Leslie will explore how we got to where we are today with so many art forms and artists. He looks at the milestones and tipping points of Western European Art that changed the course of art history.

About the Speaker

Leslie is an art historian, author and broadcaster who specialises in many aspects of art history from Medieval art to the work of Rubens. His varied publications include contributions to the Oxford Companion Guide to British Black History and to the Royal Academy Magazine for” The Entangled Pasts” exhibition. His latest book to date is “The Foreign Invention of British Art.”

Gary displays and talks through a selection of amazing images that have influenced his work. Many of the images discussed during the presentation will be familiar, but you may not know who took them!

Gary Italiaander

Having shown musical ability at a very young age, Gary studied at the London College of Music. He qualified as a piano teacher and music specialist, completing a further year’s study at the University of Reading.

A major change of direction took Gary into the world of Photography, and he had a studio in Harrods where all portraiture of the store’s clients was commissioned. Commercial shoots have seen Gary travel to far-flung locations around the world.

This lecture explores how the USA covertly used both Modernist design and Abstract Expressionism as Cold War tools against the Soviet Bloc in the 1950s. It examines how America’s new artists were unwittingly used by the CIA. It also demonstrates how mid-century modern design was used to demonstrate American cultural superiority.

James Vaux

James Vaux is a researcher and lecturer specialising in Nordic arts, culture, design and history. After gaining a law degree at Oxford he eventually became managing director of the international bank Rothschild and advised governments and corporates worldwide. He set up and ran the bank’s Nordic operations, living and working in Scandinavia. He has also studied interior design and hosted a local radio show for four years.

Decorous conduct has  not always been observed by some members of the Marlborough family, who could even put the Bridgertons to shame! We meet some of the more colourful characters from Blenheim’s past. The Georgian era was one where the Ton (the who’s-who of British high society during the Regency era) turned a blind eye to shenanigans so long as they were discreet.

Antonia Keaney

Antonia is Blenheim Palace’s Social Historian and Researcher. This role involves her curating and co-curating Palace exhibitions including “A Passion for Fashion” which illustrated 300 years of Blenheim Style. She has written a book on this topic, published in 2020. Antonia’s latest project has been to produce a series of podcasts - “Behind the Scenes at Blenheim Palace” available on Spotify.

The Elizabethans loved walnut for fashionable furniture and it continued to be used well into the eighteenth century. Stylistically, the period 1660-1740 covers the Restoration, William and Mary, Queen Anne and Baroque styles. Technically, the furniture transitioned from the framed panel construction of the joiner to the dovetailed work of the cabinet maker. During this time, stunning decoration was introduced using veneering, parquetry and marquetry.

Janusz Karczewski-Slowikowski

Following a long career in Higher Education, Janusz is a freelance lecturer and researcher in English furniture history and an antique dealer.

Whilst studying for his first degree, he worked part time in an antiques shop. Such was his interest in collecting that he became known as the dealer who bought but never sold. His lectures seek to explain furniture in terms of the skills and materials employed in its design and construction and also its socio-economic significance.

Alexandra explores iconic dresses depicted in ten famous portraits from the nineteenth and twentieth centuries, which shocked and delighted audiences. We study a range of different dresses, from Sargent’s scandalous little black dress to Klimt’s golden gowns and the drapery of Leighton’s Flaming June. As every picture tells a story, so does every dress!

Alexandra Epps

Alexandra’s background is in design having practised as a graphic designer running her own design consultancy for many years. Alexandra is an Official Guide and Lecturer at Tate Modern, Tate Britain and the Guildhall Art Gallery. She is a qualified guide to the City of London and offers walks, talks and tours about many aspects of the arts.

Norwegian arts have always had a close relationship with nature, and this lecture explores how Norway’s geography inspired painters such as Edvard Munch, J C Dahl and Peder Balke. They have also inspired ultra-modern design and architectural practices, as adopted by the collective Snohetta, who designed the Oslo Opera House to look like an iceberg you can walk on.

