Fine Arts 104 A0l Twentieth Century Art to 1950 Course description from the Academic Calendar 2004/2005: European art from the turn of the century to the rise of Abstract Expressionism. Cubism, the Fauves, German Expressionism, Pittura Metafisica, Dada and Surrealism are among the topics considered. --------------------------------------------------------------------------------------------------------------------- COURSE OUTLINE (Fall 2004) Instructor: Dr. Claude Lacroix Schedule: Tuesdays and Thursdays, 11:30 13:00 Room: MOLSON 010 GENERAL CONTENT The course introduces students to major art movements, artists, and artistic productions of the first half of the Twentieth Century, the terminology associated with different art forms and events, and the concepts they propose. The rise of modem avant-garde in the early Twentieth Century and the acceleration of history will be discussed through specific issues raised by the works of art and the critical and theoretical debates around them. The lectures will deal with the aesthetic, social, and political implications of the different artistic movements and the polarization between aesthetic preoccupations and socio political ideologies within the avant-garde. OBJECTIVES The course will familiarize students with a variety of works of art and issues at stake between 1900 and 1950, including the artist s own point of view. Students will observe and comprehend the formal, technical and material transformations undergone by painting and sculpture; the birth of abstraction, non figurative or non-objective art; the new forms of artistic expression such as collage, assemblage, photomontage, performance art... How these innovations have brought about changes at the level of the content, meaning and role of art will be discussed. CALENDAR Sept. 9: Introduction: Presentation of course outline: content, objectives, required readings, bibliography, requirements, and evaluations. Sept. 14: The Fauves (1905-1908)
Sept. 16: Die Brucke (1905-1913) - German Expressionism in Dresden Sept. 21: Analytic Cubism (1907-1910) Picasso, Braque, the fragmentation of space Sept. 23: Futurism (1909-1914) - Art as Event: Manifestos and Evenings Sept. 28: - Futurist Painting and Photography Sept. 30: Russian avant-garde, Rayonism, and Cubo-Futurism Oct. 5: Abstraction: Hermetic Cubism (1910-12), Orphism, Vorticism, etc. Oct. 7: In-class examination (30%) Oct. 14: Kandinsky and Der Blaue Reiter (1911-1914) Expressionism in Munich Oct. 19: Synthetic Cubism (1912-14) In Defiance of Painting: Collage Oct. 21: Kasimir Malevich s Suprematism (1915-20) and non-objective painting Oct. 26: Rethinking Sculpture: 1) Synthetic cubism, construction and assemblage Oct. 28: 2) Vladimir Tatlin s relief & counter-relief works Nov. 2: 3) Marcel Duchamp s ready-mades Nov. 4: In-class examination (30%) Nov. 9: Dada in Zurich (1915) - Poetry, evenings, manifestos, works of art Nov. 11: Dada in Berlin (1918-22) - Manifestos, evenings, collage, photomontage Nov. 16: Surrealism: Abstract painting, automatism and the unconscious Nov. 18: Surrealism: Illusionist dream imagery, sculpture and found objects Nov. 23: Social Utopia. Design & architecture: between aesthetics and functionalism 1) Russian Constructivism and Productivism Nov. 25: 2) Mondnan and Neo-Plasticism Nov. 30: 3) De Stiji in the Netherlands Dec. 2: 4) The Bauhaus Final exam (40%) To be scheduled during the examination period, Dec. 7 to 20 N.B.: This schedule serves only as a guide. It is subject to modification depending on how the course evolves and on student Interests and participation REQUIRED READINGS You must read on each and every one of these topics during the week preceding the scheduled lecture. Use one of the two textbooks selected for this course: - ARNASON, N History of Modem Art (Fifth edition), Upper Saddle River (New Jersey): Prentice Hall (196812003, 832 pages. or - HUNTER, Sam, and John JACOBUS, Modem Art (Third edition), Upper Saddle River (NJ): Prentice Hall; New York: Harry N. Abrams, 1992,448 p. (For convenience, both books ate available at the University bookstore). You should also read from the books placed on library reserve. COURSE REQUIREMENTS Class attendance is obligatory. More than three absences without valid justification will result in course failure.
