New York University in France Spring 2010 the French Art World in The

New York University in France Spring 2010

The French Art World in the 20th Century Professor Shalini Le Gall

Description

Beginning with the grandeur of Paris during the Belle Epoque and the Exposition Universelle of 1900, and moving to the violence and tragedy of World Wars I and II, this course examines the modernist art movements of the first part of the 20th century. After identifying the origins of modernism in the late 19th century with Impressionism and Post-Impressionism, we will consider the ways in which Fauvism, Cubism, Expressionism, and Primitivism redefined modernism for the 20th century. Working with Dada and Surrealist art works, we will evaluate the relationship between humor, critique, and cultural and political dissension in artistic production. Finally, we will examine the trans-Atlantic currents of Abstraction, looking at Abstract Expressionism, L’Art Informel, and the Nouveau Realistes. Throughout this exploration, we will interrogate how social history, shaped by contemporaneous developments in politics, gender, and race, informed the construction of an artistic modernism in the 20th century.

Instructor: Professor Shalini Le Gall ([email protected]) Term: Spring 2010 Time: Tuesdays, 10:45-12:15; Thursdays 11:00-12:30 Office Hours: Tuesdays, 12:15-1:15

Instruction

Instructional format will include slide lectures, seminar-like discussions, group work, and museum visits.

Attendance

Students are expected to be present and on time for weekly lectures and museum visits. Tardiness and unexcused absences will have a negative impact on your final grade.

Assessment

Class Participation 20% Short Paper 15% Mid-term Exam 20% Research Paper 25% Final Exam 20%

Readings

The textbook for the course is: Sam Hunter, John M. Jacobus, Daniel Wheeler, Modern Art: Painting, Sculpture, Architecture, Pearson Prentice Hall, 3rd revised edition, 2004. Copies of the book are available on reserve in the NYU Library.

Assigned readings can be found in the course textbook, coursepack, and website. Discussion readings below can be found in the coursepack and are to be closely read for analysis during class. Students are required to bring the coursepack to each class and museum meeting. Additional readings can be found on the website.

1 1. Feb. 2 Course Introduction—Presentation of Syllabus Readings: Hunter, Jacobus & Wheeler, Modern Art, Pearson Prentice Hall, 2004 (3rd edition), Chap. 1, pp. 9-22.

2. Feb. 4 Impressionism & Post-Impressionism Readings: Richard R. Brettell, “Modernity, Representation and the Accessible Image,” from Modern Art 1815-1929 (1999), pp. 65-78.

3. Feb. 9 Impressionism & Post-Impressionism Readings: Hunter, Chap. 2, pp. 23-33 DISCUSSION: Clement Greenberg, “Modernist Painting” (1961), pp. 773-8 in Harrison & Wood Art in Theory 1900-2000. (Henceforth HWAIT)

4. Feb. 11—MUSEE D’ORSAY (TBC) Impressionism & Post-Impressionism Metro: Solferino (line 12) Meeting: Museum entrance 11:00 Readings: Hunter, Chap. 3, pp. 34-53; Louis Leroy, “The Exhibition of the Impressionists”, in Charivari, (1874), pp. 573-576; Jules Antoine Castagnary, “The Exhibition on the Boulevard des Capucines”, (1874), pp. 572-573 (HWGAiT 1815-1900)

5. Feb. 16 Fauvism & French Expressionism Readings: Hunter, Chap. 7, pp. 101-111 DISCUSSION: Henri Matisse, “Notes of a Painter” (1908), pp. 69-75, in HWAIT

6. Feb. 18—MUSEE DE L’ORANGERIE (TBC) Collecting Modern Art Metro: Concorde (lines 1, 8, 12) Meeting: Museum entrance, 11:00 Readings: Picasso, “Picasso Speaks,” (1923), pp. 215-220 in HWAIT.

7. Feb. 23 Primitivism & Cubism Readings: DISCUSSION: E. H. Gombrich, “Primitive—in what sense,” from The Preference for the Primitive (2002), pp. 269-297.

