DOCSLIB.ORG

The Grotesque in Late Nineteenth-Century European Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Grotesque in Late Nineteenth-Century European Art Van Gogh Museum Visiting Fellow in the History of Nineteenth- Century Art The Grotesque in Late Nineteenth-Century European Art Professor dr. FranCes Connelly 3-8 June 2018 Van Gogh Museum This year’s Visiting Fellow is Frances Connelly, Professor of Art History at the University of Missouri- Kansas City. Her research focus is modern European art, with a particular interest in the intersection of art history and anthropology. She has published two books on the grotesque: The Grotesque in Western Art and Culture: The Image at Play (2012) and Modern Art and the Grotesque (2003), as well as essays for exhibitions on this topic for the Museo Picasso Málaga and the Schirn Kunsthalle, Frankfurt and the Neue Galerie, New York. Other publications focus on the phenomenon of primitivism, including The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725-1907 (1995). Her research has been supported by the Rockefeller Foundation, the National Endowment for the Humanities, the Smithsonian Institution, and the Mellon Foundation. The seminar will consist of three sessions of three hours each, plus an afternoon excursion to the exhibition Van Gogh and Japan. A public introductory lecture will take place at the Van Gogh Museum on Sunday, 3 June. The seminar meetings will take place at the Van Gogh Museum (Monday and Wednesday from 10 a.m. to 1 p.m., and Friday from 1-4 p.m. Exact location to be announced.) The date and time of the excursion will be announced before the start of the seminar. The Grotesque in Late Nineteenth-Century European Art The grotesque plays an outsized role in modern and contemporary art, and finds especially fertile ground in the artistic movements of the late nineteenth century. The monstrous, uncanny, abject, aberrant: all find new expression in the fin-de-siècle. To be sure, the expressive range in this period is striking, easily demonstrated by comparing the hybrid creatures imagined by Redon with those of Böcklin, the distorted bodies of Rodin with those of Beardsley, or the cadaverous crowds of Munch with the satirical masquerades of Ensor. The enthusiastic assimilation of Japanese imagery spurred even bolder experimentation in the realm of the grotesque for many artists, including van Gogh. This seminar will explore the workings of the grotesque in this unsettled and unsettling period and explore why it is a particularly powerful means to grapple with its social upheavals and cultural shifts. Session 1: The Grotesque at Work Taking up the imagery of Van Gogh’s era, we will explore the elusive and protean identity of the grotesque. Although it is most commonly linked to the monstrous, traumatic, and uncanny, other strands of the grotesque include caricature and the carnivalesque, as well as improvisation and fantasy. Resisting the traditional categories of style, genre, or iconography, it defies simple definitions. This is due, in part, to the fact that grotesque images are visually unstable, thrown into flux through aberration, metamorphosis, and combination. These unresolved and ambiguous forms enabled artists to conjoin disparate realities, resulting in dramatic visual experiments. In addition, artists deployed the grotesque’s ruptures and fusions to subvert existing conventions and cultural narratives, unloosing a contest of meaning. It is not surprising that the late nineteenth century is rife with grotesque imagery, hovering as it does between the collapse of the old order and yet-to-be-determined shape of the new. This session will establish a conceptual approach to the grotesque that is culturally based and draw upon a wide range of late nineteenth-century imagery to explore these ideas. Readings: v Frances Connelly, “Introduction: Entering the Spielraum,” pp. 1-23, and “Revelation: Profound Play” in The Grotesque in Western Art and Culture: The Image at Play (Cambridge University Press, 2012), and 149-160. v Martha Lucy, “Into the Primeval Slime: Body and Self in Redon’s Evolutionary Universe,” RACAR: Revue D'art Canadienne / Canadian Art Review 34, no. 1 (2009): 18-29. v Natasha Ruiz-Gómez, “A Hysterical Reading of Rodin’s Gates of Hell,” Art History (Nov. 2013): 994-1017. Additional: Barbara Larson, “The Microbe,” (pp. 84-106) and “Scientific Fantasy in Context,” (pp. 157-178) in The Dark Side of Nature: Science, Society, and the Fantastic in the Work of Odilon Redon (Pennsylvania State University Press, 2005). Session 2: The Abject and the Dispossessed Society’s abject and dispossessed constitute an abiding theme in the work of Van Gogh, and that of many other artists of the period. Two expressive elements of the grotesque, caricatural distortions and abjection, play prominent and complex roles in these representations. While it would appear that they lack any visual connection, abjection and