Lifelong Learning Programme

This project has been funded with support from the European Commission. This material reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein

Sharing national cultureMichelangelo - Sharing national culture

Michelangelo

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Dissemination


DISSEMINATION REPORT
Partners:
University of Cumbria
Name of the person involved in the event:
Mark Haywood, Nicola Ferguson, Dianne McCormick
Date of the event:
27 March 2009
Type of Dissemination event:
Online meeting of project partners and teachers to discuss UK online course
Description of Dissemination Event:
THE MICHELANGELO PROJECT DISTANCE TEACHERS’ MEETING ON THE COURSE SOME KEY EXAMPLES OF THE FINE ARTS IN ENGLAND: 1000 – 2000 27 March 2009 – 1.00pm GMT MINUTES OF THE MEETING AGENDA 1:00 – 1:05 – Brief introduction to UK representative and explanation of the order of events 1:05 – 1:45 – United Kingdom response to the submitted questions and comments 1:45 – 2:00 – Additional questions and comments – teachers participating in the meeting. LIST OF PARTICIPANTS 1 2 Krasen Hristov Berbenkov Galina Gencheva Dobri Hristov Nikolay Raynov (BG) (BG) 3 Miglena Molhova Zinev Art Technologies (BG) 4 Luben Pavlov Nikolay Raynov (BG) 5 Nadya Petrova National School of Arts - Ruse (BG) 6 7 8 Anton Nikolov Kalin Nikolov Teodora Borislavova Zeyya Nikolay Raynov Nikolay Raynov Dobri Hristov (BG) (BG) (BG) 9 Gudrun Bayerlein Kürfurst-Ruprecht Gymnasium (DE) 10 Doris Jäger-Flor (DE) 11 IGS Kandel Kürfurst-Ruprecht Gymnasium (DE) 12 Ulrich Krumsieg Kürfurst-Ruprecht Gymnasium (DE) 13 Mark Haywood University of Cumbria (GB) 14 Antonio Cioffi Brera University of Fine Arts (IT) 15 Stefano Zanini PIXEL (IT) 16 Ewa Bajon Szkoła Podstawowa Nr 8 (PL) 17 Marta Kamińska Junior High number 2 (PL) 18 Kamila Kucharska CKU (PL) 19 Gabriela Kurowska Expert (PL) 20 Irena Obszyńska CKU (PL) 21 Michał Seroczyński CKU (PL) 22 Antoni Woźniak High School Economic (PL) 23 Tomasz Zieliński High School number 3 (PL) Meeting Development 1. Welcoming of participants and practicalities Mark Haywood from the United Kingdom introduced himself as the representative from the University of Cumbria. He explained that he had experienced no direct involvement in writing the course, but noted that he was now in a position to comment on the great work that had been achieved within the project. It was explained that the questions and comments which had been submitted in advance by the participants had been rearranged chronologically and would be addressed in this order. General questions which act as a background and framing device for the course were to be considered first. Although many of the participants were now acquainted, an opportunity to introduce themselves to any new participants was given during a break in the response to the submitted queries. 2. Responses to queries and comments received regarding the course “Some Key Examples of the Fine Arts in England: 1000 – 2000” The first question had been submitted by Canesi Gianluca, teacher, Liceo Artistico di Brera, Milano. “It's a pity that there are a lot of words but few pictures. In my opinion it is the work of art, or at least its image, that gives a sense to the words and not vice versa. When they tell me that our civilization is based on the image, I'm puzzled and I prick up my ears like a hunted animal, because without words images, at least at school, seem to lose their meaning, but this is not the case. Aren't we able, perhaps, to look in the depths any more? Or do we talk too much? If this is the problem, that is to say an emptying of the image, we should intervene from an educational point of view, also considering that pictures don't need any translation.” The UK representative responded that these are a rich and complex set of observations which perhaps raise a number of possibly uncomfortable issues – firstly can any image or collection of images convey an adequate impression of an object, artefact, sculpture or building? It was noted that given that we are dealing with cultural production, surely many understandings must be locally conditioned. It has been long established that even enduring artistic phenomena such as Classicism actually had many temporal differences so that works which were visually similar, but by being produced in differing centuries and cultures could have widely differing meanings – for instance the differences between the Greek Aphrodite essentially the embodiment of female sexual beauty and the later Roman Venus Obsequiens who represented good motherhood. The opinion was expressed that similarly, we may view the same image, but what we see and understand may differ. It was suggested that visual understandings are neither universal in space, or indeed in time. The teachers from Poland had submitted a query regarding the chosen course title. “Why have you selected the term English art, which seems to exclude Scotland, Wales and Cornwall? We did not find reference towards the Irish roots, besides the medieval unity of the Celtic orientation. Did any influences of such a character signify themselves later on?” The United Kingdom representative expressed that for much of the last millennia the Celtic peoples, who had been driven to the edges of the British Isles by subsequent invadors, were culturally marginalised. It was stated that it could also be argued that the Irish love of language has always made the image subordinate