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Wednesdays, April 5 – April 26, 1 – 3pm

#SeeingtheBarnes

Chaïm Soutine. Bouquet of Flowers (detail), c. 1918. BF125. Public Domain.

$220; members $198
(4 classes)

About the Class

Taught by a conservator, this course zooms in on Chaïm Soutine’s working methods. Until now, there has been little technical exploration of Soutine’s painting process. This, combined with a dearth of biographical information, has led to a complicated mythology about Soutine that is generally unclear and often contradicts itself. Looking closely at several paintings in the Barnes collection, the class will focus on what we have begun to learn from systematic study of Soutine’s paintings so that we might better understand one of the most enigmatic and unsung artists of the early 20th century.

The class is online-only. More about online classes.

This course will:

  • Increase your understanding of art-related concepts.
  • Increase the ways you think critically about art.
  • Improve your ability to communicate about art.
  • Deepen your appreciation for cultures and histories outside your own.

Instructor

Miriam Gillman

Owner/principal of Gillman Conservation, Gillman previously worked as assistant conservator of paintings at the Barnes. She studied art history at the University of St Andrews and conservation at the Courtauld Institute of Art, London. Her research interests include European expressionism and the technical analysis of modern paintings. Her recent work on paintings by Amedeo Modigliani was published in the Modigliani Up Close catalogue.

Art in Context

Art in Context courses connect works of art to history: What was happening politically, socially, and culturally at the time a piece was made? How did these circumstances shape the artist’s formal choices?

Recent Barnes Class Testimonials

“[The] professor was highly engaging, facilitated excellent discussions, and [was] very knowledgeable. I learned a lot about teaching art history from watching her.” Course: Matisse and Picasso with Martha Lucy

“Every single second of the course was a productive, valuable, and interesting use of my time. The instructor's enthusiasm and reference to outside resources sparked a greater interest in me as a learner and resulted in me exploring even more on my own. I couldn't have enjoyed the experience more.” Course: Salvador Dalí: Surrealism and Beyond with Jonathan Wallis

“I am not an artist and prior to this course I had not thought about what an artist might be 'thinking,' as opposed to 'feeling.' I loved this course and plan to immerse myself in color theory.” Course: Visualizing Memory with Lucas Kelly

“This course is equal to or exceeds art history courses I have taken at several major universities in terms of syllabus and quality of instruction.” Course: The School of Paris with Joseph Tokumasu Field