Rosamund Bartlett

Rosamund is a writer, lecturer and translator whose interests range across the arts and across European cultures from Italy to Norway. She gained an Oxford doctorate in Slavic studies and holds fellowships in the UK and at the European Institute in Florence. In 2024 she became a Royal Literary Fund Fellow at Brasenose College Oxford.

VENUE: DOUBLETREE BY HILTON HOTEL

Peter traces the development of the English Christmas Carol through seven centuries. He explores the intriguing stories behind a number of them. Carols examined will include Angelus and Virginem, God Rest Ye Merry Gentlemen, Christians Awake, Hark the Herald Angels Sing and Adeste Fideles.

Peter Medhurst

Peter is well known as a musician and scholar in the U.K and abroad. He studied singing and early keyboard instruments at the Royal College of Music and the Mozarteum in Salsburg. His work as singer, pianist and lecturer-recitalist has taken him all over the world, and STRADFAS has recently enjoyed lectures by him on Vivaldi and Handel.

VENUE: DOUBLETREE BY HILTON HOTEL

In Christian iconography angels have been depicted in many different ways. Leonardo da Vinci painted the Angel Gabriel with realistic bird wings, while Raphael imagined his angels as a pair of toddlers. Van Eyck’s angels sing and play musical instruments whereas William Blake envisages phantoms in his pictures and poetry. In this lecture, Sarah Burles explores images of heavenly beings across religions and the centuries.

Sarah Burles

After gaining a History of Art degree from Cambridge University and a master’s degree from U.C.L., Sarah established new services in three museums before working at the Fitzwilliam Museum. She is the founder of Cambridge Art Tours; she is also a Tour Director for a travel company leading cultural tours abroad to the continent and America.

VENUE: DOUBLETREE BY HILTON HOTEL

In a world where women had little power, Isabella D’Este (1474-1539) became one of the first great female patrons and art collectors of the Renaissance. Her court in Mantua was filled with fine writers and poets. Her letters reveal a clever and educated woman who had an eye for art as well as fashion.

Sarah Dunant

 Sarah is a novelist, broadcaster and critic who has worked for many years as a cultural journalist in radio and television. She is a regular contributor to BBC Radio 4’s A Point of View and these talks are available on podcast. She has published thirteen novels and lectured around the world at festivals, conferences and universities. Her last five novels are set during the Italian Renaissance.

VENUE: STRATFORD MANOR HOTEL, WARWICK ROAD

The Birth of Expressionism. Gavin explores the universal aftershocks of Munch’s vision when he painted “The Scream” in 1893: in art and music, literature, dance and film. Whilst surveying the origins of Expressionism, Gavin examines the works of artists and thinkers such as Kandinsky, Klee, Schiele, Nietzsche, Freud and Schoenberg showing ways in which they reflected and ignited our inner feelings.

Gavin Plumley

Gavin Plumley is a writer and broadcaster who has appeared on BBC radios 3 and 4. He regularly contributes to newspapers, magazines, opera and concerts across the world. He became a freelance writer and broadcaster in October 2011, specialising in the music and culture of Central Europe during the 19th and 20th centuries. Gavin last lectured to STRADFAS on the paintings of Pieter Bruegel the Elder in September 2023.

This talk explores the origins of our great British parks from the Royal Parks to the Pleasure Gardens of the eighteenth century to their Victorian heyday. Paul discusses what makes a great park, its parkitecture with examples of lodges, lakes, bandstands, fountains, lidos, palm houses and glorious floral displays. He then moves on to their decline in the sixties, seventies and eighties.

About the Speaker

Paul is a qualified landscape architect and celebrated parks and open spaces manager and has worked for several local authorities. He is a passionate advocate for public parks and the Victorian and Edwardian bandstand. He has written 34 books on various subjects such as parks, bandstands, Grinling Gibbons and Sir Christopher Wren. He has assisted in localised restoration projects nationwide and has been a popular speaker on parks for many years.

