Venue the Haslemere Hall starting at 10.00 with tea and coffee.

Tickets cost £30.00 to include 2 lectures and wine and light refreshmnents. 

Cost £30.00

2 Lectures followed by wine and canapes 

This study day offers a fresh angle on renaissance art by looking at depictions of music making, both sacred and secular. Using a wide range of examples from northern Europe and Italy, including Van Eyck’s Ghent Altarpiece, Della Robbia’s Singing Gallery and Bruegel’s Peasant Wedding, it explores depictions of music making, and how to ‘read’ them. What do bagpipes mean, for example?  Why do angels play musical instruments in altarpieces? Why do Bosch’s moralizing paintings include musical depictions? The day encompasses sacred ritual and secular performance; princely patrons and peasants, the Muses and the Morris Dance, interspersed with examples of period instruments – themselves artworks – and audio clips.

Two Morning Lectures at the Haslemere Museum  Cost £ 30.00

Booking is at the February lecture or there is a booking form  under documents above.

Coffee and biscuits at 10.00 am

10.30 am First Lecture

11.45 am Second Lecture

Followed by Drinks and Canapes 

 "Dazzled by the  impact of impressionism it is easy to overlook the stunning achievements of Nordic  painters during the 19th century.  From the national romanticism of Norwa'ys Adolph Tidermand and Hans Gude, the mythical landscapes of Finland's Pekka Halonen and impressionistic, moody interiors  of  Norway's best known femail painter, Harriet Backer, this lecture showcases the range of visual creations that helped shape a unique cultural identity, forged in part from a battle against the elements and social deprivation as much as political power and privincialism during the turbulent years of the 19th century."

The Big Three in Florence: Michelangelo, Leonardo and Raphael.

This talk ties in with the themes of the forthcoming Royal Academy exhibition: ‘Michelangelo, Leonardo, Raphael, Florence, c. 1504’ (Nov 2024 - Feb 2025)

The beginning of the sixteenth century in Florence was an exhilarating place for an artist to work, brimming with new ideas and approaches. For a brief but intense period Leonardo da Vinci, Michelangelo and Raphael coincided in Florence. These are the years of Mona Lisa, David and Raphael’s many serene Madonnas. This lecture explores the rivalry between these artists and the impact that their work had on the young Raphael.

Followed by:-'The Big Three Beyond Florence'

The second talk takes a look at what Leonardo, Michelangelo and Raphael went on to do in the years immediately after they left Florence. Leonardo went back to Milan while Michelangelo and Raphael continued their rivalry in Rome, working in very close proximity within the Vatican. The Sistine Chapel ceiling and the Raphael stanza will be a major focus of this talk.

Programme

Coffee - 10.00, First talk - 10.30 – 11.30, Second talk 11.40 – 12.40, Canapes at 12.45

Where   - Haslemere Museum

Cost - £30

Contact – Kim Bergamasco -07485 749579 or kim.berg@btinternet.com.

Tickets are available from now, by contacting Kim directly, and at the Haslemere Arts Society Monthly meetings on November 19th, (AGM) and December 10th (Christmas Tea).

Andrew Prince will take us through pure extravagance and unadulterated opulence! Firstly, a talk on how one really should dress a table if one wants to impress. This to be followed by a second talk about one monarch, Catherine the Great, who did exactly that as she about creating the most glittering court in Europe, if not the world. In his talk Andrew guides you through this fascinating time and illustrates what was created, lost, and survives to this day, not to mention her private passions.

Andrew Prince has had a passion for jewellery since he was a small child. In fact his enthusiasm can be traced back to the time when, at the age of three, he swallowed one of his mother’s pearl earrings having found her jewel box hidden from him in a cupboard. In 1980, when he was nine, Andrew's mother took him to the Princely Magnificence exhibition at the V&A, exhibiting Renaissance jewels dating from 1500 to 1630. It proved a revelation. Dazzled by the splendour and opulence of the jewels on show, Andrew decided then and there that creating jewellery was what he wanted to devote his life to. In 2002, the V&A commissioned a collection of jewels to accompany the resplendent Tiaras, Past and Present exhibition which became one of their most popular exhibits. The exposure gained by the show then led to Andrew's jewellery appearing in film.

