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Art History 303-History 388 Art History 303-History 388 The Art and Culture of 19th & 20th Century Germany and Austria Professor Marion Deshmukh Fall, 2013 Office Hours: Tuesdays, 10-12, Wednesdays, 1-3, or by appointment 338 Robinson B (703) 993-2149 [email protected] The course will examine the development of painting, graphics, sculpture, architecture and design in Germany and Austria from the period of the French Revolution to the present. In addition, the course will link the artistic developments to the larger political and cultural scene, investigating the role of artists in society and in politics, issues of censorship, the rise of museums and war memorials, and the relationship of art to other aesthetic forms, such as music, film and literature. Required Readings: (for out-of-print texts, I will put copies on reserve. You can check online used book sources and borrow copies from the Washington Consortium, to which GMU belongs). William Vaughn, German Romantic Painting, 2nd edition Wolf Norbert, Expressionism Jeremy Aynsley, Designing Modern Germany Christine Mehring et. al. (eds), Gerhard Richter, Early Work, 1951-1972 1 Various handouts will be distributed as needed throughout the semester. I will also be sending you study guides and slide lists, together with putting my class images on Blackboard Recommended Reading: These publications listed below, a small selection of English language titles, are not required for the course, but may be helpful in rounding out areas that are either not covered in class or providing additional aesthetic and contextual information. There are numerous exhibition catalogues and biographies of individual artists. These can also serve as sources for your museum essay. Very helpful are museum websites, such as the Museum of Modern Art’s extensive materials on German Expression; the Neue Galerie’s (NYC) website on German and Austrian art from 1890-1940, Google’s art project takes one on virtual tours of museums, such as Berlin’s Nationalgalerie. Also check ArtStor for materials (and I have put the class images on ArtStor through GMU’s library website) as well as the German Historical Institute’s online collection of documents and images of German history. The Holocaust Museum has materials related to the interwar years and the art of the Holocaust. Keith Hartley, The Romantic Spirit in German Art, 1790-1990 Michael Fried, Menzel’s Realism Menzel, Between Romanticism and Impressionism (Exhibition Catalog, Washington, DC) Robin Lenman, Artists and Society in Germany, 1850-1914 Matthew Jefferies, Imperial Culture in Germany, 1871-1918 Shearer West, The Visual Arts in Germany, 1890-1937 Peter Paret, Art as History Peter Paret, The Berlin Secession Peter Paret, German Encounters with Modernism Maria Makela, The Munich Secession Françoise Forster-Hahn (ed.), Imagining Modern German Culture, 1889-1911 Marion Deshmukh, Françoise Forster-Hahn, Barbara Gaehtgens (eds), Max Liebermann: Art and International Modernism Lovis Corinth, (Exhibition Catalog St. Louis) German Impressionist Landscape Painters, Liebermann-Corinth-Slevogt (Exhibition catalog, Houston, TX) Max Liebermann, From Realism to Impressionism (Exhibition Catalog, Los Angeles) Beth Lewis, Art for All? The Collision of Modern Art and the Public in Late 19th Century Germany Kaethe Kollwitz, (Exhibition Catalog, Washington DC) Peter Selz, German Expressionist Painting Donald Gorden, Expressionism Ernst Ludwig Kirchner (Exhibition Catalog, Washington, DC) Carl Schorske, Politics and Culture in Fin-de-Siècle Vienna 2 Expressionism, the Second Generation (Exhibition Catalog, Los Angeles) New Worlds, German and Austrian Art, 1890-1940 (Exhibition Catalog, NY) Dada, (Exhibition Catalog, Washington, DC) Hans Wingler, The Bauhaus Beth Lewis, George Grosz, Art and Politics in Weimar Germany W. L. Guttsman, Art for the Workers, Ideology and the Visual Arts in Weimar Germany Exiles and Emigres (Exhibition Catalog, Los Angeles) Maud Lavin, Cut with a Kitchen Knife, The Weimar Photomontages of Hannah Höch Jonathan Petropoulos, Art as Politics in the Third Reich Degenerate Art, The Fate of the Avant-Garde in Nazi Germany (Exhibition Catalog, Los Angeles Lynn Nicholas, The Rape of Europa Eckhart Gillen, From Beckmann to Richter Art of the Two Germanys/Cold War Cultures (Exhibition Catalog, Los Angeles) German Art Now, (Exhibition Catalog, St. Louis) Peter Chametzsky, Objects as History in Twentieth Century German Art, Beckmann to Beuys. Required course work: There will be one midterm examination and one final examination. The midterm exam will be given in class on Wednesday, October 9. There will be two parts to the exam. One section will consist of short identifications of art images. The second part will consist of two essay questions (you will have a choice of questions to answer), based on the readings and lecture notes. The midterm exam will count 30% towards the final course grade. Study questions will sent out in advance. The final exam’s format