan Ferguson, The Blue Hat, (Closerie des Lilas), 1909
 

The lectures will be delivered live by Zoom. They will be uploaded afterwards to my YouTube channel for a limited time and you will be provided with a private link to view them again at your leisure.
The lectures last for around an hour.  Lecture start times are in BST.
There will be a question-and-answer session at the end.
As the lectures will be delivered live by Zoom, you will be able to ask your questions in person at the end. You can also use the ‘Chat’ function.

I will be repeating each morning lecture in the evening of the same day for those people unable to make the morning slot. Both lectures (morning and evening) will be delivered live. 

The lectures are priced at £10 a session. You can book each lecture separately or all three £25 (one lecture half price!)
Please email Susan Branfield at susanbranfield@waitrose.com
Please ask for ‘Morning Lecture’ or ‘Evening Lecture’ when you book your choice(s) as the sessions have different Zoom entry codes
You can pay by cheque or BACS (details will be supplied). Cheques should be made payable to Anne Anderson.
Once you register and pay, you will be sent a separate email with your link. You will need this link to access the lecture on the day so please do not delete it. 
After the lecture you will be sent another private link so you can access the lecture on my YouTube Channel.

Or you can pay directly through Paypal

Berwickshire Field-workers 1884 by Edward Arthur Walton 1860-1922

Glasgow Boys

One lecture

£10.00

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The Spook School

One lecture

£10.00

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Scottish Colourists

One lecture

£10.00

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Three lectures

Glasgow Boys The Spook School Scottish Colourists

£25.00

Art History with Anne

March 2022

The Spirit of the North:

Modern Painting comes to Scandinavia

A series of lectures for Spring

After many years of planning and construction the new Munchmuseet opened in Oslo last October.  Placed right on the water, near to the magnificent Opera house, clearly the new museum hopes to attract cruise passengers.  Given the demanding character of most of Munch’s art one can imagine a ‘G&T’ will help to lighten the mood upon returning to the ship. Nevertheless, if you wish to understand the Nordic spirit you will have to grapple with both the paintings of Munch and the plays of Henrik Ibsen. I wholehearted embarked on my Nordic learning curve when I was asked to lecture on board Swan Hellenic’s Minerva.  I have now sailed around the Baltic several times discovering the wonderful collections of art in Oslo, Stockholm, and Copenhagen.  I have also discovered that there are many more artists, alongside Munch, who revolutionized Scandinavian painting at the turn of the 20th century. With this I mind I will be offering a series of three interconnected lectures on Modern art coming to Norway, Sweden, and Denmark.

The Scream

Modern Art comes to Sweden: Anders Zorn and his Circle

Anders Zorn’s (1860-1920) bravado portraits in the grand manner have led to comparisons with the American superstar John Singer Sargent. Acclaimed internationally, Zorn was Sweden’s most famous artist at the turn of the century. While he made his name with scenes of modern life, from peasants in the fields to the bustle of city life, he made his fortune painting portraits of the great and the good. He took America by storm in the 1890s painting President William Taft and ‘grand dame’ Isabella Stewart Gardner.  Travelling the world, spending several years in Paris, Zorn finally returned to his native land to create Zorngården, Mora, Dalarna.  Zorn’s studio-house draws on the Arts and Crafts spirit and folk-art traditions of the area.  Fearing the loss of these traditions Zorn created Gammelgården in the southern part of Mora, a collection of around 40 timber houses that he bought and moved to make sure that the old art of building such houses would not be forgotten. Compared to a comet that quickly burnt out, his repute was eclipsed by the rise of Modernism. But like Sorolla and Krøyer his reputation has been revived in the 21st century.

Anders Zorn
Anders Zorn

Modern Art Comes to Denmark: Peder Krøyer and the Skagen group

The calm serenity of Peder Krøyer’s Summer Evening on Skagen’s Southern Beach, reproductions of which are said to hang on many Danish walls, captures the ‘blue hour’ of a midsummer night when the water and sky seem to optically merge.  From 1882 Krøyer (1851-1909) spent most of his summers painting at Skagen, then a remote fishing village on the northern tip of Jutland, Denmark. Artists were drawn to Skagen by the special local light, the vast sandy beaches, and the life of the local fishermen. The international artists’ colony that developed at Skagen has been likened to our Newlyn School.  Members of the group include fellow Danes Anna and Michael Anchor,  Oscar Björck and Johan Krouthen from Sweden and Christian Krogh and Eilif Peterssen from Norway. Gathering  regularly at the Brondums Inn, they often painted scenes of their own social gatherings, playing cards, celebrating a special event or simply eating a meal together.Krøyer finally settled in Skagen after marrying artist Marie Triepcke in 1889. Cushioned by the patronage of tobacco manufacturerHeinrich Hirschsprung, Krøyer was able to travel extensively, visiting art galleries, meeting artists, and developing his skills. In Paris, studying under Leon Bonnat, he was influenced by the French Impressionists and adopted ‘en plein air’, painting directly from nature out of doors.  His naturalism brought a breath of fresh air to Demark.

