‘A pertinent question’ AHA Fees explained

Thank you for your question about the fees – I am sure it is one that others must wonder too. We have a scholarship see: http://www.arthistoryabroad.com/Scholarships-available.html and there are significant discounts for signing up early. For example, this year, if signed up to a summer course before the end of December, we will reduce the fees by £200. Early signings will help us significantly because we can the arrange flights before the rush around the Olympics. It may also be the case that your school has a travel scholarship, which we will match to a value of £200. There are also discounts for the friends and siblings of ex students and discounts for those attending more than one course. So, there are several avenues by which you may reduce the fees. The most important thing is to speak directly to us; we love what we do, we love Italy and we want as many people to be involved as possible.

The most expensive element of the fees are hotel costs. We stay in family run hotels in the historic centre of the cities we visit. This is important for the atmosphere but also so that we are close to and amongst the buildings and galleries we want to study. This helps us to make the very best use of your time. On the same theme of time, the most effective and engaging way to see art and particularly architecture, is to study on site in small groups of 9 or fewer with a dynamic expert. It is all important that you see, learn, appreciate and discuss art in the most memorable way and that means not in a lecture room or in a party of 20 or 30 being herded by a guide. Our tutors are inspiring and carefully trained and, with the addition of pastoral care, they work a very long day.

Since we started 25 years ago, we have never had a complaint that the course was not value for money, even though many may have questioned the expense when signing up. Indeed, we often receive the comment that the course ‘was worth every penny’ and our scores for ‘satisfaction’ on post course questionnaire have consistently read as excellent. We are so aware that an AHA course is of high value and we are always conscious that it must deliver in terms of enthusiasm and study. A two week summer course is typically equivalent to 20 weeks of A level study at school or two terms. A gap year course is equivalent to 18 months of A level study at school, so almost like another entire A Level. Compared to other study programmes in Europe we offer the best value in terms of teaching ratio, expertise, local knowledge, private visits and time spent in active study. Lastly, having worked out everything, I always match our weekly costs against a typical boarding school, a residential sailing course in Europe and a skiing holiday with lessons and consistently over the years, we cost less that any of these other worthwhile pursuits on a daily and weekly basis.

So, I hope this goes some way to answering your questions; scholarships and bursaries, and we are always would like to speak to interested students. I hope also that you can see that we do not compromise on any of the arrangements we make ( I have not even gone into the considerable daily cost of museums or transport) and lastly, I hope I have shown that our fees are equivalent or less to others in the educational and travel world. Most of all, I hope you can see that we approach our work with a full heart and a genuine desire to make the appreciation of art as good as it can be and to reach out to as many as we can.

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FABULOUS ESCAPISM

Nick and Cressida have just returned from spending a magical time in Warwickshire. Over half term we were lucky to find space at Talton Mill – a very special place set up and run by ex AHA Student Olivia Watson (1991). She has converted the walled Garden of her parent’s house into the most divine campsite with yurts and tipis. Such fun was had that our children declared it “the best holiday ever”.

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PIETRA DURE – THOMAS GREENAWAY AHA ALUMNI

We have just heard from Thomas Greenaway who came with us on a Gap Year Course in 2004.

Thomas is now a traditionally trained craftsman in the art of Florentine Pietre Dure and has started his own business making bespoke table tops, panels, boxes, paperweights and other items.  He is also able to carry out restoration work.

We are bowled over by the level of skill evident in his work and the beauty of the objects he creates.  It is worth taking a look at his website www.greenawaymosaics.com to see his remarkable art.

“My huge thanks to AHA as during the course in 2004 I first discovered this art and it’s now my passion!” Thomas Greenaway AHA Alumni

 

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Edgar Degas

Did you know of the connection between Degas and AHA? In celebration of the RA Exhibition of Degas to open on Saturday 17th September, here are some thoughts on Degas.

“I assure you that no art was ever less spontaneous than mine. What I do is the result of reflection and study of the great masters; of inspiration, spontaneity, and temperament.” (Edgar Degas)

Degas’s father was Italian and in 1856 (aged 22) he went to live in Naples and lived in the same building where AHA gap year students stay. It’s right by the Gesu, you may remember, the one with the amazing diamante facade.

Rainy day outside Il Gesu

I am not sure why he was in Paris in the first place, but perhaps the well reviewed exhibition at the RA will explain. Visit: http://www.royalacademy.org.uk/exhibitions/degas/about-the-exhibition/

Portrait of Hilaire De Gas, 1857. The Louvre

Degas stayed with his aunt and family in Naples where he made the first studies of his early masterpiece, The Bellelli Family.

The Bellelli Family: 1858-1867

He painted these – curiously un- Degas like at first sight.

Having returned to Paris in 1859, he went back to Naples in 1860, where he painted  the history painting Jeunes filles spartiates provoquant des garçons à la lutte (The National Gallery, London; Young Spartans Exercising) c. 1860-62. http://www.nationalgallery.org.uk/paintings/hilaire-germain-edgar-degas-young-spartans-exercising

Young Spartans Exercising, 1860

He also went to Florence.   Here are some visual thoughts…

“In painting you must give the idea of the true by means of the false.” (Degas)

Degas captures anatomical beauty of the Ballet dancers just as Michelangelo seems to do with his 1501 David. Despite the lack of Renaissance obsession with perfect form and proportion, (where David’s head and upper body are distinctly out of proportion), Michelangelo’s David is an “incredible feat of technical skill, the scale is deliberate.” (The Galleria dell’ Academia, Florence)

The feminine stance or contrapposto, of both Michelangelo and Donatello’s David sculptures relate to the feminine positioning of Degas’ dancer. Degas captures the specific, feminine movements of the dancer, yet also incorporates some anatomical defects. His Little Dancer Aged Fouteen is an example of his love of the modern form with her strong legs and thin shoulders.

One more thing, have a look at this wonderful drawing at the Fitzwilliam (http://www.fitzmuseum.cam.ac.uk/opacdirect/6282.html)

Study of Donatello’s Bronze David, c.1858, Degas

“Everyone has talent at twenty-five. The difficulty is to have it at fifty.” (Degas)

Don’t know where this gets us, but he was on a gap year too, it seems.

 

 

 

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Video: A Taste Of Italy

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Socialise with Art History Abroad

Art History Abroad have been around for many years now, we’ve been touring the beautiful art of Italy and having lots of fun along the way.

We’re doing our best to keep up with the times, so you can now find us on Twitter and Facebook, please do follow us on Twitter here and join us on Facebook here.

As always, we’d love to hear from you, if you have any questions or if you’ve been on an Art History Abroad trip and would like to share your experiences then please leave a comment below.

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A few recent tour images

This gallery contains 16 photos.

We’ve been on many tours over the years, however, here are a few images from some of our most recent tours. If you have any to add, or would like to talk about something then please feel free to leave … Continue reading

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