Impressionism in Paris the other French Revolution EH 1 Credit Course DIS Fall 17 Major Discipline: Art History

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Impressionism in Paris the other French Revolution EH 1 Credit Course DIS Fall 17 Major Discipline: Art History Renoir: Le Mulin de la Galette (1876) When God gets bored in Heaven he opens the window

1 Impressionism in Paris the other French Revolution EH 1 Credit Course DIS Fall 17 Major Discipline: Art History Renoir: Le Mulin de la Galette (1876) When God gets bored in Heaven he opens the window and takes a look at the boulevards of Paris Quand le bon Dieu s ennuie dans le ciel, il ouvre la fenetre et regard les boulevards de Paris Heinrich Heine This one credit seminar course serves as an academic introduction to the optional study tour to Paris This class meets on Tuesdays from 11:40 13:00, Room F The class will meet 6 times before the study tour, and one time after. In addition we will have one Field Study in Copenhagen. Dates of classes Class one: Tuesday, September 19 Class two: Tuesday, September 26 Class three: Tuesday, October 3 Class four:tuesday, October 17 Class five: Tuesday, October 24 Class six, Friday October 27 (Pre departure test) Study Tour Paris: Thursday November 2 nd Sunday November 5 th Class seven: Tuesday, November 7 Instructor: Suzanne da Cunha Bang Cand.mag. et art. (Scandinavian Literature and Languages, English Literature and Language, History of Art, University of Copenhagen). DIS Professor of Danish Language and Culture, Impressionism in Paris, Venice, Power Art and Urban Space With DIS since Program Director, Danish Language and Culture, since Previously art gallery owner and art consultant to Danish companies. Contact: sdc@dis.dk Consultation hours: preferably before or after class

2 DIS Contact Sanne Rasmussen, Program Coordinator, European Humanities Department, Content The course examines the principal ideas and key works of Impressionism. Before delving into the development of Impressionism the course first examines the city of Paris during the Second Empire, the reign under Napoleon III, and its emergence as a modern metropolis. The course will take a chronological, and often times a biographical approach to studying the artists as well as looking at each career separately. A major focus will be on the stars of the Impressionist movement: Claude Monet, Pierre Auguste Renoir, Camille Pissarro, Paul Cézanne, Berthe Morrisot, Gustave Caibotte, Mary Cassatt and Edgar Degas. Two of the prominent Impressionists happen to be women: Berthe Morrisot and Mary Cassatt, they will be discussed in their own right, as artists but also as women, as this did affect their approach to painting and subject matter. Furthermore their presence in the Impressionist group added much to its reputation as a thoroughly modern movement. What qualifies Impressionism to be called a revolution within the history of art? Why did it happen in Paris? Why can it be argued that the Impressionist painters are the founding fathers of modern art? How can major changes and development in society be seen to have a direct impact on the art of its time? What is Haussmanization? How can urban planning and architecture be seen as a tool in the process of creating national identity and memory? Objectives Students will: Learn how to identify and analyze key works by significant Impressionist artists Develop an understanding of the art, architecture and political history of France in the time leading up to and during Impressionism Obtain a general understanding of Impressionistic art, its background, history and development Learn how to see the Impressionists as the founding fathers of Modern Art Develop and enrich their appreciation and evaluation of art in general through discussions and careful looking Get an opportunity to familiarize with French culture Know the urban geography of Haussmann s and Napoleon III s Paris in its historical context Learn how to decode a typical European city using Paris as the example Study Tour Objectives To give students The possibility of making In situ study and analysis of central buildings and themes in Haussmann s and Napoleon III s Paris as well as an opportunity to get firsthand experience of French history and national identity through visit to Versailles The possibility to make on the spot image analyses of key impressionist artwork An opportunity to familiarize with French culture in general

Learning outcome At the end of the semester students will be able to Critically analyse and appreciate art works from the Impressionist period plus the time leading up to and following Impressionism.

art has been used in France to tell the story of the nation and create the national identity Required texts All texts available on Canvas Phoebe Pool: Impressionism (to be handed out to students)