Program

Coffee - 10.00

First talk - 10.30 – 11.30

Second talk 11.40 – 12.40

Canapes at 12.45

Where   - Haslemere Museum

Cost - £30

Contact – Kim Bergamasco -07485 749579,-01428 641132,

kim.berg@btinternet.comTickets are available from now, by contacting Kim directly, and at the Haslemere Arts Society Monthly meetings on September 17th and October 15th.

Haslemere Museum

Tickets  - £30 (Available from Kim Bergamasco, kim.berg@btinternet.com 07485749579)

10.00  - Coffee

10.30  - First Talk

11.30 – 11.40 Break

11.40  - Second Talk

12.45 - Refreshments

Artists have depicted the British landscape for over a thousand years. Some have transformed it in their imaginations, while others have tried hard to capture how it looked under changeable British skies. This special interest morning offers an in-depth look at landscape art in Britain. The story begins with landscape’s origins in manuscripts, maps and the backgrounds of portrait miniatures before going on to describe the Arcadian views and picturesque scenes of 18th-century painters such as Richard Wilson, Paul Sandby and Thomas Gainsborough. This was an era of exploration and discovery which brought exciting new ways of looking at the landscape: a pioneering balloonist looked down from his basket to draw the astonishing views that unfolded beneath; amateur artists travelling to the Lake District and north Wales went equipped with coloured lenses to cast an atmospheric tint over the scenes they sketched.

A second talk moves on to Victorian painters such as John Everett Millais who lugged their canvases out of doors to capture every flower and blade of grass in eye-popping colour and detail. We will examine fluid, atmospheric watercolours of the late 19th and early 20th centuries by masters of the medium such as James McNeill Whistler and John Singer Sargent before considering landscapes of the interwar and wartime years by Paul Nash and Eric Ravilious, both of whom were steeped in the tradition of British landscape but brought an entirely modern angle too: Ravilious could paint a Tiger Moth in the manner of Cotman.

This is a newish talk on the way of looking at cartooning as a profession by using some great cartoons by a range of cartoonists old and new.

The second part is on Carl Giles the cartoonist who invented Grandma Giles - that fearsome,black-clad,gambling,drinling battleaxe. She helped to poke fun at authority. Few people realised that Giles was a war correspondent who witnessed the horrors of Belsen, where he fond that the camp commandant was also a great fan of his work.

Morning - Two Lectureswith Coffee followed by light refreshments at the Maslemere Museum
      10:00   Doors open with coffee on arrival
      10:30   First lecture
      11:40   Second lecture
      12:45   Finish and light refreshments
Cost £27 - Booking opens 17 January 2023

Montenegro’s photographer princess, Ksenia Petrović-Njegoš (1881 – 1960) 
Princess Ksenia’s father, King Nikola, was nicknamed ‘The Father-in-Law of Europe’ having successfully married off his daughters to the royal houses of Italy, Bulgaria, Germany, Serbia and Russia. His eighth daughter – Ksenia - chose a different route, carving out a place for herself as secretary and valued advisor to her father, becoming the first woman in Montenegro to drive, and developing a particular talent for photography (though a contemporary also described her as ‘a courageous and skilled shot with a pistol’).
 
This lecture shares the photographs she took during her years in the brand-new Montenegrin capital of Cetinje, where the royal family had their palace before they were exiled to France in 1916. Despite her privileged life of garden parties and tennis, Ksenia’s photographic record also shows how she drove out to take beautiful photographs celebrating ordinary life in Montenegro among its schools, soldiers, fishermen, cooks, horses and villages.

Edith Durham - an Edwardian traveller in Kosovo 
Europe’s last wilderness was explored by a most unlikely champion, a stout, stubborn Englishwoman who travelled in her tam o’shanter across the Accursed Mountains into Kosovo. Edith Durham was dubbed ‘Queen of the Highlanders’ by the Albanians who honoured her for her anthropological writing, her humanitarian aid and her tireless lobbying for their cause.

