From Fauvism to the Contemporary Period (1900-1970)

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FROM FAUVISM TO THE CONTEMPORARY PERIOD (1900 - 1970) APA Program: Paris Language of instruction: French, prerequisite of at least B1 language level US semester credits: 4.0 Term: Spring Semester Class: APA, Monday 10:00 - 11:30 a.m. | Museum, Wednesday 4:00 - 5:45 p.m. Schedule Week 1 Monday Introduction - historical and cultural context - questions of method - distribution of exposé assignments Wednesday Musee d'Orsay: summary of the end of the 19th century heading toward the 20th century Week 2 Monday Fauvism (1905-1908): Vlaminck, Derain, Matisse Wednesday Centre Pompidou: Vlaminck, Derain, Matisse Week 3 Monday Cubism (1907-1914): Picasso, Braque, Gris, Léger Methodology session Wednesday Centre Pompidou: Picasso, Braque, Gris, Léger Week 4 Monday Cubism and Futurism - preparation for Barcelona study tour Wednesday Centre Pompidou: Delaunay, Duchamp-Villon, Léger, Larionov Week 5 Monday Abstractions Wednesday Centre Pompidou: Kandinsky, Malévitch, Mondrian, Kupka Week 6 Monday Dada Wednesday Centre Pompidou: Duchamp, Picabia, Haussmann Week 7 Midterm Monday Surrealism (painting, sculpture, objects) Wednesday Centre Pompidou: Ernst, Dali, Giacometti Syllabus subject to change apaparis.com Week 8 Monday Surrealism in exile, abstract expressionism Wednesday Centre Pompidou: Matta, Masson, Gorky, Pollock Week 9 Monday Innovative styles after 1945: letterism, Cobra, situationism Wednesday Centre Pompidou: Isou, Pomerand, Jorn, Constant Friday & Saturday Barcelona study tour: Barcelona Surrealism - Dali Theater-Museum in Figueres - the Miro Foundation - Modernist architecture (Gaudi, Domenech and Montaner) Week 10 Monday Holiday - no class Wednesday MAC/VAL: permanent collections Week 11 Barcelona report due Monday New Realism - discussion and summary of Barcelona study tour Wednesday Centre Pompidou: Klein, Spoerri, Arman, César Week 12 Monday Kinetic art Wednesday Centre Pompidou: Soto, Vasarely, Morellet Week 13 Oral final exam Assessment Weekly written homework (15%) Museum oral presentation and written report, due one week later (20%) Midterm (20%) Barcelona study tour report (20%) Oral final exam (15%) Attendance and participation (10%) Syllabus subject to change apaparis.com.

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Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
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