ARTH 17 (02) S c u l p t u r e a n d M o d e r n i t y i n E u r o p e , 1 8 6 5 - 1 9 1 4 Professor David Getsy Department of Art History, Dartmouth College Spring 2003 • 11 / 11.15-12.20 Monday Wednesday Friday / x-hour 12.00-12.50 Tuesday office hours: 1.30-3.00 Wednesday / office: 307 Carpenter Hall c o u r s e d e s c r i p t i o n This course will examine the transformations in figurative sculpture during the period from 1865 to the outbreak of the First World War. During these years, sculptors sought to engage with the rapidly evolving conditions of modern society in order to ensure sculpture’s relevance and cultural authority. We will examine the fate of the figurative tradition in the work of such sculptors as Carpeaux, Rodin, Leighton, Hildebrand, Degas, Claudel, and Vigeland. In turn, we will evaluate these developments in relation to the emergence of a self-conscious sculptural modernism in the work of such artists as Maillol, Matisse, Brancusi, Gaudier-Brzeska, and Picasso. In addition to a history of three-dimensional representation in the late-nineteenth and early-twentieth centuries, this course will also introduce the critical vocabularies used to evaluate sculpture and its history. s t r u c t u r e o f t h e c o u r s e Each hour session will consist of lectures and discussions of images, texts, and course themes. Students will be tested on the content of both course lectures and supplemental readings. X-hour sessions will be used to allow flexibility in the term schedule and to augment normal sessions through additional lectures, visits to the Hood Museum of Art, and further discussions. Attendance at x-hour sessions is required. Open x-hours may be utilized with as little as a day’s notice. m e t h o d o f e v a l u a t i o n Students will be evaluated on the basis of (1) attendance, preparation, and participation in class discussion; (2) a midterm examination to be held at the x-hour on 29 April; (3) a research paper due 14 May; and (4) the comprehensive final examination. Clarity, organization, depth, grasp of course material, and style will be among the criteria for evaluation in papers and examinations. Note that all course assignments must be adequately completed and submitted in order to receive a passing grade. Class participation : All students are expected to attend class meetings prepared to discuss the required readings. Failure to productively contribute to class discussions throughout the quarter will result in a reduced grade. Research paper : All course participants are expected to write a 2000-2500 word research paper on a relevant topic of their choice. Students should endeavor to choose a topic as early as possible, as all papers must be thoroughly researched, fully conceptualized, adequately written, and formatted according to established standards. Papers are due Wednesday, 14 May. Examinations : The midterm examination will be held 29 April and the final examination will be held at the campus-wide designated time. There will be no makeup or early examinations. Questions will be drawn from material covered in course lectures as well as course readings. c o u r s e r e a d i n g s The majority of readings can be found in the course reader. Students are also encouraged to purchase and consult the optional textbook: J. Bassett and P. Fogelman, Looking at European Sculpture: A Guide to Technical Terms (London: Victoria & Albert Museum, 1998). All readings must be done carefully, and students will be expected to raise critical questions about the texts. Readings listed for ‘further reference’ are optional and are meant to aid students in developing research paper topics. Any concerns about the availability of readings or suggestions for alternative readings should be addressed to the professor as soon as possible. Assignments are subject to change with notice. The required reading for the introductory session should be completed as soon as possible. 2

s h e r m a n a r t r e s e r v e s A number of books relating to course topics are on reserve in Sherman Art Library (middle level, front room). Students are encouraged to browse through these books when developing research topics and pursuing course themes. There are also relevant books on reserve for Studio Art 16: Sculpture (Prof. Marsha Pels) at the same location. w r i t i n g e d i t o r All students are encouraged to work with the Department of Art History Writing Editor, Iona McAulay [302 Carpenter Hall, [email protected] , 603.646.0434]. She will assist and evaluate writing skills and argumentation for the written assignments. Students concerned about research papers are encouraged to bring drafts to Ms. McAulay. Please note, however, that the Writing Editor will not advise on content for the papers and requires sufficient time to prepare comments on drafts. All inquiries related to the content of the papers should be directed to the professor. d i f f e r e n t l y - a b l e d s t u d e n t s Any students with exceptional needs or concerns (including ‘invisible’ difficulties such as chronic diseases, learning disabilities, or psychiatric complications) are encouraged to make an appointment with the professor to discuss these issues by the end of the second week of the term so that appropriate accommodations can be arranged. h o o d m u s e u m o f a r t Students are encouraged to make frequent use of the relevant collections of Hood Museum of Art in order to supplement course lectures and develop research paper topics. At regular intervals throughout the quarter, the class will meet in the museum’s teaching galleries during x-hour sessions. c o u r s e c a l e n d a r Shaded areas indicate class will be held. Please take note that class will not meet on 21 April, 9 May, 23 May, and 26 May (Memorial Day).

M T W Th F 24 25 26 27 28 31 A:1 2 3 4 7 8* 9 10 11 14 15 16 17 18 21 22 23 24 25 28 291 30 M:1 2 5 6 7 8 9 12 13 142 15 16 19 20* 21 22 23 26 27 28 29 30 J:2 3 4 5 6

* Hood Museum of Art visit 1 Midterm examination 2 Research paper due 3 i n d i v i d u a l s e s s i o n s a n d r e q u i r e d r e a d i n g s

Wednesday, 26 March Introduction: Anxious figures in nineteenth century sculpture Required reading • Arthur Beale, “A Technical View of Nineteenth-Century Sculpture,” in Metamorphoses in Nineteenth-Century Sculpture, exh. cat. (Cambridge, Massachusetts: Fogg Art Museum, Harvard University, 1975), 29-56. Further reference • Charles Baudelaire, “Salon of 1846,” Art in Paris 1845-1862: Salons and Other Exhibitions, ed. J. Mayne (London: Phaidon Press, 1965), 41-120, esp. pp. 111-13. • Horst Woldemar Janson, “Rediscovering Nineteenth-Century Sculpture,” Art Quarterly, vol. 36, no. 4 (1973): 411-13. • Horst Woldemar Janson, Nineteenth-Century Sculpture (New York: Abrams, 1985). • Anne Pingeot, ed., La sculpture française au XIXe siecle, exh. cat., Galeries nationales du Grand Palais (Paris: Editions de la Réunion des musees nationaux, 1986). • Benedict Read, Victorian Sculpture (New Haven: Yale University Press, 1982). • Benedict Read, “Was there Pre-Raphaelite Sculpture?,” in Pre-Raphaelite Papers, ed. Leslie Parris (London: Tate Gallery, 1984), 97-110. • Alison West, From Pigalle to Préault: Neoclassicism and the Sublime in French Sculpture, 1760-1840 (Cambridge: Cambridge University Press, 1998). • Albert Elsen, Origins of Modern Sculpture: Pioneers and Premises (New York: George Braziller, 1974). • Suzanne Lindsay, “Western Figurative Sculpture: Foundations and Functions,” in The National Sculpture Society Celebrates the Figure, exh. cat. (New York: National Sculpture Society, 1987), 11-28. • Joy Casson, “Narratives of the Female Body: The Greek Slave,” in Reading American Art, ed. M. Doezema and E. Milroy (New Haven: Yale University Press, 1998), 163-89. • Jennifer Shaw, “The Figure of Venus: Rhetoric of the Ideal and the Salon of 1863,” Art History, vol. 14, no. 4 (December 1991).