Full day of three lectures and lunch

GILBERT, SULLIVAN & THE SAVOY TRADITION 

W.S Gilbert and Arthur Sullivan both had successful careers of their own before, during and after their famous partnership.  In three lectures we consider each of their lives and work separately, followed by a look at their astonishingly successful collaboration. The lectures will be illustrated with musical examples.

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. He began giving lectures in 1997 and now gives on average around 140 a year.

Program. Three Lectures with Coffee and Lunch with wine.

10.00am Doors open and coffee

10.30 -11.30am First Talk

11.40 -12.40pm Second Talk

12.40 - 1.45 pm Lunch

1.45 - 2.45pm Third Talk

Morning, 2 lectures

 1. Photography Comes of Age

From the very first, grainy image created in 1826, photography has evolved into a major art form.  Developments in photography have posed challenges to more traditional art genres and it interesting to see how some of the great artists have adapted to using cameras as part of their work.  This talk looks at photography over the past nearly 200 years, looking at key advances in technology and the inter-relationship with art movements.  The work of pioneering women photographers is particularly interesting, and the talk concludes with examples of some great photographs that have been sold for millions of dollars at auction.      

 2. Digital Art Gallery

This lecture examines photography as an art form through the medium of a virtual digital gallery. The gallery has been curated into a number of genres, eg Landscape,  Nature and Creative. Within each genre a comparison is drawn between the approach of traditional artists and examples of how photographers address the theme.   This is particularly important in areas such as wildlife, where photography has enabled us to see images of animals in their natural surroundings in a way that was virtually impossible for artists, particularly in the Victorian times.   This lecture provides a good overview of the breadth of subjects and genres of photography and includes images by some of the finest exponents of this art form.   

 The lectures are richly illustrated. Cost £26.00

Programme

10:30 to 11:30 hrs  first lecture

11:40 to 12:40 hrs  second lecture

 Morning, 2 Lectures

Cost £25.00

THE MAGIC OF PRAGUE: THE CITY AND THE CZECH CULTURAL REVIVAL

As part of the Habsburg Empire, Prague was beloved of kings and princes. During the 19th century, however, the Czechs sought to reclaim the city for their own. Looking back at their roots and mythology, the Czech people imagined a new future through art, entirely reshaping cultural movements including Romanticism and symbolism in specifically patriotic ways. Looking at painters such as Alfons Mucha, Otakar Lebeda and Jakub Schikaneder and composers like Bedřich Smetana and Antonín Dvořák, as well as their forward-thinking literary and architectural contemporaries, this contextual talk shows how the Czechs reclaimed both country and capital by cultural means. 

THE ART AND CULTURE OF FIN-DE-SIÈCLE VIENNA

At the turn of the last century, Vienna was the capital of a vast empire and one of the most exciting artistic laboratories in the world. It produced painters such as Gustav Klimt, Egon Schiele and Oskar Kokoschka, architects like Otto Wagner, Adolf Loos and Josef Hoffmann, the psychoanalyst Sigmund Freud, the composer Gustav Mahler and the philosopher Ludwig Wittgenstein. Looking at these and others figures in the context of the society in which they worked, this talk asks how and why the City of Dreams became a cultural hotbed around 1900.

Gavin Plumley is a writer and broadcaster, he appears on BBC Radio 3, BBC Radio 4 and contributes to newspapers, magazines and opera and concert programmes worldwide. He lectures widely about the culture of Central Europe during the 19th and 20th centuries. Recent talks included 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 the History of Art Societies and The Art Fund.

Programme

 10:30 to 11:30 hrs  first lecture

 a 15 minute interval

 11:45 to 12:45 hrs  second lecture

Morning, 2 Lectures

THE HEALING POWER OF PLANTS—why plant derived treatments are not an alternative, instead they are the real thing.
Mankind has exploited the medicinal properties of plants for thousands of years, yet the role of plants in modern medicine is still considered to be peripheral by many people. This talk attempts to put the record straight and to show that plant products are used every day by all of us to relieve pain and suffering, to heal wounds and cure diseases. This is a talk with a very wide appeal and relevance. 

