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lands-of-fantasy · 1 year

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Emma

Classic and loose adaptions from 1972, 1995, 1996 (x2), 2009, 2013, 2020

The fourth of Jane Austen’s novels, first published in 1815, has had many adaptions over the years. The ones pictured above are detailed below:

Emma (1972 Miniseries)

6 episodes x 45min Written by Denis Constanduros, directed by John Glenister

Starring Doran Godwin as Emma Woodhouse, John Carson as Mr. George Knightley, Debbie Bowen as Harriet Smith, Timothy Peters as Mr. Philip Elton, Robert East as Frank Churchill, Ania Marson as Jane Fairfax, among others

Clueless (1995 Film)

Loose adaption set in modern Beverly Hills, USA Written and directed by Amy Heckerling

Alicia Silverstone as Cher Horowitz (Emma), Paul Rudd as Josh Lucas (Knightley), Stacey Dash as Dionne Davenport, Brittany Murphy as Tai Frasier (Harriet), Jeremy Sisto as Elton Tiscia, Justin Walker as Christian Stovitz (Frank), among others

Emma (1996 Film)

Written and directed by Douglas McGrath

Gwyneth Paltrow as Emma Woodhouse, Jeremy Northam as Mr. George Knightley, Toni Collette as Harriet Smith, Alan Cumming as Philip Elton, Ewan McGregor as Frank Churchill, Polly Walker as Jane Fairfax, among others

Emma (1996 TV Film)

Written by Andrew Davies, directed by Diarmuid Lawrence

Kate Beckinsale as Emma Woodhouse, Mark Strong as Mr. George Knightley, Samantha Morton as Harriet Smith, Dominic Rowan as Mr. Philip Elton, Raymond Coulthard as Frank Churchill, Olivia Williams as Jane Fairfax, among others

Emma (2009 Miniseries)

4 episodes x 58min Written by Sandy Welch, directed by Jim O'Hanlon

Starring Romola Garai as Emma Woodhouse, Jonny Lee Miller as Mr. George Knightley, Louise Dylan as Harriet Smith, Michael Gambon as Mr. Henry Woodhouse, Blake Ritson as Mr. Philip Elton, Rupert Evans as Frank Churchill, Laura Pyper as Jane Fairfax, Jefferson Hall as Robert Martin, among others

Emma Approved (2013-14 Webseries)

95 episodes x 4-8min, available on Youtube Loose adaption set in modern US, told in a vlog format

Created by Bernie Su, from Pemberley Digital

Starring Joanna Sotomura as Emma Woodhouse, Brent Bailey as Alex Knightley, Dayeanne Hutton as Harriet Smith, James Brent Isaacs as Bobby Martin, Paul Stuart as James Elton, Stephen A. Chang as Frank Churchill, Tyra Colar as Jane Fairfax, among others

While the series is a follow-up to The Lizzie Bennet Diaries, it stands on its own.

Emma (2020 Film)

Written by Eleanor Catton, directed by Autumn de Wilde

Anya Taylor-Joy as Emma Woodhouse, Johnny Flynn as Mr. George Knightley, Mia Goth as Harriet Smith, Bill Nighy as Mr, Woodhouse, Josh O'Connor as Mr. Philip Elton, Callum Turner as Frank Churchill, Amber Anderson as Jane Fairfax, among others

*****

Personal favorite: 2009 But also: 1996 (Theatrical Film), Emma Approved

P.S.: 2020′s pretty popular, from what I’ve seen. I’ve enjoyed it myself, but it’s not among my favorite.

#emma #emma approved #period drama #jane austen adaptations #emma woodhouse #mr knightley #george knightley #emma 2009 #clueless #harriet smith #frank churchill #emma 1996 #emma 2020 #emma 1972 #there's an indian movie but it's in hindi and I haven't found it with subtitles!

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mostremote · 9 months

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“I was reading her book… and one of the legends about Peter Pan is that when children die, Peter goes part of the way with them… so they won’t be frightened.”

Peter and Wendy (2015), dir. Diarmuid Lawrence, starring Stanley Tucci, Laura Fraser, Hazel Doupe, Zak Sutcliffe

#peter and wendy #peter pan #captain hook #stanley tucci #laura fraser #this is a really charming film!

