Vox Luna Chamber Choir and their director Alex Woolf present a sumptuous festive programme, celebrating the promise and wonder of Christmas in spectacular style.
Festive favourites old and new sit alongside seasonal masterpieces by composers including Rachmaninov, Britten, Morten Lauridsen, Eric Whitacre and John Rutter. The Wallace Collection’s Great Gallery provides the perfect setting for Christmas carols both familiar and brand-new, from Away in a Manger to Alex Woolf’s own award-winning Nowell.
Vox Luna Chamber Choir is one of the UK’s most exciting new vocal groups, formed of the most outstanding young professional singers from all over the country. Their director Alex Woolf has worked with and written for choirs including the Tallis Scholars, the Bach Choir, the Choirs of Ely, Norwich and Truro Cathedrals and the Choir of St John’s College, Cambridge.
Ticket price includes a pre-concert glass of mulled wine and a mince pie.Find out more Book now
Composition and Copy
Monday 4 February 2019
Our first day will focus on how systematic copying, pattern books and the use of tempera and fresco paints gave way to the increasingly sophisticated use of illusionism, geometry and linear perspective in the paintings of the Renaissance.
Mimicking and Shattering the Mirror
Tuesday 5 February 2019
The second day of this course will look at how the invention of oil painting lead firstly towards illusionistic painting and later to the developments of a more expressive use of paint in the Baroque era.
Colour and Speed
Wednesday 6 February 2019
This last day of the course will focus on how the developments of photography, a new understanding of colour theory and the new manufacturing technologies of the Industrial Revolution allowed for the modern paintings of Impressionism.Find out more Book now
Three day course, Monday 29 April - Wednesday 1 May, 11am - 1.30pm
This three day course will examine the history of painting in the Southern Netherlands within its political, religious, social and economic context. Artists under discussion will include van Eyck, Memling, Bruegel, Rubens and van Dyck. Taught by Siân Walters.
Between the early fifteenth and mid seventeenth centuries the cities of Bruges, Ghent, Brussels and Antwerp enjoyed great economic prosperity and artistic prestige, attracting an international mercantile clientele keen to commission works from leading artists such as Jan van Eyck and Hans Memling, whose technical and stylistic innovations would have a transformative impact on the development of European painting. In particular their concentration on naturalistic detail gave portraiture a hitherto unseen degree of accuracy and realism, greatly influencing practitioners of the genre in other countries, from Botticelli and Ghirlandaio to the young Leonardo da Vinci.
By the early sixteenth century artistic influence had begun to move in the opposite direction, from south to north, and this is clear when we examine the classicising repertoire and Italian mannerism found in the works of Quinten Massys, Jan Gossaert and Pieter Pourbus. However the most popular painter of the 1500s is without doubt Pieter Bruegel the Elder, much-loved for his humorous scenes of everyday life and amusing depictions of merry-making, drinking and dancing. Indeed his earliest biographer Karel van Mander famously wrote in 1604 that “... there are very few works from his hand that the beholder can look at seriously, without laughing”. Bruegel’s enduring appeal is reflected in the numerous copies of his work which were made during his own lifetime.
Despite Flanders’ economic decline and the rise of the Dutch Republic during the seventeenth century, the period saw the emergence of some of the greatest and most popular Flemish painters, notably Peter Paul Rubens. Spanning a wide variety of genres from lyrical landscapes and fleshy nudes to rich mythological canvases and powerful altarpieces, his paintings were coveted by some of the most distinguished and powerful patrons in Europe. Rubens had a flourishing and well-organised studio from which emerged some of the finest painters of the next generation, such as Jacob Jordaens and Anthony van Dyck. It was however in England not Flanders that van Dyck reached the peak of his achievement, where under the service of Charles I he transformed British portraiture imbuing it with a realism and hitherto unknown brilliance of execution.Find out more Book now
Wednesdays 13 February – 6 March, 11am – 1.30pm
The Wallace Collection is remarkable for its inclusion of every art form, but is most celebrated for its paintings, ceramics and furniture. Somehow sculpture always sits in the background, despite the wealth of wonderful works on display. Given that March 2019 will see the opening of an exhibition devoted to the works of Henry Moore, who was enormously inspired by visits to the Wallace when he first came to London, now is the time to take sculpture more seriously. The course will look at varied aspects of sculpture, from the different ways in which artists use the third dimension to the uses of sculpture itself, and from a broad exploration of the different materials from which works can be carved, modelled, cast or constructed, to a focussed look at a very specific genre of sculpture, the portrait bust. We will consider sculptures from all periods of the Wallace’s own collection up until the present day, with each session consisting of an hour’s talk in the lecture theatre, followed by a visit to the galleries themselves. On the final day this will include a preview of the Henry Moore exhibition before it is open to the general public. Taught by Richard Stemp.
