Mr Punch – the most famous puppet character of all time. His comic irreverence gave “Punch” magazine its title. His anarchic vitality has inspired opera, ballet and punk rock and his enduring popularity has seen his likeness on goods ranging from Victorian silverware to computer video games. Appearing in England in 1662, Punch is descended from the Italian Clown Pulcinella of the 15th C Commedia Del’Arte tradition.  Even today This Lord of Misrule uses his slapstick to dispense with oppressive authority, be it politicians, political Correctness or the devil, while proclaiming his notorious refrain; ‘That’s the way to do it!”

Bertie Pearce

Has a BA (Hons) in Drama from Manchester University, and a Diploma Internationale from the École Internationale du Théatre, Jacques Lecoq. A member of the Inner Magic Circle, with Gold Star. Past experience includes lecturing and performing on cruise ships, and to U3A, historical societies, festivals, schools and colleges. In addition, has toured the world with a magic cabaret show and a one man show entitled All Aboard. Has written articles for newspapers and magazines on entertainment and theatre.

Stonehenge is the most celebrated and sophisticated prehistoric stone circle in the British Isles. This lecture explains why Stonehenge must be regarded as architectural in its layout and construction, embodying  techniques that for centuries convinced antiquarians that it could not have been built by ‘primitive’ ancient Britons but must be a product of ‘sophisticated’ Romans. We then explore how, over the last two centuries, this iconic structure has inspired painters, potters and poets. Blake, Turner, Constable and Moore are amongst those who have all been drawn to this magnificent ruin, resulting in a diverse catalogue of images and impressions.

Julian Richards

I studied archaeology at Reading University and have since worked as a professional archaeologist, in commercial archaeology, for English Heritage, for the BBC and as an independent. I was elected a fellow of the Society of Antiquaries of London in 1992 and have an honorary doctorate. I have long been involved in teaching and outreach projects, lecturing widely in continuing education, to schools (with a focus on special needs pupils) and societies. My career in broadcasting involved researching and presenting Meet the Ancestors and Blood of the Vikings for BBC2, and Mapping the Town for Radio 4. I have written a number of English Heritage publications on Stonehenge, including the previous and current guide books to the monument and landscape. Museum work includes curating Stonehenge related exhibitions in the UK and abroad (Germany and Austria) and I have just curated the new permanent ceramics gallery for Salisbury Museum. With no intention of retiring I am still passionate about Stonehenge, pots and old cars.  

Note - new venue.  http://wraysburyvillagehalls.co.uk/

In 1565, Pieter Bruegel the Elder was commissioned to create a series of paintings for a dining room in Antwerp. The images, charting the course of a year, changed the way we view the world through art. Landscape had previously been a decorative backdrop to dramas both sacred and profane. But in Bruegel's hands the landscape and our interaction with it became the focus. Looking at paintings such as The Return of the Herd, Hunters in the Snow and The Gloomy Day, this lecture explores how Bruegel pioneered a whole new way of thinking about the environment and our individual places within a shifting cosmos.

Gavin Plumley

A writer and broadcaster. Appears on BBC Radio 3 and 4, and contributes to newspapers, magazines and opera and concert programmes worldwide. Lectures widely about the culture of Central Europe. Recent appearances include Klimt and The Kiss in cinemas worldwide, and talks for the Hay and Cheltenham Literature Festivals, the Royal Opera House, the National Gallery, the National Trust, the National Theatre, the British Museum and the V&A. His first book, A Home for All Seasons, is out now. 

Note - new venue.  http://wraysburyvillagehalls.co.uk/

This talk takes us from some of the earliest embroidery in this country from the 10th century through the height of English work, Opus Anglicanum to the embroidered outfits of our Tudor monarchs through to the seventeenth century when new design ideas arrived from India and China, and new techniques emerged such as raised embroidery, through to the growth in silk shading with the growth in dye shades, then to Berlin wool work in the 19th century and the dawn of art embroidery by the likes of William Morris and Walter Crane in the late 19th century.

Susan Kay-Williams

For 17 years from 2007 to 2024 Susan was Chief Executive of the Royal School of Needlework, based at Hampton Court Palace. She is a Fellow of the Royal Society of Arts and the Chartered Institute of Marketing and in 2015 was made a Fellow of the Society of Dyers and Colourists in recognition of her work on the history of dyes. Susan has a longstanding interest in textiles, especially colour, and published her first book, The Story of Colour in Textiles (Bloomsbury) in 2013. She has extensive lecturing experience across the world as well as for the V&A and across the UK. In 2022 she published An Unbroken Thread: the 150 year history of the Royal School of Needlework, a second edition of which was published in 2024 to include the RSN's work on the coronation. She is currently the President of the Society of Dyers and Colourists. and is now getting back to research into the history of colour in textiles

Note - new venue.  http://wraysburyvillagehalls.co.uk/

In 2024 the National Gallery celebrated its 200th birthday. Join National Gallery lecturer Siân Walters as she explores some of the nation’s best-loved paintings in a new light, revealing details which cannot be seen with the naked eye and discussing what goes on behind the scenes in the conservation, framing and scientific departments. The lecture will result in a greater understanding of not only the art itself, but also of the work the National Gallery does to care for it, present it and interpret it. Few of the gallery’s works retain their original frames but an expert team will often source and adapt examples which complement the paintings historically, or indeed hand-carve new ones from scratch. We will also look at the technical challenges involved in hanging, displaying, moving and framing the collection and the various solutions devised by the Art Handling Team. Many of the paintings in the gallery were designed for a very specific function, an altarpiece such as Piero’s Baptism of Christ for example, so how do the curators allow us to interpret and view these within a museum context? Finally, we’ll talk about restoration and conservation, exploring extraordinary details from works such as the Wilton Diptych, which have only been discovered recently thanks to scientific analysis. Join Siân on a journey of discovery as we explore the hidden secrets of masterpieces by Bellini, Leonardo, van Eyck and many more. 

Sian Walters

Siân has been a lecturer at the National Gallery for over 20 years.

Siân Walters is an art historian and the director of Art History in Focus. She has been a lecturer at the National Gallery for over 20 years and taught their first online course, Stories of Art, in September 2020. She also lectures for The Wallace Collection, The Art Fund and many art societies and colleges throughout Europe, and taught at Surrey University for many years.  Siân appears regularly on radio and television and has recently been commissioned by the National Gallery to write a book on Still Life in the collection.

Her specialist areas include 15th and 16th century Italian Art, Spanish Art and Architecture, Dutch and Flemish painting and the relationship between Dance and Art (she is an honorary advisor to the Nonsuch Historical Dance Society). Siân studied at Cambridge University where she was awarded a choral exhibition and a 1st for her dissertation on the paintings of Arnold Schoenberg. She has lived in France and Italy where she worked for the eminent Haydn scholar H.C. Robbins Landon and for the Peggy Guggenheim Museum in Venice. She spends much of the year organising and leading specialist art tours abroad, including bespoke trips for The Arts Society. 

In recent years Siân has been asked to represent the National Gallery at the International Hay Festival, and was named a Highly Commended finalist in the World’s Best Guide Awards. In 2018 she was invited to be the guest lecturer on the inaugural BRAVO Cruise of Performing Arts alongside Katherine Jenkins, Julian Lloyd Webber and Ruthie Henshall. In 2020 Siân presented the first online courses for both The Wallace Collection and The National Gallery, and was one of the first accredited lecturers to provide online Zoom lectures. 

In 2020 she created a programme of online tours called Cultural Travels from Home, with live visits by special arrangement, broadcast from a number of major European art galleries allowing virtual access to their collections and exhibitions, from the Peggy Guggenheim Collection in Venice to the Castello Storzesco in Milan. The programme has included the world’s first ever livestream tours of the Basilica of San Marco and Gallerie dell’Accademia in Venice, the Medici Palace in Florence, the Basilica of St Francis in Assisi, the Brera Art Gallery and Castello Sforzesco in Milan, the Palazzo Baldeschi in Perugia, the Palazzo Colonna and Palazzo Farnese (French Embassy) in Rome, the National Gallery of Slovenia and many more. These collaborations continue to raise important funds for the galleries and cultural sites as well as those working in the cultural sector.

Note - new venue.  http://wraysburyvillagehalls.co.uk/

Any exploration of the work of John Constable must start by looking at his childhood in the Stour Valley, Suffolk. Constable himself said that the landscape in this area is what made him want to be a painter. This lecture provides a general background to the life and work of Constable, it also looks at the ‘wild side’ of Constable’s practice, examining the extent to which he was seen by his contemporaries as a radical artist, as opposed to the traditional, even ‘chocolate box’ artist many think of him as today

Rosalind Whyte

BA and MA from Goldsmith’s College, and an MA (distinction) from Birkbeck College. Experienced guide at Tate Britain, Tate Modern, the Royal Academy and Greenwich. Lectures at Tate, to independent art societies and on cruises.

Note - new venue.  http://wraysburyvillagehalls.co.uk/

Bold publicity stunts, statement architecture, suave dining: the 1930s was a supreme era for London’s great emporia. Starting on Piccadilly with Joseph Emberton’s Moderne masterpiece, Simpsons, we’ll explore the capital’s department stores through an Art Deco lens – from Selfridges’ fabulous elevators, whizzing us up to roof garden fashion shows, to the jaw-dropping interiors of D.H. Evans, ready in time for the 1937 Coronation, to the live flamingos atop Derry & Toms. Then off to the suburbs where superb Deco buildings were springing up in surprising locations: Shinners of Sutton, Holdrons of Peckham, Bodgers of Ilford… 

Tessa Boase

Tessa is a freelance journalist, author, lecturer and campaigner with an interest in uncovering the stories of invisible women from the 19th and early 20th-centuries – revealing how they drove industry, propped up society and influenced politics. She’s the author of three books of social history: The Housekeeper’s Tale: The Women Who Really Ran the English Country House (2014); Etta Lemon: The Woman Who Saved the Birds (first published as Mrs Pankhurst’s Purple Feather in 2018), and London’s Lost Department Stores: A Vanished World of Dazzle and Dreams (2022). Since uncovering the feminist origins of the RSPB, Tessa has been campaigning for public recognition of its female founders with plaques, portraits and a statue. 

2nd Wednesday of December

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This lecture traces the progress of the English Christmas carol through seven centuries of continuous development and explores the many fascinating stories that lie behind our popular seasonal songs. Carols discussed include: Angelus ad virginem, God Rest Ye Merry Gentlemen, The First Nowell, I Saw Three Ships, While Shepherds Watched their Flocks by Night, Christians Awake, Hark! The Herald Angels Sing, Adeste fideles, In the Bleak Midwinter. 

Peter Medhurst

Peter appears in the UK and abroad as a musician and scholar, giving recitals and delivering illustrated lectures on music and the arts. He studied singing and early keyboard instruments at the Royal College of Music and at the Mozarteum in Salzburg.

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Standing in the nave of Ely cathedral when I was 14, I stopped listening to the guide saying how long and how high and started wondering how on earth ordinary human beings created sky-scraping, dizzyingly high buildings on which even the top-most parts were delicately decorated. How, why and for whom were my questions. For God, for personal redemption and to make a living are the answers to the last two of those, but the "how" was harder to fathom. In this lecture we meet the Master Masons who both designed the buildings and ran the site. They commanded everything whether it was sourcing the vast quantities of wood and stone, recruiting the workforce or knowing enough about their various trades to be able to create heaven on earth out the cacophony of thousands of chisels and hammers. These men were charismatic leaders, but they were continually checked by their fellow Master Masons in the interests of making a building as strong as possible - we only see their successes, after all. They were real people who got into trouble with the law, who occasionally cheated on contracts, who liked to start a job but not to finish it. On the other hand, their creations remain to this day, some breathtakingly beautiful in their exquisite detail causing us, centuries later, to stand in a nave and wonder. 

Imogen Corrigan

After nearly 20 years in the British army, went to the University of Kent to study Anglo-Saxon & Medieval History and Art, graduating with 1st class honours, followed by an MPhil from the University of Birmingham. Works as a freelance lecturer across Britain and Europe as well as lecturing on small cruise ships and running study tours and courses on land. Has written Stone on Stone: the Men Who Built the Cathedrals, published 2019. A Freeman of the City of London, being a Member of the Company of Communicators. Advisor on memorials and monuments for Canterbury's Diocesan Advisory Committee. Willing and able to deliver lectures remotely via Webinar/Zoom.

Lecture one week later- 22nd October.

Note - new venue.  http://wraysburyvillagehalls.co.uk/

The lecture will trace the story of Banksy’s humble beginnings as a tagger on the streets of Bristol in the 1980’s to one of the most recognisable names in the art world.  We will examine the reasons behind his incredible rise, looking at some of his famous stunts and discuss what his influence has been on the art market today and look at what his legacy, if any, might be. 

Pepe Martinez

Qualified as a London blue badge tourist guide in 2011, graduating at the top of my class. Since qualifying as a guide I have specialised in the graffiti and street art of East London. Prior to becoming a London blue badge, I was a tour manager for 15 years, travelling extensively, all over the world.   I can organise and arrange lecture facilities in central London. I can also combine a lecture with a walk of street art and graffiti in the East End and I can also organise a practical spray session, giving your group an opportunity to have a go at creating their own works. 

The British musical grew in its own unique way, with style, heart, guts and masses of fun. We are still entertained by revivals of Me and My Girl, The Boy Friend and Oliver! But what of the many more hit shows, such as Noel Coward’s Bitter Sweet, Ivor Novello’s King’s Rhapsody and the bitingly satirical Expresso Bongo, that are no longer staged? This lecture rediscovers a distinctive West End story to give a new perspective on the shows and the people who made them.

John Snelson

John has been fascinated by musicals all his life and is a leading expert in British musical theatre (the subject of his PhD). His publications include Reviewing the Situation: The British Musical from Noël Coward to Lionel Bart (Bloomsbury), How to Enjoy Opera (Oberon/Bloomsbury), Andrew Lloyd Webber (Yale University Press) and chapters in many authoritative reference works. He is especially known for exploring musicals – British and American – in the light of not just the music and the stage, but society and culture to reveal what makes them so appealing, enduring and important. He is well known as a writer and speaker on all aspects of the lyric stage – musicals, opera, ballet – and has written many programme articles for leading companies in the UK and abroad. John has given talks for, among others, the Royal Opera House, English National Opera, the Garsington and Glyndebourne festivals and for BBC radio. For twenty years he worked for the Royal Opera House. He currently lectures at Goldsmiths, University of London.

John Snelson

There are four elements to this lecture. The first is a look at the emergence of the North in Saturday Night and Sunday Morning, Room at the Top, A Taste of Honey, This Sporting Life etc.. Second would be a look at Swinging Britain – Julie Christie in Darling, Michael Caine in Alfie, the Beatles in A Hard Day’s Night and the James Bond movies. Third would be a look at the last days of Empire as seen in Tony Richardson’s Charge of the Light Brigade, Zulu and, comically, Carry On Up the Khyber. Finally the drastic change in the depiction of sex from Dirk Bogarde in Victim (1961) to Alan Bates and Oliver Reed famously wrestling nude in Women in Love (1969).

Colin Shindler

Colin Shindler has been lecturing on American and British social and cultural history for over 30  years. He was awarded his PhD at Cambridge University and subsequently lectured on film for their History Faculty between 1998 and 2019 exploring its relationship to modern British and American social and cultural history. He also teaches a variety of adult education courses at Madingley and Higham Hall in Cumbria and has lectured on cruises. Between 1975 and 1999 he pursued a wide-ranging career as a writer and producer in television, radio and film. He won a BAFTA award for his production of A Little Princess. His production of Young Charlie Chaplin was nominated for a US Prime Time Emmy. He wrote the screenplay for the feature film Buster and was the producer of various television dramas such as Lovejoy and Wish Me Luck. He has written three novels as well as numerous television scripts and radio plays but regards his greatest cultural contribution as choosing the title music for the police series Juliet Bravo. His most recent radio play Leni Goes to Hollywood, about the German film director Leni Riefenstahl, was broadcast on Radio 4 in August 2021. Other radio plays for R4 included How To Be An Internee (about P.G. Wodehouse) and one on Private Eye & The Profumo Affair (Rumours). He is the author of Barbed Wire and Cucumber Sandwiches: The Controversial South Africa Cricket Tour of 1970 which was short listed for the MCC/Wisden Cricket Book of the Year in 2021. He is best known for his childhood memoir Manchester United Ruined My Life which was short listed for the William Hill Sports Book of the Year Award. His other publications include Hollywood Goes To War: Films & American Society 1939-1952 and Hollywood in Crisis: Films & American Society 1929-1939.  His next book is called Boom!: The Story of a Generation. 

During a long, successful and immensely lucrative career, Titian established himself as the foremost painter of northern Italy. Training in the Bellini workshop, he developed the Venetian love of light and colour, but adding a sense of drama and immediacy that charged his religious, mythological and, most importantly, his portraits with a realism hitherto unknown to the arts. Tough, astute and ambitious, he is often seen as the first 'modern' painter, applying the pigments directly to the canvas without preparatory studies, drawing the figures as he invented the composition, building up the paint in thick sensual layers, drenched in colour and sunlight, a brilliant new style of painting that shaped the art of the Baroque and cast its influence over every painterly painter of the next four centuries.

Douglas Skeggs

Douglas read Fine Art at Magdalene College Cambridge and has been a lecturer on paintings since 1980. In that time he has given over 8000 lectures to universities, colleges and art societies. He was the director of  The New Academy of Art Studies for three years and is presently a regular lecturer at The Study Center, Christie's course 'The History of Art Studies' and other London courses. Among his more improbable venues for lectures are the bar on the QE2, MI5 headquarters, the Captain's Room at Lloyds, and an aircraft hanger in a German NATO base. Overseas he has lectured in Belgium, France, Germany and Spain, and has taken numerous tours around Europe. He has written and presented various TV documentaries, notably the Omnibus programme on Whistler and the exhibition video on William Morris. Three one-man exhibitions of his paintings have been held in England and Switzerland. He has published five novels, which have been translated into 8 foreign languages, and his book on Monet, River of Light, has sold 30,000 copies in England, America and France.

2024 - 2028 marks one hundred years since Winnie-the-Pooh was introduced to children of all ages in the four iconic books created by A A Milne and E H Shepard. First seen in When We Were Very Young (1924), Winnie-the-Pooh and the characters of the Hundred Acre Wood had their own adventures in Winnie-The-Pooh (1926), with Now We Are Six (1927) and The House at Pooh Corner (1928), giving us more wonderful poems and stories which include the introduction of both Tigger, Kanga-and-Roo and Poohsticks. This lecture tells the story of how these much loved books were created by the genius of Milne and Shepard’s groundbreaking collaboration and why they remain embedded in our national identity.

James Campbell

James has a BA in History and an MA in the History of Art and a particular interest in the work of the artist, illustrator and cartoonist E H Shepard (1879-1976). He has been lecturing for over twenty years, and has lectured across the UK and overseas to Literary Festivals, Art Societies, military museums, and to private clubs and community groups. He has been a Trustee of the E H Shepard Estate since 2010, as was involved in the ground-breaking Victoria and Albert Museum 2017 Exhibition marking the 90th birthday of Winnie-the-Pooh.  His books Shepard’s War and The Art of Winnie-the-Pooh were published in 2015 and 2017 respectively. His new joint biography of A A Milne and E H Shepard - The Men Who Created Winne-the-Pooh: The Lives of A A Milne and E H Shepard - commissioned for the centenary of the Winnie-the-Pooh books will be published in September 2024 by Michael O'Mara Books.  James Campbell actively supports Societies wishing to use his lectures to attract visitors and potential new members  - with increasing success!

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

Antony Gormley’s career spans nearly 40 years, during which time he has made sculpture that explores the relationship of the human body to space, often using his own body as his starting point.  His work has been shown throughout the world, in galleries including the Tate in London and the Hermitage in St Petersburg, but is also often on open display, as public art, such as Another Place at Crosby Beach, near Liverpool. As well as works that he is well known for, like the iconic Angel of the North, this lecture will look at some of his earlier and less well-known works, to give an overall view of the development of his work across his whole career, up to the present time.

Rosalind Whyte

BA and MA from Goldsmith’s College, and an MA (distinction) from Birkbeck College. Experienced guide at Tate Britain, Tate Modern, the Royal Academy and Greenwich. Lectures at Tate, to independent art societies and on cruises. Leads art appreciation holidays.

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

The earliest cars were purely functional and lacked even the most basic of passenger comforts, such as doors or even windscreens to protect passengers from the elements.    However, progress was rapid and by the mid-1920s we entered a golden age of automobile design.   A new generation of stylish cars were influenced by the art deco movement and the ‘Great Gatsby era’ included some of the most famous and fabulous cars ever built.  This period was followed by the Streamline Moderne influenced cars of the 1930s and 40s, with aerodynamic shapes and lots of chrome detailing.

Roger Mendham

A keen and accomplished photographer Roger has gained Distinctions from the Royal Photographic Society and is currently the President of the Surrey Photographic Association. His artistic taste is predominantly 20th century and he is particularly interested in the visual aspects of art. He has studied the evolution of photography from its earliest days in the early 1800s to becoming a major art form in the late 20th and now 21st centuries. An experienced public speaker, his talks are all richly illustrated with both his own and images from some of the leading photographers in history.

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

Avant-garde painter, designer, decorator, inspired colourist, mother and muse, Vanessa Bell was the warm heart of the Bloomsbury Group, a set who Dorothy Parker once described as “living in squares and loving in triangles”. Navigating the tides of sexual and artistic revolution with tolerance, irreverence and wit she had a central role in the social and aesthetic life of Bloomsbury; alive to their love affairs, romances, passions and pleasures, and refreshingly uninterested in politics. She was the sister of the writer Virginia Woolf, wife of the critic Clive Bell, and counted the painter Roger Fry and the artist Duncan Grant among her lovers.

Julia Musgrave

Julia got her first degree in Chemical Engineering and went on to become a Chartered Information Systems Engineer and IT project manager. In 2008 she decided that life was too short for just one career and decided to become an art historian. She now has a Graduate Diploma in the History of Art from the Courtauld Institute of Art and an MLitt in ‘Art, Style and Design: Renaissance to Modernism, c.1450 – c.1930’ from the University of Glasgow. She gained her PhD at the University of York for her research into the involvement of Roger Fry and the Bloomsbury Group and the social networks of the British art world in the development of the Contemporary Art Society from 1910 to 1939. She teaches Art History at the City Literary Institute (City Lit) and is Co-Director of The London Art Salon.

Pubs and their signs are a fundamental part of our history and cultural heritage. In this colourful and entertaining lecture John shows some of the most interesting and distinctive signs before exploring the fascinating stories behind the origin of some of their peculiar names. Who could fail to be intrigued by ‘The Bucket of Blood’, the ‘Cow and Snuffers’ or even the ‘Eager Poet’ – and who on earth was ‘Blind Jack’.

John Ericson

Formerly a lecturer at the University of Bath where he was Director of Studies in the School of Education with responsibility for the professional development of teachers. He has worked extensively overseas as an educational consultant and this has given him the opportunity to give lectures and presentations at conferences all over the world. Over the last decade he has been a popular speaker on the Arts Society circuit in the UK and Europe as well as a frequent visitor to the societies in Australia and New Zealand. 

In his professional life he has developed a particular interest in presentation skills including the role of pictures in learning and the appropriate use of PowerPoint. This coupled with his ability to relate well to people of all ages and backgrounds makes him an impressive and confident public speaker. 

As well as the talks he has developed from his professional background, he offers presentations on an eclectic range of topics that are derived from his diverse interests and enthusiasms such as, Art Inspired by Wine, Visual Illusions in Art and The Shakers of North America. All his talks are entertaining, highly informative, very well illustrated and presented with warmth and humour.

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

A light-hearted seasonal lecture for Christmas, describing what we actually know about the three kings – or rather what we don’t know. For a start we don’t know how many “kings” there were. Matthew's Gospel doesn’t tell us. We assume they were 3 because they brought 3 gifts. But why gold, frankincense and myrrh? Also, there’s no reason to suppose they were kings of anywhere. It took 500 years for them to be given names, even though we still don’t really know their gender – some of them might have been women. And since they gave away the timing of the birth of the baby Jesus to Herod the alleged baby slayer, we can reasonably assume they weren’t too clever – let alone wise!