Peder Kroyer
Peder Kroyer

Modern Art comes to Norway: Munch and his Circle

No one captured the angst of the era more effectively than Edvard Munch (1863-1944); imitated, copied, and parodied, his iconic Scream (1893) is as famed as Leonardo’s Mona Lisa. Munch was profoundly influenced by the playwright Henrik Ibsen (1828-1906). In his plays A Doll’s House, Ghosts and Hedda Gabler, Ibsen exposed double standards, revealing the truths that lay behind the façade of respectable domesticity. Ibsen deals, like Munch, with complex human relations. Munch wrote in a letter of 1908, “I am reading Ibsen again and I read him as me [myself].” Ghosts became Munch’s own drama. He saw the tragedy of the painter Osvald Alving, lusting for life yet unable to work, standing under the curse of heredity illness and madness, and feeling condemned to ruin, as a self-portrait. Nevertheless, Munch confessed “My fear of life is necessary to me… Without anxiety and illness, I am a ship without a rudder…. My sufferings are part of myself and my art.” Due to censorship and hostility Munch spent much of his life outside Norway. He moved in avant-garde circles in Paris and Berlin with Fritz Thaulow, Christian Krohg and Swedish dramatist August Strindberg among his friends.

Edvard Munch
Edvard Munch


The lectures last for around an hour. 


You can pay directly through Paypal to receive the code for each lecture

One lecture

Anders Zorn and his Circle

£7.00

One lecture

Peder Kroyer and the Skagen group

£7.00

One lecture

Edvard Munch and his Circle

£7.00

Three lectures

Anders Zorn and his Circle

Peder Kroyer and the Skagen Group

Munch and his Circle

Three lectures

Anders Zorn Peder Kroyer Edvard Munch

£20.00

A Once- in- a-Century Opportunity:

Gainsborough’s Blue Boy returns to London

National Gallery 25 January – 15 May 2022

In the winter of 1922, Gainsborough’s ‘The Blue Boy’ hung at the National Gallery for three weeks before it sailed across the Atlantic to its new home in the Huntington Mansion, San Marino, California. It was a public farewell to a beloved painting.

100 years later (to the day), Gainsborough’s masterpiece will return to the Gallery to go on display in Trafalgar Square once again. This is the first time the painting has been loaned by The Huntington. To celebrate this wonderful opportunity, I will be offering three inter-linked lectures entitled California Dreaming.

I have been very privileged to have been awarded two fellowships at the Huntington Library to study the collection of Chelsea Porcelain purchased by Huntington to complement his English portraits.  He had the best English paintings and the best English porcelain! Working in the library I would take time out in the galleries, looking at the Blue Boy and musing on how it arrived in California.  Many of the wonderful images you will see in my lectures were taken either by Scott or myself during our stay in Pasadena.

Gainsborough’s Blue Boy: Super Collectors Henry Edwards Huntington and Arabella Huntington

Although many great works of art are now institutionalised in galleries, American collectors initially bought art to enrich and decorate their homes; paintings were ‘household gods’. Hearst Castle, Saint Simeon is the supreme example of this desire to surround oneself with beauty. Randolph Hearst, media mogul, collected on an unprecedented scale, paintings, sculpture and even entire rooms and buildings which were shipped to California to fulfil his dream of creating a country estate.  Likewise, the Huntington Mansion became a showcase for Henry Huntington’s eighteenth-century British portraits by Gainsborough, Reynolds, and Romney, largely acquired through the art dealer Lord Duveen. Gainsborough’s Blue Boy, which normally hangs opposite Thomas Lawrence’s Pinkie, would be joined by Turner’s Grand Canal and Constable’s Salisbury Cathedral, a slice of English culture ironically not far from downtown Los Angeles!  For the American super-rich collecting offered status and the expression of good taste. However, above all it promised immortality.

Thomas Lawrence ‘Pinkie’, Sarah Goodin Barrett Moulton, 1794
Thomas Gainsborough, ‘The Blue Boy”, c. 1770.