BEAUTY IN TRUTH—the past, present, and future of botanical art and illustration.
Many people now carry a phone with a camera capable of taking very high-quality pictures, and yet the painting of botanical specimens persists with new Florilegium Societies still being formed. Why is a drawing and painting still considered to be superior to a digital image? This talk looks at the history of botanical illustration from drawings made on rocks 20,000 years ago to the present day, taking in the lives of both the artists and the plants immortalised in the artwork. 

Timothy Walker  has given 1,500 public lectures since 1986. This was originally part of his work as director of the Oxford University Botanic Garden from 1988 to 2014. “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.” Since 2014 he has been a college lecturer and tutor at Somerville College Oxford. “Gardens are often thought of a place where science and art meet on equal terms.” His lectures investigate this relationship.

Morning, 2 Lectures

El Greco of Toledo

El Greco’s life in Toledo from 1577 until his death in 1616 was fraught with problems at the time of the Inquisition and the domination of the Catholic Church after 800 years of Islamic rule, yet he created wonderfully creative works which were anarchic, mesmerising and way ahead of their time.

The Word and the Book; Spanish Painting of the Golden Age

Spanish Golden age paintings created under the backdrop of The Inquisition and The discovery of the Americas are quite unique. Many of these works, painted at the same time as those done during the Italian Renaissance, show evidence of the teaching and mysticism prevalent at the time in Spain. This lecture will teach you how to read a Spanish painting of this time.

Jacqueline Cockburn  is a course director and lecturer at the V&A and also lectures at The Royal Academy, Christies Education, The Art Fund, The London Art History Society and has recently toured New Zealand for The Arts Society and Australia for NADFAS. She is Managing Director of an art tours company, running residential courses in Andalucia in the art and culture of the region. Her specialist field is Spanish Art, but she also lectures on European Art 1790-1950. She has recently published a book "A Taste of Art". Her new series of online lectures is titled ART@HOME, please look at her website www.artandculturetravel.com for more information. 

PROGRAMME 

These are going to be Zoom lectures.

The lectures will be free to all Members.

There is no need to book.

You will be sent an email inviting you to join the Study Day Morning by Zoom by Sunday 11th April 2021.

10.30–11.30 hrs: first lecture 

a ten minute interval

11.40–12.40 hrs: second lecture

Email: info.theartssocietyhaslemere@gmail.com

Morning, 2 Lectures

This Study Day explores the building of Venice, from her origins to the current efforts to protect her from the waters of the Venetian Lagoon.

Venice is a city like no other. Today she is one of Europe’s most popular tourist destinations and a World Heritage Site. But she has also been one of the world’s most brilliant trading nations, a great maritime power whose sailors and explorers crossed the globe, while her merchants, painters and musicians (not to mention courtesans), set standards of luxury and pleasure unknown elsewhere.

In this study day we look at the architecture and fabric of the city, rising from unpromising mud-flats in a murky lagoon and overcoming remarkable technological challenges, to become one of the most beautiful and powerful nations of Renaissance Europe. We’ll also consider how she survived when her power base collapsed, transforming herself into a city of pleasure and becoming a playground for the rich until, with Napoleon’s dissolution of the thousand-year old Venetian Republic, the city fell into a long decline.

But that is by no means the end of the story. Over recent decades Venice has once again faced invading armies and insidious dangers – but this time the armies are made up of tourists and the dangers come from the waters of her own lagoon. We’ll look at some of the ways in which she has tried to cope and at the ideas put forward by world scientists to halt her gradual descent beneath the waves.

Jo Walton is a freelance lecturer, specialising in Renaissance and Baroque art and architecture and in British art of the nineteenth and twentieth centuries. She works with The Arts Society, The Art Fund and the Friends of Dulwich Picture Gallery, as well as local art groups and societies across the UK and Europe.

