Impressionism to Postimpressionism

Transcription

1 Impressionism to Postimpressionism Class code ARTH-UA Instructor Details Cécile Godefroy Class Details ARTH-UA Monday am and Wednesday Some make-up days on Friday and Thursday, pm., Museums and Galleries in Paris Office hours every Monday am pm Class Description This course follows the development of progressive art from 1848 to the birth of the first avant-gardes of the 20th Century. Following the spread of Realism and Impressionism, a close attention is paid to Postimpressionism, Neoimpressionism, Symbolism, Fauvism, Cubism and Abstraction. The aesthetic aims of these movements are analyzed in tandem with the social and cultural conditions that generated them. A specific focus is engaged on the Parisian artistic foyer, through the course and the tours into the museums. Desired Outcomes Knowledge Objectives: - To understand and interrelate the main artistic movements from the second half of the 19th Century to the beginning of the 20th; - To identify the main artworks studied in classes and in the museums, by artist and period, and to situate them into an art movement; - To analyze an artwork, using an appropriate vocabulary, evaluating its specific formal elements (media, technique, content, subject, composition, structure, color, light, texture, perspective, proportion, space, etc.) and situating it within the context of biographical information, significant political and social concerns. Critical Thinking Objectives: - To trace the influence of technological change and political shifts on artistic developments; - To identify, explain, and challenge the constituent elements of Impressionism and Post- Impressionism.

2 Assessment Components 1/ Paper 1 in class (10%): - Identify 5 artworks specifying the artist s name, title of the work, date(s), media and location; - Answer to 3 course questions 2/ Paper at home (20%): - Write a review of an exhibition of your choice, at a local museum or a contemporary art gallery. - 2 or 3 pages required. Add 5 images and press reviews. 3/ Mid-term Paper in class (25%): - Identify 10 artworks specifying the artist s name, title of the work, date(s), media and location. - Dissert on a course topic or analyze an artwork 4/ Final Paper in class (35%): - Identify 10 artworks specifying the artist s name, title of the work, date(s), media and location - Dissert on a course topic or analyze an artwork 5/ Participation in class (10%) Assessment Expectations Grade A: Outstanding to Excellent: Work that is well argued and structured, that considers and seeks to move beyond arguments developed in class and in the readings, that makes good use of evidence, that shows originality, particular flair or insight. Appropriate use of specific vocabulary, and quotation of artworks. Grade B: Very Good to Satisfactory: Work that takes up the key issues and debates, that makes good points or questions, but which does not show a good sense of argument or structure, which does not consider adequately the evidence, and/or which is weak on independent thinking or originality. Grade C: Average to Below Average: Work which may raise some interesting questions but which remains superficial, undeveloped, or poorly structured, and/or shows insufficient grasp of the subject matter. Grade D: Poor: Work which presents incorrect or confused information, which is poorly written and structured, which pays no attention to form or academic convention (appropriate use of quotes and citations). Grade F: Fail: Any work that is plagiarized, not submitted, completely off-subject and/or that shows no effort, will receiving a failing grade. Grade conversion A = 16 Félicitations A- = 15 Excellent B+ = 14 Très bien B = 13 Bien B- = 12 Encourageant/Assez bien C+ = 11 Moyen plus C = 10 Moyen C- = 9 Passable D+ = 8 Insuffisant D = 7 Très insuffisant D- = 6 Mauvais

