You searched for renoir - The ĢƵ / Wed, 05 Nov 2025 14:44:42 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.1 Early Reception of Impressionism in Britain, 1870-1917 /whats-on/early-reception-of-impressionism-in-britain-1870-1917/ Fri, 12 Sep 2025 10:39:46 +0000 /?post_type=events&p=155380 Join us for a conference exploring the development in Britain of the taste for Impressionism during the period 1870-1917.

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This conference will explore the development in Britain of the taste for French Impressionism between 1870, when Paul Durand-Ruel established his Bond Street gallery, and 1917, when the National Gallery in London accepted the Sir Hugh Lane Bequest. Despite Durand-Ruel’s early support of Monet and his contemporaries, Impressionism’s acceptance by the public in Britain was cautious and slow, hampered as much by limited access to the works as by the hostility of the market and the absence of a pertinent vocabulary by which it could be mediated by British critics. For much of the period in question their work was misunderstood, considered sketch-like and inconsequential.

 

In the period leading up to the First World War, few collectors were interested in buying Impressionist art. The exceptions were artists such as Walter Sickert and John Singer Sargent, and a group of ‘new rich’ industrialists who had made their fortunes through commerce. In the 1880s and 1890s, the only British dealers to exhibit and sell impressionist art in the UK were David Croal Thomson in London and Alexander Reid in Glasgow. Although this period was marked by a number of pioneering exhibitions, it was not until after the First World War that the market for Impressionism was firmly established.

 

This conference will present new research by leading scholars of Impressionism and of the history of collecting. It will examine the pioneering contribution of key artists and art dealers, as well as the relative reluctance on the part of collectors to appreciate the Impressionist agenda. Speakers will also examine the presentation of Impressionist and relatively more modern works in British galleries between 1870 and 1917.

Organised by Dr Natalia Murray, Lecturer in Modern Art and Curating, The ĢƵ, MaryAnne Stevens and Professor Frances Fowle, and Professor Steve Edwards, Manton Professor of British Art and Director of the Manton Centre for British Art, The ĢƵ.

Homage to Manet, William Orpen. Painting of a group of men stood and sat around a table
Homage to Manet, Sir William Orpen Image courtesy of Manchester Art Gallery ©Manchester City Galleries

With contributions from:

Frances Fowle is Emeritus Professor of Nineteenth-Century Art at the University of Edinburgh. She previously held a Personal Chair in Art History and was Senior Curator of French Art at the National Galleries of Scotland for over twenty years. Her specialism is collecting and the art market and she has curated numerous international exhibitions on Impressionist and Post-Impressionist art. Her publications include Impressionism and Scotland (2008), Van Gogh’s Twin: the Scottish Art Dealer Alexander Reid(2010), Globalizing Impressionism: Reception, Translation and Transnationalism (with Clark, 2020), French Paintings 1500-1900, NGS (with Clarke, 2022) and The Art Market and the Museum (with Cleary, 2025).

Natalia Murray is a lecturer in modern art and curating at the ĢƵ Institute of Art and a senior curator. She specializes in late nineteenth and early twentieth-century Russian and Western European art and is the curator of the Royal Academy’s major exhibition Russian Art 1917-1932(2017). Natalia is currently working on several new exhibition projects in the US and in Europe. She has published widely: her most recent book, Two Women Patrons of the Russian Avant-Garde. Nadezhda Dobychina and Klavdia Mikhailova, was published in 2021 and was dedicated to the first gallerists in Russia. Her current research is dedicated to early collectors of French Impressionism in England.

MaryAnne Stevens, erstwhile Director of Academic Affairs at the Royal Academy of Arts, London, is a scholar, independent curator, lecturer and consultant. She specializes in 18th-, 19th- and early 20th- century art, with particular reference to British, French and Nordic art in the second half of the 19th and early 20th centuries. She has taught and published extensively in these areas, and curated many exhibitions, covering Nordic art and French Impressionist, Symbolist and early Modern Art. Her most recent exhibition was ‘After Impressionism: Inventing Modern Art’, was presented at the National Gallery, London in 2023.

Christopher Riopelle is the Neil Westreich Curator of Post 1800 Paintings at the National Gallery, London. He has held curatorial positions at the J. Paul Getty Museum, LA, and the Philadelphia Museum of Art and taught at the American College in Paris, New York University, and University of Pennsylvania. Among co-curated exhibitions are Renoir Landscapes (2007); Inventing Impressionism; Paul Durand-Ruel and the Modern Art Market (2014); Delacroix and the Rise of Modern Art (2015); Van Gogh : Poets & Lovers (2024); Radical Harmony : Helene Kröller-Mûller’s Neo-Impressionists (current); and the forthcoming Renoir and Love (2026).

Andrew Watson, associate lecturer with the Open University, is a specialist in nineteenth-century art, with an emphasis on collecting. He has written extensively on British collectors of French painting, including a book on the remarkable Scottish collector James Duncan of Benmore (1834–1905) and articles for the Société des Amis du Musée National Eugène Delacroix, The Metropolitan Museum of Art Journal, and Burlington Magazine. In his most recent Burlington article he definitively established the early history of Eugène Delacroix’s Death of Sardanapalus. Andrew has written seven entries for Charles Sebag Montefiore’s forthcoming (2027) Dictionary of British Art Collectors: 1600–1939.

Flavie Durand-Ruel devotes herself to studying the fascinating life of her ancestor Paul Durand-Ruel (1831–1922), a visionary and innovative art dealer. At the Durand-Ruel Archives in Paris, she published, with her uncle, her ancestor’s Memoirs (Flammarion, 2014 & 2024). Since 2018, as FDR Fine Arts Director in Brussels, she researches provenance of pictures, published Tribute to Impressionism: Paul Durand-Ruel, dealer and friend of the Impressionists (2024) and works on the catalogue raisonné of Albert André. She participates in exhibitions and conferences, and studies the correspondence of Claude Monet, and Mary Cassatt to be published in 2026.