3 Learning outcome At the end of the semester students will be able to Critically analyse and appreciate art works from the Impressionist period plus the time leading up to and following Impressionism. Decode a map of a typical European town Using Hausmanization as an example, understand how urban planning and architecture can be used in order to create national identity and memory Understand how art has been used in France to tell the story of the nation and create the national identity Required texts All texts available on Canvas Phoebe Pool: Impressionism (to be handed out to students) Approach to Teaching and expectations of Students Teaching in this class will be a mixture of illustrated lectures, observations, analyses and class discussions. Students are expected to have prepared the readings before class and to come to class with notes, reflections, and questions. Given the topic, class discussions deal primarily with examples of French art and Parisian architecture i.e. Haussmanization. Requirements and Evaluation Engaged participation in class Engaged participation on study tour Pre departure test Term paper including photo documentation 10% 10% 30% 50% Class participation Covers Level of participation and ability/willingness to answer questions in class Involvement in class and group discussions Participation Grade Policy Active class participation throughout the semester: A Occasional participation: B Little or no participation: C Participation is graded because it is part of the learning process. Note that attendance at all classes is required and expected and isn t credited as participation. Failure to attend will have a negative influence on the participation grade, however. IF you know that you for some reason will miss a class, it could be for illness or religious reasons please make sure to inform me the sooner the better please notice that YOU are responsible for taking initiative for catching up. The consequence of not being in class for Pre departure test will be an F in this discipline.

4 Canvas The most important tab is Files. Here you will find all assignment instructions, test materials, power point presentations, handouts etc. Further the "Files" tab contains Reading Guides these put the individual readings in perspective and indicate where you should place your focus of attention when preparing for class. The reading guides are also useful tools for preparing for quiz and term paper. In Calendar you will find all assignment instructions, test materials, power point presentations, handouts etc. Class format Course lectures leading up to the curriculum integrated Study tour to Paris. A pre departure test, last class before Study Tour, counts 30% of course grade Assignments Detailed guidelines to be found on p 6 7, to be uploaded to Canvas November 21 before Course content, continued Rebelling against the Salon, the French Impressionists caused a revolution in the well established art world, changing the existing rules for technique, color and motive forever. The bustling life of Haussmann s new modern Paris became the catalyst, birthplace and subject matter for these forerunners of modern art known as the Impressionists. The selection of painters studied includes among others Monet, Renoir, Degas, Manet, Berthe Morisot, Sisley, Bazille, Caillebotte, and Pisarro. Although the word Impressionism now refers to one of the most popular movements in Western Art, it originated as a term of abuse applied to an exhibition of works that the audience and critics found shockingly sketchy and unfinished. In 1874 fifty five artists held the first independent group show of Impressionist art in the vacated studios of the celebrated photographer Nadar. Most of them including Cézanne, Pissarro, Renoir, Degas, Monet, Manet and his sister in law Berthe Morisot ( a bunch of lunatics and a woman as an observer muttered) had been rejected by the Salon, and they were unified in their rejection of the old tame art, encouraged by the official Salon. Impressionism defies easy definition although the artists had two fundamental concerns: depicting modern life and/or painting in open air, and they developed a new way of depicting the new modern world around them. Impressionism includes some of the most beloved pictures in the international world: Monet s dreamy Water lilies, Renoir s young men and women in the dappled sunlight of the open air dance space at the Moulin de la Galette smiling, flirting, dancing on a Sunday afternoon in Paris in the 1870 s, Manet s provoking Le Déjeuner sur l Herbe, the bustling life of Haussmann s new modern Paris, the catalyst and the birthplace and the subject matter of much of Impressionist Art.