The Meanest Millionaire: John Paul Getty, the Getty Villa, and the Getty Foundation

A millionaire by the time he was twenty-three, Getty initially collected works of art on a modest scale, housing his treasures in his Ranch House in Malibu. However, Getty could not resist a bargain and there were plenty to be had following the Wall Street Crash in November 1929. He purchased his first Dutch Old Master, Jan van Goyen’s View of Duurstede Castle at Wijk bij Duurstede in 1931.  Leasing Sutton Place South, a penthouse, from Mrs Frederick Guest in 1936, gave Getty a taste for French and English 18th century furniture. He acquired many exquisite pieces of French furniture at the John Mortimer Schiff sale 1938.  

Hearst’s audacity spurred Getty to recreate a Roman villa at Malibu to house his growing collection of Greek and Roman Antiquities. This opened to the public in 1974, two years before Getty’s death. His companion in later life, Penelope Kitson, said ‘Paul was really too mean ever to allow himself to buy a great painting.’ Nonetheless, at the time of his death he owned more than 600 items valued at more than $4 million, including paintings by Rubens, Titian, Gainsborough, Renoir, Degas, and Monet. It was his legacy that provided the finance for the Getty Centre, an architectural work of art by Richard Meier, which opened to the public in December 1997at a cost of   $1.3 billion.

Van Gough’s Irises

Norton Simon: Old Masters, Impressionism and Post-Impressionism in Pasadena

Norton Simon made his fortune backing Hunt’s Tomato Sauce, Canada Dry Ginger Ale, Avis Car Rental and Max Factor cosmetics!  A learned connoisseur, Norton was also a shrewd businessman. In the mid 1960’s, he acquired the whole inventory of the Duveen Brothers Gallery, New York, around 800 objects. He also bought the gallery building, with its library and archives all for $4 million!  His collection holds three autographed Rembrandt paintings, an early Raphael, and famous works by Gudio Reni and Guercino. He undoubtedly had a better eye that Getty and was prepared to pay the price for a great painting. Norton eventually assembled one of the most comprehensive collections of Impressionists and Post-Impressionists in the world, including five works by Van Gogh.  You can trace the entire history of French avant-garde art from Courbet to Braque. With works by Henry Moore arranged around a tranquil pool, the sculpture garden is breathtakingly beautiful, a quiet oasis in the bustle of Pasadena.



You can pay directly through Paypal for these one hour lectures

One lecture Huntington

The Huntington Collection of 18th century portraits

£7.00

One Lecture Getty

The Getty Villa and the Getty Centre

£7.00

One Lecture Norton Simon

Norton Simon Museum Pasadena

£7.00

Three Lectures

Huntington Getty Norton Simon

£20.00

Lectures recently added to the library

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It’s that time of the year when we start to think about Christmas.  I expect we have all dreamt of the ultimate present, a Tiffany diamond bracelet, a Rene Lalique Art Nouveau jewel, or a Faberge trinket (as above!).  While such baubles are beyond my modest pocket, I have still been able to enjoy seeing such treasures in museums across the world.  Lecturing on a Fred Olsen cruise I visited the awesome Fabergé Museum in St Petersburg.  This private collection is housed in the beautiful Shuvalov Palace, on the Fontanka River Embankment.  I have chased Tiffany across world, from the New York Historical Society, where the glittering Tiffany lamps do indeed resemble baubles, to the National Gallery, Canberra.  On my Travel Editions tour, based in Metz, I have been privileged to visit the Lalique Museum in Wingen-sur-Moder several times. I confess in the gift shop I have marked my visit with yet more books and a commemorative fridge magnet.  Drawing on the extensive collection of images that I have accrued over the years, I hope to take you via Zoom to see these wonderful collections in St Petersburg, New York, and Eastern France.  Hopefully in 2022 it will be easier to travel and this series of three lectures will inspire you!

Carl Fabergé: Imperial Presents

Tiffany & Co: from Diamonds to Art Glass

Rene Lalique: Master of Art Nouveau Jewellery

Contact anne.anderson99@talk21.com to pay by bank transfer or cheque

Or pay directly using PayPal

One zoom lecture Carl Faberge

£7.00

One zoom lecture Tiffany

£7.00

One zoom Lalique

£7.00

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More lectures in the Library

l’Ecole de Nancy: this series of three lectures continues my theme of Art Partnerships.

L’Ecole de Nancy, a consortium of architects, artists, and designers, was officially launched in 1901 following success at the Paris Universal Exhibition of 1900.  While ‘the school of Nancy’ is at times relegated to provincial status, it was the powerhouse of Art Nouveau, second only to Paris in terms of initiating new technologies and improving the quality of the decorative arts.   Émile Gallé, the first president of L’Ecole de Nancy, specialised in pottery, glass and furniture; the Daum brothers, Auguste and Antonine concentrated on glass, collaborating with stained glass designer Jacques Gruber, while Louis Majorelle was the premier furniture maker and metalworker. Yet this Golden Age had only come about due to a disastrous war and mass-migration.  The city’s destiny, and that of France, had been determined by the Franco-Prussian war (1870-71).