caricature both share longstanding cultural associations with low culture in general and the lowly and outcast in particular. Through very different means, abjection and caricature expose the vulnerability of the body (and undercut the classical ideal). Each can bring their subject low through abuse and mockery, but it is also the case that each can serve to reveal deep truths and provoke profound empathy for the human condition. Further, it is instructive to compare images that incorporate grotesque modalities with the heroic or nostalgic representations of the working poor from this period. Readings: v Nina Kallmyer, “Ugliness” in Critical Terms in Art History, ch. 19. v Charles Bernheimer, “Decomposing Venus: The Corpse of Naturalism,” in Figures of Ill Repute: Representing Prostitution in Nineteenth-Century France (Durham, NC: Duke University Press), pp. 200-233. v Judy Sund, “The Assimilation of French Naturalism,” in True to Temperament: Van Gogh and French Naturalist Literature, pp. 81-109. Additional: Petra Chu, “Scatology and the Realist Aesthetic,” Art Journal (Fall 1993): pp. 41-46. Frances Connelly, “Trauma: The Failure of Representation,” in The Grotesque in Western Art and Culture: The Image at Play (Cambridge University Press, 2012), pp. 115-148. Session 3: Japonisme and the Grotesque The infusion of Japanese images and objects into European culture precipitated a wide range of artistic experimentation; however, we can draw a distinction between the initial forays of the impressionists and the more radical impact in style and substance forged by the artists associated with symbolism and art nouveau. The intermingling of Japanese and European visual traditions is by its nature a negotiation of boundaries, and it is significant that, to a great extent, this later, more transgressive Japonisme enlists the grotesque, the ultimate boundary creature. This session will consider the ways that grotesque modalities were put into play in Japonisme, opening new potentialities in form and content. In addition, it is productive to consider the different ways that the grotesque was deployed by artists who perceived Japanese culture through the frame of exoticism, as opposed to those, including Van Gogh, who perceived it through the frame of primitivism. Readings: v G.-Albert Aurier, “The Lonely Ones – Vincent van Gogh,” in Henri Dorra, Symbolist Art Theories: A Critical Anthology (Berkeley: University of California Press, 1994), pp. 218-226. v G.-Albert Aurier, “Symbolism in Painting: Paul Gauguin,” in Henri Dorra, Symbolist Art Theories: A Critical Anthology (Berkeley: University of California Press, 1994), pp. 192-203. v Frances Connelly, “’Primitive’ Ornament and the Arabesque: Paul Gauguin’s Decorative Art” in The Sleep of Reason: Primitivism in European Art and Aesthetics (Pennsylvania State University Press, 1995), pp. 55-77. v Tsukasa Kōdera, “Japan as Primitivistic Utopia: Van Gogh's Japonisme Portraits,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 14, No. 3/4 (1984), pp. 189-208. Additional: Elizabeth Childs, “Eden’s Other: Gauguin and the Ethnographic Grotesque,” in Frances Connelly, ed., Modern Art and the Grotesque (Cambridge: Cambridge University Press, 2003), pp. 175-190. .
Load more

Recommended publications
  • Downloaded from Brill.Com10/04/2021 08:07:20AM This Is an Open Access Chapter Distributed Under the Terms of the CC BY-NC-ND 4.0 License
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 L’Art pour l’Art or L’Art pour Tous? The Tension Between Artistic Autonomy and Social Engagement in Les Temps Nouveaux, 1896–1903 Laura Prins HCM 4 (1): 92–126 DOI: 10.18352/hcm.505 Abstract Between 1896 and 1903, Jean Grave, editor of the anarchist journal Les Temps Nouveaux, published an artistic album of original prints, with the collaboration of (avant-garde) artists and illustrators. While anar- chist theorists, including Grave, summoned artists to create social art, which had to be didactic and accessible to the working classes, artists wished to emphasize their autonomous position instead. Even though Grave requested ‘absolutely artistic’ prints in the case of this album, artists had difficulties with creating something for him, trying to com- bine their social engagement with their artistic autonomy. The artistic album appears to have become a compromise of the debate between the anarchist theorists and artists with anarchist sympathies. Keywords: anarchism, France, Neo-Impressionism, nineteenth century, original print Introduction While the Neo-Impressionist painter Paul Signac (1863–1935) was preparing for a lecture in 1902, he wrote, ‘Justice in sociology, har- mony in art: same thing’.1 Although Signac never officially published the lecture, his words have frequently been cited by scholars since the 1960s, who claim that they illustrate the widespread modern idea that any revolutionary avant-garde artist automatically was revolutionary in 92 HCM 2016, VOL.
