A world-renowned centre for the teaching and research of art history, as well as a major-public gallery - The Courtauld is a fascinating and inspiring institution in the heart of central London. 

We are so pleased to have had The Courtauld as a part of The Big Draw Festival for many years now, and are excited to have them involved once again this year. We caught up with Programme Manager, Leyla Bumbra and had a conversation about their upcoming events, some brilliant women artists and the importance of drawing in museums.

Interview: Lucia Vinti in conversation with Leyla Bumbra

Hi Leyla - we’re really happy to have The Courtauld as a sponsor-partner of The Big Draw once again this year! For anyone who may not know, could you let us know a bit more about The Courtauld and what people can see and learn there? 

Hi, we are so thrilled to be involved once again in The Big Draw! This year is extra special for us as we are hosting it for the very first time in our wonderful, and newly renovated, gallery.

For those who don’t know, The Courtauld works to advance how we see and understand the visual arts, as an internationally-renowned centre for the teaching, research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since, through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events. The Courtauld cares for one of the greatest art collections in the UK, presenting these works to the public at The Courtauld Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh’s Self-Portrait with Bandaged Ear and Manet’s A Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, The Courtauld faculty is the largest community of art historians and conservators in the UK, teaching and carrying out research on subjects from creativity in late Antiquity to contemporary digital art forms – with an increasingly global focus. An independent college of the University of London, The Courtauld offers a range of degree programmes from BA to PhD in the History of Art, curating, and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries. 

Founded on the belief that everyone should have the opportunity to engage with art, The Courtauld works to increase understanding of the role played by art throughout history, in all societies and across all geographies – as well as being a champion for the importance of art in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible and expert short courses; digital engagement, innovative school, family and community programmes; or taking a formal qualification. The Courtauld’s ambition is to transform access to art history education, by extending the horizons of what this is, and ensuring as many people as possible can benefit from the tools to better understand the visual world around us. As the Research Forum Programme Manager here at The Courtauld I can’t think of a better way of realising our institutional ambitions than taking part in The Big Draw! 

^{A visitor looking at Van Gogh's Self Portrait with Bandaged Ear}

You’ve got a whole host of exciting events and activities as part of this years Big Draw festival, ranging from exhibitions to tours and workshops. Could you run us through everything you’ve got coming up and what people can expect from the events? 

The Big Draw couldn’t have come at a better time for The Courtauld! We have two amazing exhibitions, starting in October, that explore drawing, colour and also discovery. Our Big Draw will be on the 22nd of October, 11 - 3pm, and is open to anyone who has purchased a ticket to our gallery. We will have a drop in workshops focusing on all things collage, colour and Helen Saunders (inspired by our exhibition Helen Saunders: Modernist Rebel), pop-up curator talks on the exhibitions and back of house access to our prints and drawings study room where attendees will be able to get up close to rarely displayed works on paper and hear from our experts on the techniques, materials and histories of these objects. This open house is suitable for all ages and all materials will be supplied! 

Our Big Draw theme this year is Come Back to Colour which is all about capturing, celebrating and finding joy - how do your events this year fit in with that theme? 

What I personally find so exciting about our upcoming exhibitions is how little these artworks have been discussed or displayed in the public sphere. A pioneer of abstract art in Britain, Helen Saunders (1885–1963) was one of only two women to join the Vorticists, the radical but short-lived art movement that emerged in London on the eve of the First World War. Saunders will be celebrated in this new monographic exhibition at The Courtauld this autumn, the first devoted to her work in over 25 years. What fits so wonderfully into this years theme of ‘Come Back to Colour’ is this celebration of overlooked female artists, like Saunders. Rediscovering her use of colour and celebrating her art form will be a core part of our Big Draw event this year!

^{Helen Saunders, Vorticist composition Yellow and Green (formerly ‘Gulliver in Lilliput’)  © Estate of Helen Saunders}

Is there a piece in the gallery that makes you feel particularly joyful, or you feel fits in well with the theme ‘Come Back to Colour?’ 