Contact anne.anderson99@talk21.com to pay by bank transfer or cheque

Or pay directly using PayPal



Émile Gallé: father of l’École de Nancy

Gallé (1846-1904) took over the family firm in 1874, transforming the business into one of the world’s leading art industries.  In addition to glass, Gallé manufactured ceramics and furniture, the latter primarily for his creations to stand on.  He was a brilliant innovator, constantly perfecting new techniques.  Beginning with enamelling on clear glass, inspired by Islamic precursors, he progressed to hand carved, and acid etched cameo glass. His ultimate technique ‘glass marquetry’ was perfected for Paris 1900.  Following his premature death in 1904, the Daum brothers were Galle’s natural successors.  

One lecture Galle

£5.00

Daum Frères Cristalleries: glass and stained glassMigrating from the territory annexed to Germany, Jean Daum (1825-85) took the risky step of investing in the Sainte-Catherine glassworks in Nancy. It was his sons, Auguste (1853-1909) and Antoine (1864-1930), who turned around the fortunes of the cristalleries by developing art glass.  By collaborating with stained glass artist Jacques Gruber (1870-1936), ‘France’s Tifffany’, and Almeric Walter (1870-1959), who perfected pâtes de verre (glass casting), Daum enhanced its artistic reputation. Thanks to such partnerships, Daum survived the 1930s depression and continues to be a leading manufacturer of Art Glass.

One Lecture Daum

£5.00

Louis Majorelle: Furniture and Metalwork

Louis Majorelle (1859-1926), who collaborated with both Gallé and Daum, secured his reputation with a range of superb Art Nouveau furniture.  Diversifying into metalwork, he fashioned lamp bases (with Daum Frères shades), spectacular glazed canopies and breath-taking staircase railings. Acquiring Samuel Bing’s famous gallery Maison de l’Art Nouveau in 1904, Majorelle secured a Parisian outlet for l’École de Nancy. However, Marjorelle’s legacy is the Villa Jika, named after his wife, the stunning studio-house created for him by the young Parisian architect Henri Sauvage. This exemplary ‘total work of art’, now fully restored, provided a showcase for the creative talents of Majorelle and Gruber.

One Lecture Majorelle

£5.00

More Art Patnerships….

William Morris and Edward Burne-Jones, creators of the Pre-Raphaelite Interior

With their friendship established at Oxford, Morris and Burne-Jones collaborated on numerous projects.  After 1875 Burne-Jones designed all the stained glass windows for the firm with commissions going as far afield as the USA. In the 1890s they collaborated on the great tapestry cycle, the Holy Grail.  When Morris predeceased him, Burne-Jones simply declared ‘the king is dead’.

One Lecture Morris and Burne-Jones

£5.00

Josef Hoffmann and Kolo Moser, founders of the Wiener Werkstätte

Inspired by Morris’ firm, Hoffmann and Moser founded the Wiener Werkstätte (Viennese workshops) in 1903. Working on joint architectural projects, it is often impossible to distinguish their work stylistically.  They developed a radically new design ethos based on strict geometric forms.

One Lecture Hoffmann and Moser

£5.00

Edwin Lutyens and Gertrude Jekyll, the perfect Arts and Crafts House and Garden

Both wedded to the native architecture of Surrey, with its picturesque half- timbering and tile hanging, Lutyens provided the architectural framework which Jekyll filled with a profusion of flowers. Together they worked on numerous projects, both great and small, establishing a pattern governed by pergolas, rills, and herbaceous borders, that define the Arts and Crafts garden.

One Lecture Lutyens and Jekyll

£5.00

Also available

William Morris and the Arts and Crafts Interior

Christopher Dresser and the Aesthetic Interior

Ernest Gimson and the Cotswold Arts and Crafts Interior

Victor Horta and the Art Nouveau Interior

James Tissot: Fashionable London

James McNeill Whistler: An American Abroad

Lawrence Alma-Tadema: At Home in Antiquity

Gustav Klimt: ‘All Art is Erotic’

Art Nouveau in Budapest: the Hungarian Secession

These lectures are available on open access:

Monet: Impressionism in Normandy

Victorian Art Pottery: William de Morgan

How did we get IKEA? Scandinavian Design c. 1880-1960

Charles Rennie Mackintosh and the Glasgow Four

Art Deco: High Style in the Roaring Twenties

The Bauhaus 1919-2019: A Hundred Years of Modern Design

Art and Crafts Gardens: A Haven for our Troubled Times

Everything Stops for Tea! A Social History of Tea Drinking

Art Nouveau Cities

Nordic Vision: Scandinavian Painting 1880-1914

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