Daniel Robbins gave a captivating talk about the Life and Works of Frederic Leighton shown through the history of his home, Leighton House in Kensington. Daniel was instrumental in creating this astonishing museum by researching the painter’s life as he progressed from being an art student in Frankfurt to president of The Royal Academy. Engaging slides illustrated the talents of Leighton from his first successful painting bought by Queen Victoria entitled” Cimabue’s Madonna which is carried Through the Streets of Florence,” to the stunning rooms of his house which he created from various forms of art which he collected on his travels. Each room exhibited an individual type of art such as an amazing sculpture, or some beautiful tiles. He then decorated the walls and ceilings of the rooms in a way which enhanced the beauty of the artwork. The most remarkable of these rooms is The Arab Hall with its Middle Easter tiles and Golden Dome. Venetian art and tiles decorated the Staircase Hall. At times he had to sell his own paintings to pay for more decorations to the house, such as his work entitled “The Syracusan Bride” in 1866. His house was used not only as his studio but as a showcase for other artists’ works and he conducted tours of it himself. Paintings of great artists such as Sir Joshua Reynolds and Delacroix adorned the walls, and he became very popular in society. He was very different from the traditional idea of an artist in a garret room. When he died his last words were reported as being “Give my love to the British Academy” showing his devotion for art. He was given a funeral in St. Paul’s Cathedral and there is a memorial to him in the North Aisle by Sir Christopher Wren.

This charming lecture celebrated 250 years since Jane Austen’s birth. Annalie explored various objects which she felt were proof that Jane Austen was indeed a material girl! Interspersed with stunning slides of paintings illustrating various aspects of the life and times of Jane Austen were discussions of varying objects such as the novel “Camille”, footwear of the time and jewellery. Each object was shown and then we were given proof of its importance to Jane Austen after examining evidence of it in her writings. Walking was a regular activity of the time as it was a means of leaving the confines of the house and we were shown a slide of a fascinating publication advertising shoes suitable for walking such as boots. Among other objects looked at were miniatures and samplers. One object which is not in any of her books was a turquoise ring which Jane Austen owned and has sold for £152,000 because of its association with the great writer herself. The development of commerce was shown with the production of porcelain jewellery boxes and her novel “Sanditon” shows just how important shopping was to people with Jane Austen herself taking great pleasure in it.

Annalie concluded with the thought that “Little matters they are to be sure but highly important.”

To celebrate 400 years since the accession of Charles I to the throne, Barbara Askew traced some of the art he purchased, which became part of one of the greatest art collections in the world. However, in doing so, he bankrupted the nation and became very unpopular with his people, so most of the collection was sold in The Commonwealth Sale after his execution. Much of his art is now in great world art galleries. The stunning slides began with the famous painting by Antony Van Dyck showing Charles at the height of his powers called “Charles I with M. de St. Antoine.” In his travels to Spain Charles realised that a king’s art collection gave him status and so he set about acquiring as much as he could. Some of the paintings explored included “Woman in a Fur Wrap” by Titian which is now in Vienna, the Pardo Venus completed in 1515 and now in the Louvre and works by Raphael. He bought seven out of ten cartoons of Raphael’s Acts of the Apostles from which the tapestries which hang in the Sistine chapel were made. He was given works of art by Philip of Spain, including a sculpture by Giambologna of Samson slaying a Philistine, which is now in the entrance to the V and A Museum.  He sent Lanier to Mantua to buy from the Gonzago collection, which was the best in Europe and had been started by Isabella D’Este and contained many Titians. One of the pieces he bought from this collection was “The Toilet of Venus” by Guido Reni which is now in The National Gallery.
Together with his wife, Henrietta Maria, he collected many paintings and encouraged artists such as Van Dyck and Rubens to come to London to work. Rubens painted the ceiling of The Banqueting House in London. He also painted various pictures for Charles and commented that Charles was the greatest lover of all paintings of all the princes. One of the other paintings which Barabara explored was the triple portrait of Charles by Van Dyck. She even linked Charles and Henrietta with Stratford-upon-Avon with Henrietta being a guest of Susannah Hall

