The French Art World in the 19th and 20th Centuries: Realism to Surrealism
Class code
Instructor Details Barbara SHAPIRO COMTE
Class Details Summer 2016: Mondays, Wednesdays, Thursday, 13h00-15h30 (unless otherwise indicated) NYUParis classroom: 4.11. Weekly museum visits/locations indicated w/i syllabus (below). Well before each session, kindly consult this syllabus to confirm our meeting place and time so as to ensure smooth running of this class and punctuality at all museum venues.
Prerequisites None
Class Description Through case studies of artists working in Paris and environs, this course explores the socio-political and cultural influences that shape and inform art practices from the 1840s to 1940s. Animated by radical politics, international exchanges, and waves of foreign artists fleeing totalitarian regimes, Paris stood as the foremost cosmopolitan art capital, operating as a fervent laboratory of the artistic avant- garde until German Occupation. Illustrated lectures, seminars and museum visits cover the major movements: Realism, Modernism, Impressionism, Pointillism, Symbolism, Fauvism, Cubism, Dada and Surrealism. Backed by firsthand observations of artworks in Paris and outlying museums, our study is enriched by multiple art history approaches, including social art history theory, feminist and gender readings, psychoanalytic and biographical methods, and formal analysis. Format: Illustrated, interactive class lectures, thematic seminars, and participatory museum visits.
Desired Appreciation of French Modern art as a complex reflection, celebration, and/or critique of the urban Outcomes context of Paris and environs, and the socio-political conditions of France and Western Europe. Familiarity with currentSAMPLE art history methods and theories as aids to apprehend artworks in their role as formal and expressive modes of communication. Knowledge about a wide range of innovative art techniques and inventions developed in France during the 1840s-1940s, including chemical-based oil paints in transportable tubes, single-frame and serial photography, darkroom experiments with photo-sensitive papers, and collages (glued papers). An enduring passion for French art through dynamic classes and unique personal confrontations with original works of art and sites of artistic production.
Assessment Components 1 quarter-term take-home paper (3pp) due May 30, covering weeks 1, 2 & 3) (3pp) 25% 1 midterm take-home quiz based on museum visits & readings (weeks ) 25% 1 oral presentation within a collaborative seminar presentation (in-class) 20% 1 final in-house quiz based on museum visits & readings (weeks??) 20% Active participation in class, seminars, museums, & discussions on assigned readings 10%
Failure to submit or fulfil any required course component results in failure of the class.
Assessment Grade A: (A to A-) Exceptional to excellent work Expectations Grade B: (B+ to B-) Very good to encouraging or quite good work
Grade C: (C+ to C-) Above average to passable work
Grade D: Disappointing or poor work
Grade F: Failure to submit or fulfil any required course component results in failure of the class.
Grade A = 16 Félicitations conversion A- = 15 Excellent B+ = 14 Très bien B = 13 Bien B- = 12 Encourageant/Assez bien C+ = 11 Moyen plus C = 10 Moyen C- = 9 Passable D+ = 8 D = 7 D- = 6
Grade Criteria Grade A: Superior (A-) or Outstanding (A) applies to work that is very well argued and structured; that gives evidence of both thorough knowledge of relevant artworks, extensive comprehension and assimilation of assigned readings as well as art history terminology; that shows personal engagement and particular insight. Grade B: Very good (B+), Good (B), Adequate or decent (B-): Applies to work which demonstrates an ability to conceptualize the key issues and debates and to formulate relevant points or questions, but which may need to be more thorough, better structured, and/or show more independent thinking, and insight. Grade C: Signs of reaching above average (C+), Average (C), Just below Average (C-)
Applies to work which, though it may raise a couple of interesting points or questions,
remains too superficial, or undeveloped, or poorly structured, and/or shows insufficient grasp of the subject and assigned reading material. Grade D: Work which is weak (D+), Very Poor Work (D), Unsatisfactory Work (D-) Presents incorrect or confused information, misunderstandings of the subject (artwork and/or texts), lack of coherence, lack of editing and structure or absence of development, an inability to makeSAMPLE proper use of references and quotations, serious inadequacies of expression (syntax, grammar, and art history vocabulary). Grade F: For non- or late submission of work without a valid medical excuse, or for work which is unintelligible, illegible, or wholly shallow and/or irrelevant; for plagiarism or work
which uses unattributed material, or reliance on web sources, other than those explicitly
approved on written course assignments.