It is going to be a Zoom lecture.
The Zoom lecture will be free to all Members.
There is no need to book.
You will be sent an email with a link inviting you to join the zoom meeting by Monday 2nd November.

PROGRAMME
10.30–11.30 hrs: first lecture 
11.40–12.40 hrs: second lecture 

Study day summary

Our excellent lecturer, Jo Walton divided the morning into two lectures entitled The Most Serene Republic of Venice followed by the Venetians from Mudflats to the Modern World. The photographs of the buildings were superb and brought the flavour of Venice into people’s homes.

Torcello Cathedral was one of the oldest buildings in Venice built on a smaller island before the stealing of the body of St Mark from Alexandria, its arrival in Venice bringing the emblem, the winged lion of St Mark which is seen all over Venice today. The largest island in the lagoon became the resting place of St Mark within the wonderful basilica of St Mark’s around which many other buildings followed. All the buildings were built with wooden piles being driven into the mud to support a platform upon which houses could be erected. Due to the weight of stone many buildings were made of bricks with stone on the facade and it the Doges Palace and St Marks Basilica built with stone which have suffered most by sinking into the mud.

The wealth of Venice, which was immense came from its navy and seafaring tradition of trade particularly with the east. This in turn influenced the early architecture of Venice with its archways, shape of its glazed windows and statuary and also the Venetians great love of colour. A major export was glass and the famous Murano glass is still made on one of the islands and Venetian houses were glazed at a time when in other parts of Europe it was too expensive and only a few windows had glazing.

The Arsenal in the eastern part of the city was founded in 1104 and was walled with crenulations and there all Venetian shipping was built, and it remained a naval institution until about fifteen years ago.

The Ca’d’oro palace was built between 1428 and 1430 for the Contarini family, who provided Venice with eight Doges between 1043 and 1676.It had beautiful marble polished with linseed oil on the exterior in different colours. Unfortunately due to the salt air of Venice the colours of the marble are not sustainable, but neither is the Venetian air suitable for frescoes and the stucco on many buildings is in need of constant repair.

Casa ‘Vendramin Calergi, built around 1500 is a palace, located in the Cannaregio district overlooking the Grand Canal and now houses the Venice Casino for part of the year.

Naval dominance declined in the sixteenth century with the rise of Spanish and Portuguese navies. Citizens moved to northern Italy taking their money with them and settled in places like Vincenza where the architect Andrea Palladio, born in Padua was making his mark with his classical architecture. Villa Barbaro at Maser built by Palladio has frescoes by Veronese.Diocletian's Palace was one of Palladio’s early building and would have been seen by the Venetians as they traded with Split in Croatia. Palladio built churches in Venice including the church of San Giorgio Maggiore in 1566 and the church of the Redentore for votive offerings against plague and where on the canal outside, the festival of the boats is still held each year. Palladio’s architecture was classical in style and quite different from the more decorative influences of buildings in the east which had been the style in Venice. Palladio did not design the Rialto Bridge but in 1588-1591 a stone bridge was built by the appropriately named Antonio da Ponte in place of the previous wooden bridge. This architect was also engaged in the rebuilding of the Doges Palace after one of Venice’s numerous fires.

At the beginning of the seventeenth century Venice is the city of pleasure with musicians, artists, courtesans and the centre of the grand tour and a place to buy art to take back home. Canaletto painted many canvasses for the country estates of England but not many are in Italian museums.

In order for respectable ladies not to be accosted, courtesans were obliged to wear high platforms under their shoes and usually had to be supported on each side by men to hold them up and prevent them from falling over.

With Napoleon sweeping across Europe the Venetian Empire comes to an end in 1797 and becomes part of the Austrian empire for about seventy years. The causeway is created together with the railway. Following the unification of the Italian states Venice became a part of Italy.

