Baroque to Romanticism Winter-Spring 2020

Total Page：16

File Type：pdf, Size：1020Kb

HISTORY OF WESTERN ART: Baroque to Romanticism Winter-Spring 2020 Evening Course | Lectures: 6.30-7.45pm | Fee: £475 (Register by 4 December, 2019 for 10% off) Beginning with the artistic revolution ignited by Caravaggio, the ‘rock star’ of Western art history, this eight-session course explores techniques, culture and innovation in Europe between the seventeenth and early nineteenth centuries. Participants engage with themes ranging from Rembrandt’s poetic naturalism in the Dutch Golden Age to expressions of royal and religious power during the Baroque, and from Rococo frivolity in Louis XV’s France to the genius of Turner in pre-Victorian England. Radical new ideas such as Neoclassicism and Romanticism are explored alongside the shifting nature of the art market in cities such as London, Paris and Amsterdam. Suitable for beginners as well as those with prior knowledge looking to deepen their understanding and appreciation of Western Art in the seventeenth, eighteenth and early nineteenth centuries. 28 January Caravaggio and His Followers Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art 4 February Art and Architecture of the Counter-Reformation Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art 11 February Art and Absolutism: The Baroque in Britain and Europe Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art 18 February TERM BREAK 25 February The Dutch Golden Age Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art 3 March The Rococo Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art 10 March Neoclassicism Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art 17 March Romanticism in Europe Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art 24 March Romanticism in Britain Dr James Hicks, Consultant Lecturer, Sotheby’s Institute of Art For more information, please contact: T : +44 (0)330 128 1041 E: [email protected] .