Alice White gave an animated and well-structured lecture, flavoured with the professional artist’s insights into the progression of the techniques of the two painters.
Bacon was born in Dublin, and Freud (the grandson of psychoanalyst Sigmund) in Belin, by the 1930s they were in London and became significant figures in post-war London nightlife. Bacon joked “Champagne for my real friends, real pain for my sham friends”. Both gambled ferociously, although Freud, who was once bailed out by Lord Rothschild (a family friend) when the Kray twins threatened to cut off his hand if he did not pay them £!,000, gave up gambling once he became successful, because the thrill of risking losing all his money had gone.
The two were friends for 30 years, but later fell out when competing for the attention of the art world. The shared an aim to bring figure painting back to mainstream art. But there were also contrasts in their lifestyles and their work:
Bacon was homosexual, and his father throwing him out of the family home at age 17 as a result led him to go to Berlin and then Paris where he was much influenced by the work of Picasso. Freud was married twice and also fathered a dozen children, many of them by different women in the same period. When asked about this he quipped “You do realise I have a bicycle?”;
Bacon did not like to have models in his studio and worked mainly from photographs. He worked hard and quickly, finishing a work in a few sessions. Freud also worked hard, painting live models, one in the morning under natural light and a different project in the evening under artificial light. He took weeks or months to finish a work. Women who sat for Freud had mixed experiences, one finding it harrowing, while others found it electrifying and did not want the sessions to end;
Bacon listed Picasso among his influences, Freud followed Rembrandt in producing self-portraits through out his life, showing changes in both his body and his painting technique;
An unfinished work by Freud shows how he sketched the outline of what he wanted to paint in charcoal. Bacon claimed in more than one interview never to sketch, although an examination of his studio after his death showed this was not entirely true.

Image courtesy National Portrait Gallery

Pepe Martinez delivered an entertaining, informative and thought-provoking lecture about the artist Banksy. With the aid of stunning slides and through exploration of the history of graffiti; the use of stencils and the work of the artists who influenced him, we were invited to consider the value of his work.

Modern influences on Banksy include Big Robbo and Keith Haring. Haring was an American Street artist who used his art to raise awareness of health issues, and Banksy seems to be drawing attention to social ills which he sees in society. One such wall painting is entitled “Mild, Mild West” which shows a bear about to throw a Molotov cocktail at police. This appeared during a time of social unrest when teenagers attended illegal raves. The police were called in and Banksy felt they were too heavy-handed in the way they dealt with the young people.

 Banksy uses stencils, as they are a quicker way to complete a painting onsite. He held exhibitions of his work in unexpected venues such as his show in 2003 in Hackney where everything in it was painted on - even the animals! It received good reviews, and in that year he also set up another gallery where his prints were sold. It was so successful that in 2017 it had to close as it could not cope with demand.

Another aspect to his work is shown when he satirises society through his adaptation of a famous work of art such as the Mona Lisa. His Dismal Land show in 2015 was based on Disneyland and a pastiche was constructed of Cinderella’s coach which had crashed in a similar way to Princess Diana’s fatal Parisian crash. It was held in Weston-Super-Mare and made £14 million for the town. The sets were reused as temporary housing for refugees in Calais. One of his most important moments came when his “Girl with a Red Balloon” was partially shredded as the hammer fell at a Christies auction and has sold several times since for ever-increasing sums of money. It was suggested that Banksy is trying to tell us that works of art destroy themselves the moment they are sold. He may not have been so popular if he had not kept himself anonymous, but he has successfully brought to our attention what is wrong with society today.

An old friend of STRADFAS, Sandy delivered an uplifting lecture exploring Christmas music from Russia, South Africa, America and Great Britain. He explained the history of the pieces, played sections of each piece and then commented on the actual construction of the melodies.
He started in Russia with Tchaikovsky who composed quartets, symphonies and ballets. His Christmas Classic The Nutcracker originated from a creepy children`s story by Hoffmann. Sandy showed us an image of a Celesta or Bell piano used in the Dance of the Sugar Plum Fairy, which Tchaikovsky had imported secretly into Russia for the premiere.
The lecture included a heartwarming ballad from Mel Torme, beautiful music from Soweto, enchanting sounds from Johann Sebastian Bach and a more cynical piece from Eartha Kitt.
Interesting people mentioned included Elizabeth Poston, a DJ during the Second World War, who was actually a spy sending coded messages through recorded music to British troops in France. The lecture concluded with Sandy himself playing “White Christmas” and the audience singing along.