Friday, 28 March Sculptors in the Second Empire: Carpeaux, Marcello, Cordier Required reading • Charles Garnier, “[The Evolution of ‘The Dance’],” in L. Nochlin, ed., Realism and Tradition in Art 1848-1900 (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1966), 25-27. • Caterina Pierre, “Marcello’s Heroic Sculpture,” Woman’s Art Journal, vol. 22, no. 1 (Spring/Summer 2001): 14-20. Further reference • Anne Wagner, “Sculpture and Propriety,” Jean-Baptiste Carpeaux: Sculptor of the Second Empire (New Haven: Yale University Press, 1986), 209-56. • Albert Boime, “Revolution and Counterrevolution, 1848-1870,” Hollow Icons: The Politics of Sculpture in 19th-Century France (Kent, Ohio: Kent State University Press, 1987), 57-87. • L. Clément-Carpeaux, La vérité sur l’oeuvre et la vie de J.-B. Carpeaux, 2 vols. (Paris: Dousset et Bigerelle, 1934-35). • Benedict Read, “The Making of Sculpture,” Victorian Sculpture (New Haven: Yale University Press, 1982), 49-65.

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Monday, 31 March The Role of Sculpture in Public I: Sculpture and revolutionary politics Required reading • Hollis Clayson, “Jean-Alexandre-Joseph Falguière: Sculpting Resistance,” in Paris in Despair: Art and Everyday Life under Siege (1870-71) (Chicago: University of Chicago Press, 2002), 273-83. Further reference • Neil McWilliam, “Marat and the Termidor Reaction: Representing Revolution in the French Third Republic,” in Monumental Intolerance: Jean Baffier, A Nationalist Sculptor in fin-de-siècle France (University Park, Pennsylvania: Pennsylvania University Press, 2000), 37-65. • Jeanne Wasserman, Joan Lukach, and Arthur Beale, Daumier Sculpture: A Critical and Comparative Study, exh. cat., Fogg Art Museum, Harvard University (Greenwich, Connecticut: New York Graphic Society, 1969). • Ruth Butler, “Long Live the Revolution, the Republic, and Especially the Emperor!: The Political Sculpture of Rude,” in Art and Architecture in the Service of Politics, ed. H. Millon and L. Nochlin (Cambridge: MIT Press, 1978) • Albert Boime, Hollow Icons: The Politics of Sculpture in Nineteenth-Century France (Kent, Ohio: Kent State University Press, 1987). • Peter Fusco, “Falguière, the Female Nude, and ‘La Résistance,’” Los Angeles Museum of Art Bulletin, vol. 23 (1977). • Neil McWilliam, “Monuments, Martyrdom and the Politics of Religion in the French Third Republic,” Art Bulletin, vol. 77 (June 1995): 186-206. • Chris Brooks, ed., The Albert Memorial: The Prince Consort National Memorial: its History, Contexts, and Conservation (New Haven and London: Yale University Press, 2000).

X-Hour, Tuesday, 1 April open

Wednesday, 2 April ‘Late-Romantic’ Sculpture in France: Mercié, Carrier-Belleuse, Frémiet, Barrias Required reading • Anne Wagner, “Learning to Sculpt in the Nineteenth Century,” in The Romantics to Rodin: French Nineteenth-Century Sculpture from North American Collections, exh. cat., Los Angeles County Museum of Art (New York: George Braziller, Inc., 1980), 9-20. • Charles Millard, “Sculpture and Theory in Nineteenth Century France,” Journal of Aesthetics and Art Criticism, vol. 34, no. 1 (1975): 15-20. Further reference • Jeremy Cooper, Nineteenth-Century Romantic Bronzes: French, English and American Bronzes 1830-1925 (London: David & Charles, 1975). • Peter Fusco and H. W. Janson, eds., The Romantics to Rodin: French Nineteenth- Century Sculpture from North American Collections, exh. cat., Los Angeles County Museum of Art (New York: George Braziller, Inc., 1980). • Glenn Benge, Antoine-Louis Barye: Sculptor of Romantic Realism (University Park: Pennsylvania State University Press, 1984). • June Hargrove, The Life and Work of Albert Carrier-Belleuse (New York: Garland Publishing, 1977). • P. Fauré-Frémiet, Frémiet (Paris: Librairie Plon, 1934). • C. Chevillot, Emmanuel Fremiet, 1824-1910: Le main et le multiple, exh. cat. (Dijon: Musée des Beaux-Arts, 1998). • R. B. Mirolli and J. Van Nimmen, Nineteenth-Century French Sculpture: Monuments for the Middle Class (Louisville, Kentucky: J. B. Speed Art Museum, 1971). • Bo Wennberg, French and Scandinavian Sculpture in the Nineteenth Century: A Study of Trends and Innovations (Stockholm, Sweden: Almqvist & Wiksell International, 1978). • D. Mower, “Antoine-Augustin Préault (1809-1879),” Art Bulletin 63 (June 1981): 288-307. 5

Friday, 4 April Origins of Modern Sculpture I: Early Rodin Required reading • Critical reactions to the Age of Bronze and St. John the Baptist compiled in Ruth Butler, ed., Rodin in Perspective (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1980), 32-44. • Auguste Rodin, “Modeling,” and “Movement in Art,” Art: Conversations with Paul Gsell [1911], trans. J. de Caso (Berkeley: University of California Press, 1984): 22- 39. Further reference • Albert Elsen, Rodin (New York: Museum of Modern Art, 1963). • Ruth Butler, “Rodin and the Paris Salon,” in Rodin Rediscovered, ed. Albert Elsen (Washington, D.C.: National Gallery of Art, 1981), 19-49. • David Getsy, “Encountering the Male Nude at the Origins of Modern Sculpture: Rodin, Leighton, Hildebrand, and the Negotiation of Physicality and Temporality,” in The Enduring Instant: Time and the Spectator in the Visual Arts, ed. Antoinette Roesler-Friedenthal and Johannes Nathan (Berlin: Gebr. Mann Verlag, 2003). • Ruth Butler, Rodin: The Shape of Genius (New Haven: Yale University Press, 1993) • Maria Mimita Lamberti, “Rodin and Michelangelo: A Turning Point in Modern Sculpture,” in Rodin and Michelangelo: A Study in Artistic Inspiration, exh. cat., Casa Buonarroti and Philadelphia Museum of Art (Philadelphia: Philadelphia Museum of Art, 1996), 69-81.