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adaptationsdaily · 3 years

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kate beckinsale & mark strong as emma & mr. knightley in emma (1996)

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izimbracreenshots · 2 years

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Kate Beckinsale as Emma Woodhouse

Emma (TV-movie) by Diarmuid Lawrence, 1996

#kate beckinsale #emma woodhouse #jane austen #1990s cinema #1990s movies #diarmuid lawrence

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merlinaknight · 4 years

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Mark Strong as George Knightley

Emma (1996) - Diarmuid Lawrence

#swoon #mark strong #knightley #emma #diarmuid lawrence #crushes #attractive men #actors #those eyes

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ulrichgebert · 4 years

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Die BBC löst einmal mehr das Geheimnis um Edwin Drood, mit einem nicht so überraschenden Täter, aber dafür einem überraschenden Opfer (soweit ich es überblicke, ich bin inzwischen irritiert, wenn man sich den Täter nicht aussuchen darf, und noch mehr, wenn niemand “Off to the Races” singt). Edwin ist ein arger Schnösel hier, aber es ist alles schön düster und wahnsinnig und mit charmanten Auftritten von Alun Armstrong und Julia McKenzie.

#The Mystery of Edwin Drood #Matthew Rhys #Tamzin Merchant #Freddie Fox #Rory Kinnear #Alun Armstrong #Julia McKenzie #Sacha Dhawan #Amber Rose Revah #David Dawson #Fernsehserie angeschaut #Diarmuid Lawrence #Charles Dickens #Gwyneth Hughes

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ljones41 · 5 years

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"EMMA" (1996 TV) Review

"EMMA" (1996 TV) Review Several months after Miramax had released Douglas McGrath’s adaptation of Jane Austen’s 1815 novel, "Emma", another version aired on the BBC and later, on the A&E Channel in the U.S. This version turned out to be a 107-minute teleplay, adapted by screenwriter Andrew Davies and directed by Diarmuid Lawrence.