Grading Policy NYU Paris aims to have grading standards and results in all its courses similar to those that prevail at Washington Square.
Attendance Study abroad at Global Academic Centers is an academically intensive and immersive Policy experience, in which students from a wide range of backgrounds exchange ideas in discussion- based seminars. Learning in such an environment depends on the active participation of all students. And since classes typically meet once or twice a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centers is mandatory, and unexcused absences will affect students' semester grades. Students are responsible for making up any work missed due to absence. Repeated absences in a course may result in failure.
As per the Global Academic standard, unexcused absences will be penalized with a two percent deduction from the student’s final course grade1.
Other guidelines specific to NYUParis include: Attendance to class and all course-related events, even outside of regularly scheduled course times, is expected and mandatory. Some class outings/make-up classes take place on Fridays Under no circumstances will non-University-related travel constitute an excused absence from class. DO NOT book travel until you have received and carefully studied the syllabus of each of your classes. If you are not sick enough to go to the doctor, you are well enough to go to class. Doctor’s notes will be expected for all medical-related absences. No tests, quizzes, or exams will be made up. A missed test, quiz, or exam will result in a zero. Questions about this policy should be directed to the Academic Affairs team, not your professor.
Late Submission Unless for medical reasons (confirmed by a doctor’s certificate), late submissions are not accepted. of Work
New York University in Paris, as an academic community, is committed to free and open inquiry, to creating an intellectual and social environment that promotes this,
and to upholding the highest standards of personal and academic integrity.
All NYUP students have the responsibility to uphold these stated objectives. As a member of this community, you accept the responsibility for upholding and maintaining these standards, which include refraining from all forms of plagiarism and cheating as detailed below.
Cases of plagiarism at NYUParis will be brought to the attention of NYUParis academic administration as well as the implicated student’s home school Dean.
PLAGIARISM: a form of fraud, presenting someone else’s work as though it were your own2 Plagiarism Policy A sequence of words from another writer who you have not quoted and referenced 3 in footnotes A paraphrased passage from another writer’s work that you have not cited. Facts or ideas gathered and reported by someone else4 Another student’s work that you claim as your own A paper that is purchased or “researched” for money A paper that is downloaded free of charge from the Internet SAMPLE
Cheating CHEATING Copying from another student’s exam or quiz Giving or receiving unauthorized assistance (crib sheets, internet, etc.) during an exam or quiz Having someone take your exam Accessing an exam or quiz in an unauthorized fashion prior to its administration Collaborating with other students or unauthorized persons on a take home exam Using the same written material for two courses without the express permission of both instructors Fabricating or falsifying data
1 NYU’s “Policies and procedures for students studying away at a Global Academic Center” 2 NYU’s Expository Writing Department’s Statement on Plagiarism 3 NYU Statement on Plagiarism 4 NYU Statement on Plagiarism
Required Text(s) Class Reader, volumes I & II and Midterm Supplement Students are responsible for purchasing and reading assigned weekly texts before each scheduled class. They must bring the appropriate volume to class, and/or PDF reading and are expected to respond actively to discussions in class and museum.
Supplemental None Texts(s) (not required to purchase as copies are in NYU-L Library)
Recognized academic internet sources (eg. JSTOR, on-line Oxford Dictionary of World Mythology, Internet and Saint James Version of the Bible [Old and New Testaments], Sigmund Freud, Interpretation of Research Dreams) are permitted for course assignments when correctly acknowledged in parenthetical notes Guidelines and bibliography. More explicit guidelines will be distributed with quarter-term, midterm, and final paper assignments.
If in doubt, kindly consult your professor before submitting personal work for grading.
Additional Sketchbook/notebook, pen/pencil, camera and/or telephone with camera capacity (but no flash) Required are essential for all museum visits. Equipment
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Introduction to course scope, theories, methodologies, requirements and assessment. Session 1 Examination of Paris as the context of artistic production from the Workers Revolution of 1848 to Tuesday, World War II, 1938-45, with concentration on the socio-political background of the Second Empire to 24 May 2016 early Third Republic, notably Napoleon III and Baron Haussmann’s urbanization of Paris (1860-1870) and its impact on art practices up to World War I (1870-1914). Introduction to Realist art as a backdrop to focus on “painters of Modern life,” Intransigents, and Impressionists (1860s-80s), including style innovation, socio-political critique, and new subjects: Paris scenes, citizens, and denizens depicted through irony and guile. Case studies: Realists Daumier, Courbet, Millet; Modernists/Intransigents: Manet, Caillebotte, Degas; Impressionists: Monet, Renoir, Cassatt, Morisot.
