- Wednesday, 18 September 2024
- Wednesday, 25 September 2024
- Wednesday, 2 October 2024
- Wednesday, 9 October 2024
- Wednesday, 16 October 2024
- Wednesday, 23 October 2024
About
Join us as we examine art patronage and production during the period 1250‒1400, considering a different theme each week. How would a painter’s studio have functioned? What impact did the Black Death have upon art of the Middle Ages? We also discuss the ways in which artists’ contributions and individual commissions led to transformations in style and iconography.
The course explores masterpieces of painting, sculpture and the decorative arts, by artists such as Giotto, Cimabue and Claus Sluter. We also examine individual works such as Duccio’s ‘Maestà’ and 'The Wilton Diptych' as case studies.
Several sessions will feature in‐depth contributions from guest speakers including Rachel Billinge, Research Associate in the National Gallery's Conservation Department, and National Gallery Conservator Kristina Mandy.
Find out more about 'Stories of art' and upcoming modules.
Week 1: Overview
The High Middle Ages witnessed a remarkable increase in art patronage. We look at the context in which this evolved, with reference to urbanisation, the emergence of the mendicant orders such as the Franciscans, and the construction of vast cathedrals throughout Europe. A growing literate elite also led to a demand for precious objects for the home, such as illuminated manuscripts and ivories.
We will also study the predominant Byzantine style and the influence of other cultures from the Middle East, Caucasus or Africa on depictions of the Virgin Mary, such as the cult of the Black Madonna.
Week 2: Saints and sinners
This week we are joined by guest lecturer Dr Richard Stemp, who will explore the depiction of saints in medieval art, focusing on Jacopo di Cione's ‘Coronation of the Virgin’ and ‘The Wilton Diptych’. Since the majority of paintings in this period were painted for devotional purposes, an understanding of saints, their stories and their status is key.
Richard Stemp has been a lecturer at the National Gallery for over 25 years. He has written and presented two series for Channel 4 on The National Gallery and Tate Modern, and his publications include The Secret Language of Churches and Cathedrals.
Week 3: Artist in focus: Duccio
In 2025, The National Gallery will host a major exhibition, Siena: The Rise of Painting 1300 ‒1350, showcasing a period which many believe is the pinnacle of Sienese art. The city’s leading artist at that time was Duccio di Buoninsegna who in 1311 completed the city’s most famous altarpiece, the Maestà, for Siena Cathedral. A number of its panels can now be found in the Gallery.
After the break we will make a private, livestream visit to the art studio of Marco Caratelli in Siena. Marco specialises in replicating the work of the great Sienese masters and will demonstrate some of the techniques which they used, by reproducing a painting by Simone Martini.
Week 4: Signs and symbols
Our session today considers iconography and the language of symbolism. How can one decipher a painting through the use of symbols, how did these conventions originate and how could they be employed or tailored to suit a specific commission?
We will also be joined by conservator Kristina Mandy, who will discuss recent conservation work on paintings from 1250-1400 at the Gallery. After a general overview of the restoration process, Kristina will focus on the treatment and technical analysis of the oldest painting in the collection, Margarito d'Arezzo’s ‘The Virgin and Child Enthroned with Narrative Scenes’. This important work has shed new light on the fascinating complexities and intricate details of this exquisite altarpiece.
Week 5: Plague and patronage
We explore how the Black Death, which swept across Europe from 1347, impacted the production and patronage of art. Seen as a punishment from God, this devastating global epidemic led to a proliferation of images dedicated to intercessory saints traditionally invoked against the plague, and large numbers of art works or monuments designed to attain salvation after death.
We also consider the role of women as patrons and artists during the period. What kinds of women were able to transgress gender boundaries and commission works of art? How were women depicted in paintings of the period and what does this tell us about their place in society?
Week 6: Context
Most paintings commissioned between 1250 and 1400 were designed for worship and yet very few of them remain in their original location, calling into question how we can interpret and view them within a museum context. We discover why so many paintings from this period were dismembered and why many fragments are now located in British collections.
After the break, we will be joined by guest speaker Rachel Billinge, Research Associate in the Gallery's Conservation Department. Rachel will explain how technologies available to the Gallery’s scientists can enhance our understanding of the collection, with particular reference to Jacopo di Cione’s 'Crucifixion', a rare work which still retains its original frame.
Your Tutor
Siân Walters is an art historian and the director of Art History in Focus. She studied at Selwyn College, University of Cambridge, and has been a lecturer at the Gallery for over 20 years. Her specialist areas of research are Italian painting, Spanish art and architecture, Flemish and Dutch painting and the relationship between dance and art. Siân also lectures for The Wallace Collection and The Arts Society and leads specialist art tours abroad. She was a lecturer at University of Surrey for many years and has lived and worked in France and Venice.
Watch again
Can't make Wednesday evenings but don't want to miss out? No problem, you can watch again.
Each session is recorded and made available to you for the duration of the course, up until 2 weeks after the final session.
A video of the week's lecture will be uploaded and available for you to watch via your National Gallery account on Friday afternoons, in time for the weekend.
Format
Each session lasts for 2 hours and includes a lecture delivered by the course lecturer followed by a short break and further discussion.
Time will be allowed for questions and discussion via Q&A.
Handouts will be available via your National Gallery account on Tuesday mornings.
Optional homework is provided to help you prepare for the following week's session.
Booking information
This is an online ticketed course hosted on Zoom. Please book a ticket to access the course. Only one ticket can be booked per account.
You will be emailed an E-ticket with instructions on how to access the course via your National Gallery account. All course information including your Zoom link, weekly handouts, and recordings will be available here.
Your link will be valid for the duration of the course.
Booking after the course has started
You are welcome to join the module at any point during its six-week run. You will gain access to all the recordings until two weeks after the final session.
Stories of art 1250-1400
- Wednesday, 18 September 2024
- Wednesday, 25 September 2024
- Wednesday, 2 October 2024
- Wednesday, 9 October 2024
- Wednesday, 16 October 2024
- Wednesday, 23 October 2024
Enrol
Standard: £90
Concessions: £85.50
Please book a ticket to access the event. You will receive an E-ticket with instructions on how to access your online events, films and resources via your National Gallery account.
Please note, only one ticket can be booked per account. Bookings close ten minutes before the event.
Concessions are for full-time students, jobseekers, and disabled adults.