1. Looking in Depth
The major difference between painting and sculpture is that painting is flat but sculpture is not. But how three-dimensional does an art-work have to be to be classified as a sculpture? And what can the different ways in which artists have used space tell us about the meaning and location of the works in question?
2. The Function of Sculpture
Most of the sculptures in the Wallace Collection were not made as works of art in their own right, but as part of something else – we will consider the different uses to which sculpture has been put, and how the function affects their appearance.
3. Material values
The traditional view of sculpture as ‘high art’ was that it would be made of either marble or bronze – but what were the reasons for these choices? And how come every other material from which sculpture has been made was discounted? We will think about all the different materials artists chose to make the sculptures in the Wallace Collection, and the reasons for those choices, and add in some alternative materials from the present day.
4. Something to Remember
Following on from the second week’s talk we will look at one of the chief functions of sculpture, the portrait. We will examine the history of this genre, tracing it from effigy to likeness, and look at some of the best examples in the Collection itself. As the history of portrait sculpture stretches to the present day, will consider modernist examples in the lecture theatre, and take the opportunity of a preview of the Henry Moore exhibition, which will open to the general public the following day.Find out more Book now
Wednesday 13 – Friday 15 March, 11am-3pm
The Wallace collection is such a treasure trove of exquisite objects – where to start? We start with portrait miniatures – designed to be worn on the body, carried in the hand, looked at in intimate settings, coveted, and collected. From the Renaissance, through the Regency and into the Victorian era we will focus on contextualising these objects. Richly illustrated lectures will enable us to explore fine details and decipher the meanings encoded in the dress depicted. The personalities of those depicted in them, as well as those who collected them, will be illuminated through discussion of further fine art and satirical sources in paint and print. Taught by Jacqueline Ansell.
Wednesday – Worn on the body? The meanings encoded in portrait miniatures
Thursday - Women in White? The Fine art of Female Fashion 1780-1880
Friday – The Power of Possession: The Collectors and their CharactersFind out more Book now
Saturday 19 & Sunday 20 January
Over two days, explore some of the great portraits in the Wallace Collection by Van Dyck, Rembrandt, Marinari and Symonds. Consider pose, setting, costume, and ex
Saturdays 9 and 16 February
The works of the old masters have long been an inspiration to later artists. As Picasso famously pointed out, ‘All artists borrow, great artists steal’. In this two-day workshop (over two Saturdays) we will learn how to take ideas from the great old master paintings in the Collection, making working drawings in the galleries and then using these in the studio to make contemporary work. With artist Sara Lee Roberts.Find out more Book now
Learn the basics of book construction in this workshop with professional bookbinder Mylyn McColl and create your own notebook to take home. Learn how to cut and sew pages to build a single section binding, and use images from the Wallace Collection to create your unique casing. Visit the Wallace Collection’s library to view some beautiful bound volumes from Richard Wallace’s personal collection.
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Join artist Marie-Thérèse Ross in exploring and demystifying the concept of the artist’s sketchbook. Examine Henry Moore’s own sketchbooks in our current exhibition Henry Moore: The Helmet Heads, and consider how artists throughout history have taken the first steps of their creative processes. Build your own sketchbook from scratch with drawings in from the Wallace Collection, walking in Moore’s footsteps. Learn how to use these drawings to spark ideas for creating your own work.Find out more Book now
Be inspired by images of Venetian palaces and calm Dutch interiors, and the magnificent setting of Hertford House. Produce a portfolio of architectural drawings and learn new ways of creating images of the built environment. Beginners welcome. With artist Wilson Yau.Find out more Book now
Tulips were famously prized in the seventeenth-century Dutch Republic. Take inspiration from the genre of Dutch flower painting, and focus on these beautiful spring bulbs. Practise and experiment with watercolours to create your own prize flower studies. With botanical artist Mariella Baldwin.Find out more Book now
Ages 7 - 11 years
Join artist Millie Nice to take a closer look at the intricate Dutch flower paintings found in the Wallace Collection, learning about secret symbols concealed in the flowers and discovering why people caught ‘Tulip Mania’ in the seventeenth century. You will bedrawing from these paintings and creating our own paper flower arrangement. The day will finish by making a flower painting masterpiece of your own.
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Ages 16 – 18 only.
An intensive one day course particularly relevant for students studying art. Work with professional artist Marie-Thérèse Ross to explore the history of the female nude in art before drawing directly from a live (nude) model in the afternoon.