Tony Rawlins

Tony was educated at Highgate School, starting his career in advertising in 1965 as a mail boy in J.Walter Thompson. He graduated through the training system there to become an account director and subsequently worked in a number of agencies before setting up on his own in 1985. There he handled primarily Guinness advertising in Africa and the Caribbean, where he produced many commercials and print ads for them over a period of 15 years. He remains active as a consultant in the industry, but more recently has concentrated on more philanthropic projects - producing a film in the rural villages of Nigeria for the London School of Hygiene and Tropical Medicine and completing a sanitation project in Haiti after it was devastated by Hurricane Matthew in 2016.   He has been a member of The Arts Society for many years and has been an accredited lecturer since 2017.

He is married with 5 children, and is a keen guitarist, enthusiastic choral singer and optimistic tennis player.

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

In the early seventh century a great ship was dragged ashore from the River Deben in Suffolk. It became the burial place of a powerful Anglo-Saxon warlord, buried with a mound of treasures from all over the known world. Fine weaponry, gold coins and exquisitely crafted jewellery revealed levels of sophistication which were a revelation. The aim of the lecture is to examine the finds in turn, partly to appreciate them in their own right and partly to explore what insights they offer and what questions they pose about their world. 

Mark Cottle

Born on the Isles of Scilly and educated at Truro School, Cornwall, and Birmingham University. His career has been spent in education and training at home and abroad. He has lectured at Exeter College on Medieval and Tudor history, St Mark's & St John's University College, Plymouth, and at Bath University on Anglo Saxon and medieval England. Currently runs two small companies providing training and study breaks.

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

Theatrical scene design is one of the world's most beautiful, varied and lively art forms. In his talk, Bertie looks at the relationship between actor and audience and how this transformed the space and architecture of theatre throughout the ages. Beginning with the Greeks and their remarkable innovations to pageants, masques, liturgical drama, through the science of perspective, to court theatre. A quick glance at Commedia dell'arte before entering the Elizabethan stage of the Globe and the Fortune and arriving at the Theatre Royal in Drury Lane.

Bertie Pearce Has a BA (Hons) in Drama from Manchester University, and a Diploma Internationale from the École Internationale du Théatre, Jacques Lecoq. A member of the Inner Magic Circle, with Gold Star. Past experience includes lecturing and performing on cruise ships, and to U3A, historical societies, festivals, schools and colleges. In addition, has toured the world with a magic cabaret show and a one man show entitled All Aboard. Has written articles for newspapers and magazines on entertainment and theatre

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

Expectations have always been high when it comes to the line of succession. The health and survival of the child would shape history.  A few became the casualties of political conflict, groomed for a kingship they never enjoyed, while others rose to take their place. This lecture explores the historical significance of some of these royal babies - the heirs and the spares - from the Wars of the Roses to the present day.

Siobhan Clarke BA Hons has worked for Historic Royal Palaces for 20 years delivering tours and lectures on Hampton Court, Kensington, the Tower of London and the Banqueting House, Whitehall Palace. Her experience includes education sessions and tours for schools, universities, corporate and private clients.  She has lectured for the British Museum, National Trust, National Archives and the Smithsonian and featured on BBC Radio 'Woman's Hour' and Television's 'Secrets of Henry VIII's Palace'. 

Her published work includes: 'A Tudor Christmas', in collaboration with Alison Weir, (2018), 'The Tudors: The Crown, The Dynasty, The Golden Age' with Linda Collins (2019), 'King and Collector: Henry VIII and the Art of Kingship' (2021) and 'Gloriana: Elizabeth I and the Art of Queenship' (2022).

10.30 am at The Hythe Centre

Doors Open 10.00 am

Non Members Welcome

Canary Wharf was a totally new concept which revived London’s Docklands. Or was it? This lecture takes you back to the foundations of the West India Docks with their magnificent warehouses and follows through to the glittering high-rise commercial hub of today. It shows how history has repeated itself – from the unprecedented scale of development with buildings to marvel at, to the re-use of derelict space in an ‘island’ setting, the innovative transport connections, the private security systems, and the opposition of the City of London. Businesses central the national economy underpinned both developments – from the slave owning sugar producers of two hundred years ago to the global finance houses of today. It is all there in a lecture that tells these parallel stories, while contrasting them with neighbouring Limehouse and its flagship Nicholas Hawksmoor church, a riverside community before the docks were dreamt of. We meet the likes of Robert Stephenson and William Ad

As a London walking tour guide and lecturer, I highlight the social, architectural and artistic history of my home city. It is a city I am passionate about, not least because it has a historic core larger and richer than any other world city. A member of the City of Westminster Guide Lecturers Association, my talks focus on the forces that have shaped and changed this multi-faceted metropolis and the artistic and cultural heritage that this has given us. After many hundreds of walks and a four-decade long career in housing and regeneration I have absorbed a deep understanding and appreciation of the capital. I’ve had some fascinating vantage points like the seven years build-up to the 2012 Olympic and Paralympic Games where I played a role in channelling potential long-term benefits into surrounding East London communities. My publications include Spitalfields: A battle for land.

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Byron’s family history is a story as turbulent and passionate as that of any of his romantic and troubled heroes. The lame son of ‘Mad Jack’ Byron, gambler, renegade Guardsman and debauched seducer of high society beauties, and rich heiress Catherine Gordon of Gight, who herself came from a long line of lawless and violent Scottish aristocracy, Lord Byron’s was indeed a heritage of storms. This talk starts with a look at the background and upbringing of ‘Mrs Byron’s crooked devil’, as his schoolfellows in Aberdeen described him, his unexpected succession to the Byron title and his development as peer, philanderer and poet.

Elizabeth has over thirty years' experience lecturing on a range of subjects including classical art and architecture, aspects of the visual arts and the links between literature and art. Has lectured for the WEA, the Universities of Bristol and Southampton Departments of Continuing Education, Royal Society of Arts, Dillington House, Jane Austen Society, Thomas Hardy Society, Brussels Brontë Society, Finzi Society, the Art Fund, Dorset County Museum and literary, historical and philosophical societies nationwide. Has also lectured on study tours to Rome, Aachen, Cologne, Brittany and the Dordogne, as well as all over the UK. Lectured in Australia and New Zealand in 2011 and returned subsequently for two more lecture tours. Has also lectured in Paris, Brussels, Berlin, The Hague and Malaga.

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Stubbs was regarded by his aristocratic, sporting clientele as merely ‘Mr Stubbs the Horse Painter’, a workaday artist. Physically robust, temperamentally energetic and purposeful, he spent time in a remote farmhouse dissecting horses for his The Anatomy of the Horse, 1766. He is now viewed as one of the greatest British artists, and the most profound and original of all animal painters. From the first zebra ever seen in England to a white poodle in a punt, he represented exotic animals, dogs and people with amazing accuracy. His pictures are memorable images: masterpieces of concentrated realism organised into a formal design.   

Carolyn Leder is the Adviser to the Stanley Spencer Gallery and a former Trustee. Publications include a book on Spencer’s Scrapbook drawings (Stanley Spencer: The Astor Collection, 1976) and a contribution to ‘The Holy Box’ (2017). Historical Adviser to BBC and Arts Council Spencer films, she was keynote speaker in Australia at Carrick Hill’s 2016 Spencer exhibition (the largest ever held in the Antipodes). Consultant to Spencer’s writings edited by his grandson John Spencer, and to Nicola Upson’s novel Stanley and Elsie, she is also regularly consulted on Spencer by Sotheby’s and Christie’s. Apart from Spencer’s daughters, she knew his brother the artist Gilbert Spencer, the maid Elsie who features in the Scrapbook drawings, and Daphne Charlton with whom Stanley had an affair (the subject of Carolyn’s 2017 exhibition, An Artistic Affair: Stanley Spencer and Daphne Charlton).

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This is a journey through the 60s in music and images, following the Beatles from the Hamburg Reeperbahn in 1960 to Abbey Road in 1969. The band was always fascinated by the visual arts - the ‘fifth Beatle’, Stuart Sutcliffe, was a prodigiously talented painter - and they also learned very early on that artists and designers could help promote their image and their music. Their rise to global fame was aided and recorded by an impressive roster of photographers, including Astrid Kirchherr, Bob Freeman, Robert Whitaker, Angus McBean and Linda McCartney. The innovative covers for releases such as Rubber Soul (Bob Freeman) Revolver (Klaus Voormann), the White Album (Richard Hamilton) and Sgt. Pepper (Peter Blake & Jann Haworth) turned album design into an art form in its own right.

Barry Venning is an art historian whose interests and teaching range from the art of late medieval Europe to global contemporary art. He has published books, articles and exhibition catalogue essays on Turner, Constable and European landscape painting, but also has an ongoing research interest in postcolonial art and British visual satire. He works as a consultant and associate lecturer for the Open University. His media work includes two BBC TV documentaries, radio appearances for BBC local radio and abc Australia, and a DVD on Turner for the Tate. 

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William Morris (1834–1896) was the single most influential designer of the nineteenth century. Morris was a political theorist, scholar, translator and publisher, environmental campaigner, writer, and poet as well as an outstanding designer. When he was dying, his physician said, ‘he is dying of being William Morris, of having lived the life of ten men in the body of one’. This illustrated talk includes an overview of his early life and influences, marriage, family, homes, the work of his firm Morris & Co. and the Kelmscott Press. This lecture looks at Morris as not just “the wallpaper man” but as the multitalented polymath behind the famous floral designs.

Fiona Rose

Has been lecturing about topics she feels passionately about since 2010 including William Morris and his circle, the Arts & Crafts Movement, Frida Kahlo and Frank Lloyd Wright. She has a BA in Social Psychology and aims to include the human story behind the artistic endeavours of her subjects. After an early career in public health Fiona founded and runs a home interiors business featuring the work of the great C19th designers such as Morris, Dearle, Voysey and Mackintosh. Fiona is a member of the museum Collections committee for The William Morris Society where she served as a Trustee. She is also a contributor to the Society’s Magazine and Journal of William Morris Studies. Fiona is a volunteer Tour Guide with the Arts & Crafts gem The David Parr House.

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The English garden of the early years of the C20th was almost as significant, in terms of worldwide influence, as the landscapes of William Kent and ‘Capability’ Brown. The gardens created, in particular by Sir Edwin Lutyens and Gertrude Jekyll, set a standard against which English gardens would be measured for the next 60 years. Modernism, instinctively mistrusted by the English, swept over Europe and America at precisely this period and only in the 1960s and ‘70s, were brave steps taken to establish an alternative to the Arts and Crafts style. The third and contemporary strand of C20th garden design is different again, a curious mixture of formality, harking back to the C17th, and informality influenced by the new planting schemes from Holland and Germany. The best contemporary gardens, which point the way forward to the twenty-first century, combine these two elements. 

James Bolton

Inchbald School of Design 1990 (Dip ISD). Head Gardener, Old Rectory Farnborough 1990-92. Faculty Director, Design History, Inchbald School of Design. Garden Designer 1992-. A lecturer for The Arts Society since 1995. Organiser of The Arts Society's garden study days and tours in UK and Europe. Organises tours to the best private gardens in the UK, Italy, France and South Africa. Garden Mania, a book on garden ornaments, published in 2000.

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Examining the world-beating graphics, designs, maps and poster created for the London Underground. From early days through the inventive inter-war years, this lecture is rammed wit5h well-known artists and great stories. Modern London was shaped by the Underground. Tunnel vision has never been so celebrated.

Charles Harris

Charles Harris has had a life-long career in mainstream advertising agencies around the world, most of it as a Creative Director in global agencies (J Walter Thompson, Bates, FCB, Publicis, Leo Burnett). Responsible for the quality of the creative ideas and finished production of advertising campaigns, his work for many of the world’s great brands including British Airways, Sony, Nestle, Kraft, BP, Heinz, Black & Decker, Gillette, General Motors and McDonalds earned him national and global awards in New York, Hollywood, Singapore and Sydney. When it comes to art with a persuasive purpose, he gives his professional insight into what works, what doesn’t, and why.

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City of Angels

From seraphim and cherubim to archangels and fallen angels, these celestial heralds have long captured hearts and imaginations. Discover angels as public art, monument and memorial, all hidden within the historic churches, beautiful gardens and secret corners of the unique square mile of the City of London.  Angels are simply all around us - we just need to know where to look!

Alexandra Epps

Official Guide and Lecturer at Tate Modern, Tate Britain and Guildhall Art Gallery. Qualified Guide to the City of London, offering lectures and walks about many aspects of the arts for societies, corporations and private individuals. Member of the City of London Guide Lecturers Association. Co-author of the book Lord Mayor's Portraits 1983-2014 (2015). Alexandra’s background is in design having practised as a graphic designer running her own design consultancy for many years. BA Saint Martins School of Art, MA London College of Printing.

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In 1859 when Franz Liszt edited the Nocturnes of the Irish composer John Field, he said in his preface ‘to him we may trace the origin of pieces designed to portray subjective and profound emotion.’  Once Field had coined the term nocturne in 1812, other composers such as Chopin, Mendelssohn, Fauré and Debussy followed in his footsteps and contributed to an increasing repertoire of atmospheric and meditative night pieces.

However, from the early 1870s, the term ‘nocturne’ was used in the titles of paintings by the American painter, James Whistler, and in addition to exploring the history of the musical nocturne, the lecture explores its relationship with the world of art.

Peter Medhurst

Peter appears in the UK and abroad as a musician and scholar, giving recitals and delivering illustrated lectures on music and the arts. He studied singing and early keyboard instruments at the Royal College of Music and at the Mozarteum in Salzburg.

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The Borghese Gallery houses what is arguably one of the greatest collections of art in the world. In the early 1600s Cardinal Scipio Borghese, the nephew of Pope Paul V, amassed an incredible collection of ancient sculptures and renaissance art, including works by Titian, Botticelli and Raphael. Scipio added to this by commissioning statues from Bernini and buying up works by Caravaggio, Domenichino and other contemporary artists of the day. 

The collection also houses later artworks acquired over the centuries by the Borghese family, all in a magnificent building designed for Cardinal Scipio especially to house his collection. The Borghese Gallery is set in the Villa Borghese gardens, until a century ago the private gardens of the Borghese family, and today one of the most beautiful public parks in Rome.

Stuart Harvey

Stuart is a “History and Art Communicator” of 30 years experience. He is a London Blue Badge Tourist Guide (qualified in 1998 - awarded “New Guide of the Year”) and also a Guida Turistica Abilitata della Provincia di Roma (qualified in 2010). He has worked in educational tourism since 1992, leading study tours all over Europe.

Living in Rome since 2003, Stuart has developed a great love for the Eternal City and its many treasures. In addition to his primary career as full-time Rome tourist guide, Stuart’s entertaining and lively lectures and virtual tours bring the rich artistic and historical wealth of Rome’s 28 centuries to life for people all over the world.

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The antiques market has changed dramatically and now pieces that were made during the 1970s can fetch many times more than a piece made in the 1770s. Why has the teak sideboard you threw out become so desirable? Who is this Eames guy? Drawing a blank with Timo Sarpaneva? Who’s buying what and what are they doing with it? This practical and inspirational lecture looks at furniture, ceramics, glass, lighting and metalware, identifies key designs and designers, and the examines the revolutionary design movements they began.

Mark Hill

Studied History of Art & Architecture (BA Hons), and began his career as a porter and Junior Cataloguer at Bonhams, before moving to Sotheby's where he was a Specialist in the Collectors' Department. Became director of an internet company forming and running a ground-breaking deal with eBay Live Auctions. Was co-author of the internationally published Collectables Price Guide with Judith Miller from 2002-17. Founded his own publishing company in 2005 and has published over 12 books on specialist subjects in the decorative arts. A Miscellaneous expert on the Antiques Roadshow since 2007, has appeared on BBC2’s Antiques Roadtrip, and has co-presented three primetime TV series on antiques and collecting for BBC2. A Senior Vice President at a company offering digital solutions to the antiques industry. Has lectured across the world, including at the V&A in London, and contributed to many newspapers, magazines, radio and TV programmes. A Freeman of the Worshipful Company of Arts Scholars and a Freeman of the City of London.

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Joshua Reynolds (1723-92), first President of the Royal Academy when it was founded in 1768, transformed British art.  Essentially a portraitist, he elevated portraiture to the level of High Art or History Painting, the epitome of art in the European Academies. He did so by allusions to classical mythology, antique sculpture and architecture.  The extraordinary variety of his works provoked the famous comment from his great rival, Thomas Gainsborough (1727-88), “Damn him, how various he is”. In one of his Discourses, which praised Italian Renaissance art, Reynolds said that a room hung with pictures was a room hung with ideas.  Although his technique was controversial (he mixed bitumen with his paints to give pictures an ‘Old Master’ look), he was the artist who did most to raise the status of the visual arts in Britain.

Frank Woodgate

Lecturer at Tate Britain and Tate Modern, for the Art Fund, the National Trust, U3A and other organisations, including on Zoom. Formerly a Guide at both London Tates and lectured for Dulwich Picture Gallery, Pallant House Gallery, Chichester and on cruises on behalf of Tate. Previously script-writer for The Living Paintings Trust (art for the visually-impaired).

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The Silk Road was a series of trade routes that linked the Far East with the West. The routes began to develop in the 1st century BC and were actively used by merchants for more than a millennium. An explanation of the Silk Road is offered in a stand-alone lecture which is illustrated with examples of the art and architecture created along its routes. Alternatively, the topic can be offered in more depth as a single study day, or as it was originally conceived and delivered to two Societies in the East Midlands as a series of eight study days. The series begins with an introductory session which is followed by in-depth sessions which consider the art and architecture of the following cultures during the first millennium: Persia, Islam, Ferghana Valley, India, China, South-East Asia and finally Japan.

Angela Smith - PhD from the Warburg Institute, London University. Author of numerous articles and several books including A Timeline of Art History (2013). Experienced lecturer who has taught for several universities. Catalogued paintings in galleries for the National Inventory Research Project. Has led a number of cultural tours on the continent and has lectured for several cruise lines. Regularly runs courses of study days for The Arts Society on subjects including ‘Women artists down the centuries’ and English church art and architecture. Has contributed to television programmes, most recently an episode of Digging up Britain’s Past.

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Picasso told his biographer, John Richardson, that his work was like a diary – “To understand it, you have to see how it mirrors my life”. This lecture examines the way Picasso’s emotional life influenced what he painted and how he painted it. His response to each new love in his life can be seen in the different styles in which his many women were represented. When he fell out of love, that fact would be revealed first in his paintings. The lecture concentrates on the seven most important women in his life (two of whom he married). 

Val Woodgate Currently Lecturer at Tate Britain and Tate Modern, for the Art Fund, the National Trust, U3A, City of London libraries (Barbican and Guildhall), and other organisations. Lectures on Zoom for arts organisations. 

Formerly Tate Guide for 39 years; member of Teaching Team at Dulwich Picture Gallery, where as well as lectures I gave 50 Study Days; evening courses for DPG; lectures and courses at Pallant House Gallery, Chichester; on P&O cruises representing the Tate; lectures at University of Cape Town; script-writer for The Living Paintings Trust.

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Fine art has provided advertisers and their agencies with a great deal of material to use in their creative campaigns.

Tony describes some of the processes by which these advertisements have been created and why the works of Leonardo da Vinci, Raphael and Michelangelo have been a particularly rich source. From the Renaissance through to the present day fine art continues to provide opportunities to enhance Brand imagery with admiration, humour, satire and irony.

In an entertaining and informative lecture Tony uses a wide range of visuals and video to show examples of the original works, the creative process and the (not always entirely successful) advertisements that are the end result.

Tony Rawlins was educated at Highgate School, starting his career in advertising in 1965 as a mail boy in J.Walter Thompson. He graduated through the training system there to become an account director and subsequently worked in a number of agencies before setting up on his own in 1985. There he handled primarily Guinness advertising in Africa and the Caribbean, where he produced many commercials and print ads for them over a period of 15 years. He remains active as a consultant in the industry, but now concentrates on more philanthropic projects - producing a film in the rural villages of Nigeria for the London School of Hygiene and Tropical Medicine. More recently he has completed a sanitation project in Haiti after it was devastated by Hurricane Matthew in 2016.  

He has been a member of The Arts Society for many years. His earlier lecturing experience includes presenting to client groups, sales conferences and students of creative advertising in the UK and overseas. More recently he has been lecturing to Arts Societies in the UK and Europe.

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If you think of St Pancras International or New York Grand Central you imagine long romantic journeys. You know they are special places promising excitement and adventure. But there are dozens of other glorious stations in the UK and abroad. We will take a journey around some of the most evocative and splendid stations in the world. We will look not only at the magnificence of the architecture and the brilliant engineering but will discover numerous artworks within the stations and examine many depictions of stations in art – like Claude Monet’s Gare St Lazare or William Powell Frith’s Paddington. It may sound a bit anoraky, but it’s definitely not. It’s lavish, colourful and fun.

Ian Swankie

A Londoner with a passion for art and architecture, Ian is an official guide at Tate Modern, Tate Britain, Guildhall Art Gallery and St Paul’s Cathedral, and gives tours around each venue. He is also a qualified and active freelance London guide and leads regular tours for various corporations and organisations. Since 2012 he has led a popular weekly independent art lecture group in his home town of Richmond in West London. He is a Freeman of the Worshipful Company of Art Scholars, one of the City livery companies.

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A wide-ranging exploration of the music chosen by ballet choreographers through the years, proving that the right composition with the addition of the right moves and the right designs can create modern masterpieces and timeless classics.  We move from the grandness of Imperial Russia with the creation of Swan Lake, Sleeping Beauty and other established and popular works through to the current modern repertoire of the Royal Ballet, exploring the challenges met by both composers and choreographers.  Includes several performance video clips.

Nigel Bates has been a performer for more than forty years in and out of the Royal Opera House Covent Garden, including seventeen years as Principal Percussionist with the Orchestra and eight years as the Music Administrator of The Royal Ballet.

 He has worked with many of the leading figures in the classical music industry and was also a producer for both the BBC's Maestro at the Opera and Pappano's Classical Voices documentary series. He is a regular contributor to the printed and online content of the ROH.

He has given lectures for over thirty years, including many arts societies and conservatoires in the UK and across Australia.

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As the most senior of upper servants, the housekeeper typically carried a family’s secrets with her to the grave. She ran the English country house, controlled its female servants and conserved its many treasures – and yet she has not been remembered history. Using old letters, secret diaries and neglected archives, Tessa has resurrected a series of fascinating stories from 19th and 20th century domestic service, at some of our most prominent households.

Tessa Boase

Tessa is a freelance lecturer for The Arts Society along with other organisations such as the V&A, English Heritage and the National Trust. She’s the author of two books of social history: The Housekeeper’s Tale – The Women Who Really Ran the English Country House, and Mrs Pankhurst’s Purple Feather – Fashion, Fury and Feminism, Women’s Fight for Change. Her interest lies in uncovering stories of invisible women of the Victorian and Edwardian eras, revealing how they drove industry, propped up high society and manipulated politics. Tessa has an MA in English Literature from Oxford University, a diploma in Art History from the British Institute of Florence, and has enjoyed a long career in journalism for national newspapers and magazines. 

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The history of this enduring and peculiarly British institution, from its origins in 16th century Italian commedia dell’arte through the influence of 19th century music hall, to the family shows that are still much loved today. On the way we examine the origins of some of the stories used in pantomime as well as such traditions as the (female) principal boy and the (male) pantomime dame. The talk is interspersed with personal anecdotes from the speaker’s years of working (and appearing) professionally in pantomime.

Ian Gledhill

Ian Gledhill has had a very varied career, from designing underground railways as an engineer for London Transport, to appearing in pantomime with Julian Clary. In between he has worked in travel and tourism, music publishing, television, and especially the theatre, where he has been an actor, director, set designer, stage manager and opera translator. His main interests include architecture, history, transport and classical music, especially opera and operetta, and these are reflected in the wide ranging list of subjects for his lectures. 

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In 1882 Gertrude Jekyll wrote a short but seminal article in The Garden in which she urged the readers to “remember that in a garden we are painting a picture”.  As an accomplished watercolour artist, Miss Jekyll was familiar with the principles of using colours, but she felt that in gardens these principles “had been greatly neglected”.  This talk looks at how to apply these principles in designing a border, but it also looks at the ways in which a border is different from a painting.  However, it goes further than this and looks at how contemporary work of the likes of Turner, Monet, Rothko, Jackson Pollack evolved in parallel with ideas about what a garden or border should look like.