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Monday, 7 April Origins of Modern Sculpture II: Frederic Leighton and his followers Required reading • Elizabeth Prettejohn, “The Modernism of Frederic Leighton,” in English Art 1860- 1914: Modern Artists and Identity, ed. David Peters Corbett and Lara Perry (Manchester: Manchester University Press, 2000), 31-48, 221-5. Further reference • Benedict Read, "Leighton and Sculpture," in Frederic, Lord Leighton: Eminent Victorian Artist, exh. cat., Royal Academy of Arts, London (New York: Harry N. Abrams, Inc., 1996), 81-92. • Benedict Read, “Leighton as a Sculptor: Releasing Sculpture from Convention” (1996), in Lord Leighton 1830-1896 and Leighton House: A Centenary Celebration, ed. Robin Simon (London: Apollo Magazine, 1996), 65-69. • Benedict Read, "Just What Is It That Made Leighton's Sculpture So Different, So Appealing?," Leighton and his Sculptural Legacy: British Sculpture 1875-1930, exh. cat., The Matthiesen Gallery (London: Joanna Barnes Fine Arts, 1996), 5-12. • See also Getsy, op. cit 4 April.

X-Hour, Tuesday, 8 April Visit to Hood Museum of Art: French and British sculpture from the nineteenth century (Barye, Carpeaux, Carrier-Belleuse, Mercié, Rodin, Dalou, Leighton, Gilbert)

Wednesday, 9 April Origins of Modern Sculpture III: Adolf von Hildebrand and the problem of the Problem of Form Required reading • Adolf von Hildebrand, “Remarks on the Problem of Form” [1906], trans. M. Meyer, College Art Journal, vol. 11, no. 4 (Summer 1952): 251-58. • Adolf von Hildebrand, “Auguste Rodin” [1917], in Viewpoints: European Sculpture 1875-1925 (New York: Shepherd Gallery, Associates, 1991), 16-18. Further reference • Adolf von Hildebrand, The Problem of Form in Painting and Sculpture, trans. M. Meyer and R. M. Ogden (authorized), 4th revised ed. (New York: G. E. Stechert & Co., 1907 [1893]). 6

• Henning Bock, ed., Adolf von Hildebrand: Gesammelte Schriften zur Kunst, Wissenschaftliche Abhandlungen der Arbeitsgemeinschaft für Forschung des Landes Nordrhein-Westfalen 39 (Cologne: Westdeutscher Verlag, 1969). • Conrad Fiedler, On Judging Works of Visual Art, trans. H. Schaefer-Simmern and F. Mood (Berkeley: University of California Press, 1876). • Sigrid Esche-Braunfels, Adolf von Hildebrand (1847-1921) (Berlin: Deutsche Verlag für Kunstwissenschaft, 1993). • Liliane Châtelet-Lange, "La Fontaine Du 'Vater Rhein' d'Adolf von Hilebrand," Cahiers Alsaciens d'Archeologie, d'Art, et d'Histoire 30 (1987): 211-24. • Bernhard Maaz, “Modern Tendencies in German Sculpture, 1870-1914: Forms – Styles – Symbolism,” in Kingdom of the Soul: Symbolist Art in Germany 1870-1920, ed. I. Ehrhardt and S. Reynolds (Munich and New York: Prestel Verlag, 2000), 177-215. • See also Getsy, op. cit 4 April.

Friday, 11 April The Role of Sculpture in Public II: Shifting Meanings of Monuments Required reading • Penelope Curtis, “The Tradition of the Monument,” in Sculpture 1900-1950: After Rodin (Oxford: Oxford University Press, 1999), 37-70. Further reference • Rosalind Krauss, “Sculpture in the Expanded Field” [1979], reprinted in H. Foster, ed., The Anti-Aesthetic: Essays on Postmodern Culture (Seattle: Bay Press, 1983), 31- 42. • Sergiusz Michalski, Public Monuments: Art in Political Bondage 1870-1997 (London: Reaktion Books, 1998). Especially, chapters 1 (“Democratic ‘Statuomania’ in Paris,” pp.13-55) and 2 (“Bismarck and the Lure of Teutonic Granite,” pp. 56-76). • M. Agulhon, “La ‘statuomanie’ et l’histoire,” Ethnologie française7-8 (1977-78): 145- 72. • John Hunisak, “Dalou’s ‘Triumph of the Republic’: A Study of Private and Public Meanings,” in La Scultura nel XIX secolo, Atti del XXIV Congresso Internazionale di Storia dell’ Arte, vol. 3, ed. H. W. Janson (Bologna, 1982), 169-75. • Albert Boime, “Excursus on the Statue of Liberty,” in Hollow Icons: The Politics of Sculpture in Nineteenth-Century France (Kent, Ohio: Kent State University Press, 1987), 113-39. • Marvin Trachtenberg, The Statue of Liberty (London: Allen Lane, 1976). • P. Provoyeur and J. Hargrove, Liberty: The French-American Statue in Art and History (New York: Harper & Row, 1986). • Mark Girouard, "The Background to The Shaftesbury Memorial: Memorials and Public Open Spaces in Victorian London," Alfred Gilbert: Sculptor and Goldsmith, exh. cat., Royal Academy of Arts, London (London: Weidenfeld and Nicolson, , 33-38. • Albert Elsen, Rodin’s Thinker and the Dilemmas of Modern Public Sculpture (New Haven: Yale University Press, 1986). • Mary Ann Steggles, Statues of the Raj (London: British Association for Cemeteries in South Asia, 2000). • June Hargrove, The Statues of Paris: An Open-Air Pantheon (New York and Paris, 1990).

