Bromyard Art History Group

The Conquest Theatre, Tenbury Road, Bromyard HR7 4LL

Art History lectures on Tuesdays from 10am until midday

2013-14 Season of Lectures

10 September 2013 Coffee morning, Open to existing and potential new members from 10.30 until 12.00


Val Edwards makes a welcome return with a series of 6 lectures entitled, “It’s All Greek To Me”.

From Kleitias’ figures painted on the François Vase around 570 BC to Picasso’s 1934 Lysistrata etchings to Anselm Kiefer’s work Berenice of 1989, artists have depicted or taken their inspiration from ancient Greek mythology. The six lectures devoted to this subject will be spent considering works of art from various periods and places in anticipation of making them more accessible and enjoyable.

17 September Cracking Good Yarns 1 – The Wrath of Hera and the Labours of Herakles

24 September The enduring significance of Herakles – Parallels, Allegories and Symbols

8 October Cracking Good Yarns 2 – The Wrath of Eris: destiny, love and death

15 October Cracking Good Yarns 3 – The Wrath of Achilles: destiny, love and death 2

 22 October Concepts and Messages 1 – The Male Nude: adoptions and adaptations

 29 October NO LECTURE – Theatre closed for the week

 5 November Concepts and Messages 2 – The Female Nude: adoptions and adaptations


Emeritus Professor of Poetry & Art, Manchester Metropolitan University.

Formerly Head of Contemporary Arts at Manchester and Head of Art at Roehampton University.

Allen Fisher is a poet, painter, publisher and art historian. He has over 140 single-authored publications of poetry, graphics, art documentation and theory to his name; examples of his work are in the Tate Collection and in the Oxford Anthology of Twentieth-Century British & Irish Poetry.

His most recent one-person show will be at the Apple Store Gallery, Hereford, in October 2013.

12 November Engaged Disruption of Word and Image:

American poetry and art in the period 1950-1970.

Many of the poets and artists in the United States, in the period 1950-1970, developed a strident use of collage that encouraged the simultaneous effect of connected subjects with a rapid disconnection of visual and written language. The lecture uses many indicative examples and also focuses on explicit works: Charles Olson’s The Maximus Poems and Robert Rauschenberg’s Almanac; Frank O’Hara’s Second Avenue and Larry Rivers’ Washington Crossing the Delaware.


Sylvia Pinches has worked for the Compton Verney House Trust, producing a study of the social history of the house and estate. She was Curator of 78 Derngate, Northampton (Mackintosh’s last major commission) from 2002-2005, from the beginning of its restoration until the second year of being open to the public. From then she was employed by the University of Gloucestershire for four years on ‘England’s Past for Everyone’, a

project of the Victoria County History Trust, in Herefordshire. Latterly she has returned to being a freelance researcher, writer and lecturer. Sylvia has had a number of books published and continues to write.

19 November Charles Tunnicliffe: Artist and Illustrator

Tunnicliffe was a prolific artist, illustrating everything from Tarka the Otter to Ladybird books and Brooke Bond tea cards. His main subjects were the natural and farming world, especially the bird life to be observed from his home at ‘Shorelands’, Malltraeth, Anglesey. . He lived very close to Sylvia’s home, and as a child, she did meet him once.


An independent art historian, specialising in Cornish Art. His particular interest in St Ives art derives from the fact that his great-grandfather, William Titcomb, was one of the early settlers in the colony.

Since 2000, David has curated various exhibitions on Cornish art for Tate St Ives, Penlee House Gallery and Museum, Penzance, Royal Cornwall Museum, Truro, Nottingham Castle Museum, Cheltenham Art Gallery and various other Art Galleries around the country. He has also published eight books, of which five have been major, ground-breaking surveys of St Ives art,

In the spring of 2014, there will be a exhibition at Worcester Art Gallery in which their major St Ives exhibition pieces and others from local public galleries, will be complemented by David’s collection.

From 16th March to 8th June 2013, Penlee House Gallery, Penzance are putting on an exhibition devoted to the Lamorna art colony to coincide with the release of the film Summer in February (featuring Dan Stevens, of Downton Abbey fame), which is based on the disastrous marriage of art student, Florence Carter-Wood and Alfred Munnings, which ended in her suicide at Lamorna


26 November Cornish Colony Collaborations – The St connections of Dame Laura Knight and her Newlyn and Lamorna Friends

This lecture will look at paintings by Laura and Harold Knight and their Lamorna and Newlyn friends exhibited

with the St Ives Society of Artists prior to 1949.



3 December Compton Verney House and Art Gallery


The lecture will study the 600-year long social and architectural history of the house, with information about the families who lived there and detailed descriptions of how the rooms were furnished, charting the rise in ‘luxury’ over the 17th and 18th centuries.


Duncan James has been recording and analysing buildings for 15 years in Herefordshire and the surrounding counties, specialising in timber-framed structures. The focus of his work more recently has been in the field of pure research and he has and has contributed too many publications.

7 January2014 Buildings of Bromyard

This lecture is based on research commissioned by Bromyard and District Local History Society and carried out in 2008/9. It will explore the many different types of houses in the town, a few dating from the 15th century, and seek to find features that are unique to Bromyard. It will also look at the way in which some of the buildings have embraced and preserved earlier structures that are now hidden within later walls.


14 January Decoration of timber framed buildings during the Tudor period

 The opening of the 16th century saw a radical change in the design of vernacular houses when the single-storey medieval open hall with its central hearth was abandoned to be replaced by a two-storey building with a ceiled hall, and a chimneystack, often serving multiple fireplaces. Throughout this period the decoration incorporated in the structure underwent subtle changes and shifted from expressions of the status that were focussed within the building to the later Tudor excesses when the exterior became the canvas on which to display notions of power and wealth. The lecture will review these decorative changes and consider the factors that may have influenced them.