8. Feb. 25—MUSEE DU QUAI BRANLY (TBC) Primitivism & the Arts of Africa Metro: Alma-Marceau (line 9—cross the Seine) Meeting: Museum entrance, 11:00 Readings: Emil Nolde, “On Primitive Art” (1912), pp. 96-97 in HWAIT; Carl Einstein, “Negro Sculpture” (1915), pp. 110-116 in HWAIT

2 9. Mar. 2 Cubism—Analytic & Synthetic Cubism Readings: Hunter, chap. 9, pp. 132-147 DISCUSSION: Daniel-Henri Kahnweiler, from The Rise of Cubism, (1915-1920), pp. 208-214 in HWAIT Short Paper Due

10. Mar. 4—MUSEE D’ART MODERNE DE LA VILLE DE PARIS (PALAIS DE TOKYO) (TBC) Fauvism, Cubism, Primitivism, Abstraction Metro: Alma-Marceau or Iena (line 9) Meeting: Museum entrance, 11:00 Readings: Guillaume Apollinaire, “The Cubists” (1911), pp. 185-6 in HWAIT

11. Mar. 9 Cubism & Orphism Readings: DISCUSSION: Mark Antliff and Patricia Leighton, “Gender Codes,” from Cubism and Culture (2001), pp. 136-158.

12. Mar. 11 Midterm Exam

13. Mar. 16 German Expressionism—Die Brücke Readings: Hunter, Chap. 8, pp. 112-131.

14. Mar. 18—LE MUSEE NATIONAL D’ART MODERNE (CENTRE POMPIDOU) (TBC) Fauvism, Cubism, Primitivism, Abstraction Metro: Rambuteau (line 11) Meeting: Museum entrance, 11:00 Readings: Kasimir Malevich, “From Cubism and Futurism to Suprematism: The New Realism in Painting” (1915-1916), pp. 173-183 in HWAIT

15. Mar. 23 Futurism, Suprematism, De Stijl Readings: Hunter, Chap. 10, pp. 148-162 DISCUSSION: F. T. Marinetti, “The Foundation and Manifesto of Futurism”, (1909), pp. 146-150 in HWAIT

16. Mar. 25 Constructivism and 20th Century Sculpture Readings: Hunter, Chap. 5 & 15, pp. 61-80, 234-246

17. Mar. 30 Dada & Fantastic Art Readings: Hunter, Chap. 11, pp. 163-177 DISCUSSION: Hans Richter, “Paris Dada 1919-1922), from Dada Art and Anti-Art (1965, 2001), pp. 167-195.

18. Apr. 1—ESPACE DALI (TBC) Salvador Dali Metro: Abbesses (line 12) Meeting: Museum entrance, 11 :00 Readings: Salvador Dali, “The Stinking Ass,” (1930), pp. 486-489 in HWAIT.

19. Apr. 6 Surrealism—Reconciling Dream & Reality Readings: Hunter, Chap. 12, pp. 178-195 DISCUSSION: George Bataille, from “Critical Dictionary,” (1929-30), pp. 482-4 in HWAIT.

20. Apr. 8—MUSEE ZADKINE (TBC) Sculpture & Modernity Metro: Notre-Dame-des-Champs (line 12) or Vavin (line 4) Meeting: Museum entrance, 11 :00 Readings: Maurice Merleau-Ponty, from “Eye and Mind,” (1961), pp. 767-771 in HWAIT.

21. Apr. 13 The School of Paris Readings: Hunter, Chap. 14, pp. 215-233 DISCUSSION: Monica Bohm-Duchen, “Now Your Colours Sing,” from Chagall (1998), pp. 45-92.

22. Apr. 15 Abstract Expressionism Readings: Hunter, Chap. 16 & 17, pp. 247-284 DISCUSSION: Jackson Pollock, “Interview with William Wright,” (1950), pp. 583- 6 in HWAIT.

23. May 4 Post-War Europe—L’Art Informel Readings: Hunter, Chap. 18 DISCUSSION: Serge Guilbaut, “Success: How New York Stole the Notion of Modernism from the Parisians, 1948” from How New York Stole the Idea of Modern Art (1983), pp. 165-194. Research Paper Due

24. May 6—MUSEE D’ART MODERNE DE LA VILLE DE PARIS (PALAIS DE TOKYO) (TBC) Dada & Surrealism, The School of Paris, Post-War Art Metro: Alma-Marceau or Iena (line 9) Meeting: Museum entrance, 11:00 Readings: André Breton, from the “First Manifesto of Surrealism” (1924), pp. 447-452 in HWAIT

25. May 11 Final Exam—Part 1

26. May 13 Final Exam—Part 2