Lectures are scheduled from 11:30 to 13:00. Out of consideration for your classmates, please be punctual and avoid disturbing the class. Please turn off your cellular phone! Students are invited to ask questions, give comments and participate in class discussions. Knowledge of alt content and information given during lectures, discussions and from the readings is the responsibility of each and every student. Required readings assigned on a regular basis must be done. Students should take class notes. EVALUATION Three different examinations will take place in order to evaluate your understanding of the issues raised during the lectures and your comprehension of the obligatory readings you have done. I October 7: in-class examination on topics covered in class - 1% hour (30%) 2 November 4: In-class examination on topics covered in class - 1¼ hour (30%) 3 Final exam 3 hours: scheduled during the exam period: December 7 to 20 (40%) Two questions on Dada, Surrealism and/or art and social utopia (20% each) Specific instructions for each examination will be given in advance. There will be no supplemental exam. OFFICE HOURS Thursdays from 15:30 to 17:00 - Office: MacKinnon Building #125-G On appointment only: Tuesdays (before or after class) and Friday afternoons. If I am not in my office, you will most probably find me at the Slide Library. Telephone: 822-9600 extension # 2733 E-mail address: clacroix@bishops.ca SELECTED BIBLIOGRAPHY ARNASON, N.H., History of Modern Art, New York: Harry N. Abrams, [ 1986. (Reference section: SB 933.3 595 1991) MODERN ART (General) BRETELL, Richard R., Modem Art 1851-1929. Capitalism and Representation, Oxford: Oxford University Press 1999.
BRITT, David [ed.] Modern Art. Impressionism to Post-Modernism, London: Thames & Hudson, [1974]1989. (On reserve: N6447 M64 1989) BURGER, Peter, Theory of the Avant-Garde, Minnesota: University of Minnesota Press, 1984. (On reserve: BH3OI A94 B8313 1984) CHIPP, Hershel B., Theories of Modern Art, Berkeley/Los Angeles/London: University of California Press 1968. (N6450 C62) GREENBERG, Clement, 0 and Kitsch (1939), Art and Culture. Critical Essays, Boston: Beacon Press, 1961, pp. 3-21. (NX454. G73 1984) HARRISON, Charles, and Paul WOOD [eds], Art in Theory 1900-1990. An Anthology of Changing Ideas. (On reserve: N6490 A774 1993) POGG IOU, Renato, The Theory of the Avant-Garde, Cambridge, Mass.: Harvard University Press, 1968. (NX456 P613) Fauvism and Expressionism DENVIR, Bernard, Fauvism and Expressionism, London: Thames and Hudson, 1975. (On reserve: N6494. F3D46) GORDON, Donald E. Expressionism: Art and Idea, New Haven: Yale University Press, 1987. HERBERT, James D., Fauve Painting: The Making of Cultural Politics, New Haven: Yale University Press, 1992. WASHTON LONG, Rose-Carol [ed.], German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, Boston: G.K. Hall & Co., 1993. Cubism COOPER, Douglas, The Cubist Epoch, New York: Phaidon, 1971 (N6494 C8C6 1971b Cham C) FRY, Edward, Cubism, New York: McGraw-Hill, 1966. (ND1265. Fl 1966b) GOLDING, John, Cubism, New York: Faber and Faber, 1968. (On reserve: ND 1265 G6 1968) ROSENBWM, Robert, Cubism and Twentieth-Century Art, New York: N. H. Abrams, 1961. (ND196 C8 R63 1976) RUBIN, William, Picasso and Braque: Pioneering Cubism, New York: The Museum of Modem Art, 1989. Manifestos and Evenings APPOLINIO, Umbro, Futurist Manifestos, London: Thames & Hudson, 1973. ERICKSON, John, Dada: Performance, Poetry, and Art, Boston: Twayne, 1984. GOLDBERG, RoseLee, Performance Art: From Futurism to the Present, London, Thames and Hudson, 1988. (On reserve: NX 4565 P38 G66 1988) GORDON, Mel [ed.] Dada Performance, New York: PAJ Publishers, c. 1987 (P11258 D3 1987) MELZER, Annabelle, Latest Rage the Big Drum: Dada and Surrealist Performance, Ann Arbor, Michigan: U.M.I. Research Press, 1980. (PN2189. M37) TAYLOR, Christiana, Futurism: Politics, Painting and Performance, Ann Arbor, Michigan: U.M.I.Research Press, 1979. (NX600. F8 T35)
