WEA courses

This course will help you develop further watercolour techniques interrelated with drawing skills, and in connection with inspiring examples in art history. It will help you learn classical techniques in a subtle way, by relating them to examples by various masters of drawing and watercolour and contemporary artists. If you would like to have a fresh view of watercolour painting and drawing, and learn how to achieve expressivity by carefully combining techniques such as glazing, graded wash or cross-hatching, this course will offer you an overview and will inspire personal artworks of great subtlety and sensitivity It will also encourage you to create your own original artworks based on the techniques learned and it will bring a fresh perspective on known techniques and styles, if you have already practised them in your own paintings. You will need to bring your own materials, paints and paper along for this course. The tutor will let you know what to bring

American art historian Linda Nochlin in 1971 posed the question as to “Why have there been no great women artists?”. Since then the field of art history has increased its focus on women artists. Yet women sculptors have been the most overlooked, overshadowed by their male counterparts, and under-represented in sculptural histories. This course will write them back into art history by focusing on the talented and accomplished women sculptors from the 17th Century to their transition through the centuries into the installation artists of the 21st Century.

Modern Art’ arouses strong feelings - like it or loathe it! Explore Constable and Turner, understand the Pre- Raphaelites and the Impressionists. Trace the development of ‘Modern Art’ from the beginnings with Cezanne, through the revolutions of Picasso and Mondrian, to the British artists such as Tracy Emin and Antony Gormley. Discuss whether ‘found art’ such as Duchamp’s ‘Fountain’ or Tracy Emin’s ‘My Bed’ are really art at all. Examine the importance of modern art galleries. Understand the contexts and the development which have influenced art in the twentieth century.

An oversimplified view but still a very useful one is that in the 1950s there was still largely a respect for “tradition”. By contrast the 1960s saw challenges to all traditions and conventions. In many areas of public and private life, traditional conventions were challenged. In the theatre world, “kitchen sink drama” appeared. In the visual arts, artists produced even more abstract individualistic products, with “installations” replacing paintings and sculpture. Music became even more experimental. In the course, these developments and many others will be illustrated, including projects of the decade which we still enjoy.

This course in art appreciation provides close attentions to particular works of art from Leonardo da Vinci and Albrecht Dürer to Michelangelo and Pieter Breughel. The focus will be upon specific paintings, sculptures, prints and drawings in relation to who the works were for, how the decisions about visual presentations were determined and the integration of pictorial practice with contemporary ideas. The course uses a secure digital learning portal for all the classes and for communications with the tutor and access to learning materials. The course would be appropriate for both experienced viewers of art and those new to the subject.

scover the fascinating life and work of 20th century artist, Paul Nash. Chart his significant impact on British art from 1914 to his death in 1946: from his experiences as Official War Artist during both World Wars; and his contribution to the development of British Surrealism and modern landscape. The course explores also Nash’s fruitful collaboration with his wife, the writer and Suffragette, Margaret Odeh. Central to this course will be a focus on Nash’s interest in spirituality and Eastern philosophies, exploring how his paintings articulated certain subjects and motifs that helped him make sense of a world of conflict.

What is a muse? How and why has this convention endured for centuries? On this focused course, we explore the identity and representation of the muse through the lives and work of three female artists: Claude Cahun (1894-1954), Eileen Agar (1899-1991) and Isabel Rawsthorne (1912-1992). Each week we focus on one artist, examining their individual backgrounds, training and a range of influences that helped to shape their practice across either painting, photography or sculpture. By exploring their work and artistic intentions we will discuss how the traditional concept of the modern muse was powerfully subverted by each of the artists.