Timothy Walker

From 1988 to 2014  Director of the University of Oxford Botanic Garden.  Botanic gardens are often described as living museums, and garden curators lecture about them in the same way as museum curators talk about their collections. Gardens are often thought of a place where science and art meet on equal terms and the lectures often investigate this relationship.  Since 2014 Timothy has been been a college lecturer and tutor in Botany and Plant Conservation at Somerville College Oxford. 

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The Hindu temple complex of Angkor in Cambodia is the greatest archaeological site in Asia. Within an area of 400 square kilometres there are dozens of temples, many covered in jungle, but the most important of them all is Angkor Wat. Built in the 12th century, Angkor Wat is the biggest religious monument in the world and measures a square mile. This mystical temple is a recreation on earth of the Hindu cosmos, brilliantly constructed to align with the sun and moon and covered with exquisite carvings. This illustrated lecture will focus on the artistic heritage and religious symbolism of Angkor. It will reveal the historical background and show the evolution of the Khmer empire and its flowering of sculptural art which was dedicated to religious building. Other temples will be highlighted, such as the Bayon, swathed in mystery, and Banteay Srei, with scenes of the Hindu epics delicately carved in pink sandstone. It concludes with contemporary Cambodia and the role of Angkor today and the revival of the living arts, especially the classical Khmer ballet performed at the temples in celebration of the gods. Gorgeous dancers in shimmering silk costumes re-enact scenes from the Ramayana as the sun sets. As the last rays touch the sandstone, it turns gold and red, before darkness finally falls and the magnificent structure once more becomes part of the jungle. 

Denise Heywood

Art historian, author, lecturer, photographer and journalist. Worked in Cambodia in the 1990s and has been a scholar of Southeast Asian art ever since. Her books include one on the Buddhist temples of Laos, Ancient Luang Prabang and Laos, also in French, and Cambodian Dance Celebration of the Gods, with a foreword by the daughter of King Sihanouk. Lectures for the Art Fund, the University of London School of Oriental and African Studies on their post-graduate Asian Art Course and for the V&A; also for organisations such as Madingley Hall (University of Cambridge), the British Museum, the Royal Society for Asian Affairs, Asia House, the National Trust, the Royal Geographical Society and has lectured worldwide for universities, museums, colleges, art institutions, literary societies and travel organisations. She writes for art, literary and travel publications and has appeared on television and radio. She has led cultural tours to Southeast Asia and France for the Royal Academy, the Art Fund, Asia House and many more and lectures on cruise ships. 

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Fine art has provided advertisers and their agencies with a great deal of material to use in their creative campaigns.

Tony describes some of the processes by which these advertisements have been created and why the works of Leonardo da Vinci, Raphael and Michelangelo have been a particularly rich source. From the Renaissance through to the present day fine art continues to provide opportunities to enhance Brand imagery with admiration, humour, satire and irony.

In an entertaining and informative lecture Tony uses a wide range of visuals and video to show examples of the original works, the creative process and the (not always entirely successful) advertisements that are the end result.

Tony Rawlins

Tony was educated at Highgate School, starting his career in advertising in 1965 as a mail boy in J.Walter Thompson. He graduated through the training system there to become an account director and subsequently worked in a number of agencies before setting up on his own in 1985. There he handled primarily Guinness advertising in Africa and the Caribbean, where he produced many commercials and print ads for them over a period of 15 years. He remains active as a consultant in the industry, but now concentrates on more philanthropic projects - producing a film in the rural villages of Nigeria for the London School of Hygiene and Tropical Medicine. More recently he has completed a sanitation project in Haiti after it was devastated by Hurricane Matthew in 2016.  

He has been a member of The Arts Society for many years. His earlier lecturing experience includes presenting to client groups, sales conferences and students of creative advertising in the UK and overseas. More recently he has been lecturing to Arts Societies in the UK and Europe.

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Poised between Europe and Africa, Sicily has been both a gateway and a crossroads attracting a long line of colonisers from the Greeks, Phoenicians, Romans and Arabs to the Normans and Spanish. The legacy of so many dominant civilisations produced a cultural mix of great richness and diversity, and included periods of exceptional wealth, intellectual activity and artistic achievement. This lecture / study day looks at Sicily during the ancient and medieval periods: the Greek temples, the beautifully preserved Roman Villa Casale, and the monuments from the Arab - Norman period when Palermo was the most intellectually active and artistically eclectic centre in Europe. The 12th century cathedrals of Cefalu, Monreale, and the Palatine Chapel of the Norman Palace, witness to a brilliant fusion of Norman, Arab and Byzantine art and architecture.

Jane Angelini

Jane is a freelance lecturer for The Arts Society and other arts organisations. She runs her own art tours company, specialising in cultural visits. She speaks several foreign languages and has translated a number of works of 19th century Russian literature for Penguin Books and Oxford University Press. She has a BA in Russian Studies and an MA in Byzantine Studies.

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Frida Kahlo (1907-1954) and Diego Rivera (1886-1957) have iconic status in Mexico. Rivera's intricate visual narratives, rich with allegory and symbolism, adorn the walls of public buildings. Inspired by Aztec and Maya imagery, and by early Italian fresco painting, his vast murals combine social criticism with faith in human progress. Kahlo's work, unlike Rivera's, is small in format. Arguably Mexico’s most original painter, she made herself the principal theme of her art. Her paintings reflect her experiences and dreams. This lecture surveys the work of both artists; it chronicles their turbulent marriage and Mexico's history after the 1910 Revolution. 

Chloe Sayer

Freelance specialist in the art and culture of Latin America. Has lectured in the UK, Canada, Ireland, Mexico, Australia and New Zealand. Has curated exhibitions, and assisted on TV documentaries for BBC and Channel 4. Has made collections in Mexico and Belize for the British Museum, and is Research Associate in the Department of World Cultures at the Royal Ontario Museum. In 2016 she was awarded the prestigious Ohtli medal by the Mexican government for her long-standing commitment to Mexican culture. Her many publications include Mexican Textiles (British Museum Press, 1990), Arts and Crafts of Mexico (Thames & Hudson, 1990), Focus on Aztecs and Incas  (Watts Books, 1995), The Incas - The Ancient World (Wayland, 1998), Textiles from Mexico (British Museum Press, 2002), and Mexico: Clothing and Culture (Royal Ontario Museum, 2015). Has also published articles in travel guides, newspapers and magazines.

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Mary Alexander

Thirty years' experience as a lecturer, with a BA in History and History of Art and a MA with distinction in History of Art from University College London. Experience includes public lectures in museums, tutoring for the Open University, visiting lecturer at Christie's Education in London, museum curator at Platt Hall, the Gallery of Costume, Manchester. Now a freelance lecturer to various arts, heritage and antiquarian societies. She also worked in Pentagram design consultancy in London and New York, organising conferences and special events. Author of various articles on design and visual awareness issues, her background combines an unusual blend of academic and visual communications skills. Lectured for ADFAS Australia and New Zealand in 2011, 2013 and 2016. Mary is an enthusiastic member and President of The Arts Society Glaven Valley.

Raoul Dufy (1877-1953) was a key player in early twentieth century avant garde art, design and literary/theatrical circles in Paris. As a widely travelled polymath, Dufy's charismatic personality, wit and curiosity about the world was infectious.

His imagination and technical virtuosity - across a range of media including painting and lithography, posters, book illustration, theatrical set design, textiles and fashion, ceramics and large murals - cut across all conventional boundaries. Whether a small intricate woodcut illustrating a love poem, or the truly gigantic 1937 world fair murals depicting the role of electricity in the modern age, the effect is mesmerising.

Dufy defies categorisation, constantly innovating and experimenting with new materials and effects. His analysis of the visual world is sophisticated and joyous in equal measure. Perhaps this goes some way to explain why some later critics fail to grasp its complexity and pigeonhole him a 'decorative artist', or misunderstand the irony in his witty yet gentle caricatures of elegant social life.

10.30 am at The Wraysbury Hall

Doors Open 10.20 am

Guests Welcome

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Matthew Wilson studied History of Art at the Courtauld Institute and has taught the subject in secondary schools in the UK for over a decade. As a freelance writer he has also written for numerous publications, including the BBC, Aesthetica Magazine and Smarthistory – the world’s most-used art historical resource. His latest book, Symbols in Art (Thames & Hudson, Autumn 2020), was described by Christopher Lloyd, former keeper of the Queen's pictures, as “masterly … the perfect introduction to a subject that can only heighten the general appreciation of art.” He is currently working on a new title, also on the subject of iconography, due for publication in 2022.

Art speaks in a complex language of symbols, where a plant, animal or object has a specific metaphorical meaning. Where do these meanings come from, how have they evolved and what do they tell us about the cultures they come from? By examining the backstories of dragons, halo, lotus flowers, sunflowers and doves in art, this lecture will provide a unique perspective on global history. It will show how mighty empires and global religions have made these motifs ubiquitous even in the modern world, appearing as they do in advertising, corporate branding and public monuments as well as the world’s most famous art. 

ON LINE LECTURE VIA ZOOM

10.30 am Virtual Doors Open 10.20 am

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Gavin Plumley

A writer and broadcaster, appearing on BBC Radio 3, BBC Radio 4 and contributing to newspapers, magazines and opera and concert programmes worldwide. Lectures widely about the culture of Central Europe during the 19th and 20th centuries. Recent talks include the Royal Opera House, the National Gallery, the National Trust, the National Theatre, the British Museum, the V&A, the Southbank Centre, the Tate and the Neue Galerie, New York, as well as for history of art societies and The Art Fund. 

Gustav Klimt and his colleagues broke away from the imperially endorsed art institutions in Vienna in 1897 and founded the Secession. That was the same year that Gustav Mahler arrived to take charge of the Opera House in the city. Comparing these two totemic fin de siècle talents, this lecture places Klimt and Mahler in context, asking what fundamentally links and, indeed, divides them.

ON LINE LECTURE VIA ZOOM

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Mark Cottle

Born on the Isles of Scilly and educated at Truro School, Cornwall, and Birmingham University. His career has been spent in education and training at home and abroad. He has lectured at Exeter College on Medieval and Tudor history, St Mark's & St John's University College, Plymouth, and at Bath University on Anglo Saxon and medieval England. Currently runs two small companies providing training and study breaks.

On Ernest Shackleton’s third Antarctic expedition in 1914, his ship, the Endurance, was trapped and eventually crushed in the pack ice. After camping for five months on the ice, Shackleton’s men rowed to the remote Elephant Island. From there, Shackleton sailed for help to South Georgia over 800 miles away. Over three months later he returned to rescue the crew of the Endurance. Frank Hurley, one of the great photographers of the 20th century, was the expedition’s official photographer. His photographs are a visual narrative of an epic journey which capture with great artistry new and amazing landscapes within which a remarkable human drama is played out. The aim of the lecture is to capture Hurley’s achievements as a photographer of the Antarctic in the first flush of human contact when it was still essentially terra incognita.

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Jacob Moss

Having successfully completed a BA (hons) in Fashion at Reading School of Art, Jacob took up a position as an assistant for womenswear designer Donald Campbell. in 2010 he returned to education and obtained a postgraduate degree (Distinction) in Fashion Curation from London College of Fashion.  Shortly thereafter Jacob joined The Fan Museum, the UK's only fan museum, dedicated to the history of fans and craft of fan making.

As the Museum's Curator, he is responsible for co-organising it's temporary exhibition programme and overseeing loans from The Museum's extraordinary collections such as The Palace of Versailles and Metropolitan Museum of Art.  In 2017 he curated 'Street Fans' a pioneering project linking street art and fan making which drew record audiences to The Fan Museum. Looking forward to 2021, the year in which The Fan Museum celebrates it's thirtieth anniversary, Jacob will curate a special exhibition of fans at SCAD FASH Museum of Fashion and Film, Atlanta Georgia.

The Fan Museum

Occupying a pair of early Georgian townhouses nestled in historic Greenwich, the story of how The Fan Museum came to fruition dovetails into the multifaceted history of the handheld fan. From an especially rare Elizabethan-period embroidered folding fanto contemporary samples, deorated by street artists, discover some of the key objects within the Museum's extraordinary collections which encompass more than 5,000 fans and related objects dating from the eleventh century to the present day and gathered from most parts of the world.

THE YORK CLUB WINDSOR GREAT PARK

Lecture starts at 10.30am

Registration and coffee 10.00am

We are sorry but due to space restrictions we are unable to invite guests to this lecture

Bertie Pearce

Has a BA (Hons) in Drama from Manchester University, and a Diploma Internationale from the École Internationale du Théatre, Jacques Lecoq. A member of the Inner Magic Circle, with Gold Star. Past experience includes lecturing and performing on cruise ships, and to U3A, historical societies, festivals, schools and colleges. In addition, has toured the world with a magic cabaret show and a one man show entitled All Aboard. Has written articles for newspapers and magazines on entertainment and theatre.

Charles Dickens has often been proclaimed as “The Man Who Invented Christmas” and indeed on hearing that Dickens had died, a cockney barrow-girl said: “Dickens dead? Then will Father Christmas die too?”  Dickens revived the Christmas traditions with his warm portrayal of Christmas in the domestic setting; with plum pudding, piping hot turkey, games, dancing  and family cheer by the hearth. Although he celebrated Christmas in numerous works it is his enduring master piece, ‘A Christmas Carol’ published on 19th December 1843 which immortalises the spirit of Christmas Cheer. Dickens was a man of extraordinary energy and talent: literary genius, reformer, public speaker, actor and amateur magician.

In his lecture Bertie Pearce reveals a Dickensian Christmas with readings, biographical details and conjuring tricks.

ON LINE LECTURE VIA ZOOM 10.30 am Virtual Doors Open 10.20 am

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Ian Cockburn

An art historian with a BA (Birkbeck College) in art history and an MA (Courtauld Institute of Art) in medieval Spanish art history. Specialist in the nearly 800 years of Moorish occupation and Christian reconquest of medieval Iberia. 

Founder and director of an art tours company, specialising in guided cultural tours in Spain, plus lecturing in London at institutions such as the V&A, SOAS, Christies Education, and the London Art History Society. Formerly a Chartered Accountant and senior manager in multi-national IT companies, with extensive public-speaking experience.

The silk industry thrived in Muslim-controlled al-Andalus from the introduction of silk worms in the late eighth century until the ‘expulsion edicts’ of the early seventeenth century. The elaborate silk textiles produced by the Moors were coveted equally by the Muslim and Christian nobility of the period, both within and beyond the Iberian peninsula.

Expensive clothing signalled the wearer’s social position, geographical origin, and ethnic and religious orientation, as well as projecting notions of spiritual nobility, inner beauty and high moral standing. Luxury silks also contained a fascinating range of Islamic iconography that referred back to well-known imagery from classical civilizations, as well as cross-referencing to other areas of Andalusi material culture, such as architecture, ivories and bronze sculptures. Surprisingly, some of these garments have survived in relatively good condition for nearly a thousand years, many because they were used as burial vestments and coffin linings for Christian kings and senior clergy!

ON LINE LECTURE VIA ZOOM

10.30 am Virtual Doors Open 10.20 am

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ON LINE LECTURE VIA ZOOM 10.30 am Virtual Doors Open 10.20 am

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Diane Davies

Dr Diane Davies is a Maya archaeologist and honorary research associate of the Institute of Archaeology, University College London. She completed her PhD at Tulane University, New Orleans. Little is known about the Maya in the UK and so aside from carrying out research in Guatemala and teaching, Diane is an educational consultant for schools giving workshops to both teachers and children on the Maya. She has created award-winning resources, organizes trips to the Maya area and is also the Chair of Chok Education, a charity supporting the education of Maya children. Diane organises conferences on the Maya as well as lecturing to a variety of organisations, including the City Literary Institute, London and the Historical Association.

The Maya created one of the most sophisticated civilizations in the ancient world.  Their achievements in the arts and sciences, along with their complex social, political and economic systems, make them one of the most remarkable culture groups in the Precolumbian Americas. These people brought us an intricate calendar system, complex hieroglyphic writing, some of the largest pyramids in the world, a form of ballgame that was like no other and most importantly chocolate! This lecture will discuss the major achievements of the Maya as well as pointing out the common misunderstandings we have of this remarkable civilization.

ON LINE LECTURE VIA ZOOM 10.30 am Virtual Doors Open 10.20 am

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please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

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Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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DOUG GILLEN

Heavily involved in documenting the street art scene in London and abroad through his project Fifth Wall TV, and can offer a genuine insight into this world. Previously lectured for London Art and More, and when not filming he is an East End tour guide for Alternative London, specialising in culture and art.

Hidden Canvasses - Street Art & The city

There's more to the world of street art than Banksy, Hidden Canvases is a beginner's guide to the biggest art movement since pop art.  From train writing in New York to interactive technology that brings murals to life, the concept of un-commissioned public art is a very different beast to that which it once was.  Hidden Canvases explores the key stages in street art's growth examining the different elements and styles that comprise the scene with no rules.  From the international superstars to the local underground heroes you're guaranteed to leave knowing your Invader from you Aryz and who knows you might even start looking at the world a little differently.

ON-LINE LECTURE. 10.30am via Zoom

A link will be sent to our members via the Chairs' newletter and via personal email on the day.

Guests are welcome from anywhere in the country, please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

OR SEND A CHEQUE FOR £5 made payable to TASR to:

Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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David Tovey

Read law at Oxford and practised as a solicitor for 20 years. He returned to University in 1996 to read History of Art and now specialises in Cornish Art. His particular interest in St Ives art derives from the fact that his great-grandfather, William Titcomb, was one of the early settlers in the colony. Since 2000, David has curated various exhibitions on Cornish art for Tate St Ives, Penlee House Gallery and Museum, Penzance, Royal Cornwall Museum, Truro, Nottingham Castle Museum, Cheltenham Art Gallery and various other art galleries around the country. He has also published eight books, of which five have been major, ground-breaking surveys of St Ives art, namely St Ives Art pre-1890 - The Dawn of the Colony, Pioneers of St Ives Art at Home and Abroad 1889-1914, Sea Change - Fine and Decorative Art in St Ives 1914-1930,  Creating A Splash - The St Ives Society of Artists 1927-1952 and the unique social history St Ives (1860-1930) - The Artists and the Community.

David is also Editor of The Flagstaff, the magazine of the Lamorna Society, a group that is interested in the artists, writers and natural beauty of the Lamorna Valley, and as members include descendants of artists, their patrons, their models and their servants, the Society has an extraordinary archive upon which David can draw.  He also has written biographies of Lamorna resident writers, Cecily Sidgwick and Crosbie Garstin.  His lectures now include both artistic and social histories of the Lamorna art colony, as well as a lecture devoted to the author, artist and adventurer, Crosbie Garstin.

David’s current major project is Polperro – Cornwall’s Forgotten Art Centre.  The artistic heritage of Polperro has never been researched previously and David has unearthed an extraordinary story, with a fascinating international dimension.  He will be publishing two books on the subject in 2021 – one telling the story pre-1920 and one post-1920.  He is also curating an exhibition on the subject at Falmouth Art Gallery, which will run from 28th March to 12th June 2021.

Cornwall's Forgotten Art Centre - A History of Art in Polperro

Despite its superb location, beautiful harbour and quaint buildings having made it one of the most painted spots in Britain, Polperro is the forgotten art centre of Cornwall, and the story of Art in Polperro has not been told before. This lecture draws on David’s new research into the subject, which will be published in two books to accompany an exhibition at Falmouth Art Gallery in the spring of 2021. It examines why Plymouth based artists were the first to paint in the village and why the coming of the railway had little impact.  It also looks at why Polperro never really developed into a colony. Despite this, the picturesqueness of the village has ensured that countless artists from around the world have painted its charms.  In addition to featuring the handful of artists who did settle there, and the numerous British artist visitors, the talk will also showcase a range of American, German, Dutch and French artist vistors, as well as the first Chinese modernist painter, Teng-Hiok Chiu. There will also be a special feature on “the Polperro Polemicists”, led by Arthur Wragg, whose biting satirical works during the 1930s were felt to have led to an increased awareness of the need for a more caring form of Government and, ultimately, to the introduction of the Welfare State. The talk will be illustrated with a wide range of paintings in varying styles.

ON-LINE LECTURE 10.30am via Zoom

A link will be sent to our members via the Chairs' newletter and via personal email on the day.

Guests are welcome from anywhere in the country, please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

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Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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Tasha Marks

Tasha Marks is an award-winning food historian and artist, who explores the relationship between food, art and history. Her practice, AVM Curiosities, champions the use of food as an artistic medium, with projects ranging from museum-style exhibitions and sculptural installations, to interactive lectures and limited-edition confectionery. Recent academic achievements include publication in the Oxford Companion to Sugar and Sweets, where Tasha authored the entry on Mrs Beeton, one of the Victorian era’s most influential cooks.

Food and Art Through the Ages is a whistle-stop tour of the history of food as artistic medium; starting with 16th century sugar sculpture and venturing all the way up to 3D dessert printing and beyond. Hosted by Food Historian Tasha Marks, this lecture is a treat for those with a sweet tooth, as Marks feels the subject of food and art through the ages is most exciting in the realms of the dessert. Topics covered include; the origins of dessert, the crossover between sugar and art, architecture and dessert (including Renaissance banqueting houses), sugar and spectacle, food as artistic medium, and the future of food. This exploration into the realms of dessert as spectacle includes an accompanying display to illustrate and enhance the historic subject.

ON-LINE LECTURE 10.30am via Zoom

A link will be sent to our members via the Chairs' newletter and via personal email on the day.

Guests are welcome from anywhere in the country, please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

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Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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Paul Chapman

Paul is an Art Historian and a National Gallery trained guide with many years of experience working in education. As a freelance Paul delivers courses and lectures for a wide range of educational organisations. Paul has also given talks and tours for art associations/societies in Museums and Galleries in the UK and Europe. As a writer, Paul has published a book, which examines the subject of cultural crossovers and appropriations in 20th century painting. Paul has a long-standing commitment, in conjunction with the National Gallery as a tour guide at the Longford Castle art collection and he is also a visiting tutor at Marlborough College and a tutor at MCSS.

Western Art from ‘Down Under’ is often overlooked and neglected, but there is a large amount of talented and inventive painters who rose to prominence in the post-World War II era. Painters like Sidney Nolan and Arthur Boyd from the ‘Heide School’ working in a naïve and expressive style, John Brack’s figurative paintings give a social critic of Australian post-war culture, John Olsen’s celebratory abstract expressions of the landscape, Brett Whiteley’s personal vision of his life in Sydney, Fred Williams' landscapes and Jeffery Smart’s surreal depictions of urban life are all essential in our understanding and appreciating the modern art of Australia and its place in the history of Western Art.

ON-LINE LECTURE. 10.30am via Zoom

A link will be sent to our members via the Chairs' newletter and via personal email on the day.

Guests are welcome from anywhere in the country, please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

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Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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Julia Musgrave

Julia Musgrave got her first degree in Chemical Engineering and went on to become a Chartered Information Systems Engineer and IT project manager. In 2008 she decided that life was too short for just one career and decided to become an art historian.

She now has a Graduate Diploma in the History of Art from the Courtauld Institute of Art and an MLitt in ‘Art, Style and Design: Renaissance to Modernism, c.1450 – c.1930’ from the University of Glasgow. She is currently working towards her Ph.D. at the University of York the involvement of Roger Fry and the Bloomsbury Group in the development of the Contemporary Art Society from 1910 to 1937. She is a lecturer in Art History at the City Literary Institute (City Lit).

Caravaggio’s paintings inspired many artists during his lifetime and would go on to influence many more, from Orazio Gentileschi to Peter Paul Rubens, Gerard van Honthorst and Rembrandt.

Each absorbed a different aspect of his work. His style spread across Europe and gave rise to the international movement known as ‘Caravaggism’. Yet for many, Michelangelo Merisi da Caravaggio is famed as much for his art as for his criminal record. Was it the violence of his times or his own violent spirit that inspired the dramatic lighting and intense naturalism of his work? This lecture follows the dramatic incidents of the artist’s life and looks at why and how his influence spread so far.

ON-LINE LECTURE 10.30am via Zoom

 A link will be sesnt to members via the Chairs' newletter and via personal email on the day.