Tom Stammers is Reader in Art and Cultural History at the ĢƵ Institute, and co-leader of the new MA in Art and Business. His first book, The Purchase of the Past: Cultures of Collecting in Post-Revolutionary Paris, c.1790-1890 (Cambridge, 2020) won the RHS Gladstone Prize. He was co-investigator on the major AHRC project ‘Jewish Country Houses: Objects, Networks, People’ (2019-2024). Tom has published widely on French art, the history of collecting, the art market, museums and heritage politics, and contributes regularly to publications including Apollo and the London Review of Books.

Elaine Kilmurray is an independent scholar. She was Research Director of the John Singer Sargent catalogue raisonné and co-author, with Richard Ormond, of the nine published volumes of the catalogue (Yale University Press 1998-2016). She has co-curated exhibitions of Sargent’s work in London, the United States and Italy, most recently ‘Sargent and Spain’ (2022), and has written and lectured internationally on the artist and related subjects. She is interested in Sargent’s interaction with Impressionism and in his artistic relationship with Claude Monet.

Currently focusing on provenance research at National Galleries Scotland, Anne Pritchard spent many years as Senior Curator, Historic Art, at Amgueddfa Cymru – National Museum Wales. She has curated wide-ranging collections of pre-1914 European art, including Cardiff’s renowned Davies Collection. In addition to her collection expertise, her publications and research have explored the role of art in establishing and expressing cultural and national identities. Her interests stem from her early studies in cultural property law, an MA at the ĢƵ, and subsequent PhD at the University of Edinburgh, examining the representation of the ‘village’ in late nineteenth-century French landscape painting.

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]]> Idealists, Realists and the Avant-Garde: The Battle for Nineteenth-Century French Painting /whats-on/idealists-realists-and-the-avant-garde-the-battle-for-nineteenth-century-french-painting/ Fri, 21 Feb 2025 16:24:10 +0000 /?post_type=events&p=143989 This course explores the reasons behind the profound innovations in subject matter and technique that characterised nineteenth-century French painting, and the obstacles faced by avant-garde artists in getting their work exhibited and accepted.

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Course 18 – Summer School on campus

Monday 7 – Friday 11 July 2025
Dr Lois Oliver
£645

Course description

In a cartoon published in 1855, Honoré Daumier imagined a battle between two rival aesthetic schools in France: ‘Idealism’ appears as an ageing neoclassical nude, wearing an antique helmet, with his palette as a shield, heroically raising his mahlstick as a spear, to defend himself against ‘Realism’, a scruffy figure in rustic clogs, brandishing a small square palette and clumsy paintbrush. The image perfectly encapsulates the artistic and political differences between these two entrenched aesthetic positions, but the real joke is that neither of these veteran combatants is as vigorous as he used to be: both would be vulnerable to a new avant-garde challenger. The French art world witnessed a series of battles as traditionalists grappled with the successive challenges presented by Romanticism, Realism, Impressionism, Post-Impressionism and Symbolism.

This course explores the reasons behind the profound innovations in subject matter and technique that characterised the age, and the obstacles faced by avant-garde artists in getting their work exhibited and accepted. We shall explore the work of Ingres, Delacroix, Delaroche, Courbet, Millet, Rousseau, Manet, Renoir, Degas, Cassatt, Morisot, Seurat, Cézanne, Gauguin and Van Gogh.

Find out more about Summer School

Lecturer’s biography

Dr Lois Oliveris Professor in History of Art at the University of Notre Dame in London, Lecturer at Boston University London, and a Visiting Lecturer at The ĢƵ. She has worked as a Curator at the V&A, the National Gallery, and the Royal Academy. Her recent exhibitions include ‘Berthe Morisot: Shaping Impressionism’ at Dulwich Picture Gallery, the first major UK exhibition of Morisot’s work since 1950, and ‘Jock McFadyen: Tourist without a Guidebook’ for the Royal Academy. She is currently working on a new exhibition project ‘Edouard Manet & Music’ for the Royal Academy. Lois studied English Literature at Cambridge University, and History of Art at The ĢƵ, completing an MA in Venetian Renaissance Art and writing her PhD thesis on The Image of the Artist, Paris 1815-1855.

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]]> Major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection opens at The ĢƵ /about-us/press-office/press-releases/major-exhibition-of-impressionist-and-post-impressionist-masterpieces-from-the-oskar-reinhart-collection-opens-at-the-courtauld/ Thu, 13 Feb 2025 14:36:17 +0000 /?page_id=143301 The post Major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection opens at The ĢƵ appeared first on The ĢƵ.

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To download press images visit:

The ĢƵ Gallery presents an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection is on display from 14 February – 26 May 2025.

The exhibition opens with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ’s highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ’s moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ’s provocative The Hammock (1844).

At the heart of the exhibition are some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ’s striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ’s groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne. A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The ĢƵ’s collection. The two paintings are presented together for the very first time in London at The ĢƵ.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 works of art, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world’s leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel ĢƵ, founder of ĢƵ Art. They shared a similar taste in artists and are known to have met. The Oskar Reinhart Collection’s close affinities with that of The ĢƵ Gallery’s permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart’s paintings to the United Kingdom for the very first time.

The exhibition’s lead sponsor is Griffin Catalyst, the civic engagement initiative of Citadel Founder and CEO Kenneth C. Griffin.