A fact-packed lecture took us through the life of Frans Hals and the influences on him as a painter.

Born in Antwerp in the early 1580s, his family fled to Haarlem where he sought solace in the Grote Kerk of Saint Bartholomew. He learned to paint the simplicity and calm of the church, which had been cleared of all its treasures as a result of religious conflict, by studying the techniques of Saenredam.

He became a major portrait painter as is shown in his beautiful painting of “Catharina Hooft and her Nurse.” He learned from the techniques of Dutch artists such as Henrik Ter Brugghen. Antonisz painted military portraits and Hals also looked to the military for commissions, as can be seen in his painting “The Militia Company of Saint George.” Italian influences can be traced in his work after a group of artists from Utrecht returned from a visit exploring artistic techniques in Rome.

His use of paint to portray fabrics such as the fur on the coat of Jacobus Zaffius, and the light catching  his moist lip, were examined in detail. His famous “Laughing Cavalier” appears to be smirking rather than laughing and by looking closely at the features in the fabric of his coat it could be deduced that it is a portrait painted to advertise the sitter’s wish to be married. Hals' use of light is remarkable and can be seen in many of his paintings. The importance of where figures were placed in paintings illustrated whether they were married or not, broken pots indicated the transitory nature of life. In one painting he even includes a small house in the background, based on the house in the garden of Reubens, so Reubens was also an influence on Hals. His later paintings of groups of men used quieter colours, as the subjects were no longer militiamen engaged in training for conflict but were committee members doing good works for the community.

He was quite an extraordinary painter.

Breathtaking jewellery from the Art Deco period formed the centrepiece of a dazzling jewellery display by Pragnell which complemented the lecture about the origins, social history and characteristics of jewellery during the Art Deco period.

Jewellery was a mark of a woman’s place in society, and it was worn in profusion at court. A sensational slide showed the 143-carat emerald surrounded by diamonds made for an American lady. Jewellery of this time was also made of chromium plated brass, wood and steel. The design of jewellery changed as women’s lives transitioned and gemstones were recycled and reset.

Social changes influenced the design of Art Deco jewellery and it was displayed at the 1925 Paris Jewellery Exhibition if it showed “A modern inspiration and a real originality. “The Ballets Russes and Diaghilev’s love of colour resulted in stones such as Lapus Lazuli being used. As women’s hair became shorter jewellery bandeau ornaments became popular. Cloche hats were fixed by diamond arrow shaped hat pins. Striking brooches made in pairs were clipped onto the edge of clothing. There were examples shown of abstract and geometrical designs, some of which were influenced by the architecture of the time. With the advent of the motor car less jewellery was in demand but a brooch was made of the vehicle used to break the land speed record by George Eyston.

Clare also showed how gemstones were formed into exquisite shapes and explained about the various metal used. Amongst the dream jewellery Vogue magazine felt women should possess during this period were strings of pearls, hair jewellery and one large bracelet!

Simon explored so many aspects of Chelsea by including artists, novelists, a poet and architects who were all either residents in the area or people who changed the landscape in some way and helped it to evolve into a literary and artistic community.

After the influence of Hans Sloane on the buildings in Chelsea, the creativity of Sir Christopher Wren was explored with specific reference to The Royal Chelsea Hospital. Beautiful slides were shown illustrating many of the famous artists who have resided there as, initially, it was a cheap place to live. Millais painted his famous image of Ophelia there and other not so famous artists produced outstanding pictures such as Henry Greaves who painted Chelsea before it was built on. J.W. Turner was the first artist to make Chelsea famous and his most well known paintings were created there. Tite Street became a street inhabited by many gifted artists such as Whistler who was forced to live there after becoming bankrupt and John Singer Sargant whose studio was at Number 33.

