CIEE Global Institute - Madrid

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CIEE Global Institute - Madrid Course name: Spanish Masters in the Madrid Museums Course number: AHIS 3102 MASP Programs offering course: Open Campus Open Campus Track: Language, Literature and

1 CIEE Global Institute - Madrid Course name: Spanish Masters in the Madrid Museums Course number: AHIS 3102 MASP Programs offering course: Open Campus Open Campus Track: Language, Literature and Culture Track Language of instruction: English U.S. semester credits: 3 Contact hours: 45 Term: Fall 2019 Course Description Madrid offers world famous art galleries. This course is focused on the works of Spanish artists whose work represent a significant contribution to Art History. Analyzing masterpieces in several prominent Madrid Museums, students will be able to learn about different artistic periods and movements of art production in Spain. The course evaluates Spanish masters, such as El Greco, Velázquez, Goya, Picasso and Dalí, and analyzes them with other painters, especially Italy and the Netherlands, including Titian, Bosch and Rubens. Learning Objectives By the end of the course, students will be able to: Evaluate Spanish painting in Madrid main art museums with a special emphasis on El Greco, Velázquez, Picasso, Miró and Dalí. Identify and analyse images, artistic schools and major transformations in Spanish Art. Examine the evolution of Spanish painting in its European context. Comprehend the icons and symbols used in art and the reasons behind that. Expand significantly the specific art vocabulary Course Prerequisites None. Methods of Instruction The classes will mainly be lectures held in the Madrid Museums where students are encouraged to participate offering their approach to authors and their works based on the readings. Class discussions on other works and comparative approach will be also part of the classes. 1

2 Assessment and Final Grade Class participation 20% Midterm exam 15% Weekly assignments 20% Final paper 25% Final exam 20% TOTAL: 100% Course Requirements Class participation Participation is valued as meaningful contribution in the digital and tangible classroom, utilizing the resources and materials presented to students as part of the course. Meaningful contribution requires students to be prepared in advance of each class session and to have regular attendance. Students must clearly demonstrate they have engaged with the materials as directed, for example, through classroom discussions, online discussion boards, peer-to-peer feedback (after presentations), interaction with guest speakers, and attentiveness on co-curricular and outside-of-classroom activities. Midterm exam This exam will consist of questions related to the course content and assigned readings, as well as the analysis of several relevant works where students should demonstrate their analytical skills and a profound knowledge of the formal and socio-historical context. Weekly assignments Students should write four short analysis on a chosen work of art by one of the authors studied during the week. This analysis (2 pages) should offer an scholarly perspective as well as a personal approach to the art piece based on the required and additional readings, the class discussions and lectures. Final paper This essay will consist on the study of an image not examined in class as a case study. The student has the opportunity to discuss it with the instructor, submit portions of their research and writing throughout the semester so that they can receive direction on how to improve. Therefore they may well hand out an abstract, bibliography, draft and ultimately the final paper. This essay must include a bibliography, quotations and images (around 10 pages). Once a subject for the 2

3 research paper has been agreed upon by the instructor and the student, the topic may not be changed without specific permission from the instructor, and at least one week prior to the deadline. Final exam The final exam will follow the same format as the midterm covering the second half of the course content. Attendance Policy Regular class attendance is required throughout the program, and all unexcused absences will result in a lower participation grade for any affected CIEE course. Due to the intensive schedules for Open Campus and Short Term programs, unexcused absences that constitute more than 10% of the total course will result in a written warning. Students who transfer from one CIEE class to another during the add/drop period will not be considered absent from the first session(s) of their new class, provided they were marked present for the first session(s) of their original class. Otherwise, the absence(s) from the original class carry over to the new class and count against the grade in that class. For CIEE classes, excessively tardy (over 15 minutes late) students must be marked absent. Attendance policies also apply to any required co-curricular class excursion or event, as well as to Internship, Service Learning, or required field placement. Students who miss class for personal travel, including unforeseen delays that arise as a result of personal travel, will be marked as absent and unexcused. No make-up or re-sit opportunity will be provided. Attendance policies also apply to any required class excursion, with the exception that some class excursions cannot accommodate any tardiness, and students risk being marked as absent if they fail to be present at the appointed time. Unexcused absences will lead to the following penalties: 3