The Griffin Catalyst Exhibition Series has recently been extended to 2028. This collaboration will continue to support the deeply researched and varied exhibitions programme that Kenneth C. Griffin has supported since The ĢƵ’s reopening in 2021.

The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection
14 February – 26 May 2025
The ĢƵ Gallery Somerset House, Strand London WC2R 0RN

Opening hours: 10.00 – 18.00 (last entry 17.15)
Temporary Exhibition tickets (including entry to our Permanent Collection and displays) – Weekday tickets from £14; Weekend tickets from £16.
Friends and Under-18s go free. Other concessions available

Download the press release

Goya to Impressionism press release

MEDIA CONTACTS

The ĢƵ www.courtauld.ac.uk/gallery/press media@courtauld.ac.uk

Bolton & Quinn Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000 Susie Gault | susie@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – THE COURTAULD

Facebook @TheĢƵ

Instagram @ĢƵ #TheĢƵ

Threads @courtauld

TikTok @TheĢƵ

Twitter @TheĢƵ

YouTube TheĢƵ

SOCIAL MEDIA – THE OSKAR REINHART COLLECTION ‘AM RÖMERHOLZ’

Facebook @roemerholz

Instagram @roemerholz

NOTES TO EDITORS

About The ĢƵ

The ĢƵ works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

The ĢƵ cares for one of the greatest art collections in the UK, presenting these works to the public at The ĢƵ Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh’s Self-Portrait with Bandaged Ear and ѲԱ’s A Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, The ĢƵ faculty is the largest community of art historians and conservators in the UK, teaching and carrying out research on subjects from creativity in late Antiquity to contemporary digital artforms – with an increasingly global focus. An independent college of the University of London, The ĢƵ offers a range of degree programmes from BA to PhD in the History of Art, curating and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, The ĢƵ works to increase understanding of the role played by art throughout history, in all societies and across all geographies – as well as being a champion for the importance of art in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible and expert short courses; digital engagement, innovative school, family and community programmes; or taking a formal qualification. The ĢƵ’s ambition is to transform access to art history education by extending the horizons of what this is and ensuring as many people as possible can benefit from the tools to better understand the visual world around us.

The ĢƵ is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by The ĢƵ Gallery is owned by the Samuel ĢƵ Trust.

About The Oskar Reinhart Collection ‘Am Römerholz’ In his former home – The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland – the art collector and patron Oskar Reinhart (1885-1965) left behind one of the

most important private collections of the 20th century. Outstanding paintings of French Impressionism and its forerunners engage in a stimulating dialogue with masterpieces of older art. The two main collection groups correspond to this day more or less exactly to the two architectural components of the residence. On the one hand, there are a few Old Master paintings displayed in the villa of 1915, Oskar Reinhart’s former home, being visually attuned to their surroundings. On the other, there are works of French Impressionism and its immediate forerunners, which form the main focus of the collection and which Reinhart juxtaposed with examples of earlier art in the gallery building of 1925.

The Oskar Reinhart Collection ‘Am Römerholz’ ranges from Lucas Cranach the Elder, Bruegel, Chardin and Goya to Cézanne, van Gogh and early Picasso. The approximately 200 works of art also include masterpieces by Géricault, Manet, Monet and Toulouse- Lautrec, as well as entire groups of works by Delacroix, Courbet, Daumier and Renoir. Pursuing the aim of acquiring art based solely on aesthetic rather than historical and geographic criteria, Reinhart managed to gather a harmonious selection of European masterpieces that belongs among the finest of its kind worldwide. In an aesthetically unique way, the Oskar Reinhart Collection ʻAm Römerholz̕ enables visitors to trace the history of European art from the fourteenth to the early twentieth century in the form of a magnificent celebration of the art of painting, abetted by a group of drawings and some sculptures and textiles.

Additionally, the property is surrounded by a beautiful park with old trees and important sculptures. In summer, guests can order picnic baskets at the museum café and enjoy the silence of nature in Reinhart’s vast historical garden. Throughout the year, audio guides in five languages, special tours, painting workshops for young and old, and a wide range of activities for children are available.

About Griffin Catalyst Griffin Catalyst is the civic engagement initiative of Citadel founder and CEO Kenneth C. Griffin, encompassing his philanthropic and community impact efforts. Tackling the world’s greatest challenges in innovative, action-oriented, and evidence-driven ways, Griffin Catalyst is dedicated to expanding opportunity and improving lives across six areas of focus: Education, Science & Medicine, Upward Mobility, Freedom & Democracy, Enterprise & Innovation, and Communities. For more information, visit griffincatalyst.org/

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]]> Major Exhibition of Impressionist and Post-Impressionist Masterpieces From the Oskar Reinhart Collection opens at The ĢƵ /news-blogs/2025/major-exhibition-of-impressionist-and-post-impressionist-masterpieces-from-the-oskar-reinhart-collection-opens-at-the-courtauld/ Thu, 13 Feb 2025 14:26:25 +0000 /?p=143290 The post Major Exhibition of Impressionist and Post-Impressionist Masterpieces From the Oskar Reinhart Collection opens at The ĢƵ appeared first on The ĢƵ.

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★ ★ ★ ★ ★ The Independent
★ ★ ★ ★ The Times
★ ★ ★ ★ The Telegraph

The ĢƵ Gallery presents an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection is on display from 14 February – 26 May 2025.

The exhibition opens with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ’s highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ’s moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ’s provocative The Hammock (1844).

At the heart of the exhibition are some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ’s striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ’s groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne. A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The ĢƵ’s collection. The two paintings are presented together for the very first time in London at The ĢƵ.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 works of art, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world’s leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel ĢƵ, founder of ĢƵ Art. They shared a similar taste in artists and are known to have met. The Oskar Reinhart Collection’s close affinities with that of The ĢƵ Gallery’s permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart’s paintings to the United Kingdom for the very first time.