The Royal Court Theatre in Sloane Square became known for paving the way for new playwrights. It staged the premiere of “Look Back in Anger” which led to the staging of other plays by playwrights such as Edward Bond and Harold Pinter. Oscar Wilde, A.A. Milne and the “Lost Boy” on whom Peter Pan was based were all residents in the now famous streets of Chelsea.

A fascinating lecture which traced the history of self-portraits from Durer to selfies of the modern day. Many examples of self-portraits can be seen to show a certain image and lifestyle which a painter wants to project. Self-portraits by Durer, Velazquez, Rembrandt and Van Gogh opened a fact packed talk which explored the obsession with Cartes de Visite in England and abroad in the mid 1870’s. Self portraits were in the domain of the wealthy so when the art of photography became popular, images of ordinary people could be produced at a very low cost. Examples of Cartes de Visite were explored in terms of the expressions, dress, position and objects shown in the pictures. The card itself on which the image was projected was also examined for clues about the date the picture was taken. Such cards were used by everyone from Napoleon 111 to the man in the street. They were used to record an event such as a new job or even to gain support for an upcoming election! Cartes de Visite shops where anyone could have their photograph taken were in every town. With the advent of the mobile phone and selfie sticks the Carte de Visite was proved to be the fore runner of the modern selfie.

Whistler’s style of painting owes much to the influence of other painters such as the Impressionists, Gustav Corbet and Japanese artists. However, his model and muse Joanna Hiffernan had a significant impact on the development of his style.

 The lecture took us from his self portrait which was in the style of Rembrandt to his desire to create realistic paintings such as “Wapping” where Hiffernan is seen in a central position on the canvas, with open arms suggesting a likeness to a prostitute as prostitutes were commonly used as models, in front of a busy River Thames. His famous painting entitled “Symphony in White, No 1” was explored in detail, looking at the various shades of white, the symbolism of the flowers and the patterns on the curtains. His second Symphony shows Heffernan in a middle-class dress leaning up against a mantelpiece. A Japanese influence can be seen in the details of the fan, azaleas and vases. The River Thames is reflected in the mirror. In his third symphony Hiffernan is lying on a sofa and her dress is draped and echoes the shape of the second girl’s dress. Although there is much less detail in the picture, Hiffernan’s features are more defined. The two girls are in harmony and a fluidity flows through it. Whistler considered this his purest painting.

 We were also shown a painting of her by Courbet entitled “Jo, La Belle Irlandaise” which displays her stunning red hair. She is gazing into the mirror, and this is a very modern image, encouraging the viewer to see her as a thinking woman.

As Whistler’s relationship with Hiffernan changed. Jo argued that his depiction of her in his artwork showed more depth to her as a person not just a model.

Auctions underwent radical changes from the 18th century when they were held in Coffee Houses. Nowadays many are online and can reach a vast worldwide audience. Edward Millington was one of the first auctioneers of note and was very successful at auctioning paintings until 1703. The great wealth of the Georgian era brought the formation of specialised auction houses. Sotheby’s was founded in 1794 and specialised in dealing with the contents of libraries. Christy’s specialised in country house sales and Phillips in jewellery and designer furniture. With the opening of art galleries such as the Royal Academy art was available to more people as previously it was primarily available to those who had commissioned it. Through these galleries great artists such as William Blake, Constable, Gainsborough and Turner became well known, their art was sought after and a second-hand art market flourished. The auction houses became great as they sold great collections such as the Hamilton Collection sale of 1801.

Connie Gray traced the life and art of René Gruau whose art defined Dior. The fashion illustrator began in 1910 and worked until photography took over in the 1970’s. He has been described as showing “grandeur, nobility and sensuality” in his art. There were many similarities between Dior and Gruau as both had been born at the end of the nineteenth century, both born into wealth, elegance and opulence, both lost that wealth, and both travelled to fashion areas in Europe.