Guests are welcome from anywhere in the country, please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

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Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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Jo Banham is a freelance curator, lecturer and writer. From 2006-2016 she was Head of Adult Learning at the Victoria & Albert Museum, and before that Head of Learning and Access at the National Portrait Gallery, and Head of Public Programmes at Tate Britain. She has also been Curator of Leighton House and Assistant Keeper at the Whitworth Art Gallery. She has published on many aspects of Victorian and early 20th century decoration and interiors. She is currently curating an exhibition on William Morris and the Arts and Crafts Movement for the Juan March Fundacion in Madrid and the Museu Nacional d’Art Catalunya in Barcelona. She is also Director of the Victorian Society Summer School.

Like its name, the Roaring Twenties was a loud and boisterous decade, marked by novelty, modernity and huge social, technological, and economic change. Following the dark days of the Great War, it spawned a generation of wealthy and privileged Bright Young Things who were determined to shock and who broke with the conventions of the past to pursue a life of hedonism and promiscuity, fuelled by an endless round of champagne, cocaine, parties and jazz.

Women wore fur coats and cloche hats, donned new boyish fashions and had short, cropped hair. Men drove fast cars, mixed cocktails and smoked American cigarettes. Society ate in new restaurants like The Trocadero, danced the Charleston in ballrooms like the Savoy, and drank in clubs like the Embassy and the Café de Paris. Valentino, Tallulah Bankhead, and Noel Coward emerged as major celebrities through the growing popularity of cinema and the stage.

The Roaring Twenties was also a period of enormous vitality in art and design. Fashionable society was immortalised by portraitists like John Lavery and Cecil Beaton who brilliantly captured the glamour of the age. Leisure, pleasure and the excitement of jazz were portrayed in paintings by Burra and Roberts, while the speed of the city and travel were explored in work by McKnight Kauffer and Nevinson.  Furniture and decoration showed the influence of Cubism, Vorticism and other styles associated with the avant-garde, while events like the discovery of Tutankhamun’s Tomb ushered in an obsession with all things Egyptian and Oriental. This lecture aims to conjure up the energy and originality of the decade and to explore the lives of its leading figures and examples of its most innovative art and design.

A link will be sent to our members via the Chairs' newletter and via personal email on the day.

Guests are welcome from anywhere in the country, please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

OR SEND A CHEQUE FOR £5 made payable to TASR to:

Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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Peter Medhurst

Peter appears in the UK and abroad as a musician and scholar, giving recitals and delivering illustrated lectures on music and the arts. He studied singing and early keyboard instruments at the Royal College of Music and at the Mozarteum in Salzburg.

Patience

In 1877, the Victorian artistic world was agog with a libel suit that James Whistler had brought against John Ruskin. Apparently, the art critic had described Whistler’s painting Nocturne in Black and Gold as flinging a pot of paint in the public’s face. Whistler won, but the judge only awarded him damages of a farthing, and the heavy costs incurred by the case brought him to bankruptcy in 1879. The artist eventually recovered from all of this, but the knock-on effect to the public was extraordinary. Since Whistler was one of the leading light in the Aesthetic Movement, it brought awareness of the cult to a head and it seemed that every dinner party in England was debating the merits of primary colours, Japanese art and medieval costumes. In 1881, in the wake of Whistler’s court case, Gilbert and Sullivan created their opera Patience, a work inspired by the eccentricities and affectations of the Aesthetic Movement. Well known figures like Walter Pater, Algernon Swinburne and members of the pre-Raphaelite Brotherhood had their writings and artistic works alluded to, or mercilessly sent up. Others – Oscar Wilde and Whistler – even inspired the costumes and makeup of the opera’s principal characters. The lecture examines the history, construction, reception and the contemporary satire found in Patience - arguably Gilbert’s and Sullivan’s most successful work. There will also be a chance to hear a number of the arias from the opera sung live from the piano. 

ON-LINE LECTURE 10.30am via Zoom

A link will be sent to our members via the Chairs' newletter and via personal email on the day.

Guests are welcome from anywhere in the country, please pay the visitor fee £5 direct to our account

Sort code: 20-11-43 A/C No 43584038

OR SEND A CHEQUE FOR £5 made payable to TASR to:

Diana Poll Chaplains Lodge, Windsor Great Park Windsor

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Alexandra Epps

Official Guide and Lecturer at Tate Modern, Tate Britain and Guildhall Art Gallery. Pallant House Gallery Lecturer. Qualified Guide to the City of London, offering lectures and walks about many aspects of the arts for societies, corporations and private individuals. Member of the City of London Guide Lecturers Association. Co-author of the book Lord Mayor's Portraits 1983-2014 (2015). Alexandra’s background is in design having practised as a graphic designer running her own design consultancy for many years. BA Saint Martins School of Art, MA London College of Printing.

Art Of The River

The River Thames has inspired artists for over three hundred years and continues to do so today. Discover a selection of artists from the historical to the contemporary and experience their fascinating views of the river and interpretations of its eventful history.

Note. This date is the SECOND WEDNESDAY as it is the run up to Christmas

Live on-line lecture 

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Raphael is often referred to as one of the three giants of the High Renaissance in Italy, alongside Michelangelo and Leonardo da Vinci, yet his fame and position in the canon of art history may seem hard to explain. He made no discoveries like those of his celebrated rivals: although undoubtedly a draughtsman of exceptional talent he made no great progress in the fields of anatomy, science and construction nor did he share the wide-ranging talents which Leonardo and Michelangelo demonstrated in so many disciplines. Furthermore, his career was short-lived as he died tragically young, aged 37. Yet in this relatively short space of time Raphael managed to move from humble initial commissions in and around his home town of Urbino to the coveted position of one of the leading artists at the court of the most important patron in Italy, Pope Julius II, for whom he created some of the most sublime and influential frescoes of the early 16th century. We explore how Raphael achieved this extraordinary rise in status, tracing the development of early works and influences to the masterpieces created in Rome.

Sian Waters studied at Cambridge University. Lecturer at the National Gallery and The Wallace Collection and taught at Surrey University, specialising in 15th and 16th century Italian painting, Spanish art & architecture, and the relationship between dance and art. Also teaches private courses, and organises lectures, study days and art holidays abroad. Has lived in France and Italy, where she worked at the Peggy Guggenheim Museum in Venice.
 

Live on-line lecture 

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The bed has been the site of multiple encounters in art from Titian’s stunning mythologies through Manet’s Olympia, Picasso’s nudes, and the abject of Tracey Emin’s infamous My Bed. But if the bed has been linked to passion, it has also been linked to death and this lecture explores its manifestations in the art of Caravaggio, Munch, Klimt, and others.

Marie-Ann Mancio trained as an artist before gaining a PhD in Art and Critical Theory from the University of Sussex. Has lectured in art history for the City Lit, Tate Modern, the Course, Art in London, London Art Salon, Dulwich Picture Gallery, the Nth Degree Club and many private art societies; also runs art history study tours 

HALL CLOSED Live on-line lecture 

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On the basis of sensational new evidence from archaeological fieldwork, this lecture will contrast the legend of Lawrence of Arabia with the true story of what happened in the famous desert war of 1916 to 1918. Is the legend a myth? Was Lawrence, as some claim, a liar and a charlatan? Or does legend reflect reality? Was he, in fact, a brilliant military commander and a sincere advocate of the Arab national cause? ‘Lawrence of Arabia’ is an early 20thcentury instance of celebrity culture. We will analyse the invention and re-invention of the legend from 1919 onwards through memoirs, photos, films, paintings, biographies, and documentaries. We will then contrast the legend with the biography of the man himself, focusing on key aspects of his early years and his character, and using archaeology as the basis for a detailed examination of the role which made him famous – his participation in the Arab Revolt of 1916 to 1918.

Dr. Faulkner was educated at King's College Cambridge and Institute of Archaeology UCL. WorksHOPS as lecturer, writer, archaeologist and occasional broadcaster. Research Fellow, University of Bristol. Editor, Military History Monthly. Director, pSedgeford Historical and Archaeological Research Project. Director, Great Arab Revolt Project. Author of The Decline and Fall of Roman Britain, Apocalypse, Hidden Treasure, Rome: Empire of the Eagles, and The Ancient Greek Olympics: a visitor's guide. Author of forthcoming Lawrence of Arabia's War. Major TV appearances include Channel 4's Time Team, BBC2's Timewatch, Channel Five's Boudica Revealed and Sky Atlantic's The British.

HALL CLOSED Live on-line lecture 

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In the last few years the market has flourished, and collectors have been prepared to pay astonishing amounts to own a modern masterpiece. This lecture is about the works that have sold for over $100 million and is an excuse to examine some beautiful and varied art. These works would not achieve such sky-high prices if they were no good. So, we’ll see some wonderful paintings including those by Picasso, Cézanne, Leonardo, Rembrandt, Modigliani, Klimt, Bacon and Pollock, all held together by the common thread of their extraordinary commercial value. But we will also look at the buyers and sellers, the stories behind the works, the reasons for changing hands and I will try to answer the question “Are they really worth hundreds of millions of pounds?”

Ian Swankie is a Londoner with a passion for art and architecture, Ian is an official guide at Tate Modern, Tate Britain, Guildhall Art Gallery and St Paul’s Cathedral, and gives tours around each venue. He is also a qualified and active freelance London guide and leads regular tours for various corporations and organisations. Since 2012 he has led a popular weekly independent art lecture group in his home town of Richmond in West London. He is a Freeman of the Worshipful Company of Art Scholars, one of the City livery companies.

CANCELLED

The Indian subcontinent has been richly endowed with coloured gemstones which the ancient Hindus never failed to attribute to the blessings of the gods. The Sanskrit word for a gem, ratna, means ‘bestowed’ and these beautiful gems have played a significant role in symbolising power, rank and status for the Mughals and the Maharajahs, The Ottoman Empire, European Kings and Queens, Emperors and Empresses to the Tsars of Russia for over 2000 years. We will explore the magical world of coloured gemstones, discovering how nature’s marvels have captivated and inspired many explorers throughout history to travel the four corners of the world to seek out these precious gems. But what is it about gemstones that have captured man’s imagination and what are the qualities one looks for to recognize a prized gemstone? Our journey through time will discover how gemstones have played a pivotal role in the recognition of Royal dominance, as well as discussing the origins and popularity in giving an overview of the main gemstones, discussing their origin and popularity and how they have been used in jewellery. There will be an insightful and personal account on emerald mining in Zambia, the famous Mogok ruby mines in Burma, Cambodia, Thailand and the more recently discovered ruby mine in Mozambique. We will also visit the sapphires mines in Sri Lanka that have been mined for over 2,500 years and we will explore the art of cutting and take a virtual tour of Jaipur one of the main cutting centres for coloured stones.

Joanna Hardy is an independent fine jewellery specialist with over 35 years experience working in the jewellery industry. She began her career training as a goldsmith at Sir John Cass College, London before working as a rough diamond grader for De Beers. She then became one of the first women to be a polished diamond dealer in Antwerp and then joined Philips the Auctioneers in London. She moved on to Sotheby’s and was their senior jewellery specialist and auctioneer for fourteen years and since 2009 has worked independently.

Joanna lectures and writes articles for publications worldwide and is a published author with her books, Collect Contemporary Jewellery, Emerald, Ruby, published by Thames and Hudson and a contributing author to Graff published by Rizzoli and Cartier Panthère published by Assouline. She curates contemporary jewellery exhibitions and has recently launched her Online Fine Jewellery School. Joanna is a Fellow of the Gemmological Association, Fellow of The Royal Society of Arts, a Trustee Board member of Gem-A,  a Liveryman and a Court Assistant of the Worshipful Company of Goldsmiths and is a regular jewellery specialist on the BBC Antiques Road Show. 

When Modigliani arrived in Paris in 1906 at the age of 20, he was ready for life in Europe’s most exciting city. Not only did he meet the leading artists of the day including Picasso and Diego Rivera and the sculptor Brancusi, but also the writers, philosophers and leaders of avant-garde society, Max Jacob, Jean Cocteau. He was known as the last Bohemian, a gentlemen, a true aristocrat. Plagued by illness and the inevitability of an early death, he did everything in excess, from his treatment of women to his drinking and drug habits. Despite that, he left a legacy of original portraits, graceful nudes and sculptures of haunting beauty which speak to us movingly of the passion and energy of his short eventful life.

Liz attained a humanities degree through the Open University, with art as a main subject, specifically modern art. Recruited as a Guide when Tate Modern opened in 2000 and has since worked at both Tate Modern and Tate Britain, covering all aspects of art. Lectured on cruises for 3 years, with P&O and Swan Hellenic, specialising in 20th century art, and now lectures widely on the subject.

A general introduction to the history, art and culture of this extraordinary land, lying deep in the heart of Central Asia surrounded by some of the highest mountains in the world. Despite its geographical inaccessibility, it developed a rich and vibrant Buddhist culture and artistic tradition. This lecture gives a brief overview of Tibetan history from the time of the great Tibetan Empire (6th – 9th century) up to the present day; explores the fascinating art and culture inspired by Buddhism, introduced from India in the 7th century, and gives an insight into the current political situation.

Zara is a freelance lecturer, art consultant and exhibition curator specialising in the art and culture of Tibet, the Himalayan areas and Mongolia.

Initially based at the V&A, but also worked with the Central Asian Department of Bonn University, the Orient Foundation, the Royal Academy, Tibet House, the National Museums and Galleries on Merseyside and Asia House. In addition to lecturing for The Arts Society, she lectures for museums, universities, Asian art societies, and private associations. Guest lecturer and  tour guide on numerous trips to the Himalayas. Edited Masterpieces of Mongolian Art: Vol 1 and has published many articles in the field of Buddhist art and culture.

Nicholas was the Greek Bishop of Myra, a 4th century port in Anatolia. Following his death, his legendary generosity established him as the principle gift-giving saint. Also the patron saint  of seafarers, his body was stolen by Italian sailors to protect their own ports.

Over the centuries the image of St Nicholas changed constantly until the Dutch re-invented him as Sinterklaas. Taking him to their new colonies in America, he transformed into kindly Santa Claus. Later re-imported into Britain without his Catholic baggage, he gradually emerged as Father Christmas - the jovial giver of presents.

Christopher is an expert in the history  and culture of the Middle East and North Africa. As aprofessional tour guide and lecturer he has led groups throughout the Middle East and Asia.

Has written extensively on Arabia and is the author of The Discovery Guide to Yemen, Insight Guide to the Silk Road and Berlitz Guides to Libya; The Red Sea; Cairo; Abu Dhabi and Nile Cruising. As a photographer has pictures represented by four photographic libraries. A broad range  of lecturing experience, including to the Royal Geographical Society and the Royal Institute of British Architects. As a film producer and cameraman he has made documentaries for the BBC, National Geographic TV and Channel 4

How was Napoleon such an excellent self promoter? What was it that drove him? What on the other hand drove his wife? And what was it that made Napoleon and Josephine one of the most followed couples in history? These questions can be answered giving a true insight into their character by exploring the collections at the Chateau de Malmaison. The Estate, which was bought by the couple as their private retreat, away from the Pomp and Ceremony of the Official Residences, was made into a National Museum in 1905 amassing a huge collection of their possessions. Paintings, personal objects, complete room layouts, and some magnificent pieces of porcelain are just some of the things on display. 

Carole is a guide and lecturer on combined history/art tours in France, with over ten years' experience.

Life aboard river vessels on the Seine, Oise, Marne and Rhone offered the chance to explore and further research certain riverside locations linked to art, which helped develop in-depth knowledge. Also has experience working with The Arts Society groups through work as a private guide for a privately owned stately home in the UK. 

This lecture gives an overview of the most rapidly developing, popular and recently revealed areas in mid–century modern European glass. Makers covered include Mdina Glass, Wedgwood Glass and a number of the most important Czech glass factories. Key designers and designs, and the influences behind them, are examined, with ‘Gallery’ slides giving a wider understanding of each company’s production.

Mark studied History of Art & Architecture (BA Hons), and began his career as a porter and Junior Cataloguer at Bonhams, before moving to Sotheby's where he was a Specialist in the Collectors' Department.

Became director of an internet company forming and running a ground-breaking deal with eBay Live Auctions. Was co-author of the internationally published Collectables Price Guide with Judith Miller from 2002-17. Founded his own publishing company in 2005 and has since published over 12 books on specialist subjects in 20th century design and decorative arts. A Miscellaneous expert on the Antiques Road Show since 2007, and has co-presented three primetime factual TV series on antiques and collecting for BBC2. An auctioneer   running 20th century design auctions in partnership with Dawsons Auctioneers. Has lectured across the world, including at the V&A in London, and contributed to many newspapers, magazines, radio and TV programmes. A Freeman of the Worshipful Company  of Arts Scholars and a Freeman of the City of London.

J.M.W. Turner was arguably the greatest practitioner in watercolour the world has ever seen and his achievements still represent the benchmark for artists working today. Yet he left frustratingly few written records of his processes and was notoriously reticent about his methods. One brave soul apparently once asked him the key to being a successful artist and it is recorded that he rather grumpily replied ‘The only secret I have is damned hard work’! This lecture examines Turner’s watercolour practice in detail, unlocking the mysteries behind his exceptional effects. In addition to showcasing the diversity and richness of his achievements in the medium, we will look at his experimental approach to techniques and some of his tools and materials.

An independent art historian specialising  in British art of the nineteenth and early twentieth centuries. Nicola studied at the University of York and Birkbeck College, London. Formerly a curator at Tate Britain she has curated a number of exhibitions and has published widely on J.M.W. Turner, including contributions to the forthcoming online catalogue of the Turner Bequest

The lute holds a special place in the history of art: painters of the Italian Renaissance depicted golden-haired angels plucking its delicate strings, evoking celestial harmony; in the sixteenth century, during the rise of humanism, the lute was a becoming pastime of educated courtiers, as depicted by the likes of Holbein and Titian; throughout the seventeenth century, the instrument continued to play a key role in emphasising the intimate, debauched and transient pleasures of interior scenes by Jan Steen and portraits by Frans Hals. 

Adam Busiakiewicz is an Art Historian, lutenist and lecturer. After completing his Bachelor’s Degree in History at UCL in 2010 he held the position of Head of Historical Interpretation (curator) at Warwick Castle. He left the castle in 2013 after winning a full AHRC studentship to pursue a Master’s Degree in Fine and Decorative Art at the Sotheby’s Institute of Art, London. He is currently pursuing his doctorate in Art History at Warwick University after winning a CADRE Postgraduate Scholarship in 2017.Earlier in December 2014 he became the youngest Guide Lecturer at the Wallace Collection, where he regularly gives talks, tours and lectures to both public and professional audiences. He has also given lectures at the National Gallery in Trafalgar Square, London, and is organising a series of talks there on the lute in paintings in 2018.

Adam is currently planning a publication on the Grevilles of Warwick Castle, and has had articles published by the British Art Journal, The Sidney Journal and Hispanic Lyra. He was also the Editor of the Georgian Group's 80th Anniversary Exhibition catalogue entitled Splendour! Art in Living Craftsmanship (2017).

This talk tells of the first shoots of our Empire under Elizabeth 1 and the waning of our colonial power under Elizabeth II.  It formed part of the Women in History programme at Baylor University in Texas. 

Caroline has lectured for many years to universities and art organisations in America and on cruise boats. She was an official guide at the British Museum and has published articles on samplers. Her lectures range from the role of the royal mistress in history to more scholarly lectures on Frederick the Great of Prussia.

This talk tells of the first shoots of our Empire under Queen Elizabeth I and the waning  of our Colonial Power under Queen Elizabeth II. It formed part of the Women in History programme at Baylor University in Texas.

The names ‘Florence’ and ‘Medici’ are inextricably linked with each other. From the late 1300s to 1737 the family advised, ruled, were exiled, returned and ruled again in Florence in continuing cycles, eventually stamping their authority on the city with authoritarian firmness. At the same time they were responsible for helping to create one of the most vibrant artistic centres of the Renaissance and beyond. This is a story filled with larger-than-life characters and great art alongside stirring historical events, occasional assassinations, and the eventual decline of a remarkable dynasty. 

Has combined teaching and lecturing with a career in art bookselling and has been a volunteer guide at both Tate Britain and Tate Modern. Now a  freelance lecturer for The Arts Society, the Art Fund, and Friends of Dulwich Picture Gallery and local art societies.

Whilst having a chair with a hinged seat under which a chamber pot resides was at times most “commodus”, the commode this lecture refers to served a more decorative purpose and was to be found in the grandest of 18th century rooms. Tracing their origin in late 17th century France and development through to the end of the 18th century there and   in England provides an insight into the fashions and life-styles of this period.


Freelance  lecturer and researcher in English furniture history and also an antique dealer.

A private members viewing of a taped interview of Alice Moller describing her life.

Born in Vienna in 1912, the only child of a Jewish family she got her husband released from Dachau concentration camp in 1939 and escaped to England with their baby daughter.

Alice has been a member of our Arts Society for many years and has recorded her story on DVD.

Cafe Rendezvous The Village Centre Englefield Green TW20 0QX @ 7:00pm.         (Doors open 6:45.)

£5 -- to include interval wine or soft drink and nibbles

Tickets going fast - a reserve list will be opened. Available at the March Meeting and from 

Diana Poll ...01784 432434. dianapoll@icloud.com

There has always been a fascination with magic and the impossible and this talk is a whistle-stop tour of the history of mystery from 3000 B.C. to the 21st century. Be prepared to be amazed and bewildered.

In 2012 Louise Schofield led an expedition to Ethiopia that discovered a gold mine that may solve the mystery of where the Queen of Sheba of biblical legend derived her fabled treasures.
Sheba was a powerful incense-trading kingdom that prospered through trade with Jerusalem and the Roman empire. The Queen is immortalised in Qur’an and the Bible, which describes her visit to Solomon “with a very great retinue, with camels bearing spices, and very much gold and precious stones … Then she gave the king 120 talents of gold and a very great quantity of spices.”
Although little is known about her, the Queen’s image inspired medieval Christian mystical works in which she embodied divine wisdom, as well as Turkish and Persian paintings, Handel’s oratorio Solomon and many Hollywood films. Her story is still told across Africa and Arabia and the Ethiopian tales are immortalised in the holy book, the Kebra Nagast

As adults we carry in our heads huge numbers of images from childhood, and some of those most deeply etched come from illustrations in books that we read as children. Images of ‘Tigger’ and ‘Toad’ or even ‘The Tiger Who Came to Tea’ will probably remain with us forever! In addition to a wide range of examples John will examine how illustrations contribute to the development of understanding and how the interaction of image and narrative creates such powerful memories. 

The bleak midwinter held little appeal to the artist for many centuries until Bruegel’s Hunters in the Snow in the 16th century. From pristine backdrop to the tempestuous snow storms of Turner to the capturing of ‘snow effect’ by the Impressionists, the ability of artists to convey snow as a symbol of peace but also of grandeur and terror is compelling. 

This lecture focuses on the costume and dress accessories that would have been worn for formal occasions (Regulated Court Costume), or informally, at the Imperial Court or in Provincial Government during the Qing Dynasty (1644-1911). Initial consideration will be given to formal, mandated, Court Costume and Insignia of Rank worn by the Imperial Family plus the Civil and Military Officials. The focus will then move to a review of the full scope of the Emperor’s Wardrobe from State Robes, and regalia, through to informal wear Consideration will also be given to robes, and dress accessories, worn on a day to day basis or for special occasions by other members of the Court either in their official capacity or in their private lives. Particular focus will be given to the highly decorative clothing of high-ranking Chinese ladies and will consider the design of items such as informal robes, outerwear, headwear and ornamental accessories. 

Followed by members lunch. -- CLICK HERE for Booking Form : members only

More correctly called ‘foliate heads’, there was a proliferation of Green Man images around the year 1400. The lecture discusses how the image may have evolved from pagan and Classical times and what its purpose may have been. Although they may originally have been connected to ancient fertility rites, the majority show either distorted or very mature faces which seems to contradict the notion that they were associated with May Day frolickings. It may be that we can learn more about their meaning if we take into account the historical events of the time and their effect on the nation’s imagination. 

David Hockney has become a ‘national treasure’. Although a fine draughtsman, he first came to fame in the early 1960’s for his graffiti-like paintings. The late 1960’s and early ‘70’s  saw him painting in a number of different styles, from the precise naturalism of Mr and Mrs Clark and Percy to extremely unnaturalistic works paying homage to his great hero, Pablo Picasso. With all his media and style changes, Hockney continues to delight and enchant people from all walks of life.