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Monday, 14 April The ‘New Sculpture’ in Britain Requied reading • Walter Armstrong, “Sculpture,” Art Journal 49 (June 1887): 177-80. • Edmund Gosse, “The New Sculpture: 1879-1894,” Art Journal (1894): 138-42, 199- 203, 277-82, 306-11. 7

Further reference • Susan Beattie, The New Sculpture (New Haven: Yale University Press, 1983). • David Getsy, “'Hard realism': the thanatic corporeality of Edward Onslow Ford's Shelley Memorial,” Visual Culture in Britain vol. 3, no. 1 (2002): 53-76. • Jason Edwards, “Alfred Gilbert's Aestheticism: Homoeroticism, Artistic Identity and the New Sculpture,” Visual Culture in Britain, vol. 2, no. 1 (2001): 81-97. • Michael Hatt, “Physical Culture: The Male Nude and Sculpture in Late Victorian England,” in After the Pre-Raphaelites: Art and Aestheticisim in Victorian Britain, ed. Elizabeth Prettejohn (Manchester: Manchester University Press, 1999), 240-56. • John Glaves-Smith, Reverie, Myth, Sensuality: Sculpture in Britain 1880-1910, exh. cat., (Stoke-on-Trent, United Kingdom: Stoke-on-Trent City Museum and Art Gallery, 1992). • Walter Pater, The Renaissance: Studies in Art and Poetry. 4th ed. 1873/93 (Oxford: Oxford University Press, 1986). • Marion H Spielmann, British Sculpture and Sculptors of To-Day (London: Cassell and Co., Ltd., 1901). • Kineton Parkes, Sculpture of To-Day, 2 vols. (London: Chapman and Hall, Ltd., 1921).

X-Hour, Tuesday, 15 April open

Wednesday, 16 April ‘Realism’ and the problem of contemporary subject matter in sculpture in Italy, France, Belgium, and Britain Required reading • Auguste Rodin, “Realism in Art” and “For the Artist Everything in Nature is Beautiful,” Art: Conversations with Paul Gsell [1911], trans. J. de Caso (Berkeley: University of California Press, 1984): 9-21. Further reference • John Hunisak, “Images of Workers: From Genre Treatment and Heroic Nudity to the Monument to Labor,” in The Romantics to Rodin: French Nineteenth-Century Sculpture from North American Collections, exh. cat., Los Angeles County Museum of Art (New York: George Braziller, Inc., 1980), 52-69. • David Getsy, “The difficult labour of Hamo Thornycroft’s Mower, 1884,” Sculpture Journal, vol. 7 (Spring 2002): 44-57. • Sura Levine, “A Life of Labor,” in Hommage à Constantin Meunier, exh. cat., (Brussels: Galerie Maurice Tzwern, 1998), 8-35. • Emile Verhaeren, "Constantin Meunier, Painter and Sculptor," Magazine of Art (1899): 496-503. • Agnes M. Rindge, “Realism in Sculpture,” in Sculpture (New York: Payson and Clarke, Ltd, 1929), 97-139. • Francesco Sapori, Modern Italian Sculpture (Rome: La Libreria dello Stato, 1949). • John Hunisak, The Sculptor Jules Dalou: Studies in His Style and Imagery (New York: Garland Publishing, 1977). • Nancy Scott, Vincenzo Vela 1820-1891 (New York: Garland Publishing, 1979). • Marie Bouchard, “'Un Monument au Travail': The Projects of Meunier, Dalou, Rodin and Bouchard,” Oxford Art Journal 4, no. 2 (November 1981): 29-35. • Michele Bogart, “Photosculpture,” Art History 4, no. 1 (March 1981): 54-65. • H. W. Janson, “Realism in Sculpture: Limits and Limitations,” in The European Realist Tradition, ed. Gabriel Weisberg (Bloomington: Indiana University Press, 1982), 290-301.

Friday, 18 April The Myth of the Artist: Rodin, Subjectivity, Expression Required reading • Critical reactions to the Balzac compiled in Ruth Butler, ed., Rodin in Perspective(Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1980), 91-99. • Anne Wagner, “Rodin’s Reputation,” in Eroticism and the Body Politic, ed. Lynn Hunt (Baltimore: The Johns Hopkins University Press, 1993), 191-242. 8

Further reference • Alex Potts, “Male Phantasy and Modern Sculpture,” Oxford Art Journal, vol. 15, no. 2 (1992): 38-47. • Rainer Maria Rilke, “The Rodin-Book,” [1903 and 1907] in Where Silence Reigns: Selected Prose (New York: New Directions, 1978): 89-154. • T. H. Bartlett, "August Rodin, Sculptor," in Auguste Rodin: Readings on His Life and Work, ed. A. Elsen (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1889), 13- 109. • Alex Potts, The Sculptural Imagination: Figurative, Modernist, Minimalist (New Haven: Yale University Press, 2000). • Musée Rodin, 1898: le Balzac de Rodin, exh. cat. (Paris: Musée Rodin, 1998) • Helen Pinet, “Montrer est la question vitale: Rodin and Photography,” in Sculpture and Photography: Envisioning the Third Dimension, ed. Geraldine Johnson (Cambridge: Cambridge University Press, 1998), 68-85. • Albert Elsen, In Rodin’s Studio: A photographic record of sculpture in the making (London: Phaidon, 1980). • Josef Schmoll-Eisenwerth, Rodin-Studien: Persönlichkeit, Werke, Wirkung, Bibliogr. (Munich: Prestel-Verlag, 1983). • Rainer Crone and Siegfried Salzmann, eds., Rodin: Eros and Creativity (Munich: Prestel-Verlag, 1992). • Krauss, op. cit. 11 April. • Sadakichi Hartmann, “Rodin’s Balzac” [1911], in Sadakichi Hartmann: Critical Modernist, ed. Jane Calhoun Weaver (Berkeley: University of California Press, 1991), 325-28.

