ARH 337K/Spring 2017 Dr. Linda D. Henderson, DFA 2.122

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1 ARH 337K/Spring 2017 Dr. Linda D. Henderson, DFA th-Century European Art to 1940 Office Hours: TTh 4:50-5:30 and by appt. COURSE OBJECTIVES The goal of this course is for students to gain an understanding of the succession of styles and movements of late 19 th and early 20 th -century European modern art based on issues of form/style, art theory, and cultural context. Class discussion and reading assignments, including analyses of specific essays, aim to increase a student s ability to read critically and evaluate texts by artists, art critics, and art historians. [This course fulfills the Visual and Performing Arts (VAPA) component of the university core curriculum (#050) and addresses the four core objectives established by the Texas Higher Education Coordinating Board: communication skills, critical thinking skills, teamwork, and social responsibility. The course also carries the Global Cultures Flag.] ALL DOCUMENTS FOR THIS CLASS WILL BE ON THE CANVAS PAGE FOR THE COURSE. READING ASSIGNMENTS The textbooks for the class are George H. Hamilton, Painting and Sculpture in Europe (1967; Yale U. Press, 1993); and Herschel Chipp, ed., Theories of Modern Art: A Source Book by Artists and Critics (U. of California Press, 1968/1994). The daily assignments for the class are based on Hamilton and Chipp, with the Hamilton serving as basic background and the Chipp texts providing artists accounts of their theories and goals for their particular styles. In addition, there is a REQUIRED xeroxed packet of articles for purchase. The packet contains additional early 20th-century texts that round out the Chipp documents plus more recent examples of art historical scholarship updating the Hamilton survey text. These readings are central to the course; the packets texts assigned to Groups A, B, C (see below) are critical to your participation grade. GRADING 90% 3 30% each (Note there is a PRACTICE QUIZ on Feb. 2) 10% class participation A. Examinations There will be 3 examinations during the semester. The first two tests are in class, and the last has slide IDs in class the last course day (May 4) accompanied by a take-home essay portion (due May 8 at 10:00 a.m. in the Art History office). Absence from these tests will not be excused unless the student has a written note from a physician. There will be no make-ups except in this instance.) Each hour exam counts as 30% of the course grade. EVERYONE MUST TAKE THE FIRST TWO HOUR EXAMS. See below (Section D - Optional Paper/Project) for option on the third exam. There is a short PRACTICE QUIZ scheduled early in the course to introduce students to my testing methods. These quizzes will be graded, but the grades are not recorded. B. Digital Image Reserve For each exam there will be a Slide List of the works for which students are responsible. These images will be available online through DASE, the University s digital image service. Go to and choose Public/Shared Sets. Search Henderson and the three sets for the class will come up, starting with 20th-Century European Art, part 1.. C. Class Participation and Team Work In addition to your presence and general participation, twice during the semester each student will be assigned (along with ca. 16 other students) to a specific article for discussion see **** notations on the syllabus. (These groups A, B, and C are determined by dividing the class into thirds alphabetically.) For both rounds of discussion each student in the group will be required to produce in advance an Evaluative Summary Sheet with an overview of their assigned article and contribute to class discussion on the specific day. For the second round of these discussions (Oct. 16, 23, or 28) the team will meet in advance (at an agreeable time outside of class) in order to talk through the text, with the group deciding what key points need to be presented to the rest of the