John Ruskin drew attention to the peril of Venice in 1819-1900 and in 1966 came the great flood which brought Venice to the attention of the world. Canal dredging and repairs to canals and buildings do take place along with a proper sewage system and modern electricity but high tides with rising sea levels and with wind against the coast preventing the water escaping from the lagoon all contributes to flooding.

On 3rd October 2020 the gates constructed under the moses project were raised for the first time against the water. However, this was not popular with some of the shipping which had to wait for a few hours. The cruise liners which come into the lagoon and the Grand Canal are huge and affect the canal edging and are too large for the area but bring tourists and their money to Venice.

Despite the climatic problems Venice still retains the narrow canals, elegant and grand buildings, hidden courtyards, vibrant colourful shops and definitely the sense of the wonderful and the exotic.

Morning, 2 Lectures

This Study Day explores the way in which the East India Company developed its methods of trade and facilitated the increasingly sophisticated and profound exchange of ideas between East and West. It focuses on textile design as the vehicle for this analysis, but also includes other works, such as wallpaper, porcelain and furniture, as well as the vast commercial trade in spice and tea. Examining first the 17th century textile trade with India, the lecture shows how the East India Company established a methodology for sending out patterns to be copied by local weavers and dyers, paving the way for the production of chintz - now considered to be a classic expression of English style.

The lecture then turns to the 18th century and the trade with China. Using the same methodology of sending out Western patterns to be copied for export goods, the Company rapidly expanded operations in the Far East. The currency and balance of trade with China is examined and methods of production are illustrated with a numberof Chinese export pieces, predominantly Chinese painted silks but also including furniture and porcelein. The distinction is then drawn between Chinese export and Chinoiserie, a fantasy style produced by Western artists and designers based on the exoticism of China - known to Westerners as 'Cathay' - and combining with the prevailing Baroque and Rococo styles in Western design.

Viv Lawes is a lecturer, curator, author and journalist, with over twenty years's experience in the art market. She works at several prestigious Higher Education institutions in London, leading the Modern and Contemporary unit of the Asian Art & Its Markets semester course at Sotheby's Institute and the History of Decorative Style (c.1400-1970) course at the City & Guilds of London Art School. She also lectures for the University of the Arts and IESA (Institut d'Etudes Supérieures des Arts), London. As Senior UK Consultant to Singapore gallery One East Asia since 2011, she has co-curated many exhibitions of Southeast modern and contemparary art in London and Singapore. Her current project is a book on themes in equine sculpture, commissioned by the Sladmore Gallery, London.

Booking opens at the January lecture.
Ticket price: £20
Price includes morning coffee and refreshments after the lecture
(Tickets are non refundable)

PROGRAMME
10.00 hrs: coffee and biscuits 
10.30–11.30 hrs: first lecture 
11.40–12.40 hrs: second lecture 
12.40 hrs: wine and refreshments

 

Morning, 2 lectures

There are more than 7,000 works of art in the Royal Collection. The works are of the highest quality and range from Early Italian paintings from around 1300 to modern pictures given as gifts to our Monarch today. They come in all shapes and sizes from pictures designed to cover the wall of a Royal Palace to the small, private paintings that Queen Victoria and Prince Albert would give to one another as private tokens of devotion. 

At her coronation, our Queen became custodian of the Royal Collection and promised to care for the Royal Collection and to pass the works on to the next generation in as good a condition or better than that in which she inherited them. She has also made the collection more accessible to the public than ever before. The Queen’s Gallery at Buckingham Palace and now the new Cumberland Gallery at Hampton Court Palace are just two new venues with changing exhibitions that have been opened in the past decade.  The Royal Collection reflects the taste of the monarch at the time.  Charles 1 was probably our greatest connoisseur of art whereas William IV was said not to know a decent painting from a window shutter. He believed that paintings were for women or imbeciles.

Linda Collins was employed by the Historic Royal Palaces for more than twenty years before becoming an independent lecturer and lecture organiser. She holds a BA (hons) in Early Italian art, an MA in the works of Georges de la Tour, and a Diploma in French language and Culture.  She lectures to Fine Art societies, Antique groups, The National Trust, U3A, various universities , the National Gallery, the National Portrait Gallery and Tate Modern.