to the word. It was highlighted that it is also the case however, that often artists and writers who are thought of as English were actually born in other parts of the British Isles – Francis Bacon for instance was from Dublin. The German teachers had questioned “in which way was English Fine Art influenced by the fact that England is an island.” It was pointed out that this question covered a very large area of concern and that there are various ways in which this query could be answered. The United Kingdom representative explained that the island status of Britain had various consequences at different times in history, sometimes detrimental and sometimes advantageous: As an island we have always been a haven for refugees and over the centuries many artists from Continental Europe have made successful careers in this country. E.g. Hans Holbein the Younger (c. 1497–1543) was a German artist and printmaker who spent the latter half of his life as a worker in a Northern Renaissance, Sir Anthony van Dyck (1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England. Later the Swissborn Angelica Kauffman was yet another portrait painter to make a successful career within England. The emergence of the Picturesque and Romantic movements in Britain was undoubtedly aided by war and turmoil in Continental Europe during the late C18th and early C19th, which impacted on the tradition of the Grand Tour and led many artists and aesthetic tourists to discover landscapes much closer to home. One consequence of this was the “discovery” of the English Lake District. The British Isles lie at the junction of four major meterological systems - the present day classification of clouds was invented by Englishman Luke Howard in the early C19th and the national preoccupation with weather is reflected in art through the relationship of the sky to landscape, most notably in the pioneering work of Constable and Turner. It is also the case however, that much C19th and early C20th English art was undoubtedly characterised by a general parochialism which can be attributed to a combination of imperial haughtiness and an unfortunate tendency to look down on the avant garde developments in Paris and elsewhere on the Continent. From this point onwards the submitted questions were presented in chronological order. The following queries and comments were received from Poland: “Why did you decide to take the cloth from Bayeux into consideration whilst its creator was probably Matilda - William the Conqueror’s wife? We think that the cloths are a source of great knowledge regarding Normans’ invasion, Harold’s defeat, and the garments’ and buildings’ appearance. We assume however that it cannot be treated as a component of English art.” The selection of the tapestry was defended by the United Kingdom representative. It was originally believed that the tapestry was probably commissioned by Queen Matilda, William the Conqueror's wife, and in France it is occasionally known as "La Tapisserie de la Reine Mathilde" (Tapestry of Queen Matilda). Scholarly analysis in the 20th century however, shows that it was more likely commissioned by William's half brother Bishop Odo. The reasons for the Odo commission theory include: 1) three of the bishop's followers mentioned in the Domesday Book appear on the tapestry; 2) it was found in Bayeux Cathedral, built by Odo; and 3) it may have been commissioned at the same time as the cathedral's construction in the 1070s, possibly completed by 1077 in time for display on the cathedral's dedication. Assuming Odo commissioned the tapestry, it was probably designed and constructed in England by Anglo-Saxon artists given that Odo's main power base was in Kent. The Latin text contains hints of Anglo Saxon. Also, other embroideries originate from England at this time and the vegetable dyes can be found in cloth traditionally woven there. Assuming that this was the case, the actual physical work of stitching was most likely undertaken by seamsters. Anglo-Saxon needlework, or Opus Anglicanum, was famous across Europe. It was also acknowledged that alternative theories do exist. Carola Hicks, in The Bayeux Tapestry: The Life of a Masterpiece (2006), has suggested it was commissioned by Edith of Wessex. Wolfgang Grape, in his The Bayeux Tapestry: Monument to a Norman Triumph (1994), has challenged the consensus that the embroidery is Anglo-Saxon, distinguishing between Anglo-Saxon and other Northern European techniques; however, textile authority Elizabeth Coatsworth refutes this argument. George Beech, in his Was the Bayeux Tapestry Made in France? (1995), suggests that the tapestry was executed at the Abbey of St. Florent in the Loire Valley, and says the detailed depiction of the Breton campaign argues for additional sources in France. Andrew Bridgeford in his book 1066: The Hidden History of the Bayeux Tapestry (2005), suggested that the tapestry was actually of English design and encoded with secret messages meant to undermine Norman rule. “In every European country, there is present a really dedicated motive of the admiration directed towards the national landscapes. It was really a “box of treasures” in the recognition of the Polish generations from the break of the XIX and XX centuries. We can say about Stanislawski, Malczewski, Gierymski, Slewinski, Falat and about their deep insight into natural stages of the environment, seasons, mountains, or lowlands on the contrary” It was confirmed that Landscape