As many Jane Austen fans know, "EMMA" told the story of the younger daughter of an English Regency landowner, with a penchant for meddling in the lives of friends and neighbors. Her meddling in the love life of her new protégé – a young woman named Harriet Smith – ended up having a major impact on the latter’s search for a husband. Emma also becomes involved with Frank Churchill, her former governess’ stepson, and the highly educated granddaughter of her village’s former curate named Jane Fairfax. This "EMMA" incorporated a heavy emphasis on class structure and conflict, due to Andrew Davies’ adaptation. This emphasis was hinted in scenes that included a conversation between Emma and Harriet regarding the role of the neighborhood’s wealthiest landowner, George Knightley. Greater emphasis was also placed on Jane Fairfax’s possible future as a governess. The movie included moments featuring tenant farmer Robert Martin’s barely concealed resentment toward Emma’s interference in his courtship of Harriet. And the movie concluded with a harvest ball sequence that allowed Mr. Knightley to display his role as Highbury’s wealthiest and most benevolent landowner. I cannot deny that I enjoyed "EMMA". Davies’ script and Lawrence’s direction captured a good deal of the mood from Austen’s novel. The movie also featured scenes that I found particularly appealing – scenes that included Mrs. Cole’s party, where Mr. Knightley becomes aware of Emma’s friendship with Frank Churchill; the comic reaction to Emma’s drawing of Harriet; and the Box Hill incident. Yet, for some reason, my favorite sequence turned out to be Mr. and Mrs. Weston’s Christmas party. One, production designer Don Taylor created a strong holiday atmosphere that seemed distinctly of another era. And two, the sequence featured some of the movie’s funniest moments – John Knightley’s rants about attending a party in bad weather and Mr. Elton’s marriage proposal to Emma. Of the actors and actresses featured in the cast, I must admit that at least five performances impressed me. Mr. Elton must be one of the novel’s more exceptional characters. I have yet to come across a screen portrayal of Mr. Elton that did not impress me. And Dominic Rowan’s deliciously smarmy take on the role certainly impressed me. I also enjoyed Bernard Hepton’s rather funny portrayal of Emma’s finicky father, Mr. Woodhouse. The man possessed timing that a comic would envy. Samantha Bond gave a warm and deliciously sly portrayal of Emma’s former governess, Mrs. Weston. But my two favorite performances came from Raymond Coulthard and Olivia Williams as Frank Churchill and Jane Fairfax. From my reading of Austen’s novel and viewing of other screen adaptations, I got the feeling that these two characters were not easy to portray. Frank Churchill never struck me as the typical Austen rogue/villain. Yes, he could be cruel, selfish and deceitful. And yet, he seemed to be the only Austen rogue who seemed to possess the slightest capability of genuine love. Actor Raymond Coulthard has struck me as the only actor who has managed to capture the strange and complex nature of Frank Churchill with more accuracy and less mannerisms than any other actor in the role, so far. And Olivia Williams struck me as the only actress that managed to portray Jane Fairfax’s travails without resorting to extreme mannerisms . . . or by simply being there. Many have praised Samantha Morton’s performance as Emma’s young companion, Harriet Smith. And I believe that she deserved the praise. I found nothing defective about it. Unfortunately, Davies’ script left the actress with hardly anything to work with. Morton’s Harriet almost came off as self-assured and nearly flawless. Mind you, I do not blame Morton’s performance. I blame Davies’ script. His interpretation of Harriet almost seemed . . . uninteresting to me. Prunella Scales gave a solid performance as the garrulous spinster and aunt of Jane Fairfax, Miss Bates. But I must admit that I found nothing particularly memorable about her portrayal. And Lucy Robinson’s Mrs. Augusta Elton never really impressed me. In fact, I found her performance to be the least memorable one in the entire movie. How do I describe Kate Beckinsale and Mark Strong’s portrayals of the two lead characters – Emma Woodhouse and George Knightley? Superficially, their performances seemed solid. Both knew their lines. And neither gave any wooden performances. But if I must honest, Beckinsale and Strong turned out to be my least favorite screen versions of Emma and Mr. Knightley. Beckinsale’s Emma not only struck me as chilly at times, but downright bitchy. I suspect that her performance in "COLD COMFORT FARM" may have attracted the attention of this film’s producers. What they failed to realize was that Beckinsale’s role in that particular film had acted as straight man to the rest of the comic characters. And back in the mid 1990s, the actress lacked the comic skills to portray Emma Woodhouse, a character that proved to be one of the funnier ones in this predominately humorous tale. I have been a fan of Mark Strong for several years. But after seeing "EMMA", I would never count George Knightley as one of his better roles. I have seen Strong utilize humor in other movies. But his sense of humor seemed to be missing in "EMMA". Strong’s George Knightley struck me as a humorless and self-righteous prig, with an intensity that seemed scary at times. The best thing I could say about Beckinsale and Strong was that the pair had decent screen chemistry. Andrew Davies did a solid job of adapting Austen’s novel. Was he completely faithful to it? Obviously not. But I am not particularly concerned about whether he was or not. But . . . I did have one major problem with the script. I believe that Davies’ treatment of class distinctions in Regency England struck me as very heavy-handed. This lack of subtlety seemed very obvious in scenes that included Robert Martin’s silent expressions of resentment toward Emma, her little speech to Harriet about Mr. Knightley’s role as a landowner, Emma’s overtly chilly attitude toward Robert Martin and in the movie’s last sequence, the harvest ball. Which literally made me cringe with discomfort during Mr. Knightley’s speech. No one felt more relieved than I, when it finally ended. In the end, "EMMA" seemed like a decent adaptation of Jane Austen’s novel. Some of its qualities included first-rate performances from the likes of Raymond Coulthard and Olivia Williams. And there were certain sequences that I enjoyed – like the Westons’ Christmas party and the Crown Inn ball. But I found Davies’ take on class distinctions in the movie about as subtle as a rampaging elephant. And I was not that impressed by Kate Beckinsale and Mark Strong in the lead roles. In the end, this "EMMA" proved to be my least favorite adaptation of the 1815 novel.

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sielustaja · 7 years

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Fassbender Filmography 5/??

Rob // Carla (2003), dir. Diarmuid Lawrence

#michael fassbender #fassbender filmography #my edit #fassbender edit #television movie #diarmuid lawrence #carla the movie #source: imdb

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nathalieskinoblog · 1 year

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night-unfurls-its-splendour · 3 years

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Every Emma Woodhouse Ranked and Rated

With all my reviews of all the period-set adaptations now finished, I'm beginning my series in which I rate and rank each interpretation of all the principle characters, starting with our girl Emma!

Now I wanna be clear--I am not rating the actresses that played Emma. I am rating how the character was handled in general in each adaptation. The actresses are a factor, but they're not the sole factor, since the writer and director have as much, if not more, to do with how the character ends up in the finished product. So without futher ado, let's rank...

“Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her….

“The real evils indeed of Emma’s situation were the power of having rather too much of her own way, and a disposition to think a little too well of herself; these were the disadvantages that threatened alloy to her many enjoyments.”