The exhibition’s lead sponsor is Griffin Catalyst, the civic engagement initiative of Citadel Founder and CEO Kenneth C. Griffin.

The Griffin Catalyst Exhibition Series has recently been extended to 2028. This collaboration will continue to support the deeply researched and varied exhibitions programme that Kenneth C. Griffin has supported since The ĢƵ’s reopening in 2021.

ĢƵ Friends get free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join at

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]]> Hidden Picasso portrait discovered beneath important painting from his Blue Period /about-us/press-office/press-releases/hidden-picasso-portrait-discovered-beneath-important-painting-from-his-blue-period/ Mon, 10 Feb 2025 10:51:52 +0000 /?page_id=142975 The post Hidden Picasso portrait discovered beneath important painting from his Blue Period appeared first on The ĢƵ.

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Who is the mystery woman revealed by technical imaging underneath Pablo ʾ’s Blue Period portrait?

Painting to be exhibited at The ĢƵ Gallery as part of new exhibition The Griffin Catalyst Exhibition: Goya to Impressionism.
Masterpieces from the Oskar Reinhart Collection, opening 14 February

Download press images:

An undiscovered painting by Pablo Picasso (1881-1973) of a mystery woman, hidden for more than a century beneath one of the very first paintings from the artist’s famous Blue Period, has been revealed by conservators at The ĢƵ Institute of Art, London, using specialist imaging technology to examine the work for the first time.

Conducted in collaboration with the Oskar Reinhart Collection, ‘Am Römerholz’, Switzerland, the unknown artwork was discovered when The ĢƵ took x-ray and infrared images of Portrait of Mateu áԻ de Soto – a portrait depicting ʾ’s sculptor friend painted in 1901 and one of the earliest examples of the artist’s Blue Period – ahead of its display as part of the upcoming exhibition The Griffin Catalyst Exhibition. Goya to Impressionism:Masterpieces from the Oskar Reinhart Collection, opening 14 February.

The ĢƵ’s analysis of the painting reveals it played an important role at a crucial stage in the young ʾ’s stylistic development, at a time when he was moving away from colourful, Impressionistic paintings towards a distinctly more melancholy artistic style which became the defining phase of his career known as his Blue Period.

Portrait of Mateu áԻ de Soto is emblematic of ʾ’s sombre Blue Period, hailed as a defining moment in his career. Nineteen-year-old Picasso had arrived in Paris from Spain in May 1901 for his first exhibition in the city, which opened at the gallery of the modern art dealer Amboise Vollard the following month. Picasso made a range of paintings for that show in an Impressionistic style, with lively brushwork and bright colour. However, by the Autumn of 1901, when he painted Portrait of Mateu áԻ de Soto, Picasso began to change his artistic style to an approach that was more contemplative and sombre, painted in tones of blue.

This Blue Period was inspired in part by the suicide earlier that year of ʾ’s good friend Carlos Casagemas. Picasso took over the rooms where Casagemas had lived in Paris and set up his studio there. Another friend, the young Spanish sculptor Mateu áԻ de Soto, arrived in the city in the Autumn of 1901 and was staying in this studio with Picasso where this portrait was made. The painting on the wall in the background of Portrait of Mateu áԻ de Soto is one of ʾ’s memorial paintings depicting the burial of Casamegas.

Infrared and x-ray images beneath the contemplative portrait of de Soto have revealed another figure, a painting of a woman, likely created just a few months earlier. The form of her head, curved shoulders and the fingers can clearly be seen. Wearing a distinctive chignon hairstyle, fashionable in Paris at the time, she bears a resemblance to several paintings of seated women that Picasso made that year, such as Absinthe Dinker (Hermitage Museum, St Petersburg) and Woman with Crossed Arms (Kunstmuseum, Basel). There is also evidence of a further head at an even lower level in the painting, suggesting it was a much-reworked canvas. She might have been a figure painted in his earlier Impressionistic style, akin to the painting of a woman in shimmering colours called Waiting (Picasso Museum, Barcelona).

Further research into the painting and detailed analysis could reveal more about the mystery woman, but it is not certain her identity will be established. She may have been a model, a friend or even a lover posing for one of ʾ’s colourful Impressionistic images of Parisian nightlife, or a melancholic woman seated in a bar.

Picasso often reused his canvases at this time because he did not have much money. However, he also embraced the process of painting one work over another, resisting whitewashing old images in favour of beginning a new figure directly on top of an earlier one. It is as if the portrait of de Soto grew out of the figure of the woman below as one style gave way to another.

Kerstin Richter, Director of the Oskar Reinhart Collection “Am Römerholz,” said: “This is truly a picture of great complexity, revealing its secrets over the years. When Oskar Reinhart acquired it in 1935, it was simply considered to be a portrait of an unknown woodcarver. Now we not only know the personality depicted, his significance in Picasso’s life after the death of his closest friend, but we can also visualise the artistic development process of the young painter layer by layer.”

Barnaby Wright, Deputy Head of The ĢƵ Gallery, said: “We have long suspected another painting lay behind the portrait of de Soto because the surface of the work has tell-tale marks and textures of something below. Now we know that this is the figure of a woman. You can even start to make out her shape just by looking at the painting with the naked eye. ʾ’s way of working to transform one image into another and to be a stylistic shapeshifter would become a defining feature of his art, which helped to make him one of the giant figures of art history. All that begins with a painting like this.”

Aviva Burnstock, Professor of Conservation at The ĢƵ, said: “Specialist imaging technology such as that used by conservators at The ĢƵ may allow us to see the hand of an artist to understand their creative process. In revealing this previously hidden figure we can shed light on a pivotal moment in ʾ’s career.”