is of course important as a site of national identity. The United Kingdom representative was sure that many participants would be familiar with Simon Schama’s wonderful book, Landscape and Memory, with its rich accounts of the relationships between the various European cultures and their historical landscapes, such as Bialowieza the great forest of Poland and the complex role of the forest in the establishment of German national identity “A really spectacular masterpiece is situated in Wroclaw, famous as the Panorama of Raclawice. Such representations are also seen in other countries, being the effect of the specific culmination of the battlefield visions and their spreading as a map of orders and vigour’s simultaneously”. The response from the United Kingdom supported that there is a complex and interesting relationship between the depiction of landscape, the battlefield and the panorama. It was stated that many early landscapes are of battles, but the later invention of artillery led to an important shift in the practice of war – the king or general no longer led his troops into battle from the front, but instead directed the conflict from a detached standpoint on high ground which enabled him to achieve a greater understanding of events. Subsequently in the late 18th /early 19th centuries this commanding viewpoint materialised in art as what the American art historian Albert Boime termed the “magisterial gaze”. “The artists are very precisely set aside the professional terms and analogies, as camera obscura, viewing stations, giornata system in your course. We see the evaporating of the art through stages, conventions, and linkages towards the spectacular field of the technical upgrading. And we can enjoy and spread the horizons at the same time through the specific charming linguistic of the art itself as the narrative domain”. The previous mention of the magisterial gaze led the United Kingdom representative into the historically important mediation viewing technologies. Today when we view most of our images on screens, it is easy to overlook the mediation of pre-digital and even pre-photographic viewing technologies, such as the camera obscura of portrait painters and the dark Claude mirror of c.18th landscape painters, its easy also to forget the ubiquity of huge panorama buildings in 18th and C19th European cities. Part of the UK representative’s fascination for the picturesque is the manner in which technologies are used which formerly focussed the eye – and, perhaps more importantly, the brain. Canesi Gianluca, teacher, Liceo Artistico di Brera, Milano commented that “I have mainly had a look the 20th century and everything seems perfect. But then I wonder why Bacon is not there as he seems to me a reference, though not explicit, for some recent and very famous English artists. I think that you probably wanted to deal with sculpture”. The representative for United Kingdom explained that as he was not directly involved in the project he couldn’t say whether or not there was a preference for sculpture, or perhaps a desire to balance the domination of painting. It was expressed that historical surveys are always difficult as what seems most important often depends on what is most relevant to the art of the present. From a post-modern perspective the observations on Bacon were agreed. On the other hand, it was argued that Moore and Hepworth were both the culmination of English modernism and of our association with landscape. Their work was not simply organic, but its biomorphism referred to both the body and the landscape inhabited. The Bulgarian teachers submitted the following questions: “Would it be possible to trace the influence which Bulgarian art and culture had on the work of UK artists (if any). For example there were two exhibitions of Henry Moore in the 1960s in Bulgaria, and later (in 1981) he gave as a present to the Bulgarian state one of his sculptures “Helmet”. It would be interesting to see the UK teachers’ point of view on these cross-cultural influences.” The United Kingdom representative expressed the opinion that despite the immense renown and undoubted influence of the Bulgarian born contemporary artist Christo Javacheff, in the present context it may be more appropriate to consider the modernist link through the work of the Rumanian sculptor Constantin Brancusi who was influenced by folk art of SE Europe and was also an influence on Moore and Hepworth? “England’s history is one of the Commonwealth (I surely cannot express these things as well as an English woman would do, because my historical background truly is not such comprehensive in those aspects): How is this fact reflected within fine Arts?” It was expressed that this is particularly evident in two very differing respects. Firstly during the colonial period the export of painting and with it the so-called colonial gaze – the representation of colonial landscapes by artists from Britain. The United Kingdom representative has a particular interest in this area having previously been a professor in a post-apartheid South African university, and the subject has been extensively analysed and deconstructed by art historians in post-colonial cultures as far apart as Australia, Canada and South Africa. Secondly there is the more recent phenomenon of diaspora artists from former colonies who have made an increasingly significant contribution to the UK art scene. Some of these artists are UK born or have undertaken postgraduate study in London, whilst others moved here later as professional practising artists. Some of the most notable include the following Turner Prize winners, Anish Kapoor (1991), Chris Ofili (1998), Steve McQueen (1999). Often such artists’ work is described as hybridised because they are a blend of two formerly separate cultures or, like the Anglo- Nigerian artist Yinka Shonibare, their work formally references the complex hybrid nature of the colonial encounter, which affects both coloniser and colonised. 