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Celebrating The Arts Society's

GOLDEN ANNIVERSARY

On the evening of September 17, the Runnymede Arts Society joined four other societies – Ascot, Englemere and Old Windsor evening and afternoon – for a special celebration.  Commemorating the Society’s Golden Anniversary and as part of the 2018 Windsor Festival, Jonathan Foyle,  well known architectural historian and Arts Society lecturer gave a spellbinding insight into the Chapel’s  origins  and inspirations. Along with 300 guests, the evening was attended by HRH the Duchess of Gloucester, The Arts Society Patron.
At the end of the evening the guests were welcomed to displays in the cloisters filled with information from each of the 5 societies. The Duke and Duchess  took time to chat to members  and explore the latest news and activities on the noticeboards .
After this very successful event, Runnymede is looking forward to its own Golden Anniversary celebrations in 2019. Watch this space and be first to find  details ‘hot off the press’.

Jan van Eyck was one of the greatest artists of the Northern Renaissance. He introduced radically new styles of painting and left his peers gasping with admiration at his innovative skills and his sheer artistic genius. This lecture looks at some of his most challenging, beguiling and enigmatic paintings.

A journey through the career of the man who designed the famous tile interior of Harrods Meat Hall and so much more! One of the best-known tile interiors in Britain is the ceramic extravaganza by W.J. Neatby (1860-1910) in the Meat Hall in Harrods Department store in London. His designs for this remarkable building were commissioned by Doulton and Co. of Lambeth, but the project is only one of Neatby’s achievements, as a leading designer in fin-de-siècle Britain. This lecture charts his career from his beginnings as a ceramic artist in Leeds to his time as Head of Doulton’s Architectural Ceramics Department and beyond. Topics for study include his graphic work, designs for architectural ceramics and his work as a book illustrator and wallpaper designer. One of the few designers to work in the Art Nouveau style in England, Neatby created artworks that are still a visual feast for those interested in art and design in the years around 1900.

Modern art is often considered difficult, but it is much less so when seen through the eyes of some of the greatest cartoonists of the last one hundred and fifty years who provide a humorous and sceptical but instructive guide to modern art from Courbet to the Britart of the 1990s. A chance to enjoy the insights and cartoons of (among others) Daumier, Larry, Thelwell, Matt, the wise guys at the New Yorker magazine and, of course, the immortal Giles. Collectively, they provide an absorbing, illuminating and, above all, a funny, revealing and sidelong view of 150 years of modern art. 

SIMON REES.  studied at Colchester Royal Grammar School and Trinity College, Cambridge, receiving a BA and an MA in English Literature. Taught in Italy and Japan.  From 1989 to 2012 was Dramaturg at Welsh National Opera in Cardiff, working with set, costume and props designers and giving lectures on their work in opera production. Now lectures widely and  has published several novels poems and opera librettos.
 
Backstage at the Opera

Simon Rees has been given access to the photographic collection of his former employers, Welsh National Opera, which illustrate every step of the production process. This lecture traces opera productions from costume designs and set models through to the making of costumes and sets, and rehearsals in the studio and auditorium.

Modern art is often considered difficult, but it is much less so when seen through the eyes of some of the greatest cartoonists of the last one hundred and fifty years who provide a humorous and sceptical but instructive guide to modern art from Courbet to the Britart of the 1990s. A chance to enjoy the insights and cartoons of (among others) Daumier, Larry, Thelwell, Matt, the wise guys at the New Yorker magazine and, of course, the immortal Giles. Collectively, they provide an absorbing, illuminating and, above all, a funny, revealing and sidelong view of 150 years of modern art. 

DR ANNE ANDERSON graduated in Art History and Archaeology from Leicester University in 1978 and worked as an archaeologist for 8 years, being elected to the Society of Antiquaries in 1997. 1993-2007 senior lecturer on the Fine Arts Valuation degree courses at Southampton Solent University. She is currently Hon. Research Fellow at Exeter University. A NADFAS lecturer since 1993, Anne also guides tours, and is a tutor at the V&A

Vienna Secession 1918 - 2018

One hundred years ago the Viennese artists who led the famous Secession were struck down by the Spanish influenza: Schiele, Otto Wagner, Gustav Klimt. In 1897 Klimt had led the Secession, a break-away group who strove to live by their manifesto To each age its Art, to Art its freedom. Paintings by Klimt and Schiele shocked and dismayed the Viennese. Both tackled taboo subjects; Their paintings can be mysterious and baffling. Klimts obsessions spilled over into real life, his amorous liaisons the stuff of legend. With the success of Edmund de Waals Hare with the Amber Eyes, fin de siècle Vienna continues fascinates us.

Caroline is an archivist, historian and author. She was formerly Director of the Parliamentary Archives at Westminster and a senior archivist at The National Archives at Kew. She is a Fellow of the Society of Antiquaries and of the Royal Historical Society. Her first popular history book, The Day Parliament Burned Down, won the Political Book of the Year Award in 2013.

Votes for Women! Art, Suffragettes and female politicians.  

To mark the centenary of women first getting the vote which falls in 2018, this lecture will explore the story of the suffragettes through portrayals in art and their own artistic productions, and will look at how contemporary artists choose to portray female politicians in our own time and the controversies surrounding these depictions.

IAN KEABLE gained a First Class degree from Oxford University in Politics, Philosophy and Economics, qualified as a Chartered Accountant and then became a  professional magician. A Member of The Inner Magic Circle with Gold Star and has received The Magic Circle Comedy Award. Has written and presented a Radio 4 documentary on mind readers, and currently performing a show about Charles Dickens, who was an amateur conjurer, called The Secret World of Charles Dickens. Ian has lectured at conferences from London to Los Angeles. In 2014 he published Charles Dickens Magician:Conjuring in Life, Letters & Literature.

Charles Dickens, Conjurer: the playbills of Victorian showmen

Synopsis: Amongst his other skills Charles Dickens was an accomplished conjurer, calling himself The Unparalleled Necromancer.We know this from a playbill that Dickens wrote for a show he did on the Isle of Wight. In this talk Dickens's own playbill is brought to life by reference to their historical development through various amusing animal acts, contemporary conjurors that directly influenced him and some demonstrations of legerdemain which the great man himself actually performed.

ANTHEA STREETER studied the Fine and Decorative Arts in London and continued her studies at Harvard University. It was while at Harvard, where she became interested in 20th century architecture. Since returning from America she has taught on many courses in Oxford and London.

Charles Rennie Mackintosh 

Nowadays many people are familiar with Mackintosh's striking and innovative designs. Yet in his day only a handful of British clients recognised the outstanding talent of this Scottish architect and designer. On the Continent, however, and particularly in Austria and Germany, progressive designers marvelled at his work and considered him a hero.This lecture traces Mackintosh's career, looking at his major architectural commissions and interiors, such as those for the Glasgow School of Art and The Hill House at Helensburgh.We will also look at Mackintoshs less well-known but exquisite watercolour paintings, painted throughout his career but especially when he and his wife Margaret were resident in France towards the end of Mackintoshs life.Finally we will consider the consequences of the tragic fire at the Glasgow School of Art in 2014 and how the restoration of its world-renowned library is being addressed.

AFTER THE LECTURE --- members lunch.                                                      (booking form here to be returned as detailed below*)

LESLIE PRIMO
Leslie holds a BA in Art History and an MA in Renaissance Art. Was Visiting Lecturer in Art History at the University of Reading in 2005 and 2007, lectures widley and guides tours, at both the National Gallery and the National Portrait Gallery. 
Dürer: The Italian & Northern Renaissance - the relationship between Italian art, Dürer and the Northern Artists 
Synopsis: This lecture charts the rise of Albrecht Dürer who was born in Nuremberg in the Holy Roman Empire on 21st May 1471. It will explore his early life and works, and also the long lasting influence that Dürer had on the Italian Renaissance, not mention the influence that the Italian Renaissance had on Dürer. The years following the early Renaissance in Europe opened up a world of cultural, artistic and intellectual exchange for the gifted and the curious. He was one of the very first artists to write about themselves, if not the first. He also wrote extensively on art practice in order to educate future German artists.

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*The downloaded form and cheque should be sent to Mara Wingrove, Chantrys, Knowle Grove Close, Virginia Water, GU25 4HY.    Or email mara.wingrove@btinternet.com  Telephone 01344 843252 
Alternatively, telephone Anne Bennett, 01344 843101

DOUGLAS SKEGGS  Writer, Artist, TV Presenter. Lecturer to many London art courses. Director of the New Academy of Arts. Author of 6 Novels.

Manet  A Most Sophisticated Rebel

ELIZABETH GOWING studied at Magdalen College Oxford before training as a teacher and working in several London Boroughs.Moved to Kosovo in 2006 and there worked with a charity working on education and cultural heritage projects. Speaks fluent Albanian and has translated two books (the unauthorized biography of Yugoslavias longest-held political prisoner, Adem Demaci, and the memoirs of one of the leaders of the 1912 uprising). Also the author of three books about Kosovo.

The Silver Thread: silver filigree and traditional arts in Kosovo

From the early Kosovan silver mines which are mentioned in Dante, through the twentieth century politics over Kosovos mines which resulted in both a war and a golf course, a silver thread winds through Kosovos history. Its most intricate tanglings are in the countrys cultural capital, Prizren, where a seventh generation of filigree artisans create magic lacy creations from dull sticks of raw material. The results  in boxes, buttons, jewellery, religious ornamentation and the talismans of superstitition  are a fine narrative of Kosovos history and traditions.

TONY FABER's career began with Natural Sciences at Cambridge and has been through investment banking, management consulting and five years as managing director of the publishing company founded by his grandfather, Faber and Faber, where he remains on the board. Is also non-executive Chairman of its sister company, Faber Music, a trustee of Yale University Press (UK) and a director of the Authors Licensing and Collecting Society.

Faber and Faber  90 years of  excellence of Cover Design

 Since its foundation in 1925, Faber and Faber has built a reputation as one of Londons most important literary publishing houses. Partly due to the firms insistence on good design and illustration. This lecture traces the history of Faber and Faber through its illustrations, covers and designs. Early years brought innovations like the Ariel Poems  single poems, beautifully illustrated, sold in their own envelopes. In the 1950s and 1960s, there was an emphasis on typography which is still used on City of London road signs.It has employed some of our most celebrated artists as cover illustrators  from Rex Whistler and Barnett Freedman to Peter Blake and Damien Hirst. Faber and Faber is the last of the great publishing houses to remain independent. As the grandson of its founder, he grew up steeped in its books, was managing director for four years and remains on the board. He is passionate about the firms success, and intensely proud of his association with it.

MARK BILLS studied at the Slade School of Art and at the universities of Birmingham and Manchester. Was Curator at the Watts Gallery, now Curator of the Gainsborough Museum and lectures regularly at the Tate, and other museums and galleries.  Has also presented talks in New York and Finland.  He has written many books.

Thomas Gainsborough and Gainsboroughs House.

ANGELA FINDLAY is a professional artist, writer and freelance lecturer. Her long career of teaching art in prisons and Young Offender Institutions in Germany and England, gave her many insights into the huge impact the arts can have in terms of rehabilitation. She is currently advising the Ministry of Justice and presenting the case for the arts to be included in their new rehabilitation and education policies.

In the past decade Angelas Anglo-German roots led her to discover and research Germanys largely unknown but fascinating post-WWII process of remembrance. So completely different to the British one, the arts once again play a huge and vital role in expressing the apology and atonement that underlies the countrys unique culture of memorials and counter memorials.
Angela has a BA(Hons) in Fine Art, a Diploma in Artistic Therapy (specialising in colour) and her paintings are widely exhibited both nationally and internationally. 

The Other Side: Counter Memorials  Germanys Post-WWII Culture of Apology and Atonement

Synopsis: In these years of World War 2 Anniversaries the subject of this talk is hugely relevant. Relatively little is known in this country about Germanys complex post-war process of remembrance and the counter memorial movement that started there in the 1980s and continues to this day.
Germanys very specific situation rendered all traditional concepts of monuments and memorials irrelevant and inappropriate. Instead of commemorating their own losses Germany artists looked to creating art forms that would respond to questions of apology and atonement: How does a nation of former persecutors mourn its victims?
The idea behind counter memorials is to keep the memories and lessons of the past alive in the individual psyches of the people. The results are extraordinary, brave, and inspiring.
With her Anglo-German roots, artistic background and years of research, Angela is in an ideal position to give insights into Germanys fascinating and on-going efforts to find artistic forms for the remembrance of the victims of one of historys darkest periods.

Pamela has an MA Hons Art History at St Andrew’s University.

Over twenty years experience in lecturing and guiding tours.
Recently curated the collection for the Lansdowne Club.

See also limited number visit on 25th April. 2017

JEANNE DOLMETSCH comes from a famous 
family. Her grandfather, Arnold Dolmetsch, was a 
celebrated pioneer in the worldwide renaissance 
of early music and instruments. She was trained 
from her earliest years by her father, Dr. Carl 
Dolmetsch, to play the recorder, viol and 
harpsichord and later studied violin and piano at 
the Royal Academy of Music. 
Jeanne is a specialist in the interpretation of 16th
,17th & 18th century music and has given concerts 
and lecture-recitals all over the world. She worked 
with her father for many years on the production 
of handmade wooden recorders at the Dolmetsch
Musical Instrument Workshop and from 1972–
2001 was assistant director and then director of 
the Haslemere Early Music Festival, founded by 
her grandfather in 1925.
Jeanne is apecialist in the interpretation and
performance of 16th, 17th and 18th century music.

CARL DOLMETSCH was son of the early-music pioneer Arnold Dolmetsch, and explores his pivotal rôle in the 20th-century recorder renaissance.

From the age of seven, when he accidentally left the bag 
containing his father’s antique Bressan recorder on a 
platform at Waterloo Station, Carl’s destiny would become 
inextricably linked with the recorder, and we relive the 
exciting journey that followed this childhood disaster: his 
unexpected début on the recorder at the age of fifteen in a 
live broadcast of Bach’s fourth Brandenburg concerto; 
being honoured with responsibility for recorder design and 
production at the Dolmetsch workshop shortly afterwards; 
and recording the first recorder disc for the Columbia 
Gramophone Company at the age of twenty-one, 
thus launching his career as the first professional recorder 
recitalist of modern times.

Surprisingly, his work on aircraft components during 
WWII led him to design the first plastic recorders in 1945, 
whose introduction into schools transformed musical 
education for thousands of children and turned ‘recorder’ 
into a household word.

Carl’s forty-five Wigmore Hall recitals, for which he 
commissioned new works from leading contemporary
composers, once more established the recorder as a 
serious musical instrument and secured its survival for 
generations to come.

John was formerly lecturer at the University of Bath, has worked
extensively overseas, and has an eclectic range of topics.

Diana is a lecturer in ceramics, glass, and the history of interior  decoration . Lectures and guides extensively

Wine and mince pies will be served after the lecture.

.The magnificent blue and red glass that dominated the windows of the great Gothic Cathedrals of the 13t h century reflect the aesthetic pinnacle of the art of stained glass. During the later Gothic period the designs become more complex and painted decoration on the glass becomes more prominent. The Renaissance created large pictures in glass and by the 17t h century it had faded into memory.

 
It was the Gothic Revival of the 19t h century that once again focused on stained glass, with "Morris and Co. producing some wonderful examples for both the Church and domestic buildings. The colour of Victorian Church Glass is usually of a very high standard and it is the use of the lead line defining the 'picture' or 
figures that usually decides its aesthetic quality. Second World War artists were inspired to fill the huge windows of the great Gothic Cathedrals that had been destroyed in the War. 
 

Wine and mince pies will be served after the lecture.

Ian is a Londoner with a passion for art and architecture. He is an official guide at Tate Modern, Tate Britain, Guildhall Art Gallery and St Paul's Cathedral, and gives regular tours at each venue.

Widely known for his appearances dressed as his feminine alter ego, Claire, woman, Grayson Perry RA is now a core part of the art establishment. Ten years after winning the Turner Prize he gave the brilliant BBC Reith Lecture in 2013. 

His works of ceramics, textiles and prints are highly sought after. Often controversial, he is able to tackle difficult subjects in a poignant yet witty way. 

This talk will examine Grayson Perry's works, his exciting and thought provoking exhibitions, and we'll look at the character inside the flamboyant frocks.

Viv Lawes is a lecturer, curator and author with twenty-five years' experience in the art market. 
She is a senior lecturer in the humanities faculty of the City & Guilds of London Art School and a visiting lecturer at Sotheby's Institute and L'lnstitut d'Etudes Superieures des Arts 
(IESA), London.

ANNUAL MEMBERS’ LUNCHEON after the lecture.

Legacies of colonialism and fine art in Indonesia, 1830 to the present day 
The change of name from the East Indies to Indonesia in the post-war period is  indicative of the changes in fine art practice that accompany notions of independence. 
The period covered in this lecture is one during which artists began to look away from Western (particularly Dutch) fine art traditions and towards native artisanal and ritual practices that represented notions of national identity. 

Focusing on the effects of colonialism and post-colonialism, the lecture traces the evolution of fine art from the imitative Western-style practice of a 19th century Indonesian painter like Raden Saleh to the internationalism that defines contemporary 
art. This journey weaves through the 'Mooi Indies' school of the inter-war period, the radical paintings of Indonesian mid-century modern masters such as Affandi, Hendra Gunawan and Sudjojono, and the political commentaries leading up to the pro-
democracy revolution of 1998.

ANNUAL MEMBERS’ LUNCHEON after the lecture.

Born the son of a Northumberland farmer and died a friend of Dukes, Lancelot Brown  has had a profound and enduring impact on the rural landscape of Great Britain. Having  trained as a gardener at Stowe he developed his own brand of the ‘classical’  landscape to wrap around the great Palladian mansions then being built; a subtle blend of water, woodland, follies and classical temples. To him all landscape had ‘capabilities’, and many of those mature landscapes still delight us. This lecture explores the transition from the formal ‘French’ gardens of the 17th century to the ‘picturesque’ as pioneered by William Kent and developed by Brown. The generously lecture includes studies of some of Brown’s most iconic landscapes, from Stowe and Petworth to later landscapes at Chatsworth, Blenheim and Harewood.  It also dwells on Brown as an architect and entrepreneur  as well as landscape gardener. 

Carole Petipher is a guide /lecturer in France who has spent the 
last 15 years on a boat exploring the early haunts of the 
Impressionists along the Seine. Her lively lecture will take us to a tiny section of the river to the west of Paris which has been termed the Cradle of Impressionism.

IMPRESSIONISTS are nowadays world renowned and we are used to their works fetching huge sums of money at Auction.

Yet when they were starting out it was quite a different matter! Their escapades and attempts to gain recognition are quite a story. 
 

Yasha is qualified as a lawyer in the Hebrew University of Jerusalem and has lived in England since 1963.

City of London Guide

He is a past Master of the Worshipful company of Makers of Playing Cards.

It all began at a baker’s house in London’s Pudding Lane on Saturday night 2nd September 1666.  Thomas Farynor, the King’s baker, had left his oven on and within four short days, 13,200 houses, 87 Parish Churches and innumerable buildings including St Paul’s Cathedral, Customs House and the Guildhall, were raised to the ground. The cause was an ill blowing wind from the east and the structure of the wooden houses, reclining toward each other in the narrow streets of medieval London. But apathy of the authorities and the 100,000 that were left homeless were as much to blame. 

    These events are recorded in a series of artistic and decorative paintings and memorabilia fully illustrated in the lecture. 

    The repercussions and accusations continued for years to follow but the City survived to reach its dizzy heights of today: universally recognised as the financial capital of the world remembering - rather than celebrating - this year, 2016, the 350th Anniversary of the events. 

Peter studied singing and early keyboard instruments at the 
Royal College of Music and at the Mozarteum in Saltzburg.

Vivaldi is arguably the one Baroque composer whose music is a direct reflection of the city in which it was composed.  Listen to a Vivaldi concerto and hey presto you are transported directly to the heart of 18th century Venice.  The reasons for this are many – Vivaldi’s passion for colour, display and spectacle in his music; the unusual way in which Venice solved its problems with the poor and the homeless; Vivaldi’s health problems and his eccentricities as a man and a priest.  Against the luxurious backdrop of 18th century Venice, and with live musical performances, this lecture explores the amazing world of Vivaldi’s music - music that is as intrinsically Venetian as the canvasses of Canaletto.

Ann has wide experience lecturing both at home and abroad.

Earlier work includes cataloguing English watercolours and drawing for the Whitworth Gallery, Manchester, research for the Paul Mellon Foundation and university lecturing.

Carl Larsson (1853-1919) is Sweden's best known artist and together he and his wife Karin blended traditional native designs with the - then unfashonable - 18th Century Gustavian style and the newly emerging Arts & Crfts influences, This eclectic approach resulted in a distinctive and influential style. His intriguing waterercolours of his house and family spread this style throughout Europe, and is today enjoying a new lease of life in the IKEA age. 

Julian studied History of Art at Cambridge, has written several books. A practising artist, he was elected to the Royal Society of British Artists in 1994 and appointed Keeper in 2010.

Misa Sert, was born to a Polish family in Russia, brought up in Brussels and Paris where she studied under Gabriel Faure and became a noted concert pianist.

Misia’s extraordinary life saw her become known as ‘The ‘Queen of Paris’.

Misia Sert was at the heart of ”les beaux jours”, helping make life sweet for artists such as Maurice Ravel, Marcel Proust, Jean Cocteau, Pierre-Auguste Renoir, Igor Stravinsky, Serge Diaghilev and Gabrielle Chanel. She was a Parisian hostess, unique in her period, providing a fruitful link between creativity and a receptive social elite.

John Ericson was formerly lecturer at the University of Bath.

Norman Rockwell is a  celebrated and prolific twentieth century American painter and illustrator whose work has probably been seen by a larger audience than any other artist in History! His works enjoy broad popular appeal in America, where Rockwell is most famous for the cover illustrations of scenes of everyday life he created for The Saturday Evening Post.

The 2011 exhibition of Rockwell’s work at the Dulwich Picture Gallery was an unprecedented success. It was the second most visited exhibition that the gallery had ever mounted being beaten only by Canaletto! The popularity of the exhibition surprised nearly 
everyone, so what is it that makes Rockwell’s work so appealing?To begin with, many of his paintings are technically superb, furthermore they draw us in, telling us poignant stories that invariably

REPORT

Frank introduced Weiwei as possibly the most controversial artist in the world. His artistic ‘installations’ have received some interest and appreciation in the UK and in 2010 he was invited to use a large space in the Tate Modern Gallery to display his work. This was an opportunity for Ai Weiwei to create something that would draw attention to himself, a Chinese man using his voice for the Chinese people.

 He chose to fill the space with ceramic Sunflower Seeds, on which people were invited to walk!  It was a bold project, each seed being intricately hand-crafted by hundreds of skilled artisans, identical but unique. Frank described the man and his beliefs, his involvement in protests against treatment of people, his imprisonment and his fight for investigations into the shoddy buildings that collapsed during the 2008 Earthquake in Sezchuan, where many students died. As we saw pictures of his ‘conceptual art’, and Weiwei’s own interpretations of modern art, we found ourselves understanding his anguish and anger at what he saw as suppression of personal freedom. He was an admirer of Marcel Duchamp, and saw him as a guide who was also an advocate of both the freedoms and responsibility of individuals.

Frank revealed something of the troubled times experienced by Weiwei in China, where he was openly critical of the Chinese Governments’ stance on demonstrations and human rights. He went on to describe the background of his life in the United States, from 1981 to 1993 where he saw work by Andy Warhol and other artists, free to create their art as they chose. Also his sequent travels to Europe to complete his commissioned art installations. Born in 1957 in Beijing, he returned there when his father was ill in 1993; he continues to live and work there now.

To return to the Sunflower Seeds display, Weiwei felt it was symbolic of the Chinese people, who, however poor, would share the treat of the sunflower seeds in their pockets.

It was a thought-provoking lecture, and we thanked Frank very warmly, for giving us a better understanding of this unique and complicated artist. Not only his art, but his politics and his values as a human being.

Pat Moore  
      

David was formerly a Research Fellow at Wolfson College Oxford and UCLA, Curator at The National Maritime Museum at Greenwich. He is the author of a number of books and is now a freelance writer and lecturer.