will resemble that of the midterm, but be longer, consisting of image identifications and essay questions. It will count 40% of the final grade and cover material since the midterm exam. Study questions will again be handed out before the final. The final exam is scheduled for Wednesday, December 11, 10:30-1:15 in class. In addition to the midterm and final exam, students will turn in one museum essay based on trips to the National Gallery of Art, the Hirshhorn Museum, the Philips Collection, the Corcoran, and/or Museum of Women in the Arts. You can also go to New York City (GMU’s art department has monthly buses traveling to NYC for day trips). The Metropolitan Museum of Art, the Neue Galerie, and the Museum of Modern Art all contain German and Austrian art works. At the museum, students will select one work and analyze it (describe its composition, style, when painted and other formal qualities). The work should be an art work (painting, drawing, print, sculpture) from the chronological period we are covering in class—namely c. 1780 to the present. In addition, students will give some important biographical information about the artist and the larger cultural and historical context 3 within which the painting or sculpture was created. The essay should be approximately five-seven pages, (5-7) double spaced and typed. All sources used must be cited using the MLA or Chicago style sheet, citing author, title, place of publication, date of publication, and pages. I will elaborate and discuss the format for the essays in class. The essay will be due in class on Wednesday, November 20. The museum essay will count 30% of the final grade No late papers without a doctor’s certificate will be accepted. --------------- The GMU Honor Code is strictly followed. Please check the University Catalogue, the Department of History and Art History’s web site, or the Honor Code’s web site for specific information regarding citing of sources in written work, issues of plagiarism, and other related topics. Please contact the Disability office for any accommodations that may be needed. Please arrive promptly to class. One can bring in drinks but no food. Turn off your cell phones. No text messaging please! The use of laptops is only allowed for note taking, not web surfing. Periodically I stroll around the room to enforce the ban on texting and web surfing. Please use common-sense “net-etiquette” in class. Thanks in advance! SCHEDULE OF LECTURE TOPICS (subject to change): 4 Week 1: August 26: Introduction to course, overview of German art and cultural history from Roman times to the French Revolution. Read Vaughn, Chapter 1. May want to watch the 1st section of the BBC documentary on German Art that is available through online streaming through the GMU media library. August 28: Neo-Classicism, Read Vaughn, Chapter 2 Week 2: Sept. 2: No class, Labor Day Sept. 4: German Romanticism and Caspar David Friedrich. Read Vaughn, Chapter 4, 5 Week 3: Sept. 9: German Romanticism: Philip Runge, Read Vaughn, Chapter 3 Sept. 11: German Romanticism: The Nazarenes and Karl Spitzweg, Read Vaughn, Chapters 6-9. Week 4: Sept. 16: No class (am on field trip with another class all day, you are invited!) Sept. 18: Realism, Karl Blechen and Adolph von Menzel Week 5: Sept. 23: Naturalism and Impressionism: Max Liebermann, Sept. 25: Impressionism: Fritz von Uhde, Lovis Corinth, Max Slevogt Week 6: Sept. 30: Social Realism: Kaethe Kollwitz and Hans Baluschek Oct. 2: Fin-de-siecle Austria: Klimt and Schiele, Week 7: Oct. 7: Fin-de-siecle Austria: Architecture and the decorative arts: Vienna and the Viennese Workshop, Oct. 9: Midterm exam (please bring blue examination booklets) . Week 8: Oct. 15 (class meets on Tuesday because of the Columbus Day Holiday) 5 Expressionism, Die Brücke (The Bridge, an artists’ group in Dresden and Berlin at the of the century).Read Norbert, Expressionism (whole book—it is not long) Oct. 16: Expressionism: Der Blaue Reiter (The Blue Rider, a Munich artists’ group important after 1910) Week 9: Oct. 21: War: The impact upon art institutions and artists of World War I, the November Revolution & the collapse of the German Empire Oct. 23: Dada Week 10: Oct. 28: The 1920s: Expressionism, second generation Oct. 30: New Realism of the 1920s. Read Aynsley, Designing Modern Germany Week 11: Nov. 4: Architecture and the decorative arts, Bauhaus Nov. 6: Design innovations and Bauhaus, continued. Week 12: Nov. 11: Art in the Third Reich, Official Art Nov. 13: The Degenerate Art Exhibit of 1937 Week 13: Nov. 18: Art in Ruins: After 1945 Nov. 20: Abstraction, Wilhelm Nay, Willi Baumeister Museum essay due Week 14: Nov. 25: The Neo-Expressionists and “New Wild Ones” Of the 1970s and 1980s. Art in East Germany Nov. 27: No Class, pre-Thanksgiving: Read Mehring, Gerhard Richter Week 15: Dec. 2: Contemporary German painting: Anselm Kiefer, Sigmar Polke, 6 Gerhard Richter Dec. 4: Overview of 20th and 21st century trends and brief review for final exam Final exam: Dec.
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