4 Percentage of Total Course Hours Missed Equivalent Number of Open Campus Semester classes Minimum Penalty Up to 10% 1 content classes, or up to 2 language classes Participation graded as per class requirements 10 20% 2 content classes, or 3-4 language classes Participation graded as per class requirements; written warning More than 20% 3 content classes, or 5 language classes Automatic course failure, and possible expulsion Weekly Schedule Week 1 Class 1:1 Class 1:2 This introductory week will introduce students to the Art in Spain and: the role of the Monarchy as art patron. The powerful Spanish Crown will bring to Spain the works of Italian artist Titian and his contemporaries in the Venetian school, Bosch and Flemish artist Roger Van Der Weyden. An approach to the works of El Greco will be the focus of this session. Moxey, Keith. Making Genius. The Practice of Theory. Ithaca & London: Cornell University Press, (pp ). Marías, Fernando. El Greco. Life and Work- A new history. London: Thames & Hudson, Print. (pp ) Visit to El Prado Museum: Bosch, Van der Weyden, Titian and El Greco 4

5 Week 2 Class 2:1 This week students will approach to the works of Rubens for the absolute king Philip IV in the 17th century as an introduction to mythological paintings at the Prado Museum. However, this week sessions will also bring to class the works of Maino, Ribalta, Zurbarán and Ribera and their use of chiaroscuro. Carroll, M., "The Erotics of Absolutism". Representations. nº 25, Winter 1989, pp.3-30 Kasl, R.: Sacred Spain. Yale University Press Assignment: short analysis I Class 2:2 This class will be focused on the works of Spanish Master Velazquez and his influence in contemporary artists like Murillo or Coello. Alpers, Svetlana, Interpretation without Representation, or the viewing of Las Meninas, Representations 1, no.1 (February 1983). JSTOR (pp.31-42) Brown, Jonathan, Velázquez: Painter and Courtier (Chapter IX). New Haven & London: Yale University Press, Print. (pp ) Week 3 Class 2:3 Visit to the Prado Museum: the works of Rubens, Ribalta, Maino, Zurbarán, Ribera, Velázquez, Murillo and Coello Class 3:1 These sessions will focus on the new style that was prevalent in Spanish art with the arrival of the Enlightenment ideas and the new taste of the Bourbons. The sessions will review the works of Mengs, Tiepolo and Goya. Tomlinson, Janis, From El Greco to Goya. Painting in Spain New York: Harry N.Abrams, Print. ISBN (pp ). Tomlinson, Janis. Francisco Goya y Lucientes, New York: Phaidon Press, (pp ). Assignment: short analysis II 5

6 Class 3:2 Visit to the Prado Museum: Goya and his contemporaries. Class 3:3 Visit to the Real Academia de Bellas Artes. Week 4 Class 4:1 Mid-Term Exam. Class 4:2 Class 4:3 This week students will have the opportunity to learn about different approaches to art among Spanish artists: from paintings based on Historical events to portraiture not to mention the impressionist style of Joaquin Sorolla. Reading: Labanyi, J. Horror, spectacle and nation-formation: historical painting in late nineteenth-century Spain in Visualizing Spanish Modernity, ed. Susan Larson and Eva Woods. Berg (pp.64-81) Assignment: short analysis III Visit to the Prado Museum: Historical paitings, Rosales. Week 5 Class 5:1 A review o the new languages that were brought with the French avant garde; styles from Cubism to Surrealism with prominent Spanish artist like Picasso, Miró and Dalí. Steinberg, L., The Philosophical Brothel. October, Vol. 44 (Spring, 1988), pp (JSTOR). Karmel, P. (2003). "Theories of Cubism" in Picasso and the Invention of Cubism. New Haven: Yale University press, pp Trescott, J.: Dali, the man, the myth, the goofball? The Washington Post. March Assignment: short analysis IV 6