Students are responsible for reading assigned weekly texts before each scheduled class and coming to class prepared for discussions, armed with the appropriate reader. Required Reading CHECK EISENMAN option •Petra ten-Doesschate Chu, “The Revolution of 1848 and the Emergence of Realism in France” and “Progress, Modernity, and Modernism ─ French Visual Culture during the Second Empire,” 254-265 and 267-299.
Session 2 Museum visit: Musée d’Orsay: Realism into Modernism (Corot, Millet, Daumier, Courbet) Wednesday, **Meet at the Musée d’Orsay, Entrée C, to the right when facing the Musée d’Orsay central 25 May 2016 entry from Rue de la Légion d’Honneur, 7°; Metro Solférino or by foot from NYUP.** Musée d’Orsay Required Reading Meet at 13h15, •Robert L. Herbert, “Paris Transformed,” Impressionism. Art, Leisure & Parisian Society, New Haven and sharp, London, Yale University Press, 1988, 1-32, notes 307. Robert L. Herbert, “Impressionism and Naturalism,” TBC Impressionism. Art, Leisure & Parisian Society, New Haven and London, Yale University Press, 1988, URGENT!! 33-57, notes 307-308.
Session 3 Museum visit: Musée d’Orsay: The Myth of Modernity & its Subversion (Manet, Degas, Caillebotte, Thursday, Morisot, Renoir, Monet) 26 May 2016 **Meet at the Musée d’Orsay, Entrée C, to the right when facing the Musée d’Orsay central Musée d’Orsay entry from Rue de la Légion d’Honneur, 7°; Metro Solférino or by fast walk from NYUP in 20 minutes.** 16h30 Required Reading NOCTURNE?? •Stephen F. Eisenman, “Manet and the Impressionists,” Nineteenth Century Art. A Critical History, ed. Stephen F. Eisenman, London, Thames & Hudson, 2002, 282-98, notes 467. PREPARATION take-home half •Take-home quarter-term assignment (see hand-out) based on two paintings studied term paper, independently at the Musée d’Orsay and the Musée des Impressionnismes, Giverny. due ?? Topics will be distributed in relation to assigned readings. 1. Edgar Degas, permanent collection, Musée d’Orsay, 5th-floor level 2. Gustave Caillebotte, Musée des Impressionnismes, Giverny •PDF Eunice Lipton, “At the Ballet. The Disintegration of Glamour,” “The Bathers. Modernity and Prostitution” and “Conclusion,” Looking SAMPLEinto Degas. Uneasy Images of Women & Modern Life, Berkeley/Los Angeles/London, University of California, 1988, respectively 73-115, 151-86, 187-95 and notes. •PDF Anthony Sutcliffe, “The Impressionists and Haussmann’s Paris,” FCS, vi (1995), 197-219. frc.sagepub.com Session 4 Monday, Impressionism and new techniques: sensation and surface over illusion and depth: probing into 30 May 2016 painting techniques: the meaning of approximations, proto-abstraction, thematic series, and time Quarter-term frames. Temporality through brush strokes, simultaneously capturing the frozen moment and the paper due visible passage of time (hours, seasons, narrative history). Perceptual flux, from depth into flatness and abstraction (Greenberg’s theory). Blurring and corrective techniques: intentional effects and new meanings or medical impairments? Case studies: Manet, Monet and Degas’ late years, in light of Andy Warhol’s serial Pop paintings.
Required Reading •Clement Greenberg, “Modernist Painting,” Forum Lectures (Washington, D.C.: Voice of America), 1960, 1-8: Print out PDF file: cas.uchicago.edu/workshops/wittgenstein/files/2007/10/Greenberg •Charles Harrison, “Depth, Flatness and Self-Criticism” and “Monet’s Nymphéas,” Modernity and Modernism: French Painting in the Nineteenth Century, ed. Francis Frascina et al., New Haven and London, Yale University Press/The Open University, 1993, respectively 157-167 and 214-17.