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Louis-Léopold Boilly (1761 – 1845) lived in extremely turbulent times. His career spanned the final days of the Ancien Régime, the French Revolution, the rise and fall of Napoleon, and the Restoration of the Bourbon Monarchy. Yet Boilly did not merely survive this violent period: he thrived, painting the faces and places of
modern Paris with humour, innovation and startling modernity. On the eve of the UK’s first exhibition devoted to Boilly at the National Gallery, and to celebrate the recent conservation of the Wallace Collection’s three Boillys, this lecture by Dr Francesca Whitlum-Cooper will introduce Boilly to the public, suggesting that, half a century before the Impressionists, he was one of the first “painters of modern life”.
This event will be prefaced by a brief conversation between Dr Whitlum-Cooper and the Wallace Collection’s Curator of French Paintings, Dr Yuriko Jackall, tracing Boilly’s critical fortunes in the present day and it will be followed by a book signing and wine reception with Dr Whitlum-Cooper of her new exhibition catalogue, Boilly: Scenes of Parisian Life (National Gallery, London in association with Yale University Press, 2019).Find out more Book now
In this special lecture marking International Women’s Day, Dr. Laura Engel will discuss her new book Women, Performance, and the Material of Memory: The Archival Tourist, 1780 – 1915. Operating as an archival tourist in her analyses, she offers strategies for thinking about the presence of women artists in the archives through methodologies that seek to connect materials from the past with our representations of them in the present. Portraits in the Wallace Collection inspired several of the book’s chapters.
The lecture will be followed by a drinks reception.Find out more Book now
Join Tobias Capwell, our curator of arms and armour and curator of w to find out more about the exhibition. This lecture will take place in the Lecture Theatre and will have live subtitles for d/Deaf and hard or hearing visitors.
Free, no need to book.
Image: Henry Moore in his studio with Helmet Head No.2. Reproduced by permission of The Henry Moore Foundation. Photographer: John Hedgecoe, 1967Find out more Book now
Julie Amélie Charlotte Castelnau was born into humble circumstances in Paris on 15 March 1819 and bequeathed the Wallace Collection to the British nation in 1897. Her bicentenary is the perfect opportunity to discover more about what motivated her bequest and those of other philanthropic women of the period who gifted art to the public. Join Charissa Bremer-David (Curator, Sculpture & Decorative Arts, J. Paul Getty Museum), Dr Kate Hill (Principal Lecturer, School of History & Heritage, University of Lincoln), and our curators Suzanne Higgott, Dr Yuriko Jackall and Dr Lelia Packer, to explore this fascinating theme. Our Research Librarian Helen Jones will discuss the pioneering women who visited the collection and signed the visitors’ book when Lady Wallace lived here at Hertford House.
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Moore’s biographers seem unable or unwilling to grasp the idea that he actually enjoyed his time as a soldier in the 15th Battalion, The London Regiment. In this lecture John Lee explores Moore’s time in the army and the bonds of friendship made there and argues that if you understand this you will add to your understanding
of Henry Moore as man and artist.
This talk will take place in the Museum's lecture theatre.
Ages 15-18 years
Henry Moore’s numerous visits to the Wallace Collection Armoury in the 1930s and 40s produced a large number of helmet studies and sketches. These developed his abstract ideas on the themes of power, strength, protection and vulnerability, forming the conceptual basis for his Helmet Head sculptures. In this workshop follow in Moore’s footsteps and work with professional artist Marie-Thérèse Ross to develop your drawing skills and learn the essential qualities of the sketch: spontaneous, speedy, agile, imprecise and unfinished – an essential skill, used today by artists, architects and designers alike.
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For children aged 7 - 10 years only
Using Henry Moore’s helmet heads as inspiration you will work with artist Alex Hirtzel to create your own versions from air dry clay. You will carve, mould and create textures into the surface to form a 3D model.
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For children aged 11 - 14 years only
Using Henry Moore’s helmet heads as inspiration you will work with artist Alex Hirtzel to create your own versions from air dry clay. You will carve, mould and create textures into the surface to form a 3D model.Find out more Book now
Join us for an Open House at the Wallace Collection in collaboration with Garsington Opera. The museum will stay open late for drinks, special curator talks and a privileged early taste of Garsington Opera’s upcoming season.
Enjoy the Wallace Collection after-hours and find out more about our Benefactor programme.
Wine for the evening kindly sponsored by Berry Bros. & Rudd.
For more information, please contact the Development Office:
T: 02075639569Find out more Book now