7 Class 5:2 Visit to the Sorolla Museum. Class 5:3 Visit to the Reina Sofia Museum Week 6 Class 6:1 Picasso and his influence in Spanish contemporary painters like Maria Blanchard and Juan Gris. The creation of Guernica. Fisch, E. (1988). "The composition of Guernica" in Guernica by Picasso. Cranbury: Associated University Presses, pp Cooper, D:: The Temperament of Juan Gris. JSTOR. Class 6:2 Visit to Reina Sofia Museum Submission of Final paper Class 6:3 Final Exam Readings Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven & London: Yale University Press, Alpers, Svetlana. The decoration of the Torre de la Parada. London & New York: Phaidon Press, The Making of Rubens, New Haven & London: Yale University Press, The Vexations of Art. Velazquez and Others. New Haven & London: Yale University Press, Alpers, S. & Baxandall. M. Tiepolo and Pictorial Intelligence. New Haven & London: Yale University Press, Berger, J., Ways of Seeing, London, Penguin Books, Bray, Xavier (Ed.). The Sacred Made Real. London, National Gallery, Broude, N. & Garrard, M.D. (eds.). The Expanding Discourse. Feminism and Art History. New York: Harper Collins. Brown, Jonathan. Images and Ideas in Seventeenth-Century Spanish Painting. Princeton: Princeton University Press,

8 . Velázquez: Painter and Courtier. New Haven & London: Yale University Press, Eisenman, Sthephen F. (ed.). Nineteenth Century Art. A Critical History. London: Thames & Hudson, Foster, H. et al, Art Since 1900, London, Thames and Hudson, Harrison, C. et al (eds.). Art in Theory Oxford: Oxford University Press Harris, D. The Spanish Avant Garde Manchester University Press Harris, Enriqueta. Velázquez. Ithaca: Cornell University Press, 1982., Goya. London: Phaidon Books, Kasl, R.: Sacred Spain. Yale University Press Krauss, R., Passages in Modern Sculpture, Cambridge (Mass.) & London, 1981., The Optical Unconsciouss, Cambridge (Mass.) & London, Larson, Susan & Woods, Eva. Visualizing Spanish Modernity. Berg PUBLISHERS Marías, Fernando. El Greco. Life and Work- A new history. London: Thames & Hudson, Moxey, Keith. The Practice of Theory. Ithaca & London: Cornell University Press, Penrose, R., Miró, London, 1971., Picasso, Barcelona, Schulz, Andrew. Goya s Caprichos. Aesthetics, Perception and the Body. Cambridge : Cambridge University Press, Stoichita, Victor. Visionary Experience in the Golden Age of Spanish Painting. London: Reaktion, & Coderch, Ana Mª. Goya the Last Carnival. London: Reaktion, Stratton- Pruit, Suzanne (ed.). The Cambridge Companion to Velázquez. Cambridge & New York: Cambridge University Press, Velazquez s Las Meninas. Cambridge & New York: Cambridge University Press, Sullivan, Edward. Baroque Painting in Madrid: The Contribution of Claudio Coello. Columbia: The Oxford Guide to Classical Mythology in the Arts , New York & Oxford: Oxford University Press, Tomlinson, Janis. Goya in the Twilight of Enlightenment, New Haven and London: Yale University Press, Francisco Goya y Lucientes London: Phaidon Press,

CIEE GLOBAL INSTITUTE - MADRID

CIEE GLOBAL INSTITUTE - MADRID Course name: Spanish Masters in the Madrid Museums Course number: (GI) AHIS 3102 MASP Programs offering course: Open Campus - Language, Literature and Culture Track Language