5 DAY TO DAY SCHEDULE 1. Session: Tuesday, September 19 Introduction to the course and to the study tour The Paris of Haussmann and Napoleon III, the city as a historical museum Readings: Course Binder text 1: Haussmannization To consider: How did Paris change under the reign of Napoleon III? Who do you think had the greatest costs in the urban renewal of Paris? Field Study, Wednesday, 20 September, 13:00 17:00, TBA 2. Session: Tuesday, September 26 The French art world around 1850: The roots of Impressionism Readings: Course Binder text 2 and 3 : Ingres, Delacroix, The Salon, French Realism To get an overview of Impressionism and to be prepared for class 3, 4 and 5 please read Course Binder text 9 3. Session: Tuesday, October 3 Baudelaire, the shock of the new and the painters of modern life. Baudelaire and Manet; The Founding Father of Impressionism Readings: Course Binder text 4 and 5 4. Session: October 17 The Impressionist Artists The Exhibitions Readings: Course Binder Text 6: Progress, Modernity and Modernism French Visual Culture during the Second Empire, , please start reading p 389: Origin and Definition of the Term Impressionism 5. Session: Tuesday, October 24 The war against Prussia The Feminine artists of Impressionism: Berthe Morisot and Mary Cassett Monet s Water Lilies Readings: Course Binder Text 7: French Art after the Commune Readings: Women artists p (skip p ) this text is NOT in the course binder, but to be found on Canvas 6. Session: Friday, October 27 Pre departure test Overview of the study tour, map assignment Clarification of term paper and assignments in Paris

6 IMPRESSIONISM IN PARIS TOUR: Thursday November 2 Sunday November 5 Study Tour Tentative itinerary Thursday, November 2 Departure from Copenhagen 8:00 Arrival in Paris: Bus pick up at the airport Afternoon: visit to The Opera, guided tour Around 18:00 check in at Hotel Saint Andre des Art Evening: group dinner Friday, November 3 Morning: Sightseeing tour by bus Lunch in Versailles Afternoon: guided visit to Versailles Free time in the Park, students take the train back to Paris Evening: time on own Saturday, November 4 Mandatory individual visit to l Orangerie, (Monet s Waterlilies), before OR after visit to D Orsay Lecture at and guided tour of Musee D orsay Lunch and rest of afternoon on your own Evening: Dinner Cruise on the Seine (Dinner included) Rest of evening on your own Sunday, November 5 Morning Optional: join Suzanne at a morning mass in Notre Dame followed by Individual visit to museums ( Centre Pompidou/ Musee Marmottan) 15:00 Meet for a farewell snack before leaving Paris 16:00: Departure for the airport Charles de Gaulle Departure for Copenhagen, arrival in Copenhagen:20:30 End of study tour Session: Tuesday November 7 Wrap up, feedback on the study tour, impressions, conclusions etc. General guidelines for your term paper Consists of 2 elements: Impressionist paintings Architecture TERM PAPER SECTION 1. PAINTINGS Format: text and pictures (Word with pictures inserted/ PP with text and pictures Content: A title YOUR title An opening paragraph including your thesis statement

7 6 pictures each one accompanied by explanatory text; you are expected to use paintings from D Orsay and L Orangerie, if you find it relevant in addition to refer to and include other paintings this is accepted. At least 2 picture must be pictures not discussed in class. A concluding paragraph in which you sum up, and put things into perspective Total of words: Remember: You are supposed to Argue why you have chosen each picture Explain why and how it is relevant for Impressionism Give an analysis and interpretation of each picture. For this please remember: Name of artist, title of picture, size, in which museum it is to be found. Check list: Subject matter General character Personal style School/movement Cultural, political and social context Conclusion and summing up Incorporate and refer to texts discussed in class and class lectures/discussions in general When relevant, refer to lectures in Paris (Guided tour of The Opera, Paris and Versailles and + lecture at Musée D Orsay) WARNING: this is ONE essay, not 6 fragments held together only by a staple! TERM PAPER SECTION 2 HAUSSMANIZATION, PHOTO DOCUMENTATION AND EXPLANATORY TEXT 4 photos, of your own (buildings, urban landscape, such as boulevards and squares) taken during the study tour accompanied by explanatory text. You are expected to briefly describe and analyze why and how these photos can be used as openers to the Haussmanization of Paris. At least one these photos must show the urban planning significant of Haussmannization Total of words, section one and two: REMEMBER: Title of paper Name Page numbers Font: 11 Line spacing: 1.5

Attendance is required. Work will be assessed on the basis of students visual observations, mastery of course material, and critical interventions.

Attendance is required. Work will be assessed on the basis of students visual observations, mastery of course material, and critical interventions. AH 320 19 TH CENTURY ART IMPRESSIONISM AND POSTIMPRESSIONISM IES Abroad Paris BIA DESCRIPTION: This course provides an in-depth study and pictorial survey of Impressionism, its origins and its legacy presented