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Monday, 21 April NO CLASS

X-Hour, Tuesday, 22 April Departures: Camille Claudel and Medardo Rosso Required reading • Patricia Mathews, “Symbolist Women Artists: Practice and Reception” [excerpts re: Claudel], in Passionate Discontent: Creativity, Gender, and French Symbolist Art (Chicago: University of Chicago Press, 1999), 134-52. • Medardo Rosso, “The Aims of Sculpture,” in Artists on Art from the XIV to the XX Century, ed. R. Goldwater and M. Treves (New York: Pantheon Books, 1901), 329-30. Further reference • Claudine Mitchell, “Intellectuality and Sexuality: Camille Claudel, the Fin de Siècle Sculptress,” Art History 12.4 (December 1989): 419-47. • Anne Higonnet, “Myths of Creation: Camille Claudel & Auguste Rodin,” in Significant Others: Creativity & Intimate Partnership, ed. Whitney Chadwick and Isabelle de Courtivron (London: Thames and Hudson, 1993), 13-29, 244-45. • Ursula Heiderich, “The Muse and her Gorgon’s Head: On the Problem of Individuation in the Work of Camille Claudel,” in R. Crone and S. Salzmann, eds., Rodin: Eros and Creativity(Munich: Prestel-Verlag, 1992), 222-26. • Reine-Marie Paris, Camille Claudel, exh. cat. (Washington, D.C.: The National Museum of Women in the Arts, 1988). • Jacques Cassar, Dossier Camille Claudel (Paris: Librairie Séguier, 1987). • Anne Pingeot, ed., “L’Age mûr” de Camille Claudel, exh. cat., Musée d’Orsay (Paris: Éditions de la Réunion des Musées Nationaux, 1989). • Margaret Scolari Barr, Medardo Rosso (New York: Museum of Modern Art, 1963). 9

• Max Kozloff, “The equivocation of Medardo Rosso,” Renderings: Critical Essays on a Century of Modern Art (New York: Simon and Schuster, 1968), 175-79.open

Wednesday, 23 April Color and Symbolism in Sculpture Required reading • Wolfgang Drost, “Colour, sculpture, mimesis: A 19th-century debate,” in Andreas Blühm, The Colour of Sculpture, 1840-1910, exh. . cat., Van Gogh Museum, Amsterdam, and Henry Moore Institute, Leeds (Zwolle: Waanders Uitgevers, 1996), 61-71. Further reference • Andreas Blühm, The Colour of Sculpture 1840-1910, exh. cat., Van Gogh Museum, Amsterdam, and Henry Moore Institute, Leeds (Zwolle: Waanders Uitgevers, 1996). • Robert Upstone, “Symbolism in Three Dimensions,” in The Age of Rossetti, Burne- Jones and Watts: Symbolism in Britain 1860-1910, exh. cat., Tate Gallery (Paris: Flammarion, 1977), 83-92. • Donald Myers, “'Couleur' and Colour in the New Sculpture,” Apollo 143, no. 412 (June 1996): 23-31. • Marina Warner, "Waxworks and Wonderlands,” in Visual Display: Culture Beyond Appearances, ed. Lynne Cooke and Peter Wollen (Seattle: Bay Press, 1995), 179- 201. • Paul Schultze-Naumburg, "A New Symbolist: Sascha Schneider," Magazine of Art (1899): 9-15. • Elisabeth Darby, "John Gibson, Queen Victoria, and the Idea of Sculptural Polychromy," Art History 4, no. 1 (1981): 37-53. • Maaz, op. cit., 9 April.

Friday, 25 April Rodin into the Twentieth Century: The Gates of Hell Required reading • Rosalind Krauss, “Narrative Time: The question of the Gates of Hell,” in Passages in Modern Sculpture (Cambridge, Massachusetts: The MIT Press, 1977), 7-38. Further reference • Albert Elsen, The Gates of Hell by August Rodin (Stanford University: Stanford University Press, 1985). • Albert Elsen, Rodin’s Gates of Hell (Minneapolis: University of Minnesota Press, 1960). • Leo Steinberg, Other Criteria: Confrontations with Twentieth-Century Art (New York: Oxford University Press, 1972). • Debora Silverman, Art Nouveau in Fin-de-Siècle France: Politics, Psychology, and Style (Berkeley: University of California Press, 1989).

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Monday, 28 April Sculpture and Originality Required reading • Rosalind Krauss, “The Originality of the Avant-Garde,” in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985), 151-70. Further reference • Rosalind Krauss, “Sincerely yours,” in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985), 171-94. • Alexandra Parigoris, “Truth to Material: Bronze, on the Reproducibility of Truth,” in Sculpture and Its Reproductions, ed. Anthony Hughes and Erich Ranfft (London: Reaktion Books, 1997), 131-51. 10

• Jacques de Caso, “Serial Sculpture in Nineteenth-Century France,” in J. Wasserman, ed., Metamorphoses in Nineteenth-Century Sculpture(Cambridge: Fogg Museum of Art, 1976). • Martina Droth, Ornament as Sculpture: The Sam Wilson Chimneypiece in Leeds City Art Gallery, Essays on Sculpture (Leeds: Henry Moore Institute, 2000). • Martina Droth, Jason Edwards, David Getsy, and Matthew Withey, The Cult of the Statuette in Late Victorian Britain (Leeds: Henry Moore Institute, 2000).

X-Hour, Tuesday, 29 April MIDTERM EXAMINATION

Wednesday, 30 April Some painter-sculptors: Degas, Gauguin, and Matisse Required reading • June Hargrove, “Degas’s Little 14-year-old Dancer: Madonna of the Third Republic?” Sculpture Journal 2 (1998): 97-105. • Yve Alain-Bois, “Preface,” in Henri Matisse, catalogue raisonné de l’oeuvre sculpté, ed. Claude Duthuit (Paris: Duthuit, 1996), 369-78. • William Tucker, “Matisse’s Sculpture: The Grasped and the Seen,” Art in America 63 (July-August 1975): 62-68. Further reference • Richard Kendall, Degas and the Little Dancer (New Haven: Yale University Press, 1988) • Charles Millard, The Sculpture of Edgar Degas (Princeton: Princeton University Press, 1976). • Christopher Gray, Sculpture and Ceramics of Paul Gauguin (Baltimore: Johns Hopkins Press, 1963). • Kirk Varnedoe, “Gauguin,” in Twentieth-Century Art: Affinities of the Tribal and the Modern, exh. cat., ed. William Rubin, 2 vols. (New York: Museum of Modern Art, 1984), 1:179-209. • Cathy Pütz, “Laurens and Matisse: the language of metamorphosis,” Sculpture Journal 7 (2002): 95-107. • Isabelle Monod-Fontaine, The Sculpture of Henri Matisse, exh. cat. (London: Arts Council of Great Britain and Thames & Hudson), 1984. • Albert Elsen, The Sculpture of Henri Matisse (New York: Harry N. Abrams, 1972). • Herbert Read, “The Sculpture of Matisse,” in Henri Matisse: Retrospective 1966, exh. cat., UCLA Art Galleries (Los Angeles: UCLA Art Council, 1966), 19-24. • Jacques Lipchitz, “Notes on Matisse as a Sculptor,” The Yale Literary Magaine 123 (Fall 1955): 12.