The exhibition’s lead sponsor is Griffin Catalyst, the civic engagement initiative of Citadel Founder and CEO Kenneth C. Griffin.

Book now: /whats-on/exh-goya-to-impressionism-masterpieces-from- the-oskar-reinhart-collection/

ĢƵ Friends get free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join at courtauld.ac.uk/friends

The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection
14 February – 26 May 2025

The ĢƵ Gallery
Somerset House, Strand
London WC2R 0RN

Opening hours: 10.00 – 18.00 (last entry 17.15)
Temporary Exhibition tickets (including entry to our Permanent Collection and displays) – Weekday tickets from £14; Weekend tickets from £16.

Friends and Under-18s go free. Other concessions available

A painting from Pablo ʾ’s Blue Period depicting a man in a dark blue coat peeling a piece of fruit, possibly an orange, with a knife. The man’s face is melancholic, with downcast eyes and a somber expression. The color palette is dominated by shades of blue, contributing to the introspective mood. In the background, a framed painting or decoration hangs on the wall, featuring a reclining figure. The brushwork is textured and expressive, characteristic of ʾ’s early 20th-century style.
Pablo Picasso, Portrait of Mateu Fernández de Soto, 1901, oil on canvas, 61.3 x 46.5 cm Oskar Reinhart collection ‘Am Römerholz’, Winterthur, Switzerland.
An infrared reflectography image of Pablo ʾ’s Blue Period painting, revealing an underlying composition beneath the visible artwork. The hidden image shows a woman with delicate features, wearing what appears to be a hat or headpiece, gazing towards the viewer. Her figure overlaps with the seated man in the final composition, suggesting that Picasso reused the canvas, painting over an earlier work.
Infrared image Portrait of Mateu áԻ de Soto (Oskar Reinhart Collection ‘Am Römerholz’), Department of Conservation, ĢƵ Art, London
An X-ray image of Pablo ʾ’s Blue Period painting, revealing the underlying structure and earlier layers beneath the final composition. The X-ray captures variations in paint density, showing hidden details, compositional changes, and possibly an earlier, abandoned scene. The image highlights ʾ’s process of reusing canvases, with visible brushstrokes and forms that suggest remnants of a different painting beneath the surface. Cracks in the paint layer and areas of thicker impasto are also visible, providing insights into the artist’s materials and techniques.
X-ray image of Mateu áԻ de Soto (Oskar Reinhart Collection ‘Am Römerholz’), Department of Conservation, ĢƵ Art, London

Download the press release

Goya to Impressionism press release

MEDIA CONTACTS

The ĢƵ
www.courtauld.ac.uk/gallery/press
media@courtauld.ac.uk

Bolton & Quinn
Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000
Daisy Taylor I daisy@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA – THE COURTAULD

Facebook @TheĢƵ
Instagram @ĢƵ #TheĢƵ
Threads @courtauld
TikTok @TheĢƵ
Twitter @TheĢƵ
YouTube TheĢƵ

SOCIAL MEDIA – THE OSKAR REINHART COLLECTION ‘AM RÖMERHOLZ’

Facebook @roemerholz
Instagram @roemerholz

NOTES TO EDITORS

About The ĢƵ
The ĢƵ works to advance how we see and understand the visual arts, as an internationally renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

The ĢƵ cares for one of the greatest art collections in the UK, presenting these works to the public at The ĢƵ Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh’s Self-Portrait with Bandaged Ear and ѲԱ’s A Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, The ĢƵ faculty is the largest community of art historians and conservators in the UK, teaching and carrying out research on subjects from creativity in late Antiquity to contemporary digital artforms – with an increasingly global focus. An independent college of the University of London, The ĢƵ offers a range of degree programmes from BA to PhD in the History of Art, curating and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, The ĢƵ works to increase understanding of the role played by art throughout history, in all societies and across all geographies – as well as being a champion for the importance of art in the present day. This could be through exhibitions offering a chance to look closely at world- famous works; events bringing art history research to new audiences; accessible and expert short courses; digital engagement, innovative school, family and community programmes; or taking a formal qualification. The ĢƵ’s ambition is to transform access to art history education by extending the horizons of what this is and ensuring as many people as possible can benefit from the tools to better understand the visual world around us.

The ĢƵ is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by The ĢƵ Gallery is owned by the Samuel ĢƵ Trust.

About The Oskar Reinhart Collection ‘Am Römerholz’
In his former home the art collector and patron Oskar Reinhart (1885-1965) left behind one of the most important private collections of the 20th century. Outstanding paintings of French Impressionism and its forerunners engage in a stimulating dialogue with masterpieces of older art. The two main collection groups correspond to this day more or less exactly to the two architectural components of the residence. On the one hand, there are a few Old Master paintings displayed in the villa of 1915, Oskar Reinhart’s former home, being visually attuned to their surroundings. On the other, there are works of French Impressionism and its immediate forerunners, which form the main focus of the collection and which Reinhart juxtaposed with examples of earlier art in the gallery building of 1925.

The Oskar Reinhart Collection ‘Am Römerholz’ ranges from Lucas Cranach the Elder, Bruegel, Chardin and Goya to Cézanne, van Gogh and early Picasso. The approximately 200 works of art also include masterpieces by Géricault, Manet, Monet and Toulouse- Lautrec, as well as entire groups of works by Delacroix, Courbet, Daumier and Renoir. Pursuing the aim of acquiring art based solely on aesthetic rather than historical and geographic criteria, Reinhart managed to gather a harmonious selection of European masterpieces that belongs among the finest of its kind worldwide. In an aesthetically unique way, the Oskar Reinhart Collection ʻAm Römerholz̕ enables visitors to trace the history of European art from the fourteenth to the early twentieth century in the form of a magnificent celebration of the art of painting, abetted by a group of drawings and some sculptures and textiles.