3 Grading Policy Attendance Policy NYU Paris aims to have grading standards and results in all its courses similar to those that prevail at Washington Square. Here is NYU s Attendance Policy for students studying away at a Global Academic Center: Study abroad at Global Academic Centers is an academically intensive and immersive experience, in which students from a wide range of backgrounds exchange ideas in discussion-based seminars. Learning in such an environment depends on the active participation of all students. And since classes typically meet once or twice a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centers is mandatory, and unexcused absences will affect students' semester grades. Students are responsible for making up any work missed due to absence. Repeated absences in a course may result in failure. Beginning Fall 2014, at all Global Academic Centers, unexcused absences will be penalized with a two percent deduction from the student s final course grade 1. Other guidelines specific to NYUParis include: Attendance to class and all course-related events, even outside of regularly scheduled course times, is expected and mandatory. Some class outings/make-up classes take place on Fridays Under no circumstances will non-university-related travel constitute an excused absence from class. DO NOT book travel until you have received and carefully studied the syllabus of each of your classes. If you are not sick enough to go to the doctor, you are well enough to go to class. Doctor s notes will be expected for all medical-related absences. No tests, quizzes, or exams will be made up. A missed test, quiz, or exam will result in a zero. Questions about this policy should be directed to the Academic Affairs team, not your professor. Students observing a religious holiday during regularly scheduled class time are entitled to miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday. Students must notify their professor and the Academic Affairs team in writing via one week in advance before being absent for this purpose, and are responsible for making up any work they will have missed. Late Submission of Work Work must be completed and submitted by the required submission date and time. Failure to submit or fulfill any required course component results in failure of the class. Plagiarism Policy New York University in Paris, as an academic community, is committed to free and open inquiry, to creating an intellectual and social environment that promotes this, and to upholding the highest standards of personal and academic integrity. All NYUP students have the responsibility to uphold these stated objectives. As a member of this community, you accept the responsibility for upholding and maintaining these standards, which include refraining from all forms of plagiarism and cheating as detailed below. Cases of plagiarism at NYUParis will be brought to the attention of NYUParis academic administration as well as the implicated student s home school Dean. PLAGIARISM: a form of fraud, presenting someone else s work as though it were your own 2 A sequence of words from another writer who you have not quoted and referenced in footnotes 3 A paraphrased passage from another writer s work that you have not cited. Facts or ideas gathered and reported by someone else 4 1 NYU s Policies and procedures for students studying away at a Global Academic Center 2 NYU s Expository Writing Department s Statement on Plagiarism 3 NYU Statement on Plagiarism 4 NYU Statement on Plagiarism

4 Another student s work that you claim as your own A paper that is purchased or researched for money A paper that is downloaded free of charge from the Internet CHEATING Copying from another student s exam or quiz Giving or receiving unauthorized assistance (crib sheets, internet, etc.) during an exam or quiz Having someone take your exam Accessing an exam or quiz in an unauthorized fashion prior to its administration Collaborating with other students or unauthorized persons on a take home exam Using the same written material for two courses without the express permission of both instructors Fabricating or falsifying data Required Text(s) Supplemental Texts(s) (not required to purchase as copies are in NYU-L Library) See the Course packet Patricia Mainardi, The End of the Salon. Art and the State in the Early Third Republic, University of Cambridge, 1993 Patricia Mainardi, Art and Politics of the Second Empire. The Universal Expositions of 1855 and 1867, New Haven and London, Yale University Press, 1987 John Milner, The Studios of Paris: the Capital of Art in the Nineteenth Century, Yale University Press, 1989 Francis Frascina, Nigel Blake, Briony Fer, Tamar Garb, Charles Harrison, Modernity and Modernism. French Painting in the Nineteenth Century, New Haven and London, Yale University Press, 1993 Jonathan Crary, Suspensions of Perception: Attention, Spectacle and Modern Culture, Cambridge, MIT Press, 1999 Stephen F. Eisenman, Nineteenth Century Art. A Critical History, Thames & Hudson, 2007 Robert Rosenblum, Art of the Nineteenth Century, Painting and Sculpture, Thames & Hudson, 1984 Albert Boime, Art and the French Commune. Imagining Paris after War and Revolution, Princeton University Press, 1995 Timothy J. Clark, Image of the People. Gustave Courbet and the 1848 Revolution, University of California Press, 1973 Timothy J. Clark, The Absolute Bourgeois. Artists and Politics in France , University of California Press, 1973 Anthea Callen, The Work of Art: Plein air Painting and Artistic Identity in 19th Century France, Chicago Press, 2015 Steven Adams, The Barbizon School & the Origins of Impressionism, London, Phaidon, 1994 Sarah Fauce, Linda Nochlin, Courbet Reconsidered, Brooklyn Museum, 1988 James H. Rubin, Courbet, London, Phaidon, 2003 Charles Baudelaire, The Painter of the Modern Life, 1863, Phaidon, 1995 Michael Fried, Manet s Modernism, or The Face of Painting in the 1860s, Chicago Press, 1996 Timothy J. Clark, The Painting of Modern Life. Paris in the Art of Manet and his Followers, Princeton University, 1984