Friday, 2 May Bourdelle, Maillol, and Havard Thomas: Transformations in the Figurative Tradition? Required reading • Roger Fry, “The Sculptures of Maillol” [1910], reprinted in R. Butler, ed., Rodin in Perspective (Englewood Cliffs, NJ: Prentice-Hall, 1980), 146-48. • Stanley Casson, “Maillol and Bourdelle the Hellenists,” Some Modern Sculptors (London: Oxford University Press, 1928), 36-44. Further reference • Claudine Mitchell, “Style/Ecriture. On the classical ethos, women’s sculptural practice and pre-First-World-War feminism,” Art History, vol. 25, no. 1 (February 2002): 1-22. • Arie Hartog, “A Clean Tradition? Reflections on German Figurative Sculpture,” in Taking Positions: Figurative Sculpture and the Third Reich, exh. cat., ed. Penelope Curtis (Leeds: Henry Moore Institute, 2001), 30-41. • Peter Cannon-Brookes, Emile Antoine Bourdelle (London: Trefoil Books, 1983). • Ionel Jianou and Michel Dufet, Boudelle (Paris: Arted, 1965). • Henri Frère, Conversations de Maillol (Geneva: Pierre Cailler, 1956). • John Rewald, Maillol (London: Hyperion Press, 1932). • Bertrand Lorquin, et al., Arisite Maillol (Skira, 2002). 11

• David Getsy, “The Lycidas ‘scandal’ of 1905: James Havard Thomas at the crux of modern sculpture in Britain,” in Sculpture and the Pursuit of a Modern Ideal in Britain, c.1880-1930, ed. D. Getsy (forthcoming 2004).

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Monday, 5 May Relief Sculpture and Modernity c. 1900 Required reading • Albert Elsen, “The revolution in relief sculpture,” and “The new history of relief,” in Origins of Modern Sculpture: Pioneers and Premises (London: Phaidon, 1974), 130- 52. • Gabriel Weisberg, “The Relief,” in Traditions and Revisions: Themes from the History of Sculpture, exh. cat. (Cleveland: Cleveland Museum of Art, 1975), 67. Further reference • Alois Riegl, Late Roman Art Industry, trans. R. Winkes (Rome: Giorgio Bretschneider Editore, 1985/1901). • Emanuel Loewy, The Rendering of Nature in Early Greek Art [1900], trans. John Fothergill (London: Duckworth & Co., 1907). • Adolf von Hildebrand, The Problem of Form in Painting and Sculpture, trans. M. Meyer and R. M. Ogden (authorized), 4th revised ed. (New York: G. E. Stechert & Co., 1907 [1893]). • L. R. Rogers, Relief Sculpture (London: Oxford University Press, 1974).

X-Hour, Tuesday, 6 May The Impact of African Sculpture in the nineteenth and twentieth centuries Required reading • Annie Coombes, “Material Culture at the Crossroads of Knowledge: The Case of the Benin ‘Bronzes’,” Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England (New Haven: Yale University Press, 1994), 7-28. Further reference • Jean-Louis Paudrat, “From Africa,” in “Primitivism” in Twentieth-Century Art: Affinities of the Tribal and the Modern, exh. cat., ed. William Rubin, 2 vols. (New York: Museum of Modern Art, 1984), 1:125-75. • Alan Wilkinson, Gaugin to Moore: Primitivism in Modern Sculpture, exh. cat. (Toronto: Art Gallery of Ontario, 1981). • Ekpo Eyo, “Primtivism and Other Misconceptions of African Art,” Munger Africana Library Notes, vol. 63 (April 1982): 3-25. • Sally Price, Primitive Art in Civilized Places (Chicago: University of Chicago Press, 1989). • Susan Hiller, ed., The Myth of Primitivism: Perspectives on Art (London: Routledge, 1991). • Elizabeth Barkan and Ronald Bush, eds., Prehistories of the Future: The Primitivist Project and the Culture of Modernism (Stanford: Stanford University Press, 1995).

Wednesday, 7 May The Rodin Effect: Gustav Vigeland in Norway, Ivan Mestrovic in ‘Yugoslavia’, and Carl Milles in Sweden Required reading • Bo Wennberg, “Paris in Oslo — Gustav Vigeland,” French and Scandinavian Sculpture in the Nineteenth Century: A Study of Trends and Innovations (Stockholm: Almqvist & Wiksell and Atlantic Highlands, New Jersey: Humanities Press, 1978), 181-93. Further reference • Norman Rice, The Sculpture of Ivan Mestrovic (Syracuse: Syracuse University Press, 1948). • Stanley Casson, “A New Movement in Sculpture: Mestrovic and Rosandic,” Some Modern Sculptors (London: Oxford University Press, 1928), 59-73. 12

• Bo Wennberg, ed., Gustav Vigeland: The Condition of Man, exh. cat. (Stockholm: National Museum, 1975). • Ragna Stang. Gustav Vigeland: The Sculptor and His Work (Oslo: Tanum, 1970). • The Vigeland Museum: Catalogue of Exhibited Works (Oslo: Oslo Municipal Art Collections, 1970) • Tone Wikborg, Gustav Vigeland: His Art and Sculpture Park, trans. R. Waaler (Oslo: H. Aschehoug & Co., 1990). • Millesgarden: Its Garden and Art Treasures. Lidingo Island, Sweden: Millesgarden, 1960. • Conrad Köper and Carl Milles. Carl Milles. (Stockholm: P.A. Norstedt, 1913). • Joan Marter and University Art Museum, University of California Berkeley, Carl Milles: Sculpture and Drawings from Millesgarden, Stockholm (Philadelphia, Pennsylvania: American Swedish Historical Museum, 1988). • Stanley Casson, “Carl Milles,” XXth Century Sculptors (London: Oxford University Press, 1930), 25-40.