Additionally, the property is surrounded by a beautiful park with old trees and important sculptures. In summer, guests can order picnic baskets at the museum café and enjoy the silence of nature in Reinhart’s vast historical garden. Throughout the year, audio guides in five languages, special tours, painting workshops for young and old, and a wide range of activities for children are available.

About Griffin Catalyst
Griffin Catalyst is the civic engagement initiative of Citadel founder and CEO Kenneth C. Griffin, encompassing his philanthropic and community impact efforts. Tackling the world’s greatest challenges in innovative, action-oriented, and evidence-driven ways, Griffin Catalyst is dedicated to expanding opportunity and improving lives across six areas of focus: Education, Science & Medicine, Upward Mobility, Freedom & Democracy, Enterprise & Innovation, and Communities. For more information, visit griffincatalyst.org/

 

Press release – PDF download

Press Release – Hidden Picasso Portrait Discovered Beneath Important Painting from his Blue Period, 10 Feb 2025 | The ĢƵ

The post Hidden Picasso portrait discovered beneath important painting from his Blue Period appeared first on The ĢƵ.

]]> 18 – Idealists, Realists and the Avant-Garde: The Battle for Nineteenth-Century French Painting /short-courses-2025/summer-school/summer-school-on-campus/18-idealists-realists-and-the-avant-garde-the-battle-for-nineteenth-century-french-painting/ Wed, 11 Dec 2024 11:41:50 +0000 /?page_id=135101 Monday 7 – Friday 11 July 2025, Dr Lois Oliver

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Course 18 – Summer School on campus

Monday 7 – Friday 11 July 2025
Dr Lois Oliver
£645

Course description

In a cartoon published in 1855, Honoré Daumier imagined a battle between two rival aesthetic schools in France: ‘Idealism’ appears as an ageing neoclassical nude, wearing an antique helmet, with his palette as a shield, heroically raising his mahlstick as a spear, to defend himself against ‘Realism’, a scruffy figure in rustic clogs, brandishing a small square palette and clumsy paintbrush. The image perfectly encapsulates the artistic and political differences between these two entrenched aesthetic positions, but the real joke is that neither of these veteran combatants is as vigorous as he used to be: both would be vulnerable to a new avant-garde challenger. The French art world witnessed a series of battles as traditionalists grappled with the successive challenges presented by Romanticism, Realism, Impressionism, Post-Impressionism and Symbolism.

This course explores the reasons behind the profound innovations in subject matter and technique that characterised the age, and the obstacles faced by avant-garde artists in getting their work exhibited and accepted. We shall explore the work of Ingres, Delacroix, Delaroche, Courbet, Millet, Rousseau, Manet, Renoir, Degas, Cassatt, Morisot, Seurat, Cézanne, Gauguin and Van Gogh.

Meet the lecturer

How to book

To book your chosen course(s) please use the book now button below and you will be taken to our booking system where you can book and pay (Visa / Mastercard / GooglePay / ApplePay).

At checkout, you will be prompted to login (if you have previously booked gallery tickets) or to register and create a new account.

(Please note: this ticketing login is not the same as your Short Courses VLE login if you have one).

Please note that in the EU new VAT rules for online courses are coming into effect. This means that from 1 January 2025 we will be required to charge EU participants their local VAT rate. VAT-inclusive prices for EU students will be displayed at check-out.

If you have any questions please email us atshort.courses@courtauld.ac.uk

Book now

Lecturer’s biography

Dr Lois Oliveris Professor in History of Art at the University of Notre Dame in London, Lecturer at Boston University London, and a Visiting Lecturer at The ĢƵ. She has worked as a Curator at the V&A, the National Gallery, and the Royal Academy. Her recent exhibitions include ‘Berthe Morisot: Shaping Impressionism’ at Dulwich Picture Gallery, the first major UK exhibition of Morisot’s work since 1950, and ‘Jock McFadyen: Tourist without a Guidebook’ for the Royal Academy. She is currently working on a new exhibition project ‘Edouard Manet & Music’ for the Royal Academy. Lois studied English Literature at Cambridge University, and History of Art at The ĢƵ, completing an MA in Venetian Renaissance Art and writing her PhD thesis on The Image of the Artist, Paris 1815-1855.

The post 18 – Idealists, Realists and the Avant-Garde: The Battle for Nineteenth-Century French Painting appeared first on The ĢƵ.

]]> The ĢƵ Gallery announces major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection /about-us/press-office/press-releases/oskar-reinhart/ Thu, 28 Nov 2024 10:07:44 +0000 /?page_id=137482 The post The ĢƵ Gallery announces major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection appeared first on The ĢƵ.

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The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection

14 February – 26 May 2025

Denise Coates Exhibition Galleries, The ĢƵ Gallery

To download press images visit:

The ĢƵ Gallery will present an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection will be on display from 14 February – 26 May 2025.

The exhibition will open with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ’s highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ’s moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ’s provocative The Hammock (1844). 

At the heart of the exhibition will be some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ’s striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ’s groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne.  A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The ĢƵ’s collection.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 paintings, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world’s leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel ĢƵ, founder of ĢƵ Art. They shared a similar taste in artists and are known to have met. The Reinhart Collection’s close affinities with that of The ĢƵ Gallery’s permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart’s paintings to the United Kingdom for the very first time.

The exhibition’s lead sponsor is Griffin Catalyst, the civic engagement initiative of Citadel Founder and CEO Kenneth C. Griffin.