    [Show full text]
  • 1 Tomasz Dziewicki University of Warsaw Intensivism As a Tool of An
    III. International Forum for doctoral candidates in East European art history, Berlin, 29th April 2016, organized by the Chair of Art History of Eastern and East Central Europe, Humboldt University Berlin Tomasz Dziewicki University of Warsaw XXXXXXXXXXXXXXXXXXXXXXXX Intensivism as a Tool of an Art Historian In 1897 in Warsaw, the art critic, Cezary Jellenta, published in a weekly magazine "Głos" the article titled Intensivism. This article in its times did not influence on a polish art, but nowadays a category of intensivism created by Jellenta can be seen as an useable tool from the point of view a art historian. Jellenta noticed in his article a new trend in painting of the end of the century. In his mind modern art turned to a subjective way of perception of reality. Presentation of ordinary objects and phenomena, which are known by a viewer, in work of art tends to experience them anew. The art critic maintained a role of personal experience of powers of nature through a painting and the fact that this power may be embodied with the soul of an artist. At the beginning of his paper he refered to anachronistic examples of Andreas Achenbach's and Anders Zorn's work but also pointed out Arnold Böcklin, Władysław Podkowiński or Józef Pankiewicz as founders of the new movement. Jellenta paid attention to a modern composition, simplification and painting synthesis, which enable to express reality better and deeper. He applies a category, separated plastically and semantically from a representation, of main motif , which, as Jellenta wrote, "tunes our soul". In fact it is an attempt to transfer the music theory of Leitmotif by Richard Wagner on the ground of the painting.
    [Show full text]
  • Vincent Van Gogh the Starry Night
    Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880.
    [Show full text]
  • Vincent Van Gogh, Who Grew up Walking the Dutch Countryside
    "Sorrowful yet always rejoicing," Vincent van Gogh, who grew up walking the Dutch countryside, traveled through life seeking the eternal "Light that rises in the darkness"- like these swans readying for flight south of Amsterdam. From the pain and beauty of his journey, he created masterworks of passion, including penetrating self-portraits, such as this one at age 34. Van Gogh likened painting to performing music. "Whether I really sang a lullaby in colors," he wrote, "I leave to the critics." National Geographic, October, 1997 By JOEL L. SWERDLOW, ASSISTANT EDITOR Photographs by LYNN JOHNSON THE LETTERS FROM VINCENT VAN GOGH to his brother Theo are yellowed. Some are torn at the corners or have holes from aging. Acid from ink eats through the cheap paper. I have come to this bombproof vault in the cellar of the Van Gogh Museum in Amsterdam to begin my search for Vincent. Who was this man who said he "sang a lullaby in colors:' and why does he have such a hold on us? His paintings sell for the most money; his exhibitions attract the highest number of visitors; reproductions of his work-on socks, sheets, party napkins, coffee cups-permeate homes and offices; the song "Vincent" has sold more than ten million copies since 1971; movies mythologize his life. No other artist, at any time in any culture, has been more popular. THE 650 LETTERS from Vincent to Theo fill three volumes. Their first surprise is immediate: I knew that Theo financed Vincent's painting and had assumed Theo was the big brother.