Dior met René Gruau at Le Figaro where René Gruau was working, and they immediately became friends and supported each other. When war broke out many Parisian couture houses and fashion magazines closed or moved away so René went to Cannes to draw for Marie-Claire. He was asked to do more and helped with layouts, so he understood the placement of figures on a page.

Eventually Dior was designing women’s dresses under the tutelage of Lucien Lelong which led to Dior’s designs of cinched in waists and flowing skirts. Meanwhile René Gruau was developing his style as a fashion illustrator and was influenced in three ways: by the deep, dark ink of Japanese art of the 1600’s, by Toulouse Lautrec’s graphic style and by the society painter Giovanni Boldini who depicted women in fabulous, often white, dresses. Gruau’s illustrations feature deep dark black lines from the Japanese style used to show a silhouette using only red, black and white and the dresses themselves are cocktail dresses.

 An exhibition in Paris in 1945 at which René Gruau was present was so successful that he was invited by Dior to illustrate his “New Look.” His elegant drawings were found in Vogue in 1953. Christian Dior believed that lilies of the valley brought him luck and Gruau placed them in his drawings. His images were used in advertisements for other Dior products such as Miss Dior perfume, for which he designed the swan with a black bow at the neck. René created his own separate designs for his own products such as a beautiful beach towel featuring a mermaid. John Galliano took René Gruau as his inspiration for his 2011 fashion show. There have been many books written about him that show his art is amongst the most iconic fashion images of the twentieth century.Connie Gray traced the life and art of René Gruau whose art defined Dior. The fashion illustrator began in 1910 and worked until photography took over in the 1970’s. He has been described as showing “grandeur, nobility and sensuality” in his art. There were many similarities between Dior and Gruau as both had been born at the end of the nineteenth century, both born into wealth, elegance and opulence, both lost that wealth, and both travelled to fashion areas in Europe.

Dior met René Gruau at Le Figaro where René Gruau was working, and they immediately became friends and supported each other. When war broke out many Parisian couture houses and fashion magazines closed or moved away so René went to Cannes to draw for Marie-Claire. He was asked to do more and helped with layouts, so he understood the placement of figures on a page.

Eventually Dior was designing women’s dresses under the tutelage of Lucien Lelong which led to Dior’s designs of cinched in waists and flowing skirts. Meanwhile René Gruau was developing his style as a fashion illustrator and was influenced in three ways: by the deep, dark ink of Japanese art of the 1600’s, by Toulouse Lautrec’s graphic style and by the society painter Giovanni Boldini who depicted women in fabulous, often white, dresses. Gruau’s illustrations feature deep dark black lines from the Japanese style used to show a silhouette using only red, black and white and the dresses themselves are cocktail dresses.

 An exhibition in Paris in 1945 at which René Gruau was present was so successful that he was invited by Dior to illustrate his “New Look.” His elegant drawings were found in Vogue in 1953. Christian Dior believed that lilies of the valley brought him luck and Gruau placed them in his drawings. His images were used in advertisements for other Dior products such as Miss Dior perfume, for which he designed the swan with a black bow at the neck. René created his own separate designs for his own products such as a beautiful beach towel featuring a mermaid. John Galliano took René Gruau as his inspiration for his 2011 fashion show. There have been many books written about him that show his art is amongst the most iconic fashion images of the twentieth century.

Angela’s knowledge as an artist, teacher in prisons and Arts Coordinator to the leading prison charity Koestler Arts has resulted in her developing techniques to help educate prisoners. She showed stunning slides which helped illustrate how underlying issues in prisoners’ lives could be addressed through art. One issue was the overstepping of boundaries which she explored with prisoners through the colours yellow, red and blue. In groups inmates were asked to communicate with each other only through the use of the colour they were given by painting on paper.

When someone went into another person’s space on the paper with a different colour, they were asked how that felt and then they would relate those feelings to how the person felt who they had committed a crime against. Other issues covered included the idea of a quick fix mentality when a crime is committed for instant gratification. Angela led projects involving time consuming stunning outdoor mosaic displays which gave the prisoners self-esteem. Other amazing art works were shown to address the issues of a lack of an authority figure in a prisoner’s life and the issue of emotional illiteracy when a person is constantly reacting to situations. Slides of art ranging from cartoons to harrowing self-images were explored to show that prisoners can learn life skills through art.