NUMBER 5: 1972

Portrayed by: Doran Godwin

Age at time of filming: 28

Clocking in as the oldest actress to play Austen’s famously TWENTY-ONE year old heroine (at the ripe age of 28), Doran Godwin also snags the coveted position as inhabiting the worst portrayal of the character (in my personal estimation) to date.

Just about everything about this interpretation of Emma Woodhouse is bad, from her seemingly automated recital of her lines to her all-too-intense, wide-eyed, hypnotic stare. The 1972 portrayal of Emma highlights all the character’s worst qualities while also failing to convincingly communicate her good qualities, such as her caring nature. The script is equally to blame for the awfulness of this interpretation, adding unnecessarily cruel and condescending lines, including one where she negs Harriet for being sad after Elton’s marriage, and then forces Harriet to come with her to meet the new Mrs. Elton, when Emma in the book did her best to shield Harriet from exactly that kind of situation.

Godwin couldn’t pass for 21 if her life had depended on it, and the worst part is that the script actually states Emma’s age, so she seems like a bit of a crazy spinster, preying on the naïve Harriet. Whether it’s her intent to bathe in Harriet’s blood to keep herself young, or to bake her into a pie is up for debate.

Rating: 1/5 Half-finished portraits

NUMBER 4: 2020

Portrayed by: Anya Taylor Joy

Age at time of filming: 23

I thought long and hard about this. This movie is a modern period drama phenomenon. It’s gotten so many people into Jane Austen and satisfied long-time Austen fans by giving them an interpretation they never dared hope to see. It’s a gorgeous film.

But I don’t like this interpretation of Emma Woodhouse. Though Anya Taylor Joy is one of the youngest actresses to play Emma (only two years older than the character) she’s played with a careful stiffness that perhaps shows us a glimpse of the Lady Catherine she might turn into without swift intervention. That’s not necessarily a bad thing, and this isn’t a commentary on Anya Taylor Joy either—her appearance or her acting ability—but I just don’t like her as Emma. And she’s not the sole problem, she turns in a solid performance, she’s a good actress, but something about this characterization is just off-color to me. Anya Taylor Joy plays a great mean-girl; but I think that’s one of the reasons why they thought she’d be a good choice for this role, and it’s one of the prime reasons I don’t think she wasright for it. Emma is a deeply flawed character and, of course, the biggest turning point in her story comes as a result of a thoughtlessly mean remark to someone who has only ever shown her deference, hospitality and gratitude.

All that said, Emma is not, at her core, a cruel person. Emma has gone all her life thinking condescending things about Miss Bates but it’s only when Frank comes along and validates her less kind commentaries that she actually starts to voice them in search of validation from a peer.

The problem with this in the context of 2020’s Emma Woodhouse is that Frank hardly gets a look-in in this adaptation. Emma’s relationship with him is severely underdeveloped and the actors don’t have enough chemistry to pull it off in the limited time they’re given. The result is that Emma appears to cross a line just to cross it, and it pushes Emma’s character from thoughtless to out-and-out frigid.

Still better than Doran Godwin, since she's identifiably human.

Rating: 2 1/2 / 5 Half-finished portraits

NUMBER 3: 1996 (MIRAMAX)

Portrayed by: Gwyneth Paltrow

Age at time of filming: 24

Despite the fact that Gwyneth Paltrow was an appalling casing choice for Emma Woodhouse (I will be forever salty that they passed over Joely Richardson), and I know there are some who will think me, at best, crazy (sacrilegious, at worst) for ranking 1996’s interpretation of Emma higher than 2020, I actually feel that solidly in the middle is right where this version of the character belongs.

There’s so much wrong with this Emma: she swings from mature to bizarrely infantile at the drop of a hat, much of her script is genuinely tragic, Gwyneth can’t convincingly portray Emma's social naiveté, her accent is overwhelmingly nasal and impossible to listen to, just for starters.

And yet… I don’t hate her. I don’t like her particularly either, but even though much of the dialogue re-working butchered Austen’s prose, there are a lot of things McGrath seems to have gotten right about Emma’s character. Her relationship with Knightley feels comfortable and playful, and, while Emma of the book probably doesn’t really care for Harriet Smith in the spirit of true bosom friendship, I believe she does care about her and wishes to spare her (further) pain. She shows exasperation with Harriet while still being patient with her, which is very much in the spirit of the book. Her concern for Harriet at the ball feels real, and her contrition at Box Hill following Knightley’s rebuke, while not profound, at least feels like contrition and not self-pity.