Session 5 Museum visit: Musée Marmottan (Monet and Morisot) Wednesday, **Meet at the Musée Marmottan, entry hall, 2 rue Louis Boilly, 16°; M° La Muette.** 1 June 2016 Group debate on Monet’s “self-criticism” and “flatness” based on the Greenberg reading. Meet in lobby, Discussion on Morisot’s “feminine touch” based on the Garb reading. Musée Marmottan Monet’s and Morisot’s Impressionist paintings explored as exercises in narrative and 13h40 sharp technical experimentations, subjected to formal and feminist readings involving concepts of “self-criticism” and “flatness” as well as gender theory and the gaze based on readings by Greenberg and Garb, respectively.
Required Reading: Bring copies of assigned readings for consultation in the museum. •Tamar Garb, “The Historical Viewer,” excerpt from “Gender and Representation,” Modernity and Modernism: French Painting in the Nineteenth Century, ed. Francis Frascina et al., 276-289. •Clement Greenberg colour PDF printout: cas.uchicago.edu/workshops/wittgenstein/files/2007/10/Greenberg.
Session 6 Demise of the Second Empire: The Belle Époque or Fin-de-Siècle Paris, 1880s-1890s: Thursday, Consequences and new directions, formal and thematic; subjectifying the objective. 2 June 2016 The final phase of naturalism: Degas, Renoir, Toulouse-Lautrec. Manet’s A Bar at the Folies-Bergère: on ambiguity, isolation and detachment. Late & Post-Impressionism, Neo-Impressionism, and Pointillism (Divisionism), an awkward primitivism. Case studies on Seurat and Pissarro: scientific laws of optics over spontaneous impressionistic instincts. Obsessional uniform dots as an entry to psychological and political meaning embedded in technique.
Required Reading •Meyer Schapiro, “The Reaction to Impressionism,” Impressionism. Reflections and Perceptions, New York, George Braziller, 1997, 299-334, notes 344. •Stephen F. Eisenman, “Mass Culture and Utopia: Seurat and Neoimpressionism,” Nineteenth Century Art. A Critical History, London, Thames and Hudson, 1998, 274-287.
Saturday, June 4 Excursion to the village of Giverny by train, Giverny ● Musée des Impressionnismes and Fondation Claude Monet, Monet’s house and gardens, both sites details TBC located in the village of Giverny. www.claude-monet-giverny.fr
Symbolists and the Nabis (The Prophets): Anti-nature and the decadents, objectifying the subjective. Session 7 Primacy of indefinable moods, sensitive forms, and modern mysticism. Monday, Case studies: Puvis, Moreau, Redon, and Bonnard. 6 June 2016 Primitivism: escape, self-exile, wildness, joy; the dialectics of retreat. Case study: Gauguin. Fauvism and Art Naïf: decorative figuration, lyricism, unleashed colour; the expressive & the naïve. Case studies: Vlaminck, Matisse, Derain, Braque, Matisse; Rousseau.
Required Reading SAMPLE •Gil Perry, “Primitivism and the ‘Modern’,” and “The Decorative, the expressive, and the primitive,” Primitivism, Cubism, Abstraction. The Early Twentieth Century, ed. C. Harrison et al., New Haven and London, Yale University Press, 1993, respectively 2-34 and 46-62. •John Rewald, “An Introduction to the Fauve Movement,” Studies in Post-Impressionism, ed. I Gordon & F. Weitzenhoffer (London, Thames andHudson,1986), 255-76.
Museum visit: Musée d’Orsay: Late Naturalism and Neo-Impressionism or Pointillism (Divisionism) Session 8 Case studies on Henri Toulouse-Lautrec, Pissarro and Seurat. Thursday, Musée d’Orsay: Symbolism, Primitivism (Gauguin) 9 June 2016 **Meet at the Musée d’Orsay, Entrée C** Musée d’Orsay, Required Reading: 14h45 •FIND READING ON GAUGUIN •REVIEW: Stephen F. Eisenman, “Mass Culture and Utopia: Seurat and Neoimpressionism,” Nine- teenth Century Art. A Critical History, London, Thames and Hudson, 1998, 274-287
Session 9 Museum visit: Musée de l'Orangerie (Monet, Matisse, and Picasso): Monday, Monet’s Nymphéas, Matisse’s decorative figuration, and Picasso’s “primitivism” 13 June ** Meet at the front entry, Musée de l'Orangerie, main entry, Jardin des Tuileries et Carrousel, quai des Musée de Tuileries et Carrousel or rue de Rivoli, 1°; M° Concorde.** l'Orangerie 13h45 Required Reading •Charles Harrison, “Monet’s Nymphéas,” Modernity and Modernism: French Painting in the Nineteenth Century, eds. Francis Frascina et al., New Haven and London, Yale University Press/The Open University, 1993, 214-17, ref. 218. •Paul H. Tucker, “The Changing of the Light: Monet’s Mornings on the Seine of 1896-97,” Monet in the ‘90s. The Series Paintings, New Haven and London, Yale University Press, 1990, 232-251. •Leo Steinberg, “Monet’s Water Lilies (1956), Other Criteria. Confrontations with Twentieth-Century Art, London, Oxford University Press, 1927, 235-239.