Dr Michael Lafferty independent board member of Hereford College of Arts, member of the Society for European Philosophy and art history lecturer makes a welcome return with two lectures.

21 January Freud and Pater on Leonardo

The first lecture looks at Freud’s essay ‘Leonardo da Vinci and a Memory of His Childhood’. Despite the mistakes, it is still an important essay: it is one of the few things written about Leonardo that attempts to address the issue of why, despite his astonishing gifts and ability, he failed to complete projects. We spent a little time looking at Walter Pater’s essay on Leonardo from ‘The Renaissance’ and suggest a biographical parallel between Pater and Leonardo. We finished with Darian Leader’s Lacanian view of the case of the stolen ‘Mona Lisa’.


28 January Freud, Danto and Benjamin on Michelangelo

Michael’s second lecture examines Freud’s ‘The Moses of Michelangelo’ which, it is argued, is interesting for what it does not discuss! It moves on to look at Arthur Danto’s chapter ‘Restoration and Meaning’ in his latest book ‘What Art Is’. It concerns the restoration of Michelangelo’s ceiling of the Sistine Chapel. Finally the essay considers Walter Benjamin’s very short essay ‘On the Mimetic Faculty’. This is not specifically about Michelangelo or indeed art, but, it is argued, gives a valuable insight into Michelangelo’s work.



Maureen Schild is a retired psychotherapist and lecturer in psychology who has had a long term interest in the psychology and creativity of artistic individuals and processes. Maureen attended the 150th anniversary of Munch’s birth in Norway during 2013. She will present two lectures that she has previously given to Hereford DFAS.

4 FebruaryOspedale degli Innocenti’, the Foundling Hospital in Florence.

When Brunelleschi’s building was commissioned in 1419, it was as a result of several seemingly unconnected events. We shall discover how the hospital came into being and the development of this great Florentine institution. Also we shall explore the Museum of the Innocenti with works by Ghrilandaio, Della Robbias and many others.

11 February ‘Edvard Munch: The Man Who Painted Souls’

Munch is best known for one painting, The Scream, however, he was a prolific artist and innovator. Maureen will trace Munch’s development from the earliest influences impacting on his psyche and the creativity that informed his artistic life.


Richard Box is a freelance artist (drawing, painting and embroidery), lecturer, teacher and author since 1985. Previously he was Head of Art at Avery College of Education. Richard currently teaches and lectures. He exhibits his work regularly at galleries throughout the country and is a NADFAS accredited lecturer.

18 February Secret Beauty: Hidden Messages in Pictoria lComposition

The lecture looks at how the formal qualities (colour, tone line, direction, shape etc.) are used by fine and decorative artists to evoke moods, feelings and atmospheres as well as for purely descriptive purposes. The accompanying images are extremely varied and range from a wide range historically as well as geographically.


Richard Lockett has worked successively as a school teacher, University lecturer, and museum curator and is former Senior Assistant Director of Birmingham Museums and Art Gallery. He is a NADFAS lecturer and has lectured extensively to various historical and art societies in the UK and overseas.

25 February John Michael Wright: Portrait painter of the Stuart Restoration

John Michael Wright is a relatively unknown but significant 17th century portrait painter in the Baroque style.. He was favoured by patrons at the highest level of society in an age in which foreign artists were usually preferred and is now considered as one of the leading indigenous British painters of his generation


Arthur Millner received his training at Sotheby’s, working in the London auction house for nine years. He spent a year in the late 1980s at the SOAS (School of Oriental and African Studies), gaining an MA in Indian Studies. Until 2008, he ran his own gallery specialising in Indian and Islamic Art in Kensington. As well as working as head of the Indian and Islamic Department at Auction Atrium, the internet auction business based in Kensington, he lectures at the Victoria and Albert Museum and SOAS and writes on the subject for publications, including Hali and World of Interiors. We welcome Arthur back with a new lecture on Indian colonial furniture

4 March Indian Colonial Furniture

Furniture played a negligible role in early India; most people in all levels of society, both Hindu and Muslim would sit on the ground with cushions, rugs and bolsters for comfort. Low tables, simple stools and the distinctive basic charpoi bed, still popular today, were the extent of it. Even thrones for rulers were by no means ubiquitous, and were an imported idea. When Europeans started travelling to India and the east they brought with them a need for the familiar forms of furniture they lived with at home. They brought some on board ship, but it quickly became clear that local craftsmen could produce a wide range of practical and luxury items to order. This type of furniture was never a slavish replication of European work, and the great fascination which has only emerged in recent years in this subject, is the hybridisation of European and Asian. Each wave of European arrivals, Portuguese, Dutch, French and lastly British let to a change in style and taste which governed what was being produced, and finally as the Indians themselves became more westernised during the 19th century, a re-indigenised style emerged.


11 March The Ancient Sculptural figure:

from Mesopotamia and the Indus Valley to Greece and Gandhara.

The sculptural figure around the Mediterranean and, inland, east onto the beginning of the salt and silk routes, often demonstrates a formal complexity that can evoke recognition of similarity between different cultures, as much as variation. These are not simply similarities of human and animal forms, but are crafted designs that partly repeat and partly change existing forms. It reminds us that artisans learn from artisans.


Bromyard Art History Group reserves the right to change this programme to accommodate circumstances beyond our control.


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