Perhaps, given the soft-take that the Miramax version is, it shouldn’t be surprising that the biggest faults in characterization rest on awkward writing and the biggest triumphs highlight Emma’s better side. It’s not a very in-depth take on the character, but it at least, is an adequate one.

Rating: 3/5 Half-finished portraits

NUMBER 2: 1996/97 (ITV)

Portrayed by: Kate Beckinsale

Age at time of filming: 23

Those who’ve read my reviews of each adaptation of Emma might be surprised to see ITV’s portrayal of the title character sitting so high on my list. To be frank, it’s a distant second, and she may have stolen the number two spot only because she’s played by Kate Beckinsale and not Gwyneth Paltrow.

In truth, I see a lot of parallels between 1997’s Emma and 2020’s. Both actresses were 23 (or thereabouts) when they played the role, both have extremely childish moments, and both crumple down and burst into tears that don’t feel entirely genuine after Box Hill.

So why is 1997 on the good side of the number 3 spot and 2020 isn’t? I’m not precisely sure. I think it may be because Andrew Davies (and/or Diarmuid Lawrence) at least understood the scale of Emma Woodhouse’s wealth and status. This Emma feels sufficiently self-important, a bit haughty, sure—but she’s also believably naïve. You feel her isolation, you understand her caring relationship with her father, and she’s not as patently rude to Robert Martin compared to the 2020 version (she at least acknowledges his presence when he meets Emma and Harriet in the lane).

Grudging though this favorable placement may be, I can at least acknowledge that Emma herself is the least of my problems with this version, and even though Beckinsale’s acting is a bit sketchy at certain points, she also has some truly great moments, especially her interaction with Robert Martin at the end of the film. This portrayal is consistent, and Emma’s better qualities aren’t overpowered by her negative ones.

Rating: 4/5 Half-finished portraits

Number 1: 2009

Portrayed by: Romola Garai

Age at time of filming: 26

And in a shocking twist—I’m kidding this is neither shocking nor unexpected to anyone who knows me or has read my blog/reviews of the Emma adaptations. Am I totally biased? Probably. I don’t care, this is a completely subjective list. Here, finally—my first and true love as Emma Woodhouse—is Romola Garai. I suppose it’s also not surprising that the first actress I ever saw in the role would still be my favorite a decade on. I just love everything about this interpretation of the character. She rides the very difficult line of being bright, caring and intelligent, while also being completely naïve and lacking in social savvy (in her own age-group at least), coddled, and painfully sure of her own self-importance.

Even though Garai was 25 or 26 at the time (far too old for the character—almost as old as Doran Godwin) her energy and charisma are enough that she’s able to carry it off convincingly. Everything about this Emma screams youth, and when Emma’s child-like social ignorance is her most prominent characteristic, it feels authentic and natural. Equally authentic are her emotions—her love for her family, her dynamic with Knightley, he exasperation, patience, and concern with Harriet. Most of all though, this Emma seems to experience the most maturation in the last quarter of the story. Box Hill really feels like a turning point—not just a chastened young woman, but a true coming-of-age moment. Emma faces a reckoning here that begins a chain reaction culminating in her realization of her feelings for Knightley, and everything from the writing to Garai’s performance conveys the magnitude of this shift in Emma’s life.

This version of the character seems the most… complete to me. Somehow, between Romola Garai’s vibrancy, Sandy Welch’s screenplay and Jim O’Hanlon’s direction, this interpretation takes an extremely divisive character and helps the viewer understand just why everyone in Highbury loves Emma Woodhouse.

Rating: 5/5 Half-finished portraits

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If you liked this, check out my rankings of Mr. and Mrs. Weston

#emma woodhouse #jane austen emma #jane austen #period drama #emma 2020 #emma 2009 #emma 1996 #emma 1972 #romola garai #kate beckinsale #anya taylor joy #gwyneth paltrow

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muse-ruininga · 3 years

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Muse Page

Italicized muses are genderbent

Other blogs: @muse-fuckery (Main Blog) @mun-fuckery (Self Insert OC)

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claudia1829things · 4 years

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“VANITY FAIR” Adaptations

Below are images from movie and television adaptations of William Makepeace Thackery’s 1848 novel, “Vanity Fair”:

“Vanity Fair” (1932); dir. Chester M. Franklin

“Becky Sharp” (1935); dir. Rouben Mamoulian

“Vanity Fair” (1956-57); adapted by Constance Cox and Ian Dallas

“Vanity Fair” (1967); dir. David Giles

“Vanity Fair” (1987); dir. Diarmuid Lawrence and Michael Owen Morris

“Vanity Fair” (1998); dir. Marc Munden

“Vanity Fair” (2004); dir. Mira Nair

“Vanity Fair” (2018); dir. James Strong and Jonathan Entwistle

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skippyv20 · 4 years

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Thank you😊❤️❤️❤️❤️

Last of the Tide Last of the Few

Portraits of military veterans by Royal Drawing School staff and alumni, commissioned by His Royal Highness The Prince of Wales.