Session 10 Cézanne: From nervous modernism & figuration to geometric reduction. An endless quest for Wednesday, structured emotions through reduction of colour, brushwork, detail, and planer shifts. th 15 June 2016 The discovery of “passages”: moving into the 4 dimension and proto-Cubism. Causes and meaning in structural shifts from early to late works: possible interpretations based on biographical sources, personal letters, and Freudian analysis.
Required Reading •Albert S. Barnes and Violetta de Mazia, “Cézanne's Life and Personality,” The Art of Cézanne, Merion, Pennsylvania, The Barnes Foundation, 1986, 96-108. •OPTIONAL: Meyer Schapiro, “The Apples of Cézanne. An Essay on the Meaning of Still-Life (1968),” Modern Art 19th and 20th Centuries. Selected Papers, New York, George Braziller, 1978, 1-38, pls I, II.
Session 11 Museum visit: Musée d’Orsay: Cézanne: Five Phases from Nervous Figuration to Proto-Cubism Thursday, **Meet at the Musée d’Orsay, Entrée C** 16 June 2016 14h15 sharp Required Reading Musée d’Orsay •Stephen F. Eisenman, “The Failure and Success of Cézanne,” Nineteenth Century Art. A Critical History, rd ed. Stephen F. Eisenman, London, Thames & Hudson, 3 ed., 2007, 440-453.
FINAL PAPER ASSIGNMENT, •Final take-home assignment to be emailed to all students, due July 30. Topics will cover Sessions 11-18 inclusive and associated readings from (16 June- 30 July). Students are encouraged to submit a short outline or schedule an individual meeting to discuss their chosen topics & readings. DUE 30 JULY 2016 REMINDER: FINAL PAPER (HARD COPY) DUE ON LAST CLASS, WEDNESDAY, 29 JULY 2016.
Session 12 Cubism: Montmartre,SAMPLE scene of experimentations in destruction and atavism, Primitivism & the Modern. Monday, Cubist forays into time and space: Cézanne’s legacy to Picasso and Braque in 3 phases: 20 June 2016 Cézannian (1906-1909); Analytic (1910-1912); Synthetic (1913-1914). Destruction of Western perspective and primitive sources. Fragmentation, dismemberment, and indeterminacy in painting, collage, and 3-D assemblage.
Required Reading •Edward F. Fry, “Introduction,” Georges Braque,” Personal Statement,” and Gertrude Stein, “Picasso,” Cubism, New York and Toronto, McGraw-Hill, 1966, 8-41, 53-54, and 55-57.
Session 13 Seminar (Group 1): interpreting collages through Poggi, “In Defiance of Painting.” Wednesday, Seminar on collage or papiers collés [glued papers] & its decoding (Picasso and Braque). 22 June 2016 Required Reading (PDF) •PDF Christine Poggi, “Cubist Collage, the Public, and the Culture of Commodities,” In Defiance of Painting. Cubism, Futurism, and the Invention of Collage, New Haven and London, Yale University Press, 1992, 124-163.