Copy Link

Recommended publications

Installation Art in India: Concepts and Roots
[Aaftab *, Vol.4 (Iss.10): October, 2016] ISSN- 2350-0530(O) ISSN- 2394-3629(P) IF: 4.321 (CosmosImpactFactor), 2.532 (I2OR) Arts INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS Mohsina Aaftab *1 *1 Research Scholar, Department of Fine Arts, A.M.U., Aligarh, INDIA DOI: 10.5281/zenodo.164831 ABSTRACT Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life.
[Show full text]
AP Art History Unit Sheet #21 Romanticism, Realism, and Photography
AP Art History Unit Sheet #21 Romanticism, Realism, and Photography Works of Art Artist Medium Date Page # 27‐1: Napoleon at the Plague House at Jaffa Gros Painting 1804 754 27‐2: Coronation of Napoleon David Painting 1805‐1808 757 27‐4: Pauline Borghese as Venus Canova Sculpture 1808 759 27‐6: Apotheosis of Homer Ingres Painting 1827 761 27‐7: Grande Odalisque Ingres Painting 1814 761 27‐8: The Nightmare Fuseli Painting 1781 762 27‐9: Ancient of Days Blake Painting 1794 763 27‐10: The Sleep of Reason Produces Monsters Goya Painting 1798 763 27‐11: Third of May, 1808 Goya Painting 1814‐1815 764 27‐13: The Raft of the Medusa Gericault Painting 1819 765 27‐16: Liberty Leading the People Delacrois Painting 1830 768 27‐19: Abbey in the Oak Forest Friedrich Painting 1810 771 27‐21: The Haywain Constable Painting 1821 772 27‐22: The Slave Ship Turner Painting 1840 773 27‐23: The Oxbow ColePainting1836 773 27‐26: The Stone Breakers Courbet Painting 1849 775 27‐27: Burial at Ornans Courbet Painting 1849 776 27‐28: The Gleaners Millet Painting 1857 777 27‐30: Third Class Carriage Daumier Painting 1862 779 27‐31: The Horse Fair Bonheur Painting 1853‐1855 780 27‐32: Le Dejeauner sure l’herbe Manet Painting 1863 781 27‐33: Olympia Manet Painting 1863 781 27‐35: Veteran in a New Field Homer Painting 1865 783 27‐36: The Gross Clinic Eakins Painting 1875 783 27‐37: The Daughters of Edward Darley Boit Sargent Painting 1882 784 27‐38: The Thankful Poor Tanner Painting 1894 785 27‐40: Ophelia Millais Painting 1852 786 27‐43: House of Parliament, London Pugin/ Barry Architecture 1835 788 27‐44: Royal Pavilion, Brighton Nash Architecture 1815‐1818 789 27‐45: Paris Opera Garnier Architecture 1861‐1874 789 27‐48: Still Life in Studio Daguerre Photography 1837 792 27‐51: Nadar Raising Photography to the Height of Art Daumier Lithograph 1862 794 27‐53: A Harvest of Death, Gettysburg, Pennsylvania O’Sullivan Photography 1863 795 27‐54: Horse Galloping Muybridge Calotype 1878 796 CONTEXT Europe and France 1.
[Show full text]
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college.
[Show full text]
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
[Show full text]
SPRING 2019 ART HISTORY COURSES with Images
SPRING 2019 ART HISTORY COURSES ARTH 105 001 History of Western Art I Swartwood House, TR 11:40-12:55, WMBB Nursing 125 This course explores major monuments in art history from the Paleolithic era to the Middle Ages, including everything from cave paintings—the first known images made by humans—to the sculpture of ancient Greece and Rome, to the soaring cathedrals of the Middle Ages. We will study the interplay of works of art and architecture with their various physical, historical, social, and cultural contexts. ARTH 105 002 History of Western Art I Petit, W 4:40-7:25, MM 239 From cave paintings to Gothic cathedrals, this course will explore the major periods in Western Art from Prehistoric through Medieval times. This course will cover roughly 25,000 years of history, culture and art, and will serve as an introduction to the study of art history. Cultures and periods to be covered in this course include: Prehistoric Europeans, Mesopotamians, Egyptians, Aegeans, Greeks, Etruscans, Romans, Byzantines, and Europeans from the Middle Ages. ARTH 106 History of Western Art II Chametzky, MW 3:55-5:10, MM214 This survey course studies art From the Renaissance to the present in Europe, the Americas, and Africa. Major worKs of art, artists, and art movements are examined in historical and cultural context, and Fundamental art historical techniques and concepts are taught as a basis For Future study and liFe experiences. ARTH 107 History of Asian Art Wangwright, MW 2:20-3:35, MM 239 This course introduces South Asian and East Asian paintings, sculptures, and architectural monuments and explores their cultural and historical contexts.
[Show full text]
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
[Show full text]
Past Looking: Using Arts As Historical Evidence in Teaching History
Social Studies Research and Practice www.socstrp.org Past Looking: Using Arts as Historical Evidence in Teaching History Yonghee Suh Old Dominion University This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art. Keywords: history, history instruction, art, interdisciplinary approach, thinking skills, primary sources. Introduction Encouraging historical thinking in students is not a new idea in history education. Since the turn of the 20th century, many historians and history educators have argued that history consists of not only facts, but also historians’ interpretation of those facts, commonly known as the process of historical thinking, or how to analyze and interpret historical evidence, make historical arguments, and engage in historical debates (Bain, 2005; Holt, 1990; VanSledright; 2002; Wineburg, 2001). Many past reform efforts in history education have shared this commitment to teach students to think historically, in part by being engaged in the process of historical inquiry (Bradley Commission on History in Schools, 1988; National Center for History in the Schools, 1995).
[Show full text]
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
[Show full text]
A Study of Bavarian Rocaille
