Until the 20th century, most art movements were not named by those that worked in that style. None more so than the Rococo. Buffeted by wars, revolutions and national chauvinism, Rococo is a style that has been defined as frivolous, thoughtless, shallow and inherently elitist by art historians.   

Yet, artists working in this style were able to question how society defined class, gender and economic structures and it was its very light and airy qualities that were seen as a profound threat to more supposedly masculine and serious concerns. In the second half of the session, we are joined by Dr Carlo Corsato to discuss the work of Italian Rococo artist Tiepolo. 

Artists and art lovers have always travelled to see works of art. However, in the 18th century, this process became codified and commercialised as young men, often in the company of a large entourage, began to travel across Europe as part of their education.  

Inevitably, their journeys took in Rome, Venice and Florence. This session will look at how the Grand Tour, as it came to be known, was vital in disseminating ideals based on classical architecture, writing and sculpture. We will look specifically at the ways in which portraits produced by the Italian artist, Pompeo Batoni, catered to this market.  

In the second half, we will be joined by art historian Franny Moyle who will speak about the life and works of Angelica Kauffmann and Vigée Le Brun. 

Prior to the 18th century, questions of taste were most usually considered alongside questions of social rank. It was assumed that members of the elite were best able to determine the worth of an artistic production, while most of the population were unable to understand what they might be looking at.   

However, in Britain, an increasingly prosperous and numerous middle class, and the inexorable commodification of art, meant that the patronage and appreciation of art was no longer confined to one section of society. This week, we will explore how greater engagement with art altered the subjects depicted and the ways in which they were shown 

In the second session, we will also look at how Britain, sought artistic approaches that were not linked to Rococo, a style treated with suspicion as it came from France. This century saw the establishment of the Royal Academy and the confirmation of London as the premier location for art in the country due, in no small part, to its wealth.  We will look at the figureheads for both the establishment of the Royal Academy and the intellectualising of portraiture, Sir Joshua Reynolds and William Hogarth, advocate for a uniquely British style of painting, moraliser and, despite his unflinching eye, an optimist of the human condition.