Session 14 Museum visit: Musée Picasso Saturday, “Picasso through Sculpture”: from found, readymade, and recycled objects, using eclectic raw, artisanal, and 25 June 2016 and manufactured materials (stone, plaster, wood, pebbles, wicker baskets, plastic, scrap metal, ceramic, Musée Picasso bicycle seats and handles, child’s shoes, etc.), Picasso employs both additive and subtractive sculptural Permanent & techniques to invent his boundless, buoyant, three-dimensional worlds, from assemblages to plaster Special casts, and painted bronzes to cardboard violins. Exhibition ** Meet in the courtyard of the Musée national Picasso, 5, rue Thorigny, 3°; M° Saint Paul, 10h30 sharp M° Chemin Vert or Sebastien Frossart.** -13h00 Required Readings TBC
Session 15 Dada & World War I, 1914-1918: Dada─The end of art? Monday, Figuration and Abstraction; Dada and the crisis of values, an international response. 27 June 2016 Experiments in art (Kandinsky) and literature―Negation or the demise of narrative form? Early concrete poetry, automatic writing, and collage: total liberty, pure chance (Tzara, Ball) Photo collages, improbable and ironic mechanisms, ready-mades, rectified found objects, rayograms Case studies: Apollinaire, Picabia, Hoch, Hausmann, Ernst, Arp, Duchamp, Man Ray.
Required Reading Dawn Ades, “Dada and Surrealism,” Modern Art. Impressionism to Post-Impressionism, ed. David Britt, London, Thames & Hudson, 2002, 203-226, notes 407.
REMINDER: FINAL PAPER (HARD COPY) DUE ON LAST CLASS, THURSDAY, 30 JUNE 2016
The Surrealist Revolution to World War II: illustrated lecture & seminar on Surreal Sex Session 16 Art between World Wars I and II: The Russian and Surrealist Revolutions Tuesday, Breton’s Nadja and Manifestes du surréalisme, the language of rupture, revolt, and release. 28 June 2016 Pure psychic automatism, art as reflection of thought processes (painting, photography, collage, cinema). ) Case studies: Ernst, Tanguy, Dali, Mirò, Masson, Giacometti, and Picasso (the outsider).
Part I: Seminar Group 2: Surrealism: Sex, Sadomasochism, and Misogyny Impact of Freud’s and Jung’s psychoanalytical theories on art: dreams, desires, and free associations. Part II: Seminar Group 3: Magritte’s Surrealist subconscious (dreams, fantasies, fears, phobias & release); ;& experiments with Word & Image against linguistic and pictorial logic.
Required Reading Patrick Waldberg, “AndréSAMPLE Breton: First Surrealist Manifesto,” “Second Surrealist Manifesto” and “Surrealism and Painting,” Surrealism, London, Thames and Hudson, 2001, 66-75, 76-80 and 81-88. Dawn Ades, “Dada and Surrealism,” Modern Art. Impressionism to Post-Impressionism, ed. David Britt, London, Thames and Hudson, 2002, 226-251, notes 407. Suzi Gablik, “The Use of Words,” Magritte, Connecticut, New York Graphic Society, 1972, 126-149.
Museum visit: Musée d’Orsay, Special monographic show on Henri Rousseau, naïf painter: Session 17 "Le Douannier Rousseau─L’Innocence archaïque"/"The Customs’ Official Rousseau─Archaïc Innocence" Wednesday, Musée d’Orsay: 29 June 2016 **Meet at the Musée d’Orsay, Entrée C** Musée d’Orsay, 14h15 Required Reading •Christopher Green, “Souvenirs of the Jardin des Plantes: Making the Exotic Strange Again,” Henri Rousseau. Jungles in Paris, eds. F. Morris and C. Green, London, Tate Publishing, 2002, 28-47. •PDF Henri Rousseau, Jungles in Paris. Teaching Pack for Teachers, Tate Modern London, 2005/6.
Session 18 LAST SESSION Thursday, Museum visit: Centre Georges Pompidou 30 June 2016 Dada black humour & the Absurd; Surrealist subconscious, dreams, fantasies, fears & phobias. 13h30-16h00 Centre Georges ** Meet at the Centre national d'art et de culture Georges Pompidou, inside ground-floor lobby, Pompidou rue Saint-Martin, 4°; M° Hôtel-de-Ville or M° Rambuteau or by foot from NYUP.** Visit to Permanent Collection: Dada and Surrealist galleries.