Abstract Art GRAY, Camilla, The Russian Experiment in Art: 1903-1922, London: Thames and Hudson, 1986 (On reserve: N 6987 G7 1986) MOSZYNSKA, Anna, Abstract Art, London: Thames & Hudson, 1990. The Spiritual in Art: Abstract Painting 1880-1985 (exhibition catalogue], New York: Los Angeles County Museum, 1986. Collage and pasted papers HOFFMAN, Katherine [ed.], Collage. Critical Views, London I Ann Arbor: U.M.I. Research Press, 1989. (On reserve: N6494 C6 C65 1989) PLOTTEL, Jeanine Parisier [ed.], Collage, New York: New York Literary Forum, 1983. POGGI, Christine, In Defiance of Painting: Cubism, Futurism and the Invention of Collage, New Haven and London: Yale University Press, 1992. WESCHER, Herta, Collage, New York: Harry N. Abrams, 1976. (N6494. CS W413) WOLFRAM, Eddie, History of collage. An anthology of collage, assemblage and event structures, London: Studio Vista, 1975. Rethinking Sculpture KUENZU, Rudolf, and Francis M. NAUMANN, Marcel Duchamp, Artist of the Century, Cambridge: M.I.T. Press, 1989. OKUN, Henry, The Surrealist Object Ann Arbor, Mich: U.MJ. Research Press, 1988. SEITZ, William, The Art of Assemblage, New York: The Museum of Modem Art, 1961. WALDMAN, Diane, Collage, Assemblage, and the found object, New York: Harry N. Abrams, 1992. * See also relevant chapters in Poggi, Rubin, Wolfram, in particular (Cited above) Photomontage ADES, Dawn, Photomontage, New York: Thames and Hudson, 1986 (On res. TR 685 A26 1986) BERGER, John, The Political Uses of Photomontages. Harmondsworth: Penguin, 1972. EVANS, David, Sylvia GOHL, Photomontage: a political weapon, London: Gordon Fraser, 1986 TEITELBAUM, Matthew [ed.], Montage and modem life: 1919-1942, Cambridge, Mass. and London: The M.I.T. Press I The Institute of Contemporary Art, Boston, Mass., 1992. Surrealism ADES, Dawn, Dada and Surrealism Reviewed, London: Hayward Art Gallery, 1974. (NX 600 03 A33) BRETON, André, Manifestos of Surrealism, Ann Arbor, Michigan: U.M.I. Research Press, 1969. (NX 600 S9 B741 3)
LEWIS, Helena, The Politics of Surrealism, New York: Paragon, 1988. (NX549. Al L48 1988) LOMAS, David, The Haunted Self Surrealism, psychoanalysis subjectivity, New Haven and London: Yale University press, 2000 (N72. P74 L66 2000) RUBIN, William. Dada, Surrealism, and their Heritage, New York: Museum of Modem Art, 1968. (On reserve: N6494 R77) SHORT, Robert Stuart, The Political History of the Surrealist Movement in France: 1918-1940, Brighton, University of Sussex Library, 1965. Utopia, Design and Architecture BARRON, Stephanie, and Maurice TUCHMAN [eds.], The Avant-Garde in Russia, 1910-1930: New Perspectives, Cambridge, Mass.: The Los Angeles County Museum of Art / M.I.T. Press, 1980. (NX556 Al 1993) BAYER, Herbert and GROPIUS, Walter & Isa [eds.], Bauhaus 1919-1928, New York: The Museum of Modem Art, 1938. (N332 G33 B435 1972) BOWLT, John [ed.] Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, New York: The Viking Press, 1976. COOKE, Catherine (ed.), Russian Avant-Garde: Art and Architecture, London: Architectural Design and Academy, 1983. FRIEDMAN, Mildred [ed.], De Stjl: 1917-1931: Visions of Utopia, N.Y.: Abbeville Press, 1982. GREENBERG, Allan C., Artists and Revolution: Dada and the Bauhaus 1917-1925, Ann Arbor, Michigan: U.M.I. Research Press, 1979. (N6868 G63) LODDER, Christina, Russian Constructivism, New Haven: Yale University Press, 1983. (On reserve: N6988.5) MARGOLIN, Victor, The Struggle for Utopia: Rodchenko, Lissltzky, Moholy-Nagy, 1917-1946, Chicago: The University of Chicago Press, 1997. The 1920s: The Age of the Metropolis [exhibition catalogue], Montreal: Montreal Museum of Fine Arts, 1991. TROY, Nancy J., The De Stijl Environment, Cambridge, Mass.: M.I.T. Press, 1983. (On reserve: N 6948.5 S8 Ti 1983) WINGLER, Hans M., The Bauhaus: Weimar, Dessau, Berlin, Chicago, Cambridge, Mass.: M.I.T. Press, [1969] 1978 (On reserve: N332. B38 W513 1983) WHITFORD, Frank, Bauhaus, London: Thames and Hudson, 1984 (N6868.5 B2 W5)