David commented on the First World War as being ‘horribly destructive’ before showing us a 1912 photograph of a group of students at a Slade Art School summer picnic, and identifying many: Stanley Spenser, Edward Wadsworth, Mark Gertler, CRW Nevison (in love with Dora Carrington!), David Bomberg, Isaac Rosenberg, Paul Nash.  Also, Henry Tonks, principal drawing master. In this photo we saw the smartly dressed, confident young people about to embark on their careers, which were soon to be dramatically changed by the events of the First World War.

Dr Haycock went on to describe how each student was affected, how they reacted to the call to volunteer, how some decided they couldn’t go and fight. Many did respond to the undoubted pressure to join up but were able to use their skills by becoming war artists.  Others were pacifists but did go out with the RAMC to be directed to field hospitals, assisting wounded soldiers, driving ambulances and field vehicles and being witness to the personal tragedies.

He showed us paintings of the war, describing the individual artists and the subject matter, desolate landscapes destroyed by the weapons of war, soldiers being carried in on stretchers, some a mass of colour others grey, threatening surrounded by human debris.  The artists used both impressionistic and accurate depictions and styles in order to put their message across. CRW Nevinson was most productive and painted many war pictures, praised by soldiers for their realism, the men like machines in sheds ‘waiting to die’.  We saw drawings by Paul Nash and his paintings of Passchendal in 1917. He had agreed to be a war artist and painted trees, as metaphors for men, burnt out and wasted. He was horrified by the battle, the mud, the lack of care for humanity, and completed 50 drawings to try and convey this.

Many war paintings and drawings are in the Imperial War Museum and the Tate and Dr Haycock urged us to go and have a look. He had talked of the lives of particular artists, some who sadly did not survive the war, but all of those Slade students were deeply affected by it.  They were ‘A Crisis of Brilliance’ he said, and we thanked him for his moving and informative lecture.

.

Professor Michael Wheeler, the author of Ruskin’s God, offers fascinating literary extracts and digital images, many of which are based on beautiful drawings by Ruskin and paintings by J.M.W. Turner.  Having briefly outlined the subject of English literary Venice before 1800 (Shakespeare, Otway, Beckford), Michael considers Romantic Venice, exploring the ways in which Byron, Shelley, Rogers and J. M. W. Turner (a poet as well as a painter) portrayed Venice in the early nineteenth century, and how their work influenced the young Ruskin.  He then moves on to Recorded Venice, looking at, among other works, one of the greatest pieces of prose writing in English: the second volume of Ruskin’s The stones of Venice.  By now a hugely influential art critic back in London, Ruskin not only measured, drew and daguerreotyped the principal buildings of Venice in the early 1850s, but also described the city in language which electrified a growing world-wide readership.  Finally he discusses Desire and Death in Venice (shades of Thomas Mann’s Death in Venice and Marcel Proust’s Remembrance of things past).  Among other writers mentioned are Charles Dickens, Arthur Hugh Clough, Henry James, John Addington Symonds, E.M. Forster and Salley Vickers.    

Following his career with HM Immigration Service, Martin has lectured widely, and broadcast on local and national TV and Radio

In his seminal book, The Passport, the History of Man's Most Travelled Document, Martin Lloyd traces passports back three and a half millennia. In this lecture he takes you back a mere three and a half centuries to demonstrate with the aid of illustrations from his collection of historic passports how passport design developed from the handwritten paper to the technically complex document that we use today and how art and artisanship have played an important and sometimes secret part in this longstanding desire to fox the forger. He will show you how the forgers have responded to the challenge presented by these secret safeguards. You will never look at your passport in the same light again.

MEMBERS' ANNUAL LUNCHEON FOLLOWS LECTURE

Lois has curated a number of major exhibitions at the V&A and the National Gallery. Writes audio and multi-media tours. Has appeared on TV programmes and broadcast for the BBC.

This lecture marks the bicentenary of the Battle of Waterloo, 1815

The decisive allied victory over Napoleon at Waterloo on 18 June 1815 brought to an end a series of wars that had convulsed Europe. Most people of the time experienced these conflicts not on the battlefield but through art. This lecture explores the contrasting views presented by British and French artists, including such masters as J. M. W. Turner and J.-L. David. We also consider the insatiable public appetite for rather less elevated art forms, ranging from ladies’ fans illustrated with the latest military news, to full re-enactments of naval battles played out on real water at Sadler’s Wells Theatre.   

Has lectured extensively on the role of posters and artists in advertising. Has created posters for major brands and has appeared in various airline magazines. He has written and produced several hundred TV and Radio commercials.

British Railway Posters.

On Track with the World's Best. The Flying Scotsman, Golden Arrows, Belles and Pullmans; no wonder Betjeman still stands in awe at St Pancras. Covering the Golden Age of British Railways, the era of the Big Four 1923 – 1947, this lecture celebrates the most romantic period of our British travel history. You’ll see how the best travel posters connect with your heart and your mind, and how they have closely reflected the evolution of British holidays.

Donnelley Fellow Librarian of Corpus Christi College Cambridge. At Sotheby's for 25 years, was responsible for all catalogues and sales of illuminated manuscripts. Is probably the best-known expert on medieval manuscripts in the world.

Mrs Anthea Streeter MEd (Harvard) has studied Fine and Decorative Arts in London and America. Since returning from America she has taught and lectured widely.

She introduced us to Thomas Hetherwick designed the Olympic Cauldron of the 2012 Games. He also created a way for 240 countries to be included, in that each team be given a single copper petal, to run in and place in its allotted slot.  So Andrea began her Lecture and had our attention from the outset.

On the cauldron no one country more was to be more important than any other.  Each petal took two days to make and the name of the country was engraved, on their own unique, but uniformed petal. The UK petal is now exhibited in the Museum of London.

Following this opening statement, Anthea Streeter forcussed on the designer. We heard how Thomas had taken a degree at Manchester Polytechnic in 3D Design using Metal and Plastics, but had not wanted to be ‘pigeon-holed’ in his design concepts. He felt that interaction between crafts-people was stimulating and argued that actually creating a Design Model was necessary (not usual for a craft student).  For his’ Finals’ design at Manchester he made a pavilion from aluminium and polycarbonate panels. This made it opaque, and very non-standard and it found a home in the delightful gardens of Chatsworth. Anthea showed us the design and completed pavilion, which was so quirky and original.

She described how Thomas went on to interview architects who (in his opinion) showed poor knowledge of materials. He completed an MA in Design in London in 1993 and qualified with Honours. He could now incorporate skills from all mediums and put them into practice linking craft and architecture using flexible, new materials. He was also planning to reduce energy costs and create alternative forms of lighting.

He set up a studio with two others, to make innovative tools to equip them to tender for projects however challenging. Bristol Hall Pavilion was up for design and he tried a new basis of creating on a scrubbing brush, of sorts!  He placed long ashwood staithes into holes in a box of steel, at 90 degrees, allowing light and air into the inside.
Anthea was unique in being able to explain his technique to us!

Since the late 1990’s Thomas has emerged as one of Britain’s most gifted and imaginative designers, and has a reputation as a design engine! Since 2010 he has exhibited projects such as the new Routemaster Bus 56, the first in 50 years.  Anthea showed us photographs of the sweeping glass panel, with lower access step to assist disabled people. The bus is a little longer, more attractive and part electric part diesel, and has two staircases, and a jump on jump off pad at the rear like the old buses had.  Launched in Spring 2012 it is now on the streets of London.

In 1993 the studio were asked to re-design the Teeside Power Station. The new design is attractive and functional, will make less noise and is ecologically sound .There will be walkways around the outside and inside the building. The site has been designed as a tourist venue with multi-purpose attractions including a site for functions, weddings, sun bathing or relaxing.  We saw an impression, the glint of the outer casing gleaming in the mist, but it still awaits construction. 

Thomas and his studio won a Foreign Office competition to build the British Exhibition Building at the Shianghai Expo. They were requested to achieve a top ten placing.  They surpassed this by winning the Gold Medal!  

Thomas Heatherwick sought an approach that would engage meaningfully with the theme of ‘Better City, Better Life’, express British Creativity, as well as standing out from the anticipated trend for technology driven pavilions. He began to explore the relationship between nature and cities and came up with the idea of involving Kew Gardens, and its Million Seedbank Mission to collect the seeds of 25% of the world’s species by 2020.   The studio designed a ‘structure’ that would have 60,000 fibre-optic filaments/rods which would draw light into the pavilion during the day and direct it outward at night, but would also have one or more seeds at its tip.  At night the whole structure glowed, and as the wind moved past its optic hairs gently waved to create a dynamic movement.

It was called the ‘Seed Cathedral’ and the sense of calm inside (with 250,000 seeds embedded in the wall) was reflected in the landscaping outside.  It deserved the Gold.

Anthea was able to show us the Seed Cathedral and many more projects that the Studio has built and the latest project is in Singapore at the Institute of Teaching.

Thomas and his Studio also designed the controversial Garden Bridge, which they hope will be a seasonal landmark.  Joanna Lumley and Dan Pearson are on the team, and we wait to see if it will be going ahead.

We had a truly remarkable lecture, many of us knowing little about Thomas Heatherwick and his inventive designs.  We were entertained and educated by Anthea and we thanked her warmly for the skill of her presentation and lecture.
                                            

International jewellery specialist. For many years at Phillips Auctioneers. Has lectured extensively and is a specialist on the BBC Antiques Roadshow.

Susan began by emphasising the high regard paid to the feel of jewellery, which captured the hearts and minds of Kings, Queens and Courtiers.
King Henry wore a heavy gold chain and had links made for the letter H, (although it belonged to the treasury), but generally it was the women who wore the best jewellery and through their wives, men showed their power and wealth.

We learned how Katherine of Aragon (who first married Henry’s brother Arthur) was deprived of her jewels on her divorce from Henry, and they were passed on to his next wife. Katherine was devastated because of the powerful symbolism of jewels, worn for others to see her position.  This concept was already known to Henry and to Anne Boleyn. Their courtship was linked by gifts, and he enticed her with expensive jewellery. Ironically, she sent Henry a jewelled gift of a lady on stormy seas!

Susan showed us photographs of these jewels, explaining they were no substitute for seeing them and touching them in reality.  The jewels of the royal family were passed on with goldsmiths’ making subtle and delicate changes. 

We saw a painting showing Elizabeth I wearing her six rows of pearls, which she adored, but which also made a statement to any challenger to her throne, stating she could fund a war and outdo you!  These became part of the Treasury and as decades passed and younger members of the royal family needed to display fine jewellery  they would appear again and again, remodelled and updated.

However it was Queen Anne, wife of James I, who was so flamboyantly bedecked in diamonds she is said to have outshone the crystal chandeliers. Her husband treasured jewellery and would acquire jewels, have them reset and sell them.They were  treasured by Anne, but after her death they would later be sold and many decades later a photo was seen of Mary Astor wearing them!

King Charles II and Nell Gwynne exchanged gifts of diamonds and it sealed the strong bond between them, and Nell is said to have treasured them all her life until her income was so reduced she was forced to sell.  The Royal Jewels certainly attracted Mrs Simpson decades later, when she was free to select and have them exquisitely reset, causing a scandal.

Susan described how Prince Albert had many examples of jewels representing other countries, while Victoria  loved to wear necklaces especially a bow-shape depicting flowers and nature from her aunt, and on their marriage a diamond and amythyst  
necklace designed by Albert.  He also designed the jewellery for the Maids of Honour which was ‘splendid’, again using the theme of orange blossom and nature.

Susan’s knowledge of the jewels and of the histories attached to them made this an unusual and amusing lecture accompanied by some distinctive paintings of the jewels. We thanked her for moving through the centuries to draw them to our attention.
 

Caroline explained, as she began the lecture, that Magna Carta is Latin for ‘The Great Charter’, and it was first sealed on the 15th June 1215 at Runnymede, “between Staines and Windsor” by King John of England. 

The background was one of unrest and rebellion by the Barons and common people, against ever-increasing taxes and loss of land rights, but also church rights.  A first draft was created by the Archbishop of Canterbury, to make peace between the unpopular King and the rebel Barons. It called for the protection of church rights, protection for the barons from illegal imprisonment, access to swift justice and limitations on feudal payments to the Crown.  It was to be upheld by 25 barons and the King, and was sealed at Runnymede.  King John appealed to Pope Innocent III and it was annulled three months later.

Caroline reviewed the Plantaganet history of King Henry II and his expanding empire, acquiring Normandy and Gascony by marriage to Eleanor of Acquitaine. His armies had fought and gained Brittany, Wales, Ireland and more with very expensive wars from 1154 to 1199. He demanded further income from landowners in order to maintain his armies and had become more powerful than Louis VII, King of France. His sons all wanted land and power and huge troubles ensued between them, resulting in John becoming King on Henry’s death.  John did not rule well. He lost most of the lands in France, was defeated in Normandy and deserted by his army in England. This caused greater social unrest The Barons marched from East Anglia through London, where the Archbishop, Stephen Langton, acted as peacemaker and so created history by his Draft of the Magna Carta which was not signed, Caroline emphasised, but had the Kings seal placed upon it.

After King John’s death in 1216 (from dysentery), Henry III was crowned and he reinstated a watered down version of the charter.  At the end of the war in 1217 the document was further revised as part of the peace treaty signed at Lambeth.  Henry then reissued the charter in 1225 in exchange for new taxes; then his son Edward I again reissued the charter in 1297, this time confirming it on the statute book. Caroline amused the audience when she remarked, if people claim to have a copy of the charter, check if it is the 1215, 1216, 1217, 1225 or the 1297.  Fortunately article 39 and 40 survived. Clause 39 states “no freeman shall be arrested or imprisoned or deprived of his freehold or outlawed or banished, except by the lawful judgement of his equals in accordance to the laws of the land”. Article 40 “to no one will we sell, to no one will we refuse or delay right of justice”. These two articles have had considerable influence in the drafting of both the American and French constitutions as well as those in many other countries of the world.

Caroline had initially commented she felt some apprehension lecturing to the Runnymede members about the history of Runnymede, but she need not have worried. Her lecture was informative with a nice balance of humour and fascinating

Since 1994 Curator of Roman Archaeology in the Dept. of Greek & Roman Antiquities at the British Museum, Dr. Roberts is now Senior Curator (since 2008). Has excavated in Britain, Libya, Turkey, Greece and Italy. Has published several books..
 

Before he began his lecture, Robert had noticed the image of Tutankhamun on our screen, and revealed that his visit to see the Exhibition of that name had fascinated him, and he was sure it had led him to study Archaeology.

He then presented his own slides of Cyrene, which he visited in 1997 for the first time, at the opening of a tomb.  It was exciting and revealed many treasures, but it was strenuous and hot and not a little unnerving at night when the site had to be guarded!  We could understand this, as Cyrene is part of Libya; a country that has experienced serious looting of its antiquities. It was a colony of the Greeks of Thera, (Santorini), in the 4th Cent. BC; one of the principal cities in the Hellenic world. Many residents are still Bergers and the damage to their city, the tombs and antiquities causes genuine distress.  Looting by people from many other countries has robbed Cyrene of a huge amount of treasures, but the photographs of the area show the spectacular ruins that will hopefully be preserved, as it is now a UNESCO site. Robert praised the Italians for the skilled teams who preserve and protect the treasures, situated as it is on the edge of desert where the sand tends to sweep in and obliterate everything in its path.

Leptis Magna was a prominent city of the Roman Empire. It has the most spectacular and unspoiled Roman ruins in the Mediterranean.  It was originally built by the Carthegians and expanded by the Romans, reaching its peak in 200AD.  Robert described it as the “bread basket of Rome”, due to its fertile land and the produce of the sea, which was a great source of wealth.  Unfortunately, over the centuries Leptis Magna suffered fighting from rival armies; the Barbarians from Germany romped through, the Vandals arrived and Rome lost their third city, and their oil.  The city walls were destroyed, there was no irrigation for the crops, and the sand was overwhelming. 

A rescue plan was introduced under Mussolini in the 1920/30’s and the Italian involvement has carried on in both Leptis Magna and Cyrene, with Belesconi visiting to emphasize his cultural involvement in the rebuilding plan.

Some of the looted columns were taken to Versaille and Rouen Cathedral, and some to England for the Prince Regent, George IV.  They travelled by cavalcade and were placed in Virginia Water temporarily, but have remained there. 

Robert had shown us some wonderful images and made it clear how fascinating he finds his position as curator of antiquities, which has allowed him to go to Libya, Turkey, Greece and Italy, as well as Britain, digging and discovering so much of the past.  We thanked him warmly.           

Anton Gabszewicz began his talk with a map of London and led us to an area around Chelsea in 1740, past the Church of All Saints and the gardens that ran down to the river, He suggested London replaced Amsterdam as a thriving, forward-looking city, with coffee houses, glorious ceramics, pleasant walks and the newly opened Vauxhall Gardens which offered tempting ways to meet and converse, with eight newspapers a day to discuss the world news. Chelsea was a smart place to live, and attracted extremely rich people. This was where Nicholas Sprimont, a Huguenot silversmith, set up Chelsea Pottery in 1745. He soon became successful and with the help of the Duke of Cumberland, applied his silver form to porcelain. Anton showed us many examples of silver and porcelain pieces, some following the Oriental craze of 1750, others displaying the beautiful white clay designs that were so stunning . They were given permission to copy the Meissen figures shortly afterwards .They established a small, skilful workforce and grew in popularity. At the other end of London to the east, was a small village where craftsmen Thomas Frye and Edward Haylyn created Bow Porcelain in 1745. They bought clay from Carolina initially, then Dorset and Norfolk, and made light, contemporary pieces, the designs often imitating Chinese and Japanese figures. They also copied the wares being produced in Chelsea! Haylyn used cobalt very successfully producing attractive, popular figurines which were bought by the rising middle classes as well as mugs, jugs, bowls and Teapots. Anton explained the Bow teapots cracked with boiling water, hence the custom of ‘warming the pot’! Their factory grew and they sometimes had as many as 300 craftsmen and women, artists and designers. However Frye retired after 15 years through ill-health, due to the furnaces and the kaoline usage. Both Chelsea and Bow realised the popularity of natural scenes, creatures and birds and incorporated them in their designs. Bow created vivid, bright pieces that were favourites with customers, while Chelsea developed a more refined image with minutely detailed landscapes and pastoral scenes. It was a time without any copyright laws, and copying was common. Nevertheless, both companies retained their own recognisable styles and were popular with the people. We enjoyed Anton’s lecture and his delightful digital presentation of beautiful ceramics, on a cold mid-January morning! He answered a number of questions and we thanked him warmly. Our next lecture is on the 18th February 2015 by Dr Paul Roberts, on Leptis Magna and Cyrene: Cities of the Sands, at 10.00 at The Hythe Centre, Egham. Guests are very welcome. Contact: www.runnymededfas.org.uk

In the midst of our individual preparations for Christmas, Alan was able to hold our interest and amuse us with a fascinating look at ancient ceremony and more modern traditions celebrating the birth of Jesus Christ. When the National Portrait Gallery wanted an exhibition on Christmas, Alan suggested it be based on the people who started it and how it has been interpreted since that time. He also quoted from The Times in 1912, that ‘Christmas is not what it was’, suggesting even then that pleasant memories of Christmas were treasured. Early Christians did not celebrate the birth of Christ, but in 325AD Constantine declared they would celebrate the birth of Christ on 25 December, as a Feast Day. It is also claimed that St Augustine, first Archbishop of Canterbury, heard the people wanted to cook for Christmas. He said “Praise God – don’t stop them!” By medieval times, Christmas was a time of over-indulgence with 12 days of feasting, but the Puritans criticised this as ‘impoverishing the country’! It was Cromwell who first cracked down in 1645-7 only allowing worship on a Sunday and sending soldiers to confiscate the mince pies, or other Christmas goodies. Most of us had credited Prince Albert with having introduced the Christmas tree to England in 1840, but Alan explained the honour of establishing the tradition in the United Kingdom rightfully belongs to ‘Good Queen Charlotte’, the German wife of George III, who set up the first known English tree at Queen’s Lodge, Windsor in December 1800. She had been used to the tradition of bringing a branch of a yew tree indoors at Christmas and decking it with candle lights and pretty presents. She arranged this and invited 16 poor families to be fed, and the children to be given fruit, sweets and a present. By 1860, most ‘well-off’ families displayed decorated trees at Christmas, but not the poorer people, illustrating the gap in society. In 1949 UNICEF sent out their first Christmas card for charity, establishing a tradition many of us support today. Alan gave us an amazing insight into the many customs of Christmas; entertaining us and showing us how an idea can capture the imagination of people all around the world. We thanked him warmly and he joined in our modest celebration!

Ann began by describing the family background of Rembrandt, the ninth child of a mill owner .He was born in Leiden in Holland where he went to Latin School and on to the University of Leiden. On graduating he studied under two masters, Jacob van Swanenburgh first, for three years, where he would have learned basic artistic skills, especially the use of light. The second master was Pieter Lastman who lived in Amsterdam. He would teach Rembrandt how to place figures from biblical historical scenes in complex settings and obviously influenced Rembrandt's choice of future subject matter. Ann did not just focus on Rembrandt's art but on the man. She painted a colourful canvas of his life. He was very ambitious signing his works with just his surname, mimicking Titian and Michelangelo. He married Saskia van Uylenburgh who bore him four children three of whom died in infancy, only Titus survived into adulthood. Rembrandt success as an artist initially brought financial reward, he purchased a large studio in Jodenbreestaat Amsterdam employing many apprenticeships, and started collecting other artworks. He also employed a nurse Geertje Dircx to ease the strain on his wife, with whom he had an affair, and she had expected him to marry her. Rembrandt instead had her locked up in a house of correction. He then employed a younger nurse Hendrickje Stoffels who he had a longer affair with. The extravagant life style, and a fall in commissions meant his expenditure outstripped his income, and eventually he was forced to file for the modern day equivalent of bankruptcy. Rembrandt did however leave a remarkable testimony to his talents, not only his canvases but his remarkable engravings. We looked at length at some of his more famous works including, The Night Watch, Bathsheba at her Bath, Belshazza the writing on the wall and several self portraits, "the original selfies" from youth to his old age. At the end of his life all those who were closest to him had died. His son Titus died at the age of twenty-seven, his wife and mistress had died, only his son's wife who had a daughter named Titia. His last self portrait showed with skilful honesty the pain of his life. ____________________________________________________________ __ Exhibition at the National Gallery covers the last two decades of Rembrandt’s life, during which radical changes occurred in his style, Exhibition dates are 15th October 2014 – 18th January 2015

Jon invited us to see the stories of real people who have been involved in 1000 years of history; to see the continuity as well as the strange and unexpected events. Jon showed us a painting titled ‘The Exhumation of St Hubert' by Roger van der Weyden, surrounded by a group and the royal family amazed that the body was fresh, the air filled with a smell of incense ‘a sweet scent'. The presence of royalty made it Holy, and the commoners thought there was divine healing in touching their robes. We then looked at Exeter and a mermaid rather unusually above the choir; and the Holy place in Salisbury where believers came from near and far. The Church here was built and extended over time creating a place of beauty and peace. It attracted those who found safety in the presence of the Bishop, who could establish moral standards and make fair judgements. Jon explained the influence of Rome in England in 600, when the Kings of Kent converted to Christianity and two small churches were built in Canterbury. We saw drawings of these churches and of Chichester, where the efforts of Wilfred (later Saint) brought Christ to both towns in 681 for the South Saxons of Selsey! With the Norman Conquest in 1070/1110 these Cathedrals were destroyed, ‘more of an act of conquest than any true objection to them', and yet the Romans accepted the building of Lincoln Cathedral! Winchester became a capital city and the Cathedral there was the most esteemed, the Bishop establishing Christian Holy places within his ‘diocese', which flourished under his power, influence and wealth. Durham was established under Cuthbert, and again this impacted on the creation of a city, with people feeling empowered to strive and establish livelihoods, in some security. We heard again of the murder in Canterbury and how pilgrims came to the shrine of Thomas Beckett for healing, the interior creating a message of a bloody murder - the symbolism of the red of spilt blood and the white of the brains. The Cathedrals fell silent with the dissolution in the 1220's, some like Lincoln becoming an ornate Gothic historical building. In 1348 the Black Death arrived with one third of the population dying without care or blessing, which seemed to encourage a new fervour of church building as many became Protestant. Damaged churches were cleaned, new interiors and sacred objects appeared and a more regularised form of worship was established. People began to take pride in their Churches. Jon had a vast amount of history and knowledge that he enthusiastically shared, amusing us with the quirkiness and foibles of churches and churchyards! We thanked him for taking us on this journey and being our guide.

