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Above: Wessex Area will explore the Art of Adornment – including the importance of jewellery and the image it projectsartist in the light of these exciting new studies.THE MIGHT AND MAGNIFICENCE OF THE MOGHULSDate: 5 October 2016Time: 10.30am–3.30pmVenue: Art Workers’ Guild (as before)Lecturer: Anne DavisonPrice: £34 (inc. coffee)SCO: Rosemary Baldwin (as before), email: rosemary@baldwins24.co.ukThe Mughal Emperors ruled most of India from 1556 until 1857. They were great patrons of the arts, encouraging a synthesis of Hindu and Islamic architecture, an example being the Taj Mahal. Persian infl uence was evident in palace gardens, poetry and miniature paintings. Court life was opulent and sophisticated, but all came to an end under British rule.LATE 15TH- AND EARLY 16TH-CENTURY FRESCOES FROM GHIRLANDAIO TO RAPHAEL 1470Ð1527Date: 19 October 2016Time: 10.30am–3.30pmVenue: The Art Workers’ Guild (as before)Lecturer: Clare Ford-WillePrice: £34 (coffee, no lunch)SCO: Judith Leon (as before), studycourses.gla@gmail.comBy the end of the 15th century, artists had perfected the fresco technique and some of the fi nest were painted by Perugino, Ghirlandaio, Filippino Lippi and Pinturricchio in Florence, Rome and Siena. The infl uence from these artists inspired those of the next generation: Michelangelo and Raphael. The study day will be an opportunity to study these outstanding fresco cycles in depth.AUSTRALIAN ART AND IMPRESSIONISMDate: 21 October 2016Time: 10.30am–3.30pmVenue: Art Workers’ Guild (as before)Lecturer: Ann ClementsPrice: £34 (inc. coffee)SCO: Rosemary Baldwin (as before), email: rosemary@baldwins24.co.ukAboriginal art is now widely appreciated, but other Australian painting is largely unknown in Britain. Artists like Tom Roberts, Arthur Streeton and Fred McCubbin, often grouped together as the ‘Heidelberg School’, recorded many aspects of Australian life – from the bush to growing cities. Most importantly they saw the landscape through Australian eyes, rather than European ones. They were the Australian Impressionists.HampshireMUSIC TO THEIR EYES(FIVE STUDY DAYS)Time: 10.30am–3.30pmVenue: Southampton City Art Gallery and Lecture TheatrePrice: £120 for fi ve days or £24 per day (inc. coffee)Contact: Jean Bolton, 20 Daniells Walk, Lymington, Hants SO41 3PN, email: jeanbolton@waitrose.comFROM AESTHETES TO DECADENTS, PRE-RAPHAELITES TO SYMBOLISTSDate: 4 November 2016Lecturer: Anne AndersonMAKING MUSIC (SACRED AND PROFANE) IN THE MIDDLE AGESDate: 10 November 2016Lecturer: Sally DormerART AND MUSIC IN THE 17TH CENTURY: FROM CARAVAGGIO TO VERMEERDate: 18 November 2016Lecturer: Clare Ford-WilleFROM SACRED TO SECULAR: MUSIC IN RENAISSANCE ARTDate: 25 November 2016Lecturer: Paula NuttallÒCOLOUR IS THE KEYBOARDÓ: MUSIC IN RUSSIAN ARTDate: 2 December 2016Lecturer: Rosamund Bartlett Music and visual art share a long and interwoven history. Depictions of music-making were often used by artists to portray contemporary life and in so doing they chartered musical developments. This course will also show that, as artists began to challenge the idea that art should imitate reality, they turned to music as an art form which enabled them to express their inner feelings. Visual hues could have a direct emotional impact.North EastART WITH SOMETHING TO SAY: SEEING AND UNDERSTANDING MEDIEVAL ART AND IMAGERY Date: 29 September 2016 Time: 10.30am–3.30pmVenue: St Bede’s Pastoral Centre, Blossom Street, York YO24 1AQ Lecturer: Roger Rosewell Price: £32 (inc. coffee & biscuits. Optional lunch £11.50 extra)Contact: Teresa Rose, Harefi eld, Front Street, Bramham, LS23 6RD, email: roseteresa@icloud.com, tel: 01937 843332 The aim of the study day is not only to describe medieval art, but to reveal its symbolism, meaning and function. How were stained glass windows and wall paintings seen and understood by viewers? Legends, warnings, controversies, justifi cation and shock imagery abound! South WestCORNWALL HISTORY OF ARTS(FIVE STUDY DAYS)Dates: 20 & 27 October, 10, 17 & 24 November 2016 Time: 11am–3.30pm Venue: The County Arms, Truro EDUCATION: COURSESwww.nadfas.org.uk NADFAS REVIEW / SUMMER 2016 21