Friday, 9 May NO CLASS

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Monday, 12 May Beyond ‘plausibility’: Jacob Epstein, Raymond Duchamp-Villon, Amadeo Modigliani Required reading • T. E. Hulme, “Mr. Epstein and the Critics” [1914], in The Sculptor Speaks, ed. Arnold Haskell (London: William Heineman, Ltd, 1931), 152-64. • Judith Zilczer, “Raymond Duchamp-Villon: Pioneer of Modern Sculpture,” Philadelphia Museum of Art Bulletin, vol. 76, no. 330 (Fall 1980): 3-24. Further reference • Alan Wilkinson, “Paris and London: Modigliani, Lipchitz, Epstein, Gaudier- Brzeska,” in W. Rubin, ed., ‘Primitivism’ in Twentieth-Century Art, exh. cat. (New York: Museum of Modern Art, 1984), 417-52. • Richard Cork, "The Emancipation of British Sculpture," British Art in the 20th Century: The Modern Movement, exh. cat., Royal Academy of Arts, London (Munich: Prestel-Verlag, 1987), 31-52. • Richard Cork, Art Beyond the Gallery in Early 20th Century England (New Haven: Yale University Press, 1985). • Richard Cork, Vorticism and Abstract Art in the First Machine Age, 2 vols. (London: Gordon Fraser, 1976). • Evelyn Silber, The Sculpture of Jacob Epstein: With a Complete Catalogue (Oxford: Phaidon Press, Limited, 1986). • Raymond Duchamp-Villon, [Writings], in Raymond Duchamp-Villon 1876-1918 (New York: Walker and Company, 1967), 109-25. • P. Cabanne, The Brothers Duchamp (Boston: New York Graphic Society, 1975). • Michael Pennington, An Angel for a Martyr: Jacob Epstein's Tomb for Oscar Wilde (Reading: Whiteknights Press, 1987).

X-Hour, Tuesday, 13 May open

Wednesday, 14 May RESEARCH PAPER DUE The emergence of expressionism in German figurative sculpture Required reading • Stanley Casson, “Georg Kolbe,” XXth Century Sculptors (London: Oxford University Press, 1930), 55-60. • Max Sauerlandt, “Wood sculptures by Kirchner, Heckel, and Schmidt-Rottluff in the Museum für Kunst and Gewerbe, Hamburg” [1930-31] in German 13

Expressionist Sculpture, ed. Stephanie Barron (Los Angeles: Los Angeles County Museum of Art and University of Chicago Press, 1983), 51-55. Further reference • Stephanie Barron, German Expressionist Sculpture, exh. cat. (Los Angeles: Los Angeles County Museum of Art and University of Chicago Press, 1983). • Alexander Heilmeyer, Die Moderne Plastik in Deutschland (Bielefeld and Leipzig: Velhagen & Klasing, 1903). • Erich Ranfft, “Expressionist sculpture c. 1910-1930 and the significance of its dual architectural/ideological frame,” in S. Behr, D. Fanning, and D. Jarman, eds., Expressionism Reassessed (Manchester: Manchester University Press, 1993), 65-79. • Claude Cernuschi, “Body and Soul: Oskar Kokoshka's The Warrior, Truth and the Interchangeability of the Physical and Psychological in fin-de-siècle Vienna,” Art History vol. 23, no. 1 (2000): 56-87. • Erich Ranfft, “Reproduced Sculpture of German Expressionism: Living Objects, Theatrics of Display and Practical Options,” in Sculpture and Its Reproductions, ed. Anthony Hughes and Erich Ranfft (London: Reaktion Books, 1997), 113-30. • Peter Paret, “Field Marshall and Beggar — Ernst Barlach in the First World War,” in German Encounters with Modernism, 1840-1945 (Cambridge: Cambridge University Press, 2001), 144-84. • Dietrich Schubert, Die Kunst Lehmbrucks, 2nd. ed., (Dresden: Verlag der Kunst, 1990). • Ursel Berger, Georg Kolbe — Leben und Werk (Berlin: Gebr. Mann Verlag, 1990).

Friday, 16 May Vorticism and Futurism: Gaudier-Brzeska and Boccioni Required reading • Henri Gaudier-Brzeska, “Vortex,” “[The Need of Organic Forms],” and “Vortex (written from the trenches),” [1914] in Ezra Pound, Gaudier-Brzeska: A Memoir (New York: New Directions Books, 1970/1916), 17-30. • Umberto Boccioni, “Futurist Sculpture,” [1912-14] in Modern Artists on Art, ed. R. Herbert (Englewood Cliffs, NJ: Prentice Hall, 1964), 45-57. • Lisa Tickner, “Now and Then: the Hieratic Head of Ezra Pound,” Oxford Art Journal 16.2 (1993): 55-61. Further reference • Virginia Spate, “Mother and Son: Boccioni's Painting and Sculpture 1906-1915,” in In Visible Touch: Modernism and Masculinity, ed. Terry Smith (Chicago: University of Chicago Press, 1997), 107-38. • Mark Antliff, “The Fourth Dimension and Futurism: A Politicized Space,” Art Bulletin 82.4 (December 2000): 720-33. • Richard Cork, 'Vorticism and Sculpture,' in Blast: Vorticism 1914-1918, ed. Paul Edwards (Aldershot: Ashgate, 2000): 40-58. • Evelyn Silber, Gaudier-Brzeska: Life and Art (London: Thames and Hudson, 1996).

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Monday, 19 May Brancusi: Forms of the Ideal Required reading • Constantin Brancusi, “Aphorisms,” [1925?-57] Theories of Modern Art, ed. H. Chipp (Berkeley: University of California Press, 1968), 364-65. • Ezra Pound, “Brancusi,” Little Review (Autumn 1921): 3-7. • William Carlos Williams, “Brancusi,” A Recognizable Image: William Carlos Williams on Art and Artists, ed. B. Dijkstra (New York, 1978), 246-54. • Rosalind Krauss, “Brancusi and the Myth of Ideal Form,” Artforum 8.5 (Jan 1970): 35-39. Further reference • Alex Potts, “Sculpture as Object: Brancusi,” in The Sculptural Imagination: Figurative, Modernist, Minimalist (New Haven: Yale University Press, 2000): 132-44. • Jon Wood, “Brancusi’s ‘white studio’,” Sculpture Journal 7 (2002): 108-20. 14

• Anna Chave, Constantin Brancusi: Shifting Bases of Art (New Haven: Yale University Press, 1993): 66-92. • Eric Shanes, “Brancusi and the caryatid: raising ideals onto a pedestal,” Apollo, vol. 136, no. 366 (August 1992). • Friederich Teja Bach, et al., Constantin Brancusi: 1876-1957, (Philadelphia: Philadelphia Museum of Art and MIT Press, 1995).