3. Further Discussion, Comments and Queries from the Participants Having addressed the questions which had been submitted in advance of the meeting, the United Kingdom representative asked for any further questions or feedback from participants. A colleague from Italy noted that the contemporary art scene in the UK has very good promotional devices to support British artists. It was felt that London is an important and powerful marketplace for modern art with museums such as the Tate Modern, and awards like the Turner prize working well alongside the media to bring artists into the realm of the general public. Leeds and Manchester were also noted as important market places, and the opinion was expressed that schools such as St Martins School of Art offer great opportunities. The pathway for students to enter the Fine Art academies was queried, along with the relationship between educational providers and the contemporary art world. The United Kingdom representative informed the participants that the educational map was currently changing, but that traditionally students would attend secondary school until the ages of 16 or 18 and would then attend an art school for 1 or 2 years. It was explained that students would take a foundation course in art which would expose them to both fine art and also a range of design subjects. At the end of the foundation course students would then choose to take a specialist degree in one of the subjects. It was highlighted that the route into the art world was much more fluid in current times, partly through the introduction of digital media. It was also noted that art schools today offer “professional training” which covers how the art world works: students are trained on how to present their work and themselves, and educated on grants and financial assistance available to artists. As today’s student receives experience in “being an artist” and not just creating the art, it was suggested that they are much more sophisticated and knowledgeable about the mechanisms of the art world than past students. The Italian students asked about the Cumbrian students’ education regarding young British Artists. It was explained by the United Kingdom that the University of Cumbria runs several different Fine Art courses which each have a different “flavour” and emphasis. It was reported that the BA course running at the Carlisle campus was most closely aligned with contemporary British Art. Many staff who participate in the running of this course are based in Glasgow which has a large influence but is a very different art scene to London. The United Kingdom representative stressed that the UK courses were not parochial and that students were given an international grounding in their art studies: for example some students would shortly be visiting Amsterdam to look at their art. It was acknowledged that there is an argument that students may see more by visiting London, but felt that this attitude was not a healthy vision to adopt. The opinion was expressed that it was important that the UK does not become isolated – whilst London art is currently important, this dominance within the art world will not remain and it is important that students are educated on art from around the world. Bulgaria raised the issue that one of their questions, submitted by Anton Nikolov, had been omitted from the United Kingdom response in error. The question was reiterated: “We have an interest in Britannic Art in the period betweenC15th and C18th although general opinion is that the rise of Britannic art particularly in painting commences in C18th. The influence of the reformation stirs up different opinions. Some Eastern European art experts hold the opinion that the reformation has destroyed art and made cultural process suffer. Alternatively there is a view that, despite a few extremes of protestant movement, on the whole the reformation pushes art in a new direction. What is going on with art in England during this period? What factors are influencing the process?” It was responded that this was a very big question with many different answers and voices. The reformation saw much English art destroyed and so, in this sense, it was felt that Britain is much poorer. For example, Durham Cathedral which is the second of the UK’s national art treasures of the millennium lost 182 alabaster statues from its altar screen. These disappeared during the removal of imagery and iconography from the cathedral. The United Kingdom representative proposed that there was an argument for Catholicism placing much more emphasis upon the visual than the Protestant faith. In this way, some could argue that Italian culture is much more visually rich than the UK because it is a catholic country. It was felt that the art left within England showed much of the primitivism of pre C18th art. Other countries with a more conservative and less diverse art history may identify with this work much more, and