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The Modern World Natasha Staller Spring 2011 ARHA 45 The Modern World naTasha Staller spring 2011 ARHA 45 JANUARY 25 (T) Jacques-Louise DAVID (1748-1825) and Francisco de GOYA y Lucientes (1746- 1828): The World Turned Upside Down Mario Praz, “Winckelmann,” On Neoclassicism, (1940), trans. Angus Davidson, Evanston, IL, 1969, 40-69. Simon Schama, Citizens: A Chronicle of the French Revolution, New York, 1989, 731-747, 901-903. 27 (Th) Jean Auguste Dominique INGRES (1780-1867) and Eugène DELACROIX (1798- 1867): On the Paragone, and an Absolute Romantic Charles Baudelaire, “The Life and Work of Eugène Delacroix,” The Painter of Modern Life and Other Essays, trans. Jonathan Mayne, New York, 1964, 41-68. Linda Nochlin, “The Imaginary Orient,” The Politics of Vision: Essays on Nineteenth Century Art and Society, New York, 1989, 33-59. Response Paper 1: due Tuesday 1 February: As prose or a substantive series of bullet points (1 page), characterize and compare Neo-classical (Praz) and Romantic (Baudelaire) aesthetic ideals. FeBrUARY 1 (T) Caspar David FRIEDRICH (1774-1840), Joseph Mallord William TURNER (1775- 1851), John CONSTABLE (1776-1837), Théodore GÉRICAULT (1791-1824): “The Open Window” and “The Storm-Tossed Boad” Joseph Koerner, “Theomimesis,” Caspar David Friedrich and the Subject of Landscape, London, 1990, 155, 179-194, 250-251. 3 (Th) Pierre-Étienne-Théodore ROUSSEAU (1812-1867), Charles-François DAUBIGNY (1817-1878), Jean-François MILLET (1814-1875), Camille COROT (1796-1875): The Barbizon Painters Response Paper 2: due Tuesday 8 February : Characterize and contrast romantic ideals (Koerner and / or Rosen and Zerner) with Courbet’s realist values (Schapiro) 1 8 (T) Gustave COURBET (1819-1877): Realist Manifestoes Meyer Schapiro, “Courbet and Popular Imagery: An Essay on Realism and Naivité, Modern Art, 19th and 20th Centuries, New York, 1978, 47-85. 10 (Th) ) The Seventh Art 15 (T) Dante Gabriel ROSSETTI (1828-1882), William Holman HUNT (1827-1910), John Everett MILLAIS (1829-1896): The Pre-Raphaelite Brotherhood in England Griselda Pollock, “Modernity and the Spaces of Femininity,” Vision and Difference: Femininity, Feminism and the Histories of Art, London, 1988, 50-90. 17 (Th) Honoré DAUMIER (1808-1879) and Édouard MANET (1834-1883): “Le Peintre de la vie moderne” Robert Herbert on Manet, Impressionism: Art, Leisure and Parisian Society, New Haven/ London, 1988, 60-81. Response Paper 3 due Tuesday 22 February: Characterize and compare Parisian cultural spaces as articulated by Pollock and Herbert (on Manet and / or La Grenouillère) 22 (T) Claude MONET (1840-1926), Camille PISSARRO (1830-1903), Alfred SISLEY (1840-1899): The Impressionist Moment Herbert on La Grenouillère, in Impressionism, 210-219. Leo Steinberg, “Monet’s Water Lilies,” Other Criteria: Confrontations with Twentieth Century Art, Oxford, 1972, 235-239. 