As Project Manager of the exhibition, Joanna was in a very favourable position to explain something of the background to the creation of the Guilds. She began by showing us the highly decorated shields of the Livery companies, which are various historic trade associations known as Worshipful Companies. These were created to set standards for crafts, trades or professions and to be responsible for good labour conditions and wages. Originally developed as Guilds, they were responsible for the regulation of their own trade. They gave to charities, established schools and individual Guilds would help members if times were hard. Joanna had some colourful slides of the Liverymen, each representing the trade in which they worked. There was an opportunity to rise through the Guilds; you could become a Master, sit on the Council, rise to an Alderman, and the highest honour was to become "Lord Mayor of London". The Livery Men voted for this position annually; the current Lord Mayor is Fiona Wolf! We were rather pleased that the term Livery Men also encompasses women. In 1515, the Court of Alderman of the City settled on an order of precedence for the 48 companies then in existence. First was the Worshipful company of Mercers and nearly all other trades were represented, however Skinners (fur traders) no.6 and the Merchant Taylors no. 7 could not agree on their order of precedence. They finally agreed to alternate each year at Easter, creating the phrase "at sixes and sevens" Today there are 110 Worshipful Companies listed the last being the ‘Arts Scholars'. Joanna explained how in 1879 City and Guilds certificates were introduced. These certificates were awarded after a 7 year apprenticeship to those who had attained the necessary skills to be Journeymen. With this certificate you were now able to travel between different employers to further yourself, ‘ to journey forth' Livery Companies are proud of their history and built grand halls for their meetings. Joanna showed us many examples of these. Unfortunately, as they were located in and around the city, many were lost to the bombing in the blitz of the 1940's. Each year the Livery Companies take part in their pageant. Originally this was held on the river, each company on their own barge proudly displaying its individual pennant. Today the Lord Mayors Show takes place on the first Saturday in November between the Guildhall and the Royal Courts of Justice in the Strand. We were shown a photograph of Joanna splendidly dressed in her robes, representing ‘The Worshipful Company of Painters- Stainers' and taking part in a parade. Joanna gave us some fascinating insights into the way Guilds have adapted to now include more up-to-date professions. She had a depth of information which we very much appreciated, and we thanked her warmly for her lecture.

Cezanne – ‘The Father of Modern Art’ A lecture by Douglas Skeggs on 16 July 2014. Director of New Academy of Arts, a Writer, Artist TV Presenter. Douglas gave us an image of a rather shy man, who lived in some seclusion in the south of France, painting alone – yet who would totally change the world of classical art. He was born in Aix-en-Provence in 1839 to a wealthy, but cruel, father and a quiet aloof mother. Cezanne was discouraged from painting, but somehow entered the College Bourbon in Aix in 1852 where he met Emile Zola. They had both been bullied and formed a strong friendship, envisaging successful careers in Paris, Zola as a writer and Cezanne as a painter. However, Cezanne’s father opposed this and persuaded him to enter law school. Meanwhile, Zola left for Paris and Cezanne encouraged him, while he studied law and painting at the same time. Finally, in 1856, he did go to Paris and met Pisarro, who encouraged him to learn from other artists and not just from art college. Cezanne was ill-equipped in many ways, and often destroyed his work if not up to expectation, and paintings were rejected by studios! He went back home, and worked in the bank until Francis Granet influenced him to return to Paris in 1861. He met a number of artists and Zola was doing well; he wrote about Manet, who painted a wonderful picture of Zola. Cezanne was invited to join the artistic circle but hated the meetings, and began to avoid people. Pisarro was his master, and he let Cezanne watch the way he structured a painting. In 1872 they moved to Pontaise to work closely together, and here Cezanne found his own incredibly varied painting style. He returned to Aix, and although he married and had a son, there was no loving relationship with his wife. He remained in Aix during the brutal Franco-Prussian War of 1870/71, and this influenced his subject matter during the 1980’s when his paintings seemed brooding, melancholy based on dreams and fantasies. Pisarro and Cezanne discussed war, politics and life but also the effect it had on France. In the 1890’s Pisarro, Monet and Renoir persuaded Cezanne to exhibit, and then in 1904 Cezanne was given an entire room at the Salon, where it was realised he was a master of design, tone, composition and colour. Henri Matisse and Pablo Picasso were greatly influenced by Cezanne, and he was said to have formed a bridge between late 19th century Impressionism and the early 20th century new line of artistic enquiry, into Cubism and abstract art. In 1906 Cezanne was caught in a severe storm and became ill. In October 1906 he died. His widow did not come to his funeral. At the Salon d’Automne in 1907 Cezanne’s artistic achievements were honoured with a large retrospective exhibition. Douglas had given us such an insight into Cezanne; his life, struggles and hard-won achievements, made more vivid by the wonderful digital display of paintings. We thanked him for his skill and enthusiasm. Pat Moore

Caroline looked at the history of the families, their beautiful homes and the gardens they have created, here in our English countryside. Caroline started with the oldest and most established family the Sackville Wests. The Sackville influence goes back to Henry VIII but it was Elizabeth I who permitted her cousin Thomas Sackville to purchase Knole in 1603. Vita Sackville West grew up in Knole the only child of the 3rd Lord Sackville but on her father’s death she could not inherit as the tradition stated Knole had to pass to a male heir, who was her cousin. Vita married Harold Nicolson, author and diplomat, and in the 1930’s they purchased the ruins and the farm at Sissinghurst. They created one of the most visited gardens in England. These were designed as a series of ‘rooms’ each with a different colour and/or theme, the walls being both high clipped hedges and pink brick walls. One of the most delightful areas is the white garden, with its lovely roses, best seen in early June. Now managed by the National Trust, Robert Sackville and his family live at Sissinghurst and work in and around the estate. Next, Caroline described the amazing Rothschild family. Meyer Rothschild (1744-1812) born in Frankfurt, was the founder of this banking empire which expanded as his family travelled to Europe and America, setting up their own businesses, inter- marrying, they became one of the richest families in Europe. They purchased grand homes in Germany, France, Italy and many in Britain. Waddesdon Manor was built by Baron Ferdinand de Rothchild in1874 to display his outstanding collection of art treasures. The house was designed in the style of a French chateau and the garden created by Elie Laine who transplanted fully grown trees. The Victorian garden is considered one of the finest in Britain with its parterre, seasonal displays, fountains and statues. There is also an aviary. Today Waddesdon is the second most-visited property in the National Trust. We appreciated seeing much of this on Caroline’s digital presentation. The Astors were originally from Germany. John Jacob Astor briefly visited England, (where he learned English), but left for Baltimore, America in 1783. His various business interests included musical instruments, real estate and fur trading. His brother Henry also emigrated to America, but with a keen interest in horse racing. It is claimed the thoroughbred he bought from England in1788 named ‘Messenger’ is the founding sire of all Standard Bred horses in the USA today. During the 19th C. the Astors were one of the wealthiest families in America, but William Waldorf Astor purchased Cliveden in 1893 from the Duke of Westminster. A parterre garden of 8 interlocking flower beds was designed by John Fleming (head gardener). Set high above the Thames with far-reaching views, these beautiful gardens capture the grandeur of a bygone age. The Astors acquired other prestigious properties, and Lord Astor stated “we are nouveau rich”! They certainly were! We thanked Caroline for a wonderfully informative lecture sprinkled with humour.

Naomi's lecture started by showing us a portrait of “Queen Elizabeth I” posed to reveal her strength, her power through the discovery of new lands and her dominance as the Queen of England. Her hand rested on a globe suggesting she ruled the world, and would be a fine person to rule the citizens in her realm. There was a medieval tradition of royal palaces and large houses but many were not equipped to entertain the Queen on her frequent travels, with her entourage. The expense of these visits was huge to the host, who would often be reluctant to entertain, and so would abandon their homes to escape this ‘honour’! Naomi revealed the re-building that became prevalent to modernise country houses. Taking advantage of the new, thriving Elizabethan era, Italian designers and craftsmen were employed, (at Uppark they took their puddings on to the roof at lunchtime!), to copy facades in Italian cities, French designers were also called on to achieve the symmetry of the beautiful French palaces or Chateaux. Bess of Hardwick was an extremely wealthy woman and set about renovating her four houses. Wide staircases were created inside and the walls were hung with tapestries which she added to, perhaps helped by her friend Mary, Queen of Scots, who sewed tapestries with great skill and talent during her 15 years with Bess. Bess paid for the privilege of giving her a home! Another expensive addition was glass, which was so rare that people took it with them when they moved or travelled! Little Moreton Hall was mentioned because of the beautiful fruit and flower designs on their green-tinged glass. Another asset installed in some Country Houses was a privy, the first one being for Sir John Harrington who sprinkled herbs to make it smell sweeter. Naomi had many other interesting pieces of history to share, as so often happens with our lectures, and we thanked her for her interesting talk.

Jo outlined the early family history of Ben. Born in 1894 to Mabel Pryde and William Nicholson, he was the eldest of four children. His father was a well-known painter, who created stunning prints in sepia and colour as well as landscape and silver paintings, which were influenced by the old Masters. Ben also became an artist, but could not conceive of painting in this style, causing his father to be dismissive and critical of his efforts. We learned of the distress Ben suffered when his father married the young widow that Ben had hoped to marry himself, but this ‘great blow’ was the impetus for him to move away from London .He met Winifred, also an artist, and they married and lived in Paris for some time, where they met artists such as Matisse, Picasso and others who appealed to Ben with their alternative abstract style. Ben was stimulated and encouraged, but it was a shock to his father to realise this was Ben’s preferred style. Jo showed us digital images of Ben’s abstract paintings and this helped us to understand the passion and artistic skills of his compositions, the colour, texture and subject matter, which he developed over the next few years. He and Winifred lived in Cumbria, where they built up a power base of other avant-guard artists, and by 1928 they also had three children. By the 1930’s Ben was often away, sometimes in St Ives, where he met Barbara Hepworth, who he later married. She was already an established artist and sculptor and together their art reached a ‘new international level’. Ben and Barbara had triplets in 1935, but her work continued, although during the war she and Ben were employed as War Artists. After the war, they constantly looked to forge new paths and seek changes in interpreting these. Both ambitious, tensions appeared by the 1950’s, as Barbara shared her skills with a new generation of young artists, and sculptors. We saw Ben’s beautiful drawings and they attracted a young German woman, Felicitas, who came to interview him and stayed. She was 27, he was 63, but they stayed together until the 1970’s. Ben Nicholson was offered a number of Honours which he refused but eventually he accepted an Order of Merit, the one honour his father never achieved. This was another engrossing lecture and we thanked Jo for sharing her enthusiasm and painting such a vivid picture of the life of Ben Nicolson.

Sarah is very much a working artist, who accepts commissions to clean and restore paintings from many sources, but described the pictures at Knole that were in disrepair with mould. She was able to indicate areas through her digital images, revealing paintings on oak which looked dark and flaky, having been stored in cold corridors or behind stairs. These are now being restored but the treatment will take many hours. The original artist would have coated the surface, sketched the picture, and then used tempura paint then oil. To make jewels glisten, they would add boiled oil to make them gleam. Restoration requires knowledge of how to treat each element. We saw examples where light and temperature had affected the wood, which had warped and cracked open. Restorers, centuries ago would refill the damage with something rather like polyfilla. Canvas has different problems, as it can sag and the paint may crack, lift and flake which may drop away if not treated. Sarah mentioned the paintings at Hatfield House, which we are visiting this April, she said many were probably restored 100 years ago. These may have had horizontal cracking and have been ironed to eliminate the consequential effects of being rolled up! The flaking may need three separate ‘fills’ before other restorative treatments and Sarah emphasised the knowledge and methods needed to achieve the highest results. We gained a rare look at the art of restoration from Sarah, and the need for it to continue. It was good to have this insight and we appreciated her skills.

Leslie began by describing a painting in the 18th century by Ben West depicting ‘The Death of General Wolfe’. Although vibrant and moving, it was the image of a’ noble savage’ on the edge of a group, kneeling, paying homage with the officers, that drew the greatest interest. The pictures of other lands far away, the exotic islands inhabited by different peoples, began to seize the British imagination. Tahiti was the perfect example of the exotic, a paradise on earth, with noble natives who did not welcome the British or the French arriving to invade and civilise their own very established order. Both Captain Wallis’ fleet and Captain Cook took artists’ with them to illustrate the island, the vegetation and the natives. Trading with the British and French destroyed their culture forever but did introduce syphilis to the islands, previously unknown! The British blamed the French for this invasive illness. Capt. James Cook was to return with Joseph Banks, a scientist, so he could view the solar transit of Venus through his Quadrant, which was stolen by the natives. Banks had learnt the language due to his association with young Tahitian women, (which he explained was a scientific experiment). However, the parts of the Quadrant were found just in time to fulfil its purpose, allowing Banks to return home and receive a knighthood and land! Cook returned to the Sandwich Islands without Banks, only to be fatally wounded, immortalised by a painting by Zoffany ‘Death of Captain Cook’. Leslie then introduced Gauguin, a successful stock broker in France with a passion for art. He had heard of the paradise of Tahiti where “people lived free, without envy or hate”. Disillusioned with life, he decided to leave Europe and find personal and creative freedom in the South Seas. His Danish wife and five children had returned to Denmark, so he seized the chance to find harmony and paint. In 1891, he found Tahitian women in long gowns, living in a French town in stone houses, wearing hats and now Christians! However, he did find young girls willing to be models, and began to produce the colourful, individual paintings for which he is known. After other relationships he found Titi, a French colonial, who became his mistress and model. In 1893 he returned to France to exhibit his pictures, but returned to the Marquesas Island where he continued to paint before his early death in 1903 caused by syphilis and alcohol at the age of 54. The vogue for his work started soon after his death and is said to have influenced Pablo Picasso and Henri Matisse. Leslie was warmly thanked for his fascinating talk.

Malcolm started by telling us an amazing fact that forgery is the fourth major crime in the country, costing an estimated 4 billion pounds a year! Malcolm gave us a simple definition, “passing it off as genuine” is forgery. An art dealer can say “it may be genuine but can’t guarantee” which is not an offence. He revealed the diverse forms of art forgery, to include sculpture, wood carving, old relics as well as paintings. Malcolm gave some examples of those he has worked on professionally with Interpol and the Metropolitan Police, and perhaps one of the most interesting stories was the alliance of John M, an artistic forger, and John D, a master conman. John M was a remarkable painter who mimicked many different artists, (using Dulux trade emulsion as he was allergic to oil paint)! He originally sold his paintings as ‘genuine fakes’. He met up with John D, a Machiavellian character, who in his time falsely claimed to work as a director for the Atomic Energy Commission! They teamed up and John M forged the paintings while John D made them look genuine with a fifties typewriter and a rubber stamp, to produce labelling for the backs of the canvases. He also donated thousands of pounds to the V & A and the Tate Museums, which gave him access to their libraries. He managed to insert the fakes into the official lists, giving them authenticity. These forgeries sold around the world for thousands of pounds, and only unravelled when John D’s girl-friend became suspicious of his behaviour, opened his briefcase and took it to the police. John D collapsed on the first day of his trial, was taken to hospital, and the court received forged evidence of his heart condition, making him unfit for trial! The Judge ordered him back into court where he was sentenced to five years imprisonment. John M, who had co-operated with the police, received a one year sentence. He now produces ‘genuine fakes’ which are legal, but ironically, he is now being copied by other fakers pretending to be John M! Another incredible story told how an elderly couple in Lancashire sold art works to museums and auction houses that were skilfully created by their son, who had aspergers syndrome. They operated from a 2-bedroom council house producing the forgeries in a garden shed! The son could replicate many art forms so concisely that some museums kept them, even after the deception was discovered. Malcolm gave us an insight into the world of forgeries. Everything from Oligarchs, trying to impress others, to art lovers willing to accept a fake. Wealthy but vulnerable people accepting the word of crooked dealers, or wanting to please someone they love. We much enjoyed Malcolm’s entertaining lecture, and he shared in our Christmas refreshments afterwards.

Peter began his lecture with an amusing description of the two pagan cultural celebrations of the period following Christmas, one being a Roman festival of light and feasting, the other being the Nordic festival of Yuletide to celebrate the Winter Solstice and the return of the sun. It was Pope Julius I who decided to use the feasting, music -making and gluttony to celebrate the birth of Christ, on the 25th December. So it is that many of our modern Christmas traditions, customs and carols, have nothing to do with the Holy Birth! Peter has a wonderful deep voice, and sang, “Deck the Halls” on the piano. This was very lively, and apparently originated as a Welsh ‘round’ game sung at the winter festival, when the yule log would be burned. He then sang “The Holly & the Ivy”, known as a pagan description of male and female, nothing to do with Christianity, but the holy child is the fruit, and symbolic is the drop of blood, the ‘prickle’ that pierces the skin. “The holly bears a berry, as bright as any blood. And Mary bore sweet Jesus Christ to do poor sinners good.” The first day of Christmas, Boxing Day, we celebrate the first Christian Martyr St Stephen, who was stoned to death. Peter sang the carol “Good King Wenceslas went out, On the feast of Stephen!” in order to give food and drink to the poor, and it became traditional to give some Christmas leftovers or gifts to the poor, who would carry around little boxes in which to receive, them hence boxing day. Peter sang beautifully, the music and words describing the true meaning of Christmas. The third day, December 28th, was a reminder of the slaughter of the Innocents, by King Herod. Many early Christians refused to do any business on this day for fear of bad luck. Peter played another gently evocative song here, ‘Lalee Day’. Peter continued to entertain us, with the story of St Nicholas, the patron saint of pawnbrokers, who heard a poor peasant bewailing the fact that he was unable to raise the dowry for his eldest daughter. Nicholas gave him a small bag of gold through an open window and this episode was repeated on two more occasions, enabling three daughters to marry. This is symbolised by the pawnbrokers three golden balls! Through the translations from Scandinavian to English, St Nicholas was transformed into Santa Claus, and represents the Spirit of Christmas. We were reminded of the first footings; the tall dark man who would enter with a branch for the old year, and mistletoe for the new year as well as other traditions, especially the cake! Then to 6th January, 12th night and the Epiphany. Peter led us through the 12 days and sang his last song as we applauded him warmly for the entertaining way we had been reminded of the lovely customs, music and traditions we had almost forgotten! We thanked him with real appreciation.

Simon de Montfort was a young Frenchman whose family had some connection to the Earl of Leicester. Around 1238, Simon realised he was unlikely to inherit in France, so he told his elder brother he would go to England and ask Henry III for an Earldom! At Court, he met Eleanor, the King’s elegant sister who was a ‘treasure’ to the King and expected to make an advantageous marriage. Simon had a courteous way of speaking, was pleasant and apparently very attractive! The two of them fell in love and were secretly married by a Chaplain in a corner of Westminster. This caused fury and jealousy at court, but the deed was done and they moved to live in the rebuilt castle at Odiham, which Henry had given Eleanor two years earlier. Unusual for this period, they had a faithful, loving relationship. Simon was a good man who excelled in his duties, and went on the Crusades to the Holy Land. We were shown slides of the castle as it is now, Rupert pointing out where a kitchen and a new hall were built over the moat, and later inner walls were plastered and portrayed decorative scenes painted by skilled artisans. In 1241 Simon was elected as a ‘leader’, being a man ‘endowed with intelligence’, charismatic, able to read and write and to mix with a ‘coterie of scholars’. He also taught his sons and daughter to do the same, as by the mid 13th century scholastic skills were expected by nobility. Eleanor, meanwhile, felt she had to dress for her position, and the extravagance of her jewellery and dresses caused criticism! She was ‘proud and fierce of temper’ so would not have accepted such trivia, but Rupert also quoted that Eleanor had a ‘close and loving relationship with her sons’, and gave alms to local people plus 2 pints of cider as standard! In 1258, Simon began to seek a religious life and prayed day and night, being frugal in his needs and wearing only poor cloth woven from goats hair. In 1263, Simon and his sons joined the battle against Henry at Evesham, led by Edward I. Simon died there in 1265 and Eleanor was exiled, escaping to a convent in France. Odiham Castle was again owned by the Crown and now the remains are open to the public. We enjoyed learning some of the historic background to Odiham Castle and the de Montfort family and thanked Rupert for his lecture.

Valerie caught our attention immediately when she displayed a portrait of a young boy, by Bottichelli, and focussed on the eyes. Revealing the skills of the artist, she showed it again with a white dot in each eye, explaining how a touch of a brush was able to bring the portrait vividly alive. She went on with other fascinating examples. ‘The Execution of Lady Jane Grey’ in 1833 by Delaroch shows his compassion and also possibly that of her executioner, by dressing this 16 year old girl in a flowing white dress and long hair, which were not the clothes she wore. His interpretation leads us to reflect sympathetically on her fate, as he intends. A contrast was ‘Electric Chairs’ by Andy Warhol. The horror is diminished by the way he presents it, the pictures colourful. The interpretation suggests we become used to horror; being able to feel it, know it, even see it but from a distance. Valerie talked about the object of colour, of line and form, and the link between art (abstract) and music. Paintings could be completely abstract, as we saw with Kandisky’s ‘Cossacks 1910’. Kandisky felt the lines and strokes, with some colour suggesting hats of Cossack soldiers, represented the chaos of the men and the fighting. In 2006, the nation’s favourite painting was ‘The Fighting Temeraire’ of 1838 by William Turner. The boat had served with Nelson’s fleet at the Battle of Trafalgar in 1805, and had remained in service until 1838, but now it was being decommissioned. The sunset Turner painted was not real as the boat was travelling east, the sunset would have been in the west, but it served his purpose to use artistic license, and as the boat disappears the memory of valour would remain, not the sunset. It evokes a sense of loss, as Britain was seeing the decline of the Naval Service. The spectacular, colourful setting of the sun draws a parallel with the passing of the old warship, and the modern ugly Tug pulling it along. This painting is in the National Gallery. We saw other examples of paintings where the lines draw our eye, ie Lowry vertical and horizontal, design balance and counter-balance and began to realise all isn’t as it seems! Valerie finished with a Picasso quote: “Art is the lie that helps us realise the truth!”, and she hoped she had done just that. We thanked her warmly for a most informative and amusing lecture.

Steven gave us a background to the lecture by describing the sacking of Rome which took place in 1527, causing an exodus of patrons and artists into the relative safety of the surrounding countryside. Country estates were established, focussing on the idea of the Villa and its surrounding gardens. He centred on the period between 1560 -1610, and the gardens of the Villa Lante, Bagnaia. We were impressed by the slides showing cascades to fountains and dripping grottoes, visually beautiful and impressive because of the mechanical perfection of its flow, achieved by a hydraulic engineer from Siena, called Tommaso Ghinucci. The water continues to flow through the garden. We also saw the terraces, the box hedges and a long stone table on the third terrace with a central ‘flowing water’ channel to keep the wine cool! The geometric design of the garden includes a parkland area with a formal box garden in front of the Villa, reached by a series of steps. The remarkable thing about this garden is that it is unchanged to this day. We were transported next to the Villa D’Este, Tivoli commissioned by Cardinal Ippolito, grandson of Pope Alexander VI, located just outside Rome with magnificent views of the countryside. The water features are fed by the river Aniene, and Steven described the accompanying odour to our amusement. The terraced garden leads to the Grotto of Diana and the central Fountain of the Great Cup, by Bernini, where water seemingly issues from natural rock into a scrolling shell cup. The magnificent Avenue of a Thousand Fountains, (albeit a slight exaggeration), was testament to the skills of both designers and craftsmen of the time. In answer to a question, Steven explained the formal garden suffers and improves with the funding available at any given time. As an absolute contrast, we saw the Park of Monsters, located in Bomarzo in northern Lazio. They were created by Pier Francesco Orsini after the death of his beloved wife Giulia Farnese and we saw many huge sculptures in rough ground, at the bottom of a valley. These massive creations were carved out of the projecting rock ‘in situ’, and were meant to astonish! Steven showed a gigantic sea monster Proteus and Glaucus with a castle on the top of his head. A huge dragon with lions; 15ft high wrestlers; Hannibal’s war elephant carrying a Roman legionnaire and the Mouth of Orcus, its mouth wide open and on his upper lip inscribed, “All Thoughts Fly”. You can step inside if you wish! Orsini wanted viewers to feel relaxed and enter a magical garden, “just to set the heart free”. We also saw the ‘Leaning House’ where the floors were tilted making people stumble and feel bilious. There were many more sculptures, and the surreal nature of the Park appealed to Jean Cocteau and the surrealist Salvador Dali, who discussed it at length. The Park has been restored since the 1970’s and is a major tourist attraction. This was an unusual and fascinating lecture enhanced considerably by Steven’s dry Yorkshire humour.