Booking opens at September lecture
Ticket price: £20
Price includes morning coffee and refreshments after the lecture
(Tickets are non refundable)

PROGRAMME
10.00 hrs: coffee and biscuits 
10.30–11.30 hrs: first lecture 
11.40–12.40 hrs: second lecture 
12.40 hrs: wine and refreshments

Telephone contact no.: 01483 861439

Morning, 2 lectures

Emile Gallé (1846-1904) who took over the family business in the mid 1870s and transformed it into one of the world's leading art manufactories, was Europe’s finest master of glass during the Art Nouveau period.  In addition to glass, Gallé produced ceramics and furniture for his creations to stand on. He was first and foremost a designer and chemist constantly perfecting new techniques. 

Louis Comfort Tiffany (1848-1933) was destined to go into the family business, but he moved on from silver to glass, ceramics and interior decorating. His name has become synonymous with lamps and stained-glass windows. He pioneered new techniques, in effect 'painting' with coloured glass, which became known across Europe as American glass. 

Although René Jules Lalique (1860-1945) is best known for his Art Deco glass of the inter-war years, his career began in the early 1890s as the designer of the highest quality Art Nouveau jewellery.  As his fame spread his style was copied and debased until Lalique felt that he had exhausted the potential of jewellery. He designed a new stopper for perfume bottles and went on to create designs for Worth and other famous perfumers. After the war Lalique extended production into decorative vases, tableware, lamps and even architectural glass. 

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, specialising in the Aesthetic Movement, Arts & Crafts, Art Nouveau and Modernism. She is currently Hon. Research Fellow at Exeter University; a Fletcher Jones Fellow of the Huntington Library, CA; a fellow of the Henry Francis Du Pont Winterthur Museum and Library; Cumming Ceramic Research Foundation Fellow (2007 and 2010) and consultant for Lord Frederic Leighton's Studio-House, Kensington.  She has published books on Roman pottery, Art Deco teapots and Edward Burne-Jones. A lecturer for The Arts Society since 1993, Anne has also lectured on cruises and is a tutor at the V&A on the Chardin to Cézanne year course.

Booking opens at April lecture
Ticket price: £20
Price includes morning coffee and refreshments after the lecture
(Tickets are non refundable)

PROGRAMME
10.00 hrs: coffee and biscuits 
10.30–11.30 hrs: first lecture 
11.40–12.40 hrs: second lecture 
12.40 hrs: wine and refreshments

Telephone contact no.: 01483 861439

Full day of three lectures and lunch

There will be three lectures based on (1) The Gardens of Italy, (2) The Grand Tour and (3) The Influence of Italy on 18th Century English Gardens. Commencing with a survey of the development of gardens in Italy, starting with the Roman gardens of the first century AD, and ending with 18th century English gardens. The heyday of the Grand Tour was between 1715 and 1789 when young men (and a sprinkling of enterprising women) were sent off to acquire a veneer of culture in Europe. These travels provided the ideas and influences that led to developments in English landscape gardening, still evident in such stately homes as Stourhead and Petworth House.

James Bolton attended Inchbald School of Design 1990 (Dip ISD). He has been Head Gardener, Old Rectory Farnborough 1990-92, Faculty Director, Design History, Inchbald School of Design. He has been a Garden Designer since 1992 and a NADFAS/The Arts Society lecturer since 1995.  He organises The Arts Society garden study days and tours in UK and Europe, as well as tours to the best private gardens in the UK, Italy, France and South Africa. ‘Garden Mania’, a book on garden ornaments, was published in 2000.

Ticket price: £35
Price includes morning coffee and lunch with a glass of wine.
(Tickets are non refundable)

PROGRAMME
10.00 hrs: coffee and biscuits 
10.30–11.30 hrs: first lecture 
11.40–12.40 hrs: second lecture 
12.40 hrs: lunch
13.45 hrs: third lecture

Telephone contact no.: 01483 861439