Nirvana Romell<\/p>\n
People have used art to capture, interpret and convey the realities of life for millennia. Each period had its own style and methods in striving towards \u2018realism\u2019 and often produced, visually and technically, very different art. Thus \u2018realism\u2019 in visual arts is used as an umbrella term, without a conclusive definition.<\/p>\n
Artists whose work encapsulates the idea of classical timelessness and universality have been labelled \u2018realists\u2019 as well as those whose art focuses on momentary and mundane. So what exactly goes under this \u2018realist umbrella\u2019 \u2013 the accurate representations of solid, physical forms; truthfully captured visual phenomena; and\/or honestly displayed material and technique? How does the term pertain to the seemingly disparate styles of Leonardo and Caravaggio? And why have the 20th<\/sup> century \u2018realists\u2019 so often been deemed \u2018utterly insignificant\u2019 by art historians?<\/p>\n Inspired by the recent renewed curatorial and academic interest in the subject, this day school will look into the long history of the myriad of realist tendencies in visual arts, from ancient Egyptians to Modernism and beyond. Particular attention will be given to realism in British art.<\/p>\n Date<\/strong>: Thursday, 22nd March 2018\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Time<\/strong>: 10.30 -16.30<\/p>\n VENUE<\/strong>:
\nMethodist Central Hall,
\nCollier Room;
\nOldham Street,
\nManchester, M1 1JQ<\/p>\n\n\n
\n Price<\/strong><\/td>\n Concessions<\/strong><\/td>\n Minimum No.<\/strong><\/td>\n Maximum No.<\/strong><\/td>\n<\/tr>\n \n \u00a340<\/td>\n <\/td>\n 8<\/td>\n 40<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n