Tickets are available to buy on our website:/whats-on/exh-goya-to-impressionism-masterpieces-from-the-oskar-reinhart-collection/

ĢƵ Friends get free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join at

The ĢƵ Gallery 
Somerset House, Strand 
London WC2R 0RN 
Opening hours: 10.00 – 18.00 (last entry 17.15) 

Temporary Exhibition tickets (including entry to our Permanent Collection and displays) – Weekday tickets from £14; Weekend tickets from £16.

Friends and Under-18s go free. Other concessions available  

Download The Griffin Catalyst Exhibition: Goya to Impressionism Press Release PDF

The post The ĢƵ Gallery announces major exhibition of Impressionist and Post-Impressionist masterpieces from the Oskar Reinhart Collection appeared first on The ĢƵ.

]]> Tickets on sale for major exhibition of masterpieces from The Oskar Reinhart Collection /news-blogs/2024/tickets-on-sale-oskar-reinhart/ Thu, 28 Nov 2024 10:04:13 +0000 /?p=137418 Tickets are now on sale for The ĢƵ's next major exhibition - The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.

The post Tickets on sale for major exhibition of masterpieces from The Oskar Reinhart Collection appeared first on The ĢƵ.

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The ĢƵ Gallery will present an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection will be on display from 14 February – 26 May 2025.

The exhibition will open with a selection of major paintings by artists who preceded the Impressionists, including ҴDzⲹ’s highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ’s moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ’s provocative The Hammock (1844). 

At the heart of the exhibition will be some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ’s striking representation of the female performer The Clown Cha-U-Kao (1895), ѲԱ’s groundbreaking depiction of modern life Au Café (1878), and a group of sensational works by Renoir and Cezanne.  A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The ĢƵ’s collection.

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 paintings, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world’s leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel ĢƵ, founder of ĢƵ Art. They shared a similar taste in artists and are known to have met. The Reinhart Collection’s close affinities with that of The ĢƵ Gallery’s permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart’s paintings to the United Kingdom for the very first time.

The exhibition’s lead sponsor is Griffin Catalyst, the civic engagement initiative of Citadel Founder and CEO Kenneth C. Griffin.

Tickets are on general sale from Thursday 28 November, 10am (GMT):

Book now: /whats-on/exh-goya-to-impressionism-masterpieces-from-the-oskar-reinhart-collection/

ĢƵ Friends get free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join at

The post Tickets on sale for major exhibition of masterpieces from The Oskar Reinhart Collection appeared first on The ĢƵ.

]]> Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection /whats-on/exh-goya-to-impressionism-masterpieces-from-the-oskar-reinhart-collection/ Wed, 14 Aug 2024 08:26:34 +0000 /?post_type=events&p=126709 For the first time in its history, a rich array of Impressionist and Post-Impressionist highlights from the Reinhart collection are on display outside Switzerland.

The post Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection appeared first on The ĢƵ.

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14 Feb – 26 May 2025
Denise Coates Exhibition Galleries, Floor 3

The ĢƵ Gallery presents an exceptional selection of Impressionist and Post-Impressionist paintings in the first ever exhibition of the Oskar Reinhart Collection ‘Am Römerholz’ to be staged outside of Winterthur, Switzerland. This exhibition is a unique opportunity to see some of its masterpieces – including works by Goya,Monet, Renoir, Van Gogh, Picasso,and Cezanne among others.

The exhibition opens with a group of major paintings by artists who preceded the Impressionists, including ҴDzⲹ’s highly charged Still Life with Three Salmon Steaks (c.1808-12), éܱ’s moving A Man Suffering from Delusions of Military Rank (c.1819-22) and dzܰ’s provocative The Hammock (1844).

At the heart of the exhibition are some of the greatest paintings of Impressionism and Post-Impressionism, including մdzܱdzܲ-ٰܳ’s striking representation of the female performer  The Clown Cha-U-Kao (1895), ѲԱ’s groundbreaking depiction of modern life  Au Café (1878), and a group of sensational works by Renoir and Cezanne.  A further highlight is the pair of celebrated paintings by Van Gogh, A Ward in the Hospital at Arles and The Courtyard of the Hospital at Arles (1889), which illustrate the hospital where he had been a patient following his earlier mental breakdown and the mutilation of his ear, as seen in Self-Portrait with Bandaged Ear in The ĢƵ’s collection.

About the Oskar Reinhart Collection ‘Am Römerholz’

The Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland, is one of the most remarkable art museums of its kind, with a collection that ranges from superlative old master paintings and drawings to a fabled group of Impressionist art. Featuring over 200 works of art, the collection was assembled in the first half of the 20th century by Oskar Reinhart (1885-1965), whose family was associated with one of the world’s leading trading companies. Reinhart bequeathed his collection and house to the Swiss confederation, and it opened as a public museum in 1970 in his beautiful, large villa on the outskirts of Winterthur, close to Zurich, called ‘Am Römerholz’.

Oskar Reinhart was a direct contemporary of Samuel ĢƵ, founder of ĢƵ Art. They shared a similar taste in artists and are known to have met in 1932, the year when The ĢƵ was founded. The Reinhart Collection’s close affinities with that of The ĢƵ Gallery’s permanent collection provide the perfect context to stage this unprecedented exhibition, which brings many of Reinhart’s paintings to the United Kingdom for the very first time.