To mark the 70th anniversary of the Battle of Britain in 2010, HRH The Prince of Wales – patron of the Battle of Britain Fighter Association – commissioned a series of drawings by alumni and faculty of the Royal Drawing School. The portraits recognise and record the extraordinary lives of the airmen who fought so bravely during the pivotal events of the summer of 1940, known as the “The Few”. They also pay homage to the many young pilots who sacrificed their lives fighting for the freedom of Europe. All of the surviving Battle of Britain veterans were invited to sit for the portraits. The 16 who were well enough to do so were subsequently put in touch with the artists.

“When my grandmother died I succeeded her as patron of The Battle of Britain Fighter Association, and so I used to have them to receptions and an annual tea party, and so I knew them all, and it just seemed to me absolutely crucial to try and capture some of them before they disappeared,” - The Prince told BBC documentary Art, Passion & Power: The Story of the Royal Collection.

A distinguished group of artists were selected for their skill in drawing from observation. They include four first prize winners of the BP Portrait Award: Catherine Goodman, Ishbel Myerscough, Stuart Pearson Wright and James Lloyd. All artists had either graduated from the Royal Drawing School’s postgraduate programme, The Drawing Year, or were current or past teachers at the School. Catherine Goodman is the Artistic Director of the School.

Flight Lieutenant K A Lawrence DFC was drawn by Jessie Makinson (The Drawing Year 2012)

Flight Lieutenant O V Burns AE was drawn by Diarmuid Kelley (The Drawing Year 2002)

Flight Lieutenant W J Green was drawn by Jennifer McRae (The Drawing Year 2001)

Wing Commander T M Kane was drawn by Georgina Sleap (The Drawing Year 2011)

Twelve portraits of D-Day veterans went on display at The Queen’s Gallery, Buckingham Palace, in 2015 to mark the 71st anniversary of the Allied invasion of Normandy. The exhibition, The Last of the Tide, was put together by The Royal Drawing School, in collaboration with Royal Collection Trust, and paid tribute to the extraordinary men who played a role in the D-Day landings on 6 June 1944. It was commissioned by The Prince of Wales following his attendance of 2014’s commemorations in France.

The Royal Drawing School

The Royal Drawing School is an independent, not-for-proﬁt resource that aims to raise the standard and proﬁle of drawing through teaching and practice. It is one of only a few institutions in the world oﬀering in-depth, quality tuition in drawing from observation. By oﬀering tuition and resources to art students, artists, children and the public, it aims to address the permanent need for high-quality drawing teaching in the UK.

Founded in 2000 by HRH The Prince of Wales and artist Catherine Goodman as The Prince’s Drawing School, it became The Royal Drawing School in 2014.

The Royal Drawing School’s principle site is in Shoreditch, East London, the heart of the city’s art, fashion and design scene. The converted 19th century warehouse houses our main studios and head office. There are three spacious, fully equipped drawing studios, a reference art library, a large ground floor exhibitions gallery and an intaglio print room. Our postgraduate programme, The Drawing Year, the majority of our Public Programme courses and a selection of our Young Artists courses run from here as well as public lectures, exhibitions and events.

The Royal Drawing School runs a postgraduate programme, The Drawing Year, offering up to thirty students the opportunity to focus on drawing from observation for one year. There are no tuition fees – all students awarded a full scholarship. Students also receive a personal studio space in Hackney which allows them to continue to develop their personal practice throughout the duration of the course. Courses are taught by a distinguished faculty of over 75 drawing tutors, all of whom are practising artists. The year culminates in three exhibitions at Christie’s, King St; the Royal Drawing School Shoreditch gallery and an Open Studios exhibition.

Roots (2013) by Kathryn Maple - Royal drawing school

Pearly Kings and Queens Harvest Festival, St Pa… (2009) by Sophie Charalambous Royal Drawing School

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