Tom introduced his lecture with a look at the size and complexity of the modern theatre. He described how the floor area could be divided into units, engineered skilfully to rotate, slide forward and go back. Below would be a sprung floor and a huge backstage area, about the size of an aircraft hanger. We saw a huge grid of lighting bars in a theatre in Geneva, which needed only the slightest human touch to light up all parts of the stage and auditorium. It increased the possibility of illusion and the Stage man would have a headset and a TV screen showing the stage, ready to be transformed with an intriguing background. The audience could slip into a fantasy world anticipating the entertainment to come. At the Opera in Paris the magic begins with the deception of the brilliant red folded curtains, in reality painted on, and lit by the footlights. A foretaste of the lies and deception about to begin! The ancestor of the theatre today was early Greece. They started the design concept of a background with three doors, perhaps a revolving stage, and sometimes two floors so that a character (God) could descend and slide in! There would also be underground passages allowing actors to enter by different doors adding to the mystery and excitement of the play. The Romans created the same sort of theatre but added a roof and drainage holes at the back, and a trap-door to allow the unexpected and dramatic to happen. Tom moved through the centuries to a 10th century church telling the story of Christ, and 21 boy angels going up to clouds! An ambitious concept in 1547 was to create bonfires so a fire-breathing dragon could chase people to hell! The use of fire was popular but difficult to control. Tom moved on to the Globe Theatre, and felt a credible reconstruction had been achieved, still the 3-door idea and the ceiling containing ropes down which an actor could descend, rather like the Teatro Olympia. Fire had been a popular attraction for audiences in 1586 and battle scenes with real canons loaded with gunpowder and wadding was too much for the thatched roof of the Globe in 1612, and it burned down! It was rebuilt in 1614 after experiments on different designs; closed by the Puritans in 1641 and finally rebuilt in 1997 to as authentic a design as possible. We were introduced to the inner workings of the Savoy, Sadlers Wells Theatre, Drury Lane and the Bristol Old Vic who all experimented with props and projectors, and lighting, in order to achieve stunning effects on the stage. The introduction of the Arts Council really benefited theatres and Tom mentioned Theatre 503 in Battersea which won the 2010 Olivia Award for Best Play, a wonderful achievement for a 35 seat theatre! We were fascinated by this ‘peep behind the scenes’ and thanked Tom for an entertaining lecture, again.

Dante Gabriel Rosetti was already painting and was an aspiring poet when he met two talented artists, Holman Hunt and John Everett Millais. They felt it was natural to link painting and poetry to other art forms and rebelled against the art preferred by the Royal Academy, where Hunt and Millais were pupils. They preferred the Renaissance period of art, in contrast to the Royal Academy under the founder, Sir Joshua Reynolds, which favoured the classical poses and elegant compositions, which gave prominence to the subject but less detail to the rest of the canvas. This art form they derided as ‘slosh’, and Sir Joshua as Sir Sloshua! They believed the lack of details in the background of portraits and landscapes did not do the paintings justice and was not to be part of their own creative processes. They admired the work prior to Raphael, hence the ‘Pre-Raphaelites and so the “brotherhood” together with Michael Rossetti, James Collinson and Thomas Woolner was founded in 1848. The group were very charismatic, talented, romantic artists and a number of painters, poets, designers and illustrators were to join them. Their aim was to reform English art by rejecting the formal training introduced by Sir Joshua Reynolds, and return to the abundant detail, intense colours and complex compositions of Italian and Flemish art. We were able to see their work as Nicholas pointed out tiny brushstrokes where care had been taken to paint everything, including the crushed leaf in the foreground or some sheep in the background. The detail was meticulous, the pictures were bright, true to their subject (they considered), whether it be a biblical portrayal, a scene from a Shakespeare play, a poem, or just a moral moment. The pictures we saw were rich and colourful and delightful to see, as many members had at the Pre-Raphaelite exhibition last year. Nicholas talked about each artist as he displayed their work and all had their own story; a brief sketch of their lives and achievements. It was delightful to be entertained and educated in such a way. The paintings shown were much appreciated by us and also by Andrew Lloyd Webber, who has bought many of them and intends to leave them to the nation. It was good to know they are in safe hands! Nicholas emphasised we have to understand the importance of these reformists to British art history, explaining although their popularity fluctuated in the late 19th century, it returned and they were the only serious home-grown movement respected and studied worldwide.

Christopher began the lecture by showing us the medieval hospital in Florence, Ospedale degli Innocenti (the hospital of the innocents), built in 1445.This was an orphanage that was paid for by the Guild of Woolweavers. He explained that this hospital took the babies in on a wheel positioned both outside and inside, so the mother could place the baby on the outside of the wheel and then turn the wheel so the baby could be received inside. This gave the mothers anonymity. This hospital was like a grand palace designed by the best architects, built by the finest builders and filled with sculptures and art work by the most admired artists of the day. Christopher showed us examples in other towns where these hospital facilities were created, through the generosity of Guilds who also gave blessed charity to the poor. Waverley Abbey, Surrey 1128, was the first Abbey in England. It had 3 infirmaries when built and lying in bed was likened to being in church. The sick were assessed by a mixture of crude diagnostic techniques; physicians consulted the four elements of air, earth, fire and water balanced with bile and phlegm, and finally the age of the patient, which inflicted some laughter when described as childhood, manhood, old age and decrepitude. The sick were often believed to be sinners in need of spiritual guidance before being submitted to physical ‘cures’! The art in monasteries, as we saw, frequently depicted the Day of Judgement, both in sculpture and paintings; and Christopher described and spoke of these, such as the Three Living and Three Dead at St Andrew’s Wickhampton, Norfolk, the Doom Fresco at Chaldon, Surrey and a fresco in the Holy Trinity Church in Coventry, all depicting the day of reckoning! Christopher presented a magnificent display of photographs. The Orsanmichele in Florence showing Donatello sculptures outside and in, and paintings by Bernardo Daddi in 1346; the ‘Mother and Child’ so beautiful still. We had a tour of Europe as he described the art decorating many churches that were also hospitals, orphanages and almshouses whose basic aim was to save the soul. We looked at a Hans Memling altar-piece and other paintings in St. John’s Hospital in Bruges, which were considered therapeutic to the sick, (and which some of us had visited). Then, the wonderful Piero della Francesca painting of Madonna della Misericordia in Tuscany. The paintings were vibrant and gave us a sense of the stimulation they may have given to hospital patients. Christopher mused on the benefit to hospitals today, if we were to have similar donations from the very rich? He was able to encourage us to look for the works of art in churches and we expressed our thanks for this absorbing lecture.

John began by explaining the spiritual significance of pure spring water and followed this with images of a number of Celtic springs, some in Wales having a mystical aura. It was believed the water and wells were used by early Roman Christians before praise and baptism moved into churches. John showed us photographs of different wells, one in Colwyn Bay was a chapel for six people built over such a well. Baptists initiated total immersion baptism in 1612, but soon the Church of England followed also using the holy water from wells. We saw a vertical tank of 1710 at Cranbrook Church Kent, installed to encourage disaffected followers back to the Church of England, causing some amusement as we envisaged actually climbing back out of it. He also showed how fonts were sometimes locked to avoid attack by evil sources after a baptism or to ward off witches. Infants would be dipped in three times, to the left, the right and then the face. This pure water stayed in the font for months! John emphasized how baptism was more important in the middle ages. He showed us the huge Brookland font cast in lead with carvings of the signs of the Zodiac and the labours of the monks. His digital presentation gave us a close-up of a beautiful round Wedgewood font and other octagonal fonts showing the seven sacraments, the eighth panel left to create a local scene. Rituals were observed to protect babies during and after baptism. John described how salt was placed into the baby’s mouth to remove the devil’s saliva and allow the sweetness of Jesus to flow. He also showed us a ‘chrism child’ in Bakewell Parish Church, which appeared as a clothed mummified baby. Within 40 days of the birth a mother would go to be ‘churched’. She would sit near the holy table, be blessed, and would then give an offering.. The ‘rocking ceremony’ was another gesture of thanks, when a baby born nearest to Christmas would be ‘rocked’ in a cradle decorated with flowers, again 40 days after Christmas, performed on Candlemas. Moving on to marriage, the ceremony itself began in 1215 but before that it was either temporary or permanent. John described the difference! The exchange of rings took place outside the church, often in the porches and witnesses in the fields would come rushing in to take part. The blessing happened afterwards, at an altar or in the porches, and then came the party. John mentioned the Dunmow flitch ceremony where a couple could claim they hadn’t rowed for a year and win a side or ‘flitch’ of bacon. So we moved on to Funerals where the wealthier could command stone coffins, often placed in the centre of churches whereas the poor would be buried in a graveyard with only a linen shroud. Prior to the burial, the poor people were placed in lead coffins that were re-used for decades. Coffins were covered by ‘palls’, a large embroidered decorative cloth, often supported by a hooped canopy called a ‘hearse’. (One from Dunstable Priory is in the V & A). These hooped structures were replicated in ironwork over many decorative tombs inside churches. In the graveyard, a small stone sentry box is often found originally named a ‘hudd’; a shelter for a watchman who had to protect the graves from body-snatchers, as medical research demanded far more bodies than capital punishment could provide! John was an able story-teller and we were entertained and amused with the quaint beliefs of the past, linked with the architectural history he revealed in his presentation which was so fascinating. From 1836 the Records for Births, Marriages and Death moved from churches to the state.

Nicola began with a brief description of a group of artists who attempted to challenge the current scene in the early 1900’s. They felt it was too ‘simplistic’ depicting country cottages and pleasant pastoral scenes. They were determined to change things. Nicola’s digital presentation made this story come to life, showing Edwardian London and the shabby, sordid, dingy area of Camden Town as it was then, and the socio-economic group of the area. This created a microcosm of society; the working class people surrounded by wealthy neighbours. Nicola displayed photographs of some of the houses as well as the bustle of the street-traders, and revealed how Sickert felt surrounded by ‘the magic and poetry of everyday life’. The founder members of the group were Sickert, Robert Bevan, Malcolm Drummond and Spencer Gore. They met at 19 Fitzroy Street and were originally known as the Fitzroy Street Group. Taking afternoon tea they discussed not only art and poetry, but also social issues. Sickert moved to Mornington Crescent and in 1911 the Camden group was formed. They found the working class area stimulating and through their art tried to reflect the locals and their shabby, unhealthy living conditions, warts and all! With a well-reported murder in Mornington Crescent the area soon gained extra notoriety, an opportunity not missed by the group who used the seedy element of the town to promote their art. They used local people as their models. Sickert painted nudes reflecting the dingy surroundings or scruffy bedding, using dark colours that created a moody sinister effect. The females looked similar to prostitutes or tarts, and when exhibited they provoked an avalanche of criticism. Nicola suggested it was not unlike the controversy Tracy Emin’s work stimulated at one time. While Sickert pursued his dark style as typified in a moving painting titled ‘What shall we do about the rent?’ this contrasted with the more colourful work by Gore whose regular visits to the Alhambra theatre were captured in his paintings “Balcony at the Alhambra” 1911-12 and “Inel and Taki” a scene from a show. His use of a bright palette was also followed by another member of the group, Harold Gilman whose works included “Mrs. Mounter at the Breakfast Table” an evocatively sad painting showing her reflecting on her son fighting in the war. Gilman applied his paint thickly and more colourfully than Sickert prompting discussions within the group. With the early death in 1914 (from pneumonia) of Spencer Gore who had often acted as peacemaker in the heated debates between them, the group disbanded. However, after the early criticism, they had gathered supporters and admirers, encouraging greater openness and experimentation in all ‘The Arts’. Many other artists were linked to the group and Nicola introduced their work with a professional freshness and detailed knowledge that was very stimulating. We thanked her enthusiastically.

Rome was taken by Alaric, King of the Visigoths, August 24, 410 AD , but as ever, the seeds of this event were sown decades before. The Huns forced many Barbarians to seek shelter in areas controlled by the Roman Empire , such as Gaul under Emperor Probus 276-282. However, so many fled that the structured immigration controls became unmanageable. Diocletian (a former cavalry commander) assumed power in 284. As Emperor, he tried to restore order. He split the Roman Empire into two, East and West, with an Emperor and a deputy in charge of each region; these were known as the four Tetrarchs. He tried to establish social standings i.e. a farmer’s son must become a farmer, etc. The result of this was “the rich lived in stratospheric luxury while the poor got poorer”. Seeing the Christians as a threat, because they believed in Christ and not the supreme Emperor as their leader, he persecuted them unmercifully. Enter Constantine, who had served under Diocletian, and in October 312 he faced Maxentius – his last surviving rival to the title of Emperor - at the Battle of Milvian Bridge; he was Victorious! The following evening, he told Eusebius he had a vision of Christ on the eve of the battle, and Sam showed us a sculptural relief of this battle on the Milvian Bridge in Rome . Constantine decreed Christianity as the new faith for the Roman Empire , replacing the pagan gods. Moving Sam’s story forward to Theodosius I (379-95) who divided the rule between his two sons, Arcadius in the East and Honorius in the West. The latter proved to be an ineffective Emperor leaving Stilicho (a half-vandal general) to effectively rule the Western empire. Between 402 and 403 Stilicho defeated the barbarian King Alaric’s attempts to enter Italy , but instead of killing him he tried to make a pact with him, a decision he would later regret. Around this time Roman rule was challenged in Gaul by warring tribes, and the Roman troops were stretched, Stilicho’s power diminished by a suspicious Honorius, still residing in Ravenna. With Rome weakened Alaric chose his moment and after putting Rome under siege he took the imperial city in August 410. Three days of rape, killing and looting followed. The Barbarian king Alaric then moved south towards Africa. Why? Sam believed it was to achieve what they always wanted, a homeland with a good supply of food. Alaric never achieved his dream and died on his way back from the toe of Italy. So how do we view the Barbarians? Romans thought them socially inferior, lacking classical education; however is this a true reflection, or did they want what we all desire, freedom, food and a homeland? Sam ended with an Aesop fable… A cockerel was scratching around for something for his family to eat, when he came across a precious jewel, and he cried out “I’m sure you’re a great treasure, to all who value you, but I’d rather have one grains of corn than all the jewels in the world”. We valued Sam for the knowledge and detail that embellished his lecture and presentation and we thanked him warmly.

Mrs Acton has many years experience teaching at Oxford University. She is the author of Learning to Look at Paintings and Learning to Look at Modern Art and is now working on Learning to Look at Sculpture.

Susan began by showing an early painting, dated 1669, which showed the process of cloth dyeing. Hot stoves, cold dip, a hot dye bath built of brick and finally a plunge pool were all required. The men involved in this work needed skill and strong muscles as it was a physically demanding activity. Colour was very important and there are records throughout the centuries of cloth dyeing in many parts of the world. It was a skilled craft, but with no guarantee of shades. We were shown vibrant colours, which would be costly and sold to the rich, and the paler colours of the repeat dips, worn by the poorer people. It was also a health risk; many died through constant inhalation of the dye vapours. Susan explained the importance of the colour purple, which was held in the highest esteem by society. This extremely expensive cloth was made by extracting the glands of molluscs, using thousands of them for each dyeing process, which involved heating the dye and being assailed by the emmision of an obnoxious smell! So highly was the colour purple prized that the Roman Emperors decreed only they could wear it, which was later challenged by royalty! Next in the order of importance was Red, derived from the chopped up roots of the madder plant, another highly complicated dyeing process involving the use of copper, tin and especially alum. The discovery of alum in Rome changed Rome ’s fortunes and the Pope declared only Roman alum would be used as a mordant for dyeing Italian cloths. Royal Houses realised how vibrant red was, enhanced by gold embroidery, and it especially pleased Henry VIII to wear this combination of colours. In the 16th century, a particular form of red (Venetian Scarlet) found favour and the Pope declared that scarlet, not purple, would be the colour of choice for Popes and Cardinals. Another source of red dye came from Mexico and Peru where they discovered the cochineal beetle, found on the Nopal plant. It was thought, for centuries, that these were berries but later, under microscope, it was realised they were bugs! Susan showed us an enlarged microscopic photo proving the fact. We moved on to the colour blue, which you could argue was third in line in the colour of preference, until the Royal Household of France in 1460 chose blue as their premier colour. This was initially achieved by the use of indigo or woad, another very skillful process. The colour blue was later adopted by the British Navy and French Legions and later still by Levi Straus and Jacob Davis when indigo-denim/cotton was used to make jeans! Originally made for poor farm workers, now a global favourite. Susan described processes that created yellow, black, green and white colours; some of these dyes proved more resilient to the ravages of time than others, as witnessed in surviving tapestries. Susan gave an interesting lecture, and we very much enjoyed learning, and seeing for ourselves, the beautiful results of colour in our lives.

Anne introduced the lecture by explaining the difference between Art Nouveau and Art Deco. Art Nouveau (or new art) had a specific time scale between 1890-1914, whereas Art Deco had its prominence in the 1920’s-30’s. Art Nouveau reflected both nature and the Femme Fatale with soft lines; larger than life jewellery, produced in a mixture of precious and semi- precious material. Art Deco is more angular and geometric, an example was the “Spirit of the Wind” a 26.6cm glass mascot designed by Lalique in 1928. Rene Lalique was born in 1860, and the family moved to Paris when he was two years old. His father had a jewellery shop but died prematurely, which forced Rene, aged 16, to become an apprentice jeweler. In the 1880’s, whilst studying at the Sydenham School of Art in England for 2 years, he encountered the arts and craft movement. This stimulated him to break away from classical and embrace this new art form, Art Nouveau. He realised that designs had to tell a story more than use expensive material, and that wearing purple and opals personified higher feelings! Anne showed us many examples of beautiful brooches, hatpins, chokers, pendants and hairpieces, illustrating femme fatale decadence, Greek mythology and insects metamorphosing, sometimes into female human form! Lalique’s designs embodied the ‘Naturistic’ spirit of the movement. Through his eyes, all the flora and fauna in nature had potential for beauty. Swans, peacocks, orchids and lilies were equally striking when re-created into moonstones, glass and enamel. In 1900 Lalique had a stand at the Exposition l’Universalle in Paris, where his jewellery attracted the patronage of a certain class of woman, a larger than life character who could flaunt the jewels to signify their own confidence, independence and wickedness! Characters like the famous actress Sarah Bernhardt. His most famous femme fatale, Loie Fuller, was shown to us dancing on stage, her whirling gown transforming from bat-like wings into a beautiful butterfly! However his designs were now being copied, which distressed Lalique. Towards the end of the 19th century Lalique pursued increasingly his interest in glass. He used the “lost wax” method, which meant each piece was unique and is now highly sort after. In 1905 the factory was re-designed to be able to replicate his designs, which included perfume bottles for Coty and later Channel. This success led to him opening his own glass works in 1909, in the Art Nouveau period he produced wonderful vases, ink wells, and bottles in a mixture of colours including amber, blue jade, opalescence and frosted glass. The designs stayed true to the nymphs, fish and insects featured in this period. In 1921 Lalique opened a larger factory located in the Alsace-Lorraine area. Here he produced everything from car mascots such as the famous “spirit of the wind” to a glass cross, font and screen in St. Mathew’s church in Jersey. These designs reflected the Art Deco period, more geometric and straighter lines. During the 20’s and 30’s he produced vases, clocks, bottles and stemware, now using up to ten colours, the designs now reflecting the period with stylised birds and floral designs much more geometric. Rene Lalique died in 1945 and his son Marc took over the company. Anne’s lecture was punctuated with good humour and a great love and knowledge of her subject. We were very appreciative.

Guy began by describing some of the iconic drawings of Leonardo, one being the beautifully contoured and muscled figure with arms and legs stretched out, within a circle called The Vetruvian Man, and apparently used or misused by a Billy Connolly poster advertising his concerts! And as a compliment, the Space Agency Badge of NASA. Leonardo was born on the 15th day of April 1452 in the small village of Vinci in Tuscany . He was illegitimate but the family welcomed him, and he had ten godparents, recorded his grandfather Antonio! He had no regular schooling but wandered the Tuscan countryside, making notes of what interested him, doodles or drawings, of a bird in flight or a small creature. He drew in tiny notebooks, creating imaginative sketches but not real interpretations. Leonardo originally wrote 10,000 pages of notes, writing left to right, of which only 5000 survive. One notebook was bought by Bill Gates for millions of dollars. Guy explained how Leonardo had multiple interests which often meant he went off on a tangent. Before completing one commission he ventured off on another. His interests included music, art, engineering, science and anatomy. His early anatomical drawings were schematic but much later, with the aid of dissection, the skeletal drawings and muscular studies became so accurate they are used for instruction today in medical schools. Most notably, his drawing of the spine, hands and muscles in the neck. Guy illustrated this accuracy with visual illustrations of Leonardo’s paintings, especially in crowd scenes, highlighting the face and neck muscles of a man with absolute accuracy. The commissions were diverse. He was employed to design war machines and his drawings depicted a four-wheeled chariot with a protective cover, in reality a forerunner to a tank. Also a vehicle with flails (spikes) which would have had savage repercussions for any victims. In 1504 his artistic talents were commissioned to paint the ‘Battle of Anghiari’ in the Palazzo Vecchio, Florence . Ever the experimentalist, Leonardo tried new pigments, which did not adhere to the plaster and the painting was never completed. Michelangelo was commissioned to paint the other side, which is there today. Although frustrated, this appeared to rekindle Leonardo’s interest in the human body and he did many small intricate drawings of body parts, which Guy presented with informed clarity, aided by the digital presentation. Whilst in Florence , Leonardo’s engineering skills were hired to try and make the river Arno navigable as a port to enhance the city as a trading power. Leonardo traced the river and observed “rivers do not flow in straight lines”. He likened the flow of the Arno to the blood flow of the shoulder, observing that rivers silt up in the middle and the flow of the river is on the sides. Unknowingly, he had diagnosed the cause of heart attacks. We were stimulated by this lecture by Guy Rooker on the anatomical discoveries of Leonardo da Vinci, who died in August 1519 at the age of 67 leaving his works to Francesco Melzi. It was 1646 before they surfaced, and Thomas Howard obtained them for the royal collection. By 1783 William Hunter was using these remarkably accurate drawings to further the understanding of the human anatomy. Leonardo was unquestionably one of the greatest minds of any century, and whilst most of us knew something of this genius, we all left Guy’s lecture much richer for his teaching.

Mrs Angela Cox is former head of Education at National Portrait Gallery. She has subsequently lectured at National Gallery, Tate, V&A and National Portrait Gallery.

Tony Tucker has an MA in Modern History from Oriel College, Oxford, and is Chairman of the City of London Guide Lecturers Association, to which he has given various lectures. He lectures to the Friends of the City Churches, WEA, various historical associations and other adult education groups. Tony leads regular walks for the City of London Corporation, the Friends of the City Churches, and numerous private groups. His many publications include "The Visitor’s Guide to the City of London Churches" (2006) and regular contributions to Cityguide magazine.

Lucy Worsley is the Chief Curator at Historic Royal Palaces, author and a presenter of ‘If Walls Could Talk’ on BBC Television.

Was with Phillips Auctioneers for 23 years, latterly as International Director of Jewellery. Now independent jewellery consultant. Lectures, writes and broadcasts (including BBC Antiques Roadshow. Admitted to Goldsmiths’Company in 2000.

Wednesday 21st September, 2011 Wednesday 19th October 2011 POSTERS OF THE BELLE EPOQUE Charles Harris An award winning Creative Director of global advertising agencies, has himself created posters for Shell and other major brands. His photography has appeared in Time Magazine. Has lectured extensively on design, illustration and photographic styles. MEMBERS’ANNUAL LUNCHEON FOLLOWS LECTURE Wednesday 16th November 2011 MUSIC ON THE GRAND TOUR Peter Medhurst Studied singing and early keyboard instruments at the Royal College of Music and at the Mozarteum in Salzburg. Appears in the UK and abroad as musician and scholar, giving recitals and delivering illustrated lectures on music and the arts.