Inspired by the gift of a book called “The Concise British Flora in Colour” by the Reverend William Keble Martin, Mark explored the wonderful world of plants and how they can help the police solve crimes. Beautiful slides of plants, flowers and landscapes accompanied a fascinating talk about Mark’s career as one of only two United Kingdom Forensic Botanists. A bed of brambles, a pillow of ivy and an Ash tree helped Mark solve one crime. He explored famous crimes such as that of Charles Lindbergh in which the tracing of a special wood from a specific tree in a particular area was the defining factor in prosecuting the criminal.

Rubus Fructicosus – the common bramble – is one of Mark’s favourite plants and the position and colour of this plant at a crime scene can help determine when a crime was committed. Pollen from the fuchsia woolly thistle is insect-borne so if that is found at a crime scene it will not have travelled far. An unusual slide of the attractive shapes of Diatoms made of silica was shown as these are used to determine whether or not drowning was a cause of death. He concluded with a stunning slide of the white iris which has been spread all over the world from Southern Spain due to its connection to Islam.

This lecture explores the Nativity icon from Orthodox East and its actual meaning. Late Trecento art is also examined and its differences highlighted. The talk traces the fascinating development of the image of the Nativity from its Byzantine roots to the devotional images of late fourteenth century Italy.

ABOUT THE SPEAKER

Helen is an M.A. graduate of the Courtauld Institute and has worked in the museum sector at London’s Russian Art Auction House and at Christie’s. Her interdisciplinary lectures weave together art historical scholarship, technical expertise and devotional context to provide a unique way of understanding 13th-14th century panel painting.

Rosamund Bartlett traces Ukraine’s complicated multi-ethnic history through the exploration of art and architecture in Kyiv and its links to Byzantium. She will also examine Odessa and Lviv and their ethnicities. Looking at Ukraine’s history as a whole she focuses on rich folk lore in term of songs and secret codes embedded in embroidery. All of which have impacted on modern painting, contemporary haute couture, Cossack dancing and borsch.

ABOUT THE SPEAKER

Rosamund Bartlett is a writer, lecturer and translator. Her work as a cultural historian ranges across the arts. After completing her doctorate at Oxford, she has written several books including the biographies of Chekhov and Tolstoy. She has written on art, music and literature for The Daily Telegraph and other publications. She has received commissions from such institutions as The Royal Opera House, Tate UK and the Salzburg Festival. She lectures widely in the UK and Australia and has contributed regularly to Proms events and opera broadcasts on the BBC.

Alexandra Epps explores the story of Tamara de Lempicka and her self-invention.  Originally an aristocratic fugitive from Russia during the Revolution, she later became an icon of the roaring twenties in Paris as she re invented herself as a successful artist. Her style was unique and it reflected the shifting morals of the age, representative of the wealthy and decadent European elite and boldly celebrated female sexuality.

ABOUT THE SPEAKER

Alexandra’s background is in design and she has practised as a graphic designer running her own design consultancy for many years. She is the Official Guide and lecturer at Tate Modern, Tate Britain and Guildhall Art Gallery.

The world of art came to be viewed differently after Pieter Bruegel the Elder was commissioned to create dining room paintings in Antwerp in 1565. He displayed landscapes during the course of the year and the landscape itself was the focus of the paintings, not the backdrop. Gavin explores paintings such as Bruegel’s “Return of the Herd”, “Hunters in the Snow” and “The Gloomy Day” and shows us a different way of looking at the environment and our place in it as it changes.

ABOUT THE SPEAKER

Gavin Plumley is a writer and broadcaster who has appeared on BBC radios 3 and 4. He regularly contributes to newspapers, magazines, opera and concerts across the world. He lectures about the Culture of Central Europe during the 19th and 20th centuries. His most recent talks include the Royal Opera House, The British Museum and the V and A.