5 Michel Foucault, Manet and the Object of Painting, London, Tate Publishing, 2009 Felix Krämer, Monet and the Birth of Impressionism, Prestel, Frankfurt, Städel Museum, 2015 Monet and Abstraction, Paris, Connaissance des Arts, 2010 Meyer Schapiro, Impressionism. Reflections and Perceptions, New York, George Braziller, 1996 James H. Rubin, Impressionism, London, Phaidon, 1999 Carol Armstrong, Odd Man Out. Readings of the Work and Reputation of Edgar Degas, Los Angeles, Getty Publications, 2003 Anthea Callen, The Art of Impressionism. Painting Technique and the Making of Modernity, Yale University Press, 2000 Charles S. Moffett, The New Painting. Impressionism , Fine Arts Museums of San Francisco, 1986 Paris in the Art of Impressionism. Masterworks from the Musée d Orsay, Harry N. Abrams, 2002 Juliet Wilson-Bareau, Manet, Monet, and the Gare Saint-Lazare, Yale University Press, 1998 Linda Nochlin, Representing Women, Interplay. Thames & Hudson, 1999 Norma Broude, Impressionism. A Feminist Reading. The Gendering of Art, Science and Nature in t Ninetheenth Century, New York, Rizzoli, 1991 Gloria Groom, Impressionism and Fashion, Paris, Skira Flammarion, 2012 Mary Cassat in Paris. Prints and Drawings from the Ambroise Vollard Collection, Paris Connaissance des arts, Griselda Pollock, Mary Cassatt. Painter of Modern Women, Thames & Hudson, 1996 Kathleen Adler, Tamar Garb, Berthe Morisot, London, Phaidon, 1987 Karin Sagner-Düchting, Renoir. Paris and the Belle Epoque, Prestel, 1999 Katherine M. Bourguignon, Richard Brettell, American Impressionism. A New Vision , Paris, Hazan, 2014 Pierre-Louis Mathieu, Gustave Moreau, Paris et New York, Flammarion, 1994 Elizabeth Prettejohn, Art for Art s sake. Aestheticism in Victorian Painting, New Haven and London: Yale University Press, 2007 Lynn Federle Orr, Stephen Calloway, The Cult of Beauty. The Victorian Avant-Garde , London, Victoria &Albert Museum, 2012 Caroline Arscott, William Morris and Edward Burne-Jones. Interlacings, New Haven and London: Yale University Press, 2009 Aileen Ribeiro, Facing Beauty. Painted Women and Cosmetic Art, New Haven and London: Yale University Press, 2011 Bernard Denvir, Post-Impressionism, Thames & Hudson, 1972 John Rewald, Studies in Post-Impressionism, Thames & Hudson, 1986

6 John Rewald, Post-Impressionism. From Van Gogh to Gauguin, New York, MoMA, 1962 Lawrence Gowing, Cézanne. The Early Years , New York, Harry N. Abrams, 1988 Martha Ward, Pissarro. Neoimpressionism and the Spaces of the Avant-Garde, University of Chicago Press, 1996 Sarah Wilson ed., Paris. Capital of the Arts, London, Royal Academy of Arts, 2002 John Ederfield, The Wild Beasts. Fauvism and its Affinities, New York, MoMA, 1976 Expressionismus & Expressionismi, Berlin-Munich , Paris, Connaissance des Arts, 2011 Michel Frizot ed., The New History of Photography, Köln, Könemann, 1998 Mary Warner Marien, Photography : A Cultural History, London, Laurence King Publishing, 2002 Internet Research Guidelines NYU web resources: Jstor, Artstor, etc. Glossary: Museums websites: Images: Texts and Images: Check the link:«theory & Criticism» Art and Aesthetics: Additional sources Read regularly the French and International Press devoted to Arts and Culture: Art Press, Beaux-Arts Magazine, L OEil, Journal des Arts, Connaissance des Arts, Le Monde, Télérama, etc.