FINAL PAPER (HARD COPY) DUE ON LAST CLASS, THURSDAY, 30 JUNE 2016
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No eating in class. Classroom Etiquette No cell phones in class. No laptop computers in class unless permission is expressly given by your professors. A 10-minute break is scheduled during summer semester sessions. Leaving class mid-session to go to the bathroom or yawning in class is considered rude in France. Required Co-
curricular None. Activities Suggested Co- curricular INDEPENDENT MUSUEM VISITS in central Paris: Activities Regular independent visits to museums located in central Paris (Musée Delacroix, Musée Gustave Moreau, Musée Rodin), as well as walks through Montmartre where Seurat, Degas, Cassatt, Van Gogh, Picasso, and Braque lived and established their studios. AN INDEPENDENT MUSEUM VISIT in the Paris environs ●Musée Vincent Van Gogh, Auvers-sur-Oise, accessible by train from Paris.
Your Instructor Barbara Shapiro Comte, Canadian and French citizen, resident in Paris since 1989 B.A. University of British Columbia, double major in English & North American Literature/Studio & History of Art B.ARCH. School of Architecture, University of British Columbia Ph.D., M.A. Harvard University, Department of History of Art and Architecture
Interests: French art & architecture, 1630s-1830s (Power and Representation); Paris architecture and urban planning, 1750s-1950s; Paris Metropolis, Present & Future. Research: The evolution of architectural and mechanical drawings in architecture and art, 18th- 20th centuries, including Dada and Surrealist works by Raoul Hausmann, Marcel Duchamp, Francis Picabia, and Max Ernst. Le Corbusier: Architecture & Painting of the 1950s in France and India.
Academic Conferences & Scholarly Publications include: ▪ ”King’s Feet to Republican Metres: The Evolution of Construction Drawings, Paris, 1782-1876,” Fifth International Congress on Construction History, Chicago, Illinois, June 2015. ▪ “The Evolution, Standardization and Diffusion of Architects’ Construction Drawings through Printed Sources, 1750s-1850s,” La Construction savante. Les avatars de la littérature technique, Conference proceedings, Institut national d'histoire de l'art and Centre d'Histoire des Techniques et de l'Environnement, Conservatoire national des Arts et Métiers/École des Hautes Études en Sciences Sociales, March 2005, Éditions Picard and INHA, Paris, 2008, 179-192. ▪ Debra Pincus and Barbara Shapiro Comte, “A Drawing for the Tomb of Dante attributed to Tullio Lombardo,” The Burlington Magazine, November 2006, vol. CXLVIII, 734-746. ▪ Catalogue entries: Erich Mendelsohn, EinsteinSAMPLE Tower (Potsdam Astrophysical Observatory), Theo Van Doesburg, and the Aubette Project, Strasbourg, Collection d'Architecture, Musée National d'Art Moderne, Centre Georges Pompidou, Paris, 1998. ▪ Dictionary entries: James Bogardus, Myron Goldsmith, Fazlur Khan, Chestnut-DeWitt Apartments, John Hancock Building and Sears Tower, Dictionnaire des Ingénieurs, ed. A. Picon, Centre Georges Pompidou, Le Moniteur, Paris, 1997. ▪ “The Consequences of the Post-Modern in Contemporary Art and Architecture,” Architectural References, ed. Barbara E. Shapiro, Vancouver Art Gallery, exh. cat., Vancouver, 1980; reprinted in Vanguard, vol.9, no.4, May 1980, 6-13.
Translations include: Caroline Maniaque Benton, Le Corbusier and the Maisons Jaoul, trans. B. Shapiro Comte, Princeton Architectural Press, New York, 2009. ▪ Alexandre Gady, The Hôtel de Sully in the Heart of the Marais, trans. B. Shapiro Comte, Éditions du patrimoine, Paris, 2008. ▪ Jean-Michel Leniand and Françoise Pernot, The Sainte Chapelle, trans. Charles Penwarden, copy editors, Cathy Lenihen and B. Shapiro Comte, Éditions du patrimoine, Paris, 2007. ▪ Gérard Fontaine, The Palais Garnier. National Opera of Paris, trans. B. Shapiro Comte, Éditions du patrimoine, Paris, 2001. ▪ Bernard Marrey, The Eiffel Tower, trans. B. Shapiro Comte, Éditions du patrimoine, Paris, 2001. ▪ Gérard Fontaine, Charles Garnier's Opéra: Architecture and Exterior Decor, trans. Elie Rea in collaboration with B. Shapiro Comte, Éditions du patrimoine, Paris, 2000. ▪ Dominique Fernandes and Gilles Plum, Arc de Triomphe de l'Étoile, trans. B. Shapiro Comte, Éditions du patrimoine,Paris,2000.
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