    [Show full text]
  • La Relève Critique D'albert Aurier
    La relève critique d’Albert Aurier Julien Schuh To cite this version: Julien Schuh. La relève critique d’Albert Aurier. Colloque international ” Les revues, laboratoires de la critique (1880-1920) ”, Nov 2007, Le Mans, France. hal-00987276 HAL Id: hal-00987276 https://hal.archives-ouvertes.fr/hal-00987276 Submitted on 5 May 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. LA RELÈVE CRITIQUE D’ALBERT AURIER Julien Schuh Il ne s’agit pas pour moi de revenir une nouvelle fois sur Aurier, découvreur héroïque de Gauguin et de van Gogh, méconnu et pourtant tant lu. Ce qui m’a intéressé dans sa figure, c’est moins sa présence que sa disparition : en mourant opportunément le 5 octobre 1892, à vingt-sept ans, d’une fièvre typhoïde qu’il refusa crânement de faire soigner, Aurier nous a donné l’occasion d’observer ce que l’effacement d’une figure importante dans un champ critique donné peut révéler de la structuration dudit champ. Cet instant de tension met à nu les rouages et permet de mesurer les influences réelles, les polarisations, et d’analyser, par l’appel d’air créé, les effets de carambolage, la redistribution des critiques, des éloges et des blâmes.
    [Show full text]
  • Van Gogh Museum Journal 2002
    Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh.
    [Show full text]
  • Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext
    Art 150: Introduction to the Visual Arts David McCarthy Rhodes College, Spring 2003 414 Clough, Ext. 3663 417 Clough, MWF 11:30-12:30 Office Hours: MWF 2:00- 4:00, and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive, theoretical introduction to the visual arts; (2) to develop skills of visual analysis; (3) to examine various media used by artists; (4) to introduce students to methods of interpretation; and (5) to develop skills in writing about art. Throughout the course we will keep in mind the following two statements: Pierre Auguste Renoir’s reminder that, “to practice an art, you must begin with the ABCs of that art;” and E.H. Gombrich’s insight that, “the form of representation cannot be divorced from its purpose and the requirements of the society in which the given language gains currency.” Among the themes and issues we will examine are the following: balance, shape and form, space, color, conventions, signs and symbols, representation, reception, and interpretation. To do this we will look at many different types of art produced in several historical epochs and conceived in a variety of media. Whenever possible we will examine original art objects. Art 150 is a foundation course that serves as an introduction for further work in studio art and art history. A three-hour course, Art 150 satisfies the fine arts requirement. Enrollment is limited to first- and second-year students who are not expected to have had any previous experience with either studio or art history.
    [Show full text]
  • Thesis Is That It Was Crucial for Any Artist to Employ Specific Exhibition Strategies in Order to Be Noted and Appreciated in This Plenitude of Art Works
    UvA-DARE (Digital Academic Repository) Foreign artists versus French critics Exhibition strategies and critical reception at the Salon des Indépendants in Paris (1884- 1914) van Dijk, M.E. Publication date 2017 Document Version Final published version License Other Link to publication Citation for published version (APA): van Dijk, M. E. (2017). Foreign artists versus French critics: Exhibition strategies and critical reception at the Salon des Indépendants in Paris (1884-1914). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Foreign Artists versus French Critics: Exhibition Strategies and Critical Reception at the Salon des Indépendants in Paris (1884-1914) by Maite van Dijk University of Amsterdam 2017 Foreign Artists versus French Critics: Exhibition Strategies and Critical Reception at the Salon des Indépendants in Paris (1884-1914) ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof.
    [Show full text]
  • Albert AURIER, Critique D’Art Et Poète (1865-1892)
    Albert AURIER, critique d’art et poète (1865-1892) Par Pierre Remerand Cet article a été publié dans les actes de la quatrième rencontre des académies de la région Centre qui s’est tenue à Châteauroux le 13 octobre 2012. "En toute choses, aussi bien en art que dans la vie matérielle, je hais les copieurs, j'estime les chercheurs, j'adore les trouveurs" (le Décadent 1er avril 1889). Le premier, Albert Aurier sut reconnaître en Van Gogh et Gauguin deux géants de l’art de son temps. Il fut comme l'a dit son ami Rémy de Gourmont «un grand déchiffreur de tous les hiéroglyphes de l'art». Aujourd’hui, son travail de critique d'art et de théoricien du symbolisme est une référence. Son oeuvre littéraire dispersée dans de nombreuses revues reste mal connue et n’a pu connaître son plein épanouissement : Albert Aurier meurt en 1892 à l'âge de 27 ans. Jeunesse berrichonne Gabriel-Albert Aurier, fils de Nazaire Aurier notaire, naît le 5 mai 1865 à Châteauroux au 19 de la rue du Pressoir (aujourd’hui Jean-Jacques Rousseau). Au lycée, le jeune Albert travaille à sa guise, montrant des dispositions particulières pour le dessin, la littérature et la philosophie. Reçu bachelier le 16 novembre 1883, il s'inscrit à la faculté de droit de Paris en 1884 pour répondre aux dernières volontés de son père mort en 1883 et justifier l'aide financière de sa mère. L'étude du droit "ne réussit toujours qu'à me donner de formidables envies de bailler" se plaint-il à sa mère.