24 (Th) Edgar DEGAS (1834-1917) and Henri de TOULOUSE-LAUTREC (1864-1901): Cabaret Culture and Gaslight Impressionism Nochlin, “Degas and the Dreyfus Affair: A Portrait of the Artist as an Anti-Semite,” in Norman Kleeblatt, The Dreyfus Affair: Art, Truth and Justice, (exhibition catalogue, The Jewish Museum), Berkeley, CA, 1987, 960116. Response Paper 4, due Tuesday 1 March: Characterize Nochlin’s critique of “orientalism” (“The Imaginary Orient”) and Degas’ anti-Semitism. Last sentence: Do you see any similarities in their construction of difference? MARCh 1 (T) Auguste RENOIR (1841-1919) and Georges SEURAT (1859-1891): Impressionism in Crisis Tamar Garb, “Renoir and the Natural Woman,” in Norma Broude and Mary D. Garrard, eds., The Expanding Discourse: Feminism and Art History, New York, 1992, 295-312. 2 3 (Th) Paul GAUGUIN (1848-1903): Primitive Soul Peter Brooks, “Gauguin’s Tahitian Body,” in Broude and Garrard, The Expanding Discourse, 331-346. Strongly recommended: “Symbolism and Other Subjectivist Tendencies” (including excerpts of Gauguin’s writings, and texts by Symbolist critics like Maurice Denis and G.-Albert Aurier), in Herschel B. Chipp, Theories of Modern Art: A Source Book by Artists and Critics, Berkeley, 1968, 48-123. Response paper 5 due Tuesday 8 March: Characterize and compare Renoir (Garb) and Gauguin’s (Brooks) vision of the ideal body. Optional last sentence: How or how not do their ideals coincide with Winceklmann’s (Praz)? 8 (T) Vincent VAN GOGH (1853-1890): “Les Isolés” Van Gogh, Excerpts from the Letters, in Chipp, Theories of Modern Art, 29-47. Natasha Staller, “Babel: Hermetic Languages, Universal Languages and Anti- Languages in Fin de Siècle Parisian Culture,” The Art Bulletin, vol. LXXVI, n. 2, June 1994, 331-354. 10 (Th) MID-TERM EXAMINATION NB: If there is any chance that you will not be able to take the test on this day, please do not sign up for the course *** Spring break: Time to revel in art *** 22 (T) Paul CÉZANNE ((1839-1906): The Emerging Order Meyer Schapiro, “The Apples of Cézanne: An Essay on the Meaning of Still-Life,” in Modern Art, 19th and 20th Centuries, 1-38. 24 (Th) On Fauvism and Henri MATISSE (1869-1954): “Le Roi des Fauves” Henri Matisse, “Notes of a Painter,” “Exactitude is Not Truth,” “Letter” and “Testimonial” in Chipp, Theories of Modern Art, 130-141 (The entire chapter on “Fauvism and Expressionism,” which includes texts by Vlaminck and Rousseau is strongly recommended.) Robert Hughes, “The Landscape of Pleasure,” The Shock of the New, New York, 1980, 112-63. Response Paper 6 due Tuesday 29 March: A Painter’s Kit of Wonders 29 (T) Pablo Ruiz PICASSO (1881-1973) and Georges BRAQUE (1882-1963): The Invention of Cubism Picasso and Braque statements in Chipp, Theories of Modern Art, 259-79. (The entire chapter on Cubism, including Cubist critics like Salmon, Apollinaire, and Kahnweiler, as well as texts by Gris, is strongly recommened.) 3 Robert Rosenblum, “Picasso and the Typography of Cubism,” in Roland Penrose and John Golding, Picasso in Retrospect, New York, 1973, 48-75, 266-68. Natasha Staller, “Malevolent Nature” and “Epilogue” in A Sum of Destructions: Picasso’s Cultures & the Creation of Cubism, New Haven/ London, 2001, 10-3 35, 338-41, 344-348, 405. Response paper 7 due Thursday 31 March: Characterize Schapiro’s arguments on the meaning of Cézanne’s still lifes and compare to Picasso’s stance toward nature (Staller) Or Characterize the use of language in fin de siècle Paris (Staller) and Picasso’s work (Rosenblum) Or Characterize and compare Courbet (Schapiro) and Picasso’s (Rosenblum) take on popular culture. 