2 class. These assignments are graded check-plus, check, check-minus. Under general participation, I also consider the impression of engagement a student gives by responding to general questions in class be they on paintings or on artist s writings from the Chipp text or the packet. SPRING 2017 NOTE: The group A,B, and C assignments on Kandinsky, Malevich, and Mondrian will culminates in a Trialogue among the three artists carried out by the teams representing each artist on April 4, which will also serve as a review for that section of exam. D. Optional Paper/Project A student has the option of writing a page research paper, the grade of which can be substituted for his or her grade on either of the two hour exams, after these exams have been taken, or for the third exam. A short list of typical paper topics will be handed out, but students may also propose topics of their own, which relate to their specific interests or areas of expertise. All students must have a conference with me early in the course of the semester to confirm the topic of the paper and receive some research advice. Studio majors may choose to read extensively on a particular artist relevant to their work and then produce a painting, sculpture, etc. in the style of that artist. The goal here is to significantly increase their understanding of some aspect of 20thcentury European art. DUE DATE: LAST DAY OF CLASSES (MAY 4); CAN BE EXTENDED TO MAY 8, 10:00 a.m. BY REQUEST. E. Attendance Although I do not take attendance at class sessions, I do ask that students choose a regular seat at the beginning of the term and record this on a seating chart, which helps me to get to know who you are. University policy is that three or more unexcused absences can result in lowering of the final grade one or more points. If spot checks of attendance reveal that a student is not coming to class, this policy may be invoked. F. Religious holidays: Students who must miss a class for the observance of a religious holiday should inform me well in advance of the absence. OFFICE HOURS My office is in the Doty Fine Arts Building (DFA 2.122). I am glad to meet with students during office hours (see top of p. 1) or at other times by appointment. ADDITIONAL UNIVERSITY POLICY NOTES: GRADING: Grading for all students in this course will follow the plus-and-minus system. STUDENTS WITH DISABILITIES: The University of Texas provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at , TTY. SCHOLASTIC DISHONESTY: You define who you are by your integrity and that cultivation of intergrity as an adult begins with your activity as a college student. Scholastic dishonesty is a serious violation of university policy, and it is harmful to both you and the University. Thus, students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. The web page of the Dean of Students office has an excellent discussion of what constitutes scholastic dishonesty and how to avoid it: IMPORTANT NOTE ON COPYRIGHT AND COURSE MATERIALS The materials used in this class, including, but not limited to, exams, quizzes, and homework assignments are copyright protected works. Any unauthorized copying of the class materials is a violation of federal law and may t specific, express approval of the instructor may be a violation of the University's Student Honor Code and an act of academic dishonesty, which could result in further disciplinary action. This includes, among other things, uploading class materials to websites for the purpose of sharing those materials with other current or future students. CAMPUS CARRY POLICY Following the University policy that a faculty member assigned solely to an office may prohibit concealed weapons being brought into that office, I announce here and will do so orally the first day of class that I will not allow weapons in my office. As per the FAQs for Faculty page of the Campus Carry website ( I will be asking all students to sign a statement that acknowledges that they have received oral notification of [my] desire to ban guns in [my] office and to agree to follow this policy. According to the website, you only have to provide this notice once to an individual, so for any following visits you do not have to repeat this process.

3 GENERAL SCHEDULE FOR THE SEMESTER Use numbers in parentheses to determine reading assignment, listed on the separate READING ASSIGNMENT sheet, which should be read before class that day. XEROX indicates texts in the xeroxed packet that will be available from Canopy Course Notes ( ). NOTE Asterisks **** indicate the days for discussion of artists writings in the Chipp anthology or xeroxed packet texts that are assigned to Group A, B, or C, which has primary responsibility for discussion that day. SECTION I: TRANSFORMING THE NATURE AND PURPOSE OF PAINTING/ARTMAKING January 17 Introduction; 19th-Century Background 19 Impressionism (1) Post-Impressionism: Seurat (Neo-Impressionism) (2) 24 Post-Impressionism: Cézanne; Van Gogh (3) 26 Post-Impressionism: Gauguin (Synthetism) (4) Nabis (followers of Gauguin); Symbolism -- Redon **** Aurier (pp ), Gauguin (pp ) readings in Chipp GROUP A 31 Other Styles at the End of the Century: (5) Precursors of Expressionism -- Ensor, Munch Primitivism of the Naive Painter Henri Rousseau ****XEROX II (Antliff and Leighten, pp ) GROUP B We will return to this text on Feb. 9, when Group B s summary sheets will be due. Beginnings of Fauvism February 2 SHORT PRACTICE QUIZ Fauvism (6) 7 German Expressionism; Expressionism in Vienna (7) XEROX I (Simmel) 9 DISCUSS QUIZZES Early Work of Picasso; Beginnings of Analytical Cubism (8, 9) ****XEROX II (Antliff and Leighten--remainder) GROUP B 14 Analytical Cubism of Picasso and Braque (9) **** XEROX III (Henderson) GROUP C XEROX III-A (1-page Fourth Dimension text for reference only) Synthetic Cubism (10) 16 Synthetic Cubism (cont.) (10); Other Cubists (11) 21 Italian Futurism (12)) 23 FIRST TEST 28 Early 20 th -Century Sculpture, including Brancusi s Primitivism (14, 15) Introduction to Abstract Art: I. France (16)