    [Show full text]
  • Redefining European Symbolism C.1880-1910
    Redefining European Symbolism c.1880-1910 Introductory Workshop: Edinburgh, 1-2 July 2010 Network Director: Professor Richard Thomson, University of Edinburgh Network Facilitator: Craig Landt, University of Edinburgh Attendees: Edwin Becker, Van Gogh Museum (Amsterdam) Fleur Roos-Rosa de Carvalho, Van Gogh Museum (Amsterdam) Peter Dayan, University of Edinburgh Frances Fowle, University of Edinburgh/National Galleries of Scotland Riitta Ojanperä, Ateneum Museum (Helsinki) Chris Stolwijk, Van Gogh Museum (Amsterdam) Belinda Thomson, University of Edinburgh Merel Van Tilburg, University of Geneva Anna-Maria Von Bonsdorff, Ateneum Museum (Helsinki) Apologies: Dario Gamboni, University of Geneva Françoise Heilbrun, Musee D’Orsay (Paris), paper submitted Rodolphe Rapetti, Institut National d’Histoire de l’Art (Paris) The first meeting of the Research Network entitled ‘Redefining European Symbolism c.1880-1910’ took place in Edinburgh on July 1st and 2nd 2010. This was an initial meeting between network partners to discuss the direction research should take, as well as practical issues surrounding the future conferences and seminars, their links with specific exhibitions, and the planned database. Six 20-minute papers were presented and discussion followed each paper. 1 Richard Thomson (RT), as Principal Grant Holder opened the meeting by explaining the structure and objectives of the Network funded by the Leverhulme Trust and the necessary outcomes for the research project. RT then began proceedings with a short paper outlining some of the questions surrounding the title of the research project. Paper by Richard Thomson Redefining European Symbolism, 1880-1910 Opening Questions for the Introductory Workshop As an introduction to the introduction, let’s unpack the title of the project.
    [Show full text]
  • Vincent Van Gogh (1853–1890) Vincent Van Gogh, the Eldest Son of a Dutch Reformed Minister and a Bookseller's Daughter, Pursue
    Vincent van Gogh (1853–1890) Vincent van Gogh, the eldest son of a Dutch Reformed minister and a bookseller's daughter, pursued various vocations, including that of an art dealer and clergyman, before deciding to become an artist at the age of twenty-seven. Over the course of his decade-long career (1880–90), he produced nearly 900 paintings and more than 1,100 works on paper. Ironically, in 1890, he modestly assessed his artistic legacy as of "very secondary" importance. Largely self-taught, Van Gogh gained his footing as an artist by zealously copying prints and studying nineteenth-century drawing manuals and lesson books, such as Charles Bargue's Exercises au fusain and cours de dessin. He felt that it was necessary to master black and white before working with color, and first concentrated on learning the rudiments of figure drawing and rendering landscapes in correct perspective. In 1882, he moved from his parents' home in Etten to the Hague, where he received some formal instruction from his cousin, Anton Mauve, a leading Hague School artist. That same year, he executed his first independent works in watercolor and ventured into oil painting; he also enjoyed his first earnings as an artist: his uncle, the art dealer C. M. Van Gogh, commissioned two sets of drawings of Hague townscapes for which Van Gogh chose to depict such everyday sites as views of the railway station, gasworks, and nursery gardens (1972.118.281). Largely self-taught, Van Gogh gained his footing as an artist by zealously copying prints and studying nineteenth-century drawing manuals and lesson books.
    [Show full text]
  • 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.
    [Show full text]