This is a very hard question, how can you pick just one work in the amazing Courtauld collection? Saying that, I do think our Cecily Brown commission, Unmoored from her reflection (2021), which is situated at the top our staircase fits the bill perfectly. As many people will know, Cecily’s works are steeped in the art historical, often referencing the masterpieces and giants of our collection. Cecily is well known for her colossal, all encompassing large scale works that portray the medium in a continual state of flux.

Anyone who has the pleasure of seeing Cecily’s work in the flesh will know that her work constantly blurs the lines between figuration and abstraction. Her art is alive with what can only be described as erotic energy, translated to the canvas through her expressive application of materials and vivid colour palette. Cecily’s work, Unmoored from her reflection, is placed now in the transformed Courtauld Gallery overlooking all our ‘Great’ male artists we are so well known for. For me, witnessing this work is almost like traversing 400 years of art history, and every inch of the canvas, including the drips of paint you can see as you walk up the the staircase, feels momentous. The work, its celebration of women in the arts and colour, brings me joy and encapsulates the themes we have drawn out of the Big draw this year. 

^{Cecily Brown, Unmoored from her Reflection (2021)}

Wow you’ve described that so beautifully - it sounds amazing! I can’t wait to see it in the flesh. 

We’ve loved having The Courtauld as part of The Big Draw Festival in previous years. What’s been a festival highlight for you? 

We have loved taking part in the Big Draw over the years! Pre-Covid, and during our galleries closure for renovation, it was wonderful to invite people to engage with our physical objects as part of The Big Draw. People were able to see works on paper in the object study spaces and also witness their conservation. It was great to see people of all ages, backgrounds and knowledge of art history getting involved. When we were closed and running events online it was also a joy to bring art to people wherever they were. Although tricky, we worked with some fantastic and adaptable artists who were able to run workshops virtually to large and enthusiastic audiences across the globe.

How do you think drawing can help people engage with what they see in museums and galleries? 

So often in the discipline of art history, or in galleries and museums, we focus on the end result and forget about the materiality of these objects and the creative process. From a research and learning point of view, taking a step back and physically working through the process of drawing is extremely beneficial for our understanding of the artists intentions, skill and the story of how an artwork came into being. As well, we are huge believers in the power of drawing to improve every-one’s mental wellbeing, drawing as a way to relax. At the end of the day everyone is visually literate and should be given the space and a voice to be creative in our gallery spaces. Drawing, slow looking and mindfulness in the gallery space encourages us all to look at artworks, details and brushstrokes in a much more in-depth way. We love to see as many people as possible drawing in our gallery and taking the time to focus on our artworks and glorious architecture!

You’ve got some amazing famous paintings on display at the Courtauld, such as Manet’s A Bar at the Folies-Bergère (every university art lecturer’s favourite painting I think!) But I’d love to know - are there any lesser known gems in the collection that you’re especially fond of that our readers should look out for? 

Keeping with our theme of women artists, I would love to highlight another one of my favourite pieces in the collection! Vanessa Bell’s ‘A Conversation’ from around 1913 - 16 is innovative, bold in its use of colour and utilises simplified shapes to depict three women in deep conversation. I find this work so familiar and relatable, just like how I would sit and chat to my own friends. If you are in the gallery definitely go into our smallest gallery space, our Bloomsbury Room on the third floor, to see it! 

^{Vanessa Bell, A Conversation}

Thank you so much Leyla for your brilliant answers. We are so excited for your Big Draw event.

The Courtauld's Big Draw is taking place on Saturday 22nd October from 11-3pm, featuring a back of house tour, curator talks and collage and drawing activities. 

Check out upcoming events at The Courtauld here! 

Registrations are open for The Big Draw Festival 2022: Come Back to Colour! Find out more about the benefits of becoming an organiser here and other ways to support The Big Draw's mission here.