Title Partner

Griffin Catalyst logo

Supported byKenneth C. Griffin

Highlights

Toulouse-Lautrec painting of a vibrant cabaret scene, figure in yellow and green, red lips, feathered hat.
Henri de Toulouse-Lautrec (1864 – 1901), The Clown Cha-U-Kao, 1895. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Painting of two women and a man sitting at a counter in a cafe
Edouard Manet, Au café, 1878. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
A painting of flowers
Pierre-Auguste Renoir, Lily and Greenhouse Plants, 1864, Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Painting of a man in military dress
Théodore Géricault, A Man suffering from Delusions of Military Rank, c. 1819-22, Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Painting of a hospital courtyard, featuring an arched walkway, trees and a fountain.
Vincent van Gogh, The Courtyard of the Hospital at Arles, 1889. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
A painting of a hospital ward, with men sat in the foreground
Vincent van Gogh, A Ward in the Hospital at Arles, 1889. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Impressionist painting of a jug and bowls of fruit on a table
Paul Cézanne, Still Life with Faience Jug and Fruit, c. 1900. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
An oil painting of three salmon stakes by Francisco Goya
Francisco Goya, Still Life with Three Salmon Steaks, 1808-12. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur
Impressionist painting of a partially frozen river with ice floes reflecting the sky, bare trees lining the banks, and a misty background.
Claude Monet, The Break up of Ice on the Seine, 1880-81. Image: The Swiss Confederation, Federal Office of Culture, Oskar Reinhart Collection “Am Römerholz”, Winterthur

Discover The Oskar Reinhart Collection

Dive into some of the works on display

★★★★★

“Fall in love with Impressionism all over again”

★★★★★

“A jewel of an exhibition”

★★★★★

★★★★

“This greatest hits selection is off the scale”

★★★★

“The cream of a rather delicious crop”

“An electrifying meeting of painters”

Shop the catalogue

This catalogue accompanies The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection, which presents an extraordinary group of masterpieces from the Oskar Reinhart Collection ‘Am Römerholz’ in Winterthur, Switzerland.

i The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection catalogue

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]]> Shock, Rebellion and Monet | Impressionism (in-person) /whats-on/shock-rebellion-and-monet-impressionism-in-person/ Tue, 13 Aug 2024 10:35:54 +0000 /?post_type=events&p=127106 Join us in-person at The ĢƵ Gallery to uncover why Impressionist artworks were so shocking when first exhibited in Paris in the second half of the 1800s.

The post Shock, Rebellion and Monet | Impressionism (in-person) appeared first on The ĢƵ.

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Join us in-person at The ĢƵ Gallery to uncover why Impressionist artworks were so shocking when first exhibited in Paris in the second half of the 1800s.

Analyse some of The ĢƵ’s best known artworks – by artists including Degas, Monet, Morisot and Renoir – and see them in a whole new light. Explore the often turbulent cultural, social and political contexts of 19th-century Paris that led to a rebellious outlook in certain artistic circles. Reflect on Impressionism’s legacy with its commitment to capturing contemporary experience and willingness to challenge conventions.

Visit The Griffin Catalyst Exhibition, Monet and London. Views of the Thames, which capture three extraordinary views of the Thames as it had never been seen before, full of evocative atmosphere, mysterious light and radiant colour. Attendees will be treated to a talk from the curator of Monet and London. Views of the Thames. The workshop will finish with students taking a trip to the river to create their own views of the Thames.

Shock, Rebellion and Monet | Impressionism will be run by art historian and gallery educator Dr Tilly Scantlebury.

Key Information
Event: Shock, Rebellion and Monet | Impressionism
Date: Thursday 31st October 2024
Time: 10:00am – 3:00pm
Location: In-person, at The ĢƵ Gallery

These workshops are free and open to students attending UK state schools and colleges.Suitable for ages 16-18, with preference given to Y12 students (or equivalent). Booking is essential due to popular demand. Any questions, please emaileducation@courtauld.ac.uk

 

Claude Monet (1840-1926), Autumn Effect at Argenteuil, 1873, The ĢƵ, London (Samuel ĢƵ Trust) © The ĢƵ
painting of a woman bartender looking straight ahead
Édouard Manet (1832-1883), A Bar at the Folies-Bergère (1882), oil on canvas, The ĢƵ, London (Samuel ĢƵ Trust © The ĢƵ
Get involved in the ĢƵ’s Young People’s Programme

Join us in-person at The ĢƵ Gallery to uncover why Impressionist artworks were so shocking when first exhibited in Paris in the second half of the 1800s.

Analyse some of The ĢƵ’s best known artworks – by artists including Degas, Monet, Morisot and Renoir – and see them in a whole new light. Explore the often turbulent cultural, social and political contexts of 19th-century Paris that led to a rebellious outlook in certain artistic circles. Reflect on Impressionism’s legacy with its commitment to capturing contemporary experience and willingness to challenge conventions.

Visit The Griffin Catalyst Exhibition, Monet and London. Views of the Thames, which capture three extraordinary views of the Thames as it had never been seen before, full of evocative atmosphere, mysterious light and radiant colour. Attendees will be treated to a talk from the curator of Monet and London. Views of the Thames. The workshop will finish with students taking a trip to the river to create their own views of the Thames.

Shock, Rebellion and Monet | Impressionism will be run by art historian and gallery educator Dr Tilly Scantlebury.

Key Information
Event: Shock, Rebellion and Monet | Impressionism
Date: Thursday 31st October 2024
Time: 10:00am – 3:00pm
Location: In-person, at The ĢƵ Gallery

These workshops are free and open to students attending UK state schools and colleges.Suitable for ages 16-18, with preference given to Y12 students (or equivalent). Booking is essential due to popular demand. Any questions, please emaileducation@courtauld.ac.uk

 

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The ĢƵ’s open programme of public activities offers something for everyone to enjoy, whatever their levels of interest and knowledge.

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The post Shock, Rebellion and Monet | Impressionism (in-person) appeared first on The ĢƵ.

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