see closer links with the work of their own artists. Bulgaria proposed a question on behalf of one of their students who was studying Frances Bacon. A recommendation for a high quality website where further information could be accessed was requested. The representative for United Kingdom advised that the Tate Gallery had recently showed a large exhibition of Bacon’s work. It was also contributed that the Tate gallery has weekly art talks which are recorded and archived on their website. This web address was strongly recommended as a link to all students: www.tate.org.uk (for the online lectures www.tate.org.uk/onlineevents/archive/). Mark Haywood also provided his own e-mail address in case there were further queries ([email protected]). Ulrich Krumsieg from Germany inquired about the process for becoming a teacher at the University of Cumbria. The United Kingdom representative referred to a free web service which notifies members of vacancies within specified perimeters. It was noted that this would give details of all jobs within Great Britain. Italy submitted a question regarding Paula Rego. Technical difficulties made it hard to understand the full content of the question. It was noted that Paula Rego was a Portugese artist who had trained and worked in England for the duration of her professional career. The content of Rego’s paintings dealt primarily with strong women and matriarchal Latin families. The representative for the United Kingdom expressed that he felt it would be wrong to consider her an English artist as the subject matter with which she dealt was very much a Latin perspective of Latin subjects. Bulgaria asked why the art of Britain was more conservative than that of other countries during the renaissance period. It was explained by the United Kingdom representative that at this time ideas traveled very slowly and over land. It was noted that the history of painting and sculpture differs and proposed that part of the reason for this was that Sculpture did not easily travel and so ideas would take longer to be shared, whereas new concepts in painting can be shown in reproductions. The geographical position of Britain was suggested to be a major factor in the differences in artwork at this time. Along with the geographical isolation came a cultural separation. Italy was the centre of art during the renaissance period and Britain was located on the outer periphery, with few people traveling into Italy to bring back the new ideas. After the split and reformation, there was the added factor that England was redefining itself as a non catholic country, away from the centre. It was summarized that geographical, cultural and social situations all played a part in the shape of English art at this time. A question regarding the Bayeux Cathedral and the relationship between England and France at this time was also submitted by Bulgaria. They were keen to know what history showed of this association. The complex nature of the relationship between England and France was stressed. It was reported that the English Kingdom at this time extended into France, and noted that France had also held previous rule over England. At this time England had cultural elite of French descent and French was the language of nobility. A new identity was being created, but by descendents of French conquerors. With these factors in mind, it was expressed that the intermeshing of French and English culture at this time was very complex. Italy queried which type of artwork most epitomizes the style of English art. Whilst this is a subjective question, the United Kingdom representative offered his opinion that Turner would most typify the art of the country. Whilst it began in the romantic era, it was felt that Turner’s work also bridged into modern art. The combination of landscape, atmosphere and identity was highlighted as a key element for this artist. 4. Decisions and Necessary Actions Bulgaria proposed the idea of a final exhibition to showcase the relationship between the countries and their artwork and act as a closing event for the project. This idea was received with enthusiasm and it was agreed that further discussion regarding the specific details should be continued through the forum on the website. Doris Jäger-Flor from Germany proposed that the web portal be opened to other teachers in order to receive more feedback on the featured courses. This idea was supported by all participants and it was agreed that participants could contact teachers and those who expressed an interest could be provided with the necessary login information. In this way, those offering comments could be monitored and any comments unrelated to the courses would be prevented. It was agreed that minutes from the meeting would be supplied to Stefano for distribution. The UK representative also agreed to post the answers to the queries and any related web links onto the website for information. 5. End of Meeting All participants expressed their appreciation of the discussion and thanked the United Kingdom representative for his thorough answers to the submitted queries and comments.
Target group:
Project partners, art teachers iin partner countries
Number of people reached by event:
23
Held in:
Carlisle, Cumbria and online across all partenr countries
Outcomes and Results:
Feedback received via meeting will be included in revised version of course.
Supporting Documents:


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