X-Hour, Tuesday, 20 May Visit to Hood Museum of Art: Twentieth-century sculpture (Maillol, Epstein, Laurens, Lipchitz, Kolbe)

Wednesday, 21 May Recasting materiality: Direct carving and the work of Hildebrand, Gaudier-Brzeska, Gill, and Epstein Required reading • R. H. Wilenski, “The Modern Sculptor’s Creed” [excerpts III.2.vii.f-j], The Meaning of Modern Sculpture (Boston: Beacon Press, 1932/1960), 99-104. • Eric Gill, “Stone-Carving,” in “Art-Nonsense” and Other Essays (London: Cassell & Co., Ltd. & Francis Walterson, 1929), 80-95. • Judith Zilczer, “The Theory of Direct Carving in Modern Sculpture,” Oxford Art Journal 4.2 (November 1981): 44-49. Further reference • Parkes, Kineton. The Art of Carved Sculpture. 2 vols. Vol. 1. London: Chapman and Hall Ltd., 1931. • Eric Gill, “Art-Nonsense” and Other Essays (London: Cassel & Co., Ltd. & Francis Walterson, 1929). • Eric Gill, Autobiography (Cardiff: Plantin Publishers, 1940). • Richard Cork, "Image from Stone: Epstein as Carver," Jacob Epstein: Sculpture and Drawings, exh. cat. (Leeds: Leeds City Art Galleries, , 20-34. • Penelope Curtis, “Direct Expression through the Material,” Sculpture 1900-1945: After Rodin(Oxford: Oxford University Press, 1999). • Kettle's Yard, Carving Mountains: Modern Stone Sculpture in England 1907-37 (Cambridge: Kettle's Yard, 1998). • Stella K. Tillyard, The Impact of Modernism 1900-1920: Early Modernism and the Arts and Craft Movement in Edwardian England (London: Routledge, 1988). • Paul-Louis Rinuy, “1907: Naissance de la sculpture moderne? Le Renouveau de la taille directe en France,” Histoire de l’Art 3 (1933): 67-76. • Roger Fry, “Sculpture and the Public,” The New Statesman and Nation n. s. 4.94 (10 December 1932): 717-18. • Penelope Curtis, "Barbara Hepworth and the Avant Garde of the 1920s," Barbara Hepworth: A Retrospective, exh. cat., Tate Gallery Liverpool (London: Tate Gallery Publications, 1994), 11-28.

Friday, 23 May NO CLASS

Monday, 26 May Memorial Day: NO CLASS

X-Hour, Tuesday, 27 May The beginnings of Cubist and Constructivist sculpture Required reading • William Tucker, “Picasso: Cubism and Construction,” The Language of Sculpture (London: Thames and Hudson, 1974), 59-73. • Cathy Pütz, “Jacques Lipchitz: The First Cubist Sculptor?” Jacques Lipchitz: The First Cubist Sculptor (London: Paul Holberton Publishing, 2002), 7-17. • S. K. Isakov, “On Tatlin’s Counter-Reliefs” [1915], in Tatlin, ed. Larissa Alekseevna Zhadova (New York: Rizzoli, 1984/88), 333-35. 15

Further reference • Rosalind Krauss, “Analytic space: futurism and constructivism,” Passages in Modern Sculpture (Cambridge, Massachusetts: The MIT Press, 1977), 39-68. • Yve-Alain Bois, “The Sculptural Opaque,” Sub-Stance 31 (1981): 23-48 • Werner Spies, Picasso: The Sculptures, catalogue raisonné (Ostfildern, Germany: Hatje Cantz Publishers, 2000). • Josef Helfenstein and Jordana Mendelson, eds., Lipchitz and the Avant- Garde: From Paris to New York, exh. cat., Krannert Art Museum, University of Illinois at Urbana-Champaign (Seattle: University of Washington Press, 2002). • Jacques Lipchitz, My Life in Sculpture, Documents of 20th-Century Art (London: Thames and Hudson, 1972). • Larissa Alekseevna Zhadova, ed., Tatlin (New York: Rizzoli, 1984/88). • John Milner, Vladimir Tatlin and the Russian Avant-Garde (New Haven: Yale University Press, 1983). • Henry Art Gallery, Seattle, Art into Life: Russian Constructivism 1914-32 (New York: Rizzoli, 1990).

Wednesday, 28 May Conclusion: figures and objects Required reading • Marcel Duchamp, “Apropos of ‘Readymades’.” in Salt Seller: The Writings of Marcel Duchamp, ed. Michel Sanouillet and Elmer Peterson (New York: Oxford University Press, 1973), 141-42. • Marcel Duchamp, “The Richard Mutt Case,” [1917] in Art in Theory: 1900-1990, ed. C. Harrison and P. Wood (Oxford: Blackwell, 1992): 248. • Louise Norton, “Buddha of the Bathroom,” in Marcel Duchamp in Perspective, ed. Joseph Masheck (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1975), 70-72 • Octavio Paz, “The Ready-Made,” in Marcel Duchamp in Perspective, ed. Joseph Masheck (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1975), 84-89. Further reference • Claudine Mitchell, “Facing Horror: Women's Work, Sculptural Practice and the Great War,” in Work and the Image II: Work in Modern Times, ed. Valerie Mainz and Griselda Pollock (Aldershot: Ashgate, 2000), 33-60. • Sarah Crellin, "Hollow Men: Francis Derwent Wood's Masks and Memorials, 1915-1925," Sculpture Journal 6 (2001): 75-88. • Helen Molesworth, “Work Avoidance: The Everyday Life of Marcel Duchamp’s Readymades,” Art Journal, 57.4 (Winter 1998): 50-61. • David Joselit, Infinite Regress: Marcel Duchamp 1910-1941 (Cambridge: MIT Press, 1998). • Thierry De Duve, “Given the Richard Mutt Case,” in T. De Duve, ed., The Definitively Unfinished Marcel Duchamp (Cambridge: MIT Press, 1991), 187-242. • William Camfield, “Marcel Duchamp’s Fountain: Aesthetic Object, Icon, or Anti- Art?,” in T. De Duve, ed., The Definitively Unfinished Marcel Duchamp (Cambridge: MIT Press, 1991), 133-86.

Friday 30 May - Tuesday 3 June Final Examinations