ONLINE DERRICK CARTWRIGHT/HUGH DAVIES ART HISTORY LECTURE

The final lecture looks at the trajectory of British art since the deaths of Bacon (in 1992) and Freud (in 2011). In our era, the works of the Young British Artists have occasioned both intense interest and controversy. From Tracey Emin to Grayson Perry, Cornelia Parker to Yinka Shonibare, contemporary art in the UK has asserted its urgency within critical debates. We will try to situate these compelling representations within the broader history of British art as well as an increasingly global vision of the art world.

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ONLINE DERRICK CARTWRIGHT/HUGH DAVIES ART HISTORY LECTURE

The second lecture will explore contrasts between Bacon and Freud at length. Starting with their tumultuous childhoods—Freud, for example, immigrated to England along with his grandfather, Sigmund, as a result of fascism’s rise in continental Europe—these artists’ initial bond gave way to intense competition. The artists sat for one another, but also painted numerous self-portraits. An examination of these images yields some insights into their shared and separate concerns. The rise of the so-called School of London, within which both Freud and Bacon played critical roles, will also be discussed.

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ONLINE

Join us for a three-part lecture series on British Art that will be jointly presented by Hugh Davies and Derrick Cartwright.

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ONLINE DERRICK CARTWRIGHT/HUGH DAVIES ART HISTORY LECTURE

The first lecture will consist of a fast-paced overview of turn-of-the-century art in England. Starting with conventional painters, like John Singer Sargent and Gwen Johns, we will consider the roots of Modern English pictorial excess. The devastating experiences of WWI and WWII will be an important focus, and the celebrated careers of Henry Moore, Ben Nicholson, and their contemporaries loom large in the cultural formation of the next generation of creative figures. Stanley Spencer is especially important in this regard, and, while they rarely acknowledged his influence, both Bacon and Freud can be usefully compared to Spencer’s example.

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