Dissolving Ornament: A Study of Bavarian Rocaille Olaf Recktenwald School of Architecture McGill University, Montreal March 2016 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Olaf Recktenwald 2016 To my parents Table of Contents List of Illustrations vii Abstract viii Résumé ix Acknowledgments xi Introduction 1 1. Concerning Rocaille 1.1 Introduction 9 1.2 National Considerations 11 1.3 Augsburg and Johann Esaias Nilson 17 1.4 Rocaille Theory 24 1.5 Style, Form, and Space 31 1.6 Rocaille and Rococo 45 1.7 Bavaria’s Silence 50 1.8 Eighteenth-Century Critiques 54 1.9 Nineteenth- and Twentieth-Century Critiques 75 1.10 Conclusion 84 2. Ornament and Architecture 2.1 Introduction 87 2.2 Architectural Ornament and Ancient Rhetoric 89 2.2.1 Introduction 89 2.2.2 Aristotle 97 2.2.3 Rhetorica ad Herennium 100 2.2.4 Cicero 103 2.2.5 Vitruvius 116 2.2.6 Quintilian 123 2.2.7 Tacitus 131 2.2.8 Conclusion 133 2.3 Alberti’s Interpretation of Ornament 134 2.4 Alberti’s Perspectival Frame 144 2.5 Conclusion 156 3. Nature and Architecture 3.1 Introduction 161 3.2 Biblical Cities 162 3.3 Ruins 170 3.4 Grottoes 178 3.5 Symbols 191 3.6 Conclusion 197 4. Theatricality 4.1 Introduction 199 4.2 Departure from Andrea Pozzo 200 4.3 Relation to Ferdinando Galli-Bibiena 215 4.4 Conclusion 228 Conclusion 231 Illustrations 238 Bibliography 255 List of Illustrations 1.
[Show full text]
How to Write a History of Central-East European Art?
Third Text, Vol. 23, Issue 1, January, 2009, 5–14 How to Write a History of Central-East European Art? Piotr Piotrowski What differentiates postwar Western and East European art is of course their respective ideological contexts. So-called Western, liberal, demo- cratic ideology appeared to produce an opportunity for pluralistic, heter- ogeneous art (and art history), while in the East the stereotypical view of art, based on a uniform ideological background, seems to suggest a more homogenous image of art and its history. I will argue, at least as far as art history is concerned, that this is not the case; and in fact, quite the opposite. Western art history can be seen as much more homogeneous than East European art history. The reason is that the classic concept of ideology, as in the Marxist-Leninist system, did not play a substantial role in local cultural policy, as Westerners might expect. Instead, in the terms of Louis Althusser, it was Ideological State Apparatuses (in the plural), rather than the classical concept of ideology that governed the art scenes there.1 What is important is that while the ideology was similar in every Eastern bloc country, the Ideological State Apparatuses differed in each case, implementing different state cultural politics and producing different meanings of comparable art in parallel historical moments in the region. Finally, the point of this paper is that postwar art history in Central-Eastern Europe in particular should include much more of a national or state perspective, rather than a universal one, as in Downloaded by [McGill University Library] at 08:35 09 December 2014 much that is written on Western art history.
[Show full text]
Michel Foucault and Modernist Art History
Manet, museum, modernism: Michel Foucault and modernist art history Alexander Kauffman Michel Foucault’s writing transformed the field of museum studies.1 As Kevin Hetherington reflected in a recent state-of-the-field volume, ‘Foucault can be seen as one of the two leading theoretical inspirations for critical museum studies since the 1980s [along with Pierre Bourdieu].’2 Foucault himself wrote little about the subject, but devoted substantial attention to the concurrent institutional formations of the prison, the clinic, and the asylum. Adaptations of those writings by Tony Bennett, Eilean Hooper-Greenhill, and other museum studies scholars triggered a reconfiguration of the field, sometimes known as ‘the new museology’ or ‘critical museum studies.’3 Instead of fading over time, Foucault’s presence has only grown as scholarship and public discourse around museums has increasingly focused on issues of power, authority, and subjectivity. Modernist art history enacted a parallel reception of Foucault, one that was transformative for that field as well, but is less well recognised today. Central to that reception was the art historian, critic, and curator Douglas Crimp, who died in 2019 at the age of seventy-four. Nearly a decade before Bennett and Hooper-Greenhill introduced Foucault to museum studies, Crimp wrote in an essay he boldly titled ‘On the Museum’s Ruins’: ‘Foucault has concentrated on modern institutions of confinement: the asylum, the clinic and the prison; for him, it is these institutions that produce the respective discourses of madness, illness, and criminality. There is another institution of confinement ripe for analysis in Foucault’s terms: the 1 This article originated in a paper for the 2019 College Art Association Annual Conference panel ‘Foucault and Art History’, convened by Catherine M.
[Show full text]
Toward a Horizontal History of the European Avant-Garde
Toward a Horizontal History of the European AvantGarde Piotr Piotrowski (Adam Mickiewicz University, Poznań) Art since 1900, a study published recently by several prominent art historians connected with the October quarterly, is definitely one of the best available overviews of 20th-century art.1 The ample artistic material covered in the book has been ordered chronologically decade by decade, with each year approached in terms of its major events presented not so much as autonomous incidents, but as aspects of the intellectual processes characteristic of a given period. In a few instances the historical narrative is interrupted by “round table” debates among the authors. The analyses adopt the most recent methods of research, in many cases developed by the authors themselves. Moreover, each segment of the book has been supplemented by an appropriate reading list and crossreferences to other parts, which offer the reader a chance to follow specific artistic processes, series of events, as well as the evolution of individual artists – “above”, as it were, the subsequent narrative pieces. The book closes with a glossary of 20th-century art, an index, and an enormous bibliography. All in all, Art since 1900 is an excellent textbook to be used at an academic level, virtually indispensable for the study of 20th-century art; perfectly clear and written in the present idiom of art history. The question which I am going to raise here pertains, however, to geography. There is absolutely no doubt that Art since 1900 is a textbook focusing on Western art – the art produced in the cultural and political centers of the West: Paris, Berlin, Vienna, London, New York, and others.
[Show full text]