4 SECTION II: REENVISIONING THE FUTURE (AND FURTHER TRANSFORMATIONS March 2 II. Abstract Art in Germany: Kandinsky and Der Blaue Reiter (17) READ: Hamilton, Painting and Sculpture in Europe, **** XEROX IV (Washton Long) Group A (Make main notes on this text) ****Kandinsky in Chipp (pp only) Group A (Note also some of Kandinsky s statements) SPRING BREAK 7 III. Beginnings of Abstract Art in Russia: Rayonism, Futurism (18) Malevich and Suprematism (19) ****XEROX V (Douglas) Group B (Make main notes on this text) ****Malevich in Chipp (pp ) Group B (Note also some of Malevich s statements) 9 III. Abstract Art in Russia: Malevich (cont.): Russian Constructivism (20) XEROX VI (El Lissitzky) March 21 NOTE THAT CLASS WILL MEET THIS DAY AT 8:00 A.M. IN ART AND AT ANOTHER TIME TO ACCOMMODATE ALL STUDENTS. IV. Abstract Art in Holland: Mondrian and De Stijl (21) ****XEROX VII (Rembert) Group C (Make main notes on this text) ****Mondrian and Van Doesburg in Chipp (pp ) Group C (Note also some of Mondrian s statements) 23 Postwar Paris: Purism, Léger, Picasso (22) ; The Bauhaus in Germany (begin) XEROX V11-A (Herbert, Arrival of the Machine, pp ) 28 The Bauhaus (cont.) (23) XEROX VIII (Gropius) 30 NO CLASS. Review abstraction writings for Trialogue among Kandinsky, Malevich, Mondrian on April 4 April 4 Trialogue Among Kandinsky, Malevich, Mondrian teams and REVIEW 6 SECOND TEST SECTION III: REJECTING RATIONALISM AND THE STATUS QUO IN ART AND LIFE: DADA AND SURREALIST SUBVERSIONS 11 Dada in Zurich and Germany (24, 25) XEROX IX (Tzara) XEROX IX-A (Matthew Gale on Berlin Dada) XEROX VII-A (Herbert, Arrival of the Machine, pp ) 13 The Proto-Dada of Marcel Duchamp (26) XEROX X (Duchamp, Apropos of Readymades ) XEROX X-A (Selection of Duchamp notes for Large Glass, written ) XEROX X-B (Henderson on Duchamp; only pp , required; simply peruse rest 18 Dada in New York; Dada in Paris Precursors of Surrealism (27)

5 20 Surrealism (28) XEROX XI (Freud) 25 Surrealism (29) Surrealist Objects; begin Surrealist Sculpture (see reading #31 for Giacometti) May 27 Germany in the 1920s (30) Later European Sculpture (31) 2 Later Works of Picasso and Matisse (32) Looking Ahead to the Later 20 th Century 4 Slide ID portion of THIRD TEST; Take-Home segment of third test handed out DUE Mon., May 8, 10:00 a.m. DISCUSSION: What was Modernism? The THIRD TEST is centered on the last section of the course with one essay addressing earlier material. Students also have the option of writing a paper or, for Studio majors, doing a project, instead of taking this last exam. Paper or project due May 4 or, with request for extension, May 8, 10:00. See above.

JEFFERSON COLLEGE COURSE SYLLABUS ART107 MODERN ART. 3 Credit Hours. Prepared by: Blake Carroll. Revised by: Blake Carroll May 2016

JEFFERSON COLLEGE COURSE SYLLABUS ART107 MODERN ART 3 Credit Hours Prepared by: Blake Carroll Revised by: Blake Carroll May 2016 Dr. Michael Booker, Division Chair, Communication & Fine Arts Ms. Shirley