7 Session 1 Introduction to the Nineteenth Century French Art: the Parisian Salon and the Royal Academy Harrison C. White, Cynthia A. White, Canvases and Careers, Institutional Change in the French Painting World, University of Chicago Press, 1993 Introduction, 1-4 Chapter 1: «Roots of the Nineteenth-Century Art Machine», 5-15 Chapter 3: «A new System emerges», Chapter 4: «The Impressionists: their Roles in the New System», Conclusion, / Monday 29 January 2/Wednesday 31 Musée du Louvre Paris Ligne 1. Station Palais Royal Musée du Louvre Meeting point: Passage Richelieu (rue de Rivoli, across from the Palais Royal-Louvre station) Session 2 The Painting of the Modern Life Anthea Callen, The Work of Art: Plein air Painting and Artistic Identity in 19th Century France, Chicago Press, 2015 Chapter 2: «Maître Courbet, The Worker-Painter», Charles Baudelaire, The Painter of the Modern Life, 1863, Phaidon, 1995 Chapter IV: «Modernity», 12-5 Michel Foucault, Manet and the Object of Painting, Londres, Tate Publishing, 2009, / Monday 5 4/Wednesday 7 Musée d Orsay 1, rue de la Légion d Honneur Paris Ligne 12. Station Solférino/Ligne C. Station Musée d Orsay Meeting point : Entrance B 5/ Friday 9 (Make-up Day) 1874, the Birth of Impressionism (1) Steven Adams, The Barbizon School & the Origins of Impressionism, London, Phaidon, 1994 Chapter 2: «Panorama, Parks and Porcelain: Nature and Popular Culture», Session , the Birth of Impressionism (2) Felix Krämer, Monet and the Birth of Impressionism, Prestel, Frankfurt, Städel Museum, 2015 F. Krämer: Monet and the birth of impressionism, André Dombrowski: «Instant, Moments, minutes. Impressionism and the Industrialization of Time», /Monday 12

8 7/Wednesday 14 Musée Marmottan Monet 2, rue Louis-Boilly Paris Ligne 9. Station La Muette Meeting point : Main entrance Session 4 Photography and Fine Art Charles Baudelaire, On Photography, Salon de 1859 Michel Frizot ed., The New History of Photography, Köln, Könemann, 1998 Introduction, Jean Sagne: «All kinds of Portraits. The Photographer s Studio», Mary Warner Marien, Photography: A Cultural History, London, Laurence King Publishing, 2002 Chapter 3: «The Expanding Domain ( ), / Monday 19 9/Wednesday 21 10/Friday 23 Session 5 Maison Victor Hugo 6 Place des Vosges Paris Ligne 1. Station Bastille/Ligne 5. Bréguet-Sabin/Ligne 8. Chemin Vert Meeting point: Main entrance Impressionism: Paris, le flâneur et l élégante (1) Meyer Schapiro, Impressionism. Reflections and Perceptions, New York, George Braziller, 1996 «The City», «The Crowd, the Stroller, and Perspective as Social Form», / Monday 26 12/ Wednesday 28 Stephen F. Eisenman ed., Nineteenth Century Art. A Critical History, Thames & Hudson, 2007 Linda Nochlin: Issues of Gender in Cassat and Eakins, Paper 1 Musée d Orsay 1, rue de la Légion d Honneur Paris Ligne 12. Station Solférino/Ligne C. Station Musée d Orsay Meeting point : Entrance B Session 6 Impressionism: Paris, le flâneur et l élégante (2) Meyer Schapiro, Impressionism. Reflections and Perceptions, New York, George Braziller, 1996 «The City», «The Crowd, the Stroller, and Perspective as Social Form», Stephen F. Eisenman ed., Nineteenth Century Art. A Critical History, Thames & Hudson, 2007 Linda Nochlin: Issues of Gender in Cassat and Eakins, / Monday 5

9 Wednesday 7 Session 7 14 / Monday 12 15/ Wednesday 14 No class Mid-Term Paper pm Mid-Term Paper Petit Palais Exposition: L Art du pastel : de Degas à Redon Avenue Winston Churchill Paris Lignes 1, 13. Station Champs-Elysées/Clémenceau Meeting point : Main entrance Session 8 Postimpressionism: Gauguin and Exotism Degas and Spectacle Suzanne Greub ed., Gauguin Polynesia, Munich, Hirmer, 2011 Introduction, 20-7 Flemming Friborg: From Denmark to Brittany to the Caribbean and back-pont-aven, Martinique and Le Pouldu, Stéphane Guégan: Felicitous Interbreedings, Carol Armstrong, Odd Man Out. Readings of the Work and Reputation of Edgar Degas, Los Angeles, Getty Publications, 2003 Introduction, 1-20 «Degas, the Odd Man Out: The Impressionist Exhibitions», / Monday 19 17/ Wednesday 21 Session 9 Seurat and Neoimpressionism Toulouse-Lautrec and Van Gogh Stephen F. Eisenman, Nineteenth Century Art. A Critical History, Thames & Hudson, 2007 «Mass Culture and Utopia: Seurat and Neoimpressionism», «The Appeal of Modern Art: Toulouse-Lautrec», «Abstraction and Populism: Van Gogh», Linda Nochlin, Representing Women, Interplay. Thames & Hudson, 1999 Introduction, 6-33 Chapter 7: «Body Politics : Seurat s Poseuses», / Monday 26 19/ Wednesday 28 Musée de l Orangerie Jardin des Tuileries Paris Ligne 1. Station Concorde Meeting point: Main entrance