31 (Th) Émile NOLDE (1867-1956), Ernst KIRCHNER (1880-1938), Käthe KOLLWITZ (1867-1945), Vasily KANDINSKY (1866-1944), Franz MARC (1880-1916), Paul KLEE (1879-1940): Die Brücke and Der Blaue Reiter Nolde, “Jahre der Kämpfe”; Kirchner, “Chronik der Brücke”; Kandinsky “The E Effect of Color”: and Marc, “How Does a Horse See the World?” in Chipp, Theories of Modern Art, 146-51, 174-78, 152-55, 178-79. APRIL 5 (T) Umberto BOCCIONI (1882-1916), Giacomo BALLA (1871-1958), Gino SEVERINI (1883-1966): Futurist Manifestoes Futurist Manifestoes, in Chipp, Theories of Modern Art, 284-308. Hughes, “The Faces of Power,” The Shock of the New, 57-111. 7 (Th) To Build a World 12 (T) Piet MONDRIAN (1872-1944): De Stijl Mondrian, “Plastic Art and Pure Plastic Art,” and “Statement” in Chipp, Theories of Modern Art, 349-364. (The entire chapter on Neo-Plasticism and Constructivism, which includes writings by Malevich and Brancusi, is strongly recommended.) Hughes, “Trouble in Utopia,” The Shock of the New, 164-211. 14 (Th) Marcel DUCHAMP (1887-1968): Anti-Art Duchamp, “Painting… At the Service of the Mind,” in Chipp, Theories of Modern Art, 392-395. (The entire chapter on DADA is strongly recommended.) Hughes, “The Mechanical Paradise,” 9-56. To think more about the problem of sculpture I recommend the following pages on “Rodin” and “Gonzalez” by Steinberg in Other Criteria, 322-403, 240-50. 4 Response paper 8, due Tuesday 19 April: Characterize and contrast the artistic ideals of 3 artists included in Chipp, based on their own words Or Compare Rodin or Gonzalez and Duchamp’s sculptural ideals. 19 (T) Salvador Dalí (1904-89), René Magritte (1898-1967) and Frida Kahlo (1907-1954): Surrealism André Breton, “Surrealism and Painting,” and Salvador Dalí, “The Object as Revealed in Surrealist Experiment,” in Chipp, Theories of Modern Art, 402- 27. (The entire chapter on Surrealism is strongly recommended.) Hughes, “The Threshold of Liberty,” The Shock of the New, 212-68. 21 (Th) Arshille GORKY (194-48), Willem DE KOONING (1904-97), Franz KLINE (1910- 62), Jackson POLLOCK (1912-56), Mark ROTHKO (1903-70): Abstract Expressionism Adolph Gottlieb and Mark Rothko, “Statement”; Jackson Pollock, “Three Statements”: Mark Rothko, “The Romantics Were Prompted”; Barnett Newman,”The First Man was an Artist” and “The Sublime is Now” and W Willem De Kooning, “The Renaissance and Order” and “What Abstract Art Means to Me” in Chipp, Theories of Modern Art, 544-61. (The entire chapter, which includes texts by Calder, Motherwell, Still and Greenberg’s “Abstract, Representational and So Forth” is strongly recommended.) Hughes, “The View from the Edge,” The Shock of the New, 269-323. Recommended: Steinberg, “De Kooning’s Woman” and “Pollock’s First R Retrospective” in Other Criteria, 258-67. Response paper 9, due Tuesday 26 April: Characterize and compare the artistic ideals articulated in 2 or 3 chapters in Hughes. Or Characterize Steinberg’s arguments on Johns and /or on the challenge of apprehending contemporary art. 26 (T) Robert RAUSCHENBERG (1925-), Jasper JOHNS (1930-), Andy WARHOL ((1928- 1987): POP 28 (Th) Art NOW Hughes, “The Future That Was,” The Shock of the New, 365-425. MaY 3 (T) The Seventh Art, Take Two 5 (Th) Slide Part of Final & More Current Creations! ¡ O L É ! 5 .
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