10 Session 10 Monet and Abstraction James A. Ganz, Richard Kendall, eds, The Unknown Monet. Pastels and Drawings, New Haven and London, Yale University Press, 2007 Chapter 10: Lines of Color: Drawing in the Late Year, Monet and Abstraction, Paris, Musée Marmottan - Monet, 2010 Michel Draguet, Monet and the origins of Abstraction. Abstraction as a Temporal Process, Leah Dickerman ed., Inventing Abstraction How a Radical Idea changed Modern Art, MoMA, New York, 2012 Introduction, Monday April 2 20/ Wednesday 4 April Holiday, Closed Session 11 Matisse and the Fauves Heinz Widauer and Claudine Grammont eds., Matisse and the Fauves, Vienne, Albertina, 2013 Introduction, Matisse paints like a Crazy Impressionist, 28-9 From Neoimpressionism to Fauvism, Matisse, What I am after, above all, expression, Jack Flam, Explosiveness, Primitivism, Fragmentation, and the New Unity of Modern Painting, / Monday 9 April 22/ Wednesday 11 April am Submission of home papers Musée national d art moderne-centre Georges Pompidou Place Georges Pompidou Paris Ligne 1. Station Châtelet or Hôtel de Ville Meeting Point: Piazza, Main Entrance April Semester Break Session 12 Modern Sculpture Alex Potts, The Sculptural Imagination. Figurative, Modernist, Minimalist, Yale University Press, 2000 Introduction, 1-23 Chapter 2: Modern Figures. Sculpture and Modernity. Rodin, Rilke and Sculptural Things, / Monday 23 April 24/ Wednesday 25 April 25/ Thursday 26 April Musée Rodin Hôtel Biron -77 avenue de Varenne Paris - Ligne 13. Station Varenne Meeting point : main entrance pm Contemporary Art Galleries

11 Session 13 Cézanne and Cubism Tamar Garb: Visuality and Sexuality in Cézanne s Late Bathers, Oxford Art Journal, vol. 19, n 2, 1996, James Beechey, Picasso-Cézanne, The Burlington Magazine, vol. 151, n 1280 (Sculpture), November 2009, p Lisa Florman, Insistent Cézanne on Picasso s Three Women and Les Demoiselles d Avignon, Notes in the History of Art, vol. 31/32, n 4/1, Special Issue on Memory of Leo Steinberg ( ), Summer- Fall 2012, / Monday 30 April 27/ Wednesday 2 May 28/Friday 4 May Musée national Picasso Paris 5 Rue de Thorigny Paris Ligne 1. Station Saint-Paul / Ligne 8. Station Saint-Sébastien-Froissart or Chemin Vert Meeting Point: Courtyard am Review Session 14 May, 7 and 9 No Class Session 15 29/ Monday 14 May Final Exam Final Paper Classroom Etiquette Required Co-curricular Activities No eating in class. No cell phones in class. No laptop computers in class unless permission is expressly given by your professors. Leaving class to go to the bathroom or yawning in class is considered rude in France. Visit regularly museums collections, temporary exhibitions, and contemporary art galleries Walk into Paris and pay attention to the architecture of the buildings, passages, gardens, theatres and operas, cemeteries, etc. Your Instructor Cécile Godefroy defended her Ph.D in Contemporary Art History at Paris IV- Sorbonne. She has a significant record of teaching and research in France and among American students in Paris, and is intimately familiar with Paris as a pre-eminent center of museums and galleries. She brings a thorough knowledge of many artistic traditions and movements and a special insight to Paris as a converging locus of twentieth-century avant-gardes. She is a professor, an art critic, and a freelance curator. Cécile recently co-curated the exhibition Sonia Delaunay at the Musée d art moderne de la Ville de Paris and Tate Modern, London ( ) and Picasso. Sculptures at the Musée national Picasso Paris and BOZAR, Brussels. Cécile is the author of essays and books dedicated to Modern and Contemporary Art. She recently coedited Picasso, in the Studio, a special issue dedicated to the artist s practices, with interviews of Miquel Barceló, George Condo, Sheila Hicks, William Kentridge, Jeff Koons, Robert Longo, and Tatiana Trouvé (Paris, Cahiers d art) and she is currently preparing an exhibition devoted to Picasso and Music for Spring 2020 (Musée de la musique Philharmonie, Paris).