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 of instruction: English U.S. Semester Credits: 3 Contact Hours: 45 Term: Summer 2018 Instructor: 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 1
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. Assessment and Final Grade Class participation 20% Midterm exam 15% Weekly assignments 20% Final paper 25% Final exam 20% Course requirement Class participation Students are expected to participate actively in class discussions with precise references to the works studied and the readings provided. 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 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 2
course content. Class Attendance Regular class attendance is required throughout the program. Students must notify their instructor via Canvas, beforehand, if possible, if they will miss class for any reason. Students are responsible for any materials covered in class in their absence. Students who miss class for medical reasons must inform the instructor and the Academic Director (or a designated staff member) and provide appropriate documentation as noted below. A make-up opportunity will be provided to the extent this is feasible. Due to the intensive nature of the block schedule, all unexcused absences will result in a lower final grade for the course. Each unexcused absence will cause 3 percentage points to be dropped from the final grade. For example, a student with an 88% final grade (B+) and 1 unexcused absence will see it reduced to 85% (B). Students who transfer from one 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. CIEE program minimum class attendance standards are as outlined below. Center-specific attendance policies may be more stringent than the policies stated below. The Center / Resident Director sets the specific attendance policy for each location, including how absences impact final grades. Such policies are communicated to students during orientation and via Study Center documents. In the event that the attendance policy for host institution courses differs from CIEE s policy, the more stringent policy will apply. Excessively tardy (over 15 minutes late) students will be marked absent. Students who miss class for personal travel will be marked as absent and unexcused. No make-up opportunity will be provided. An absence will only be considered excused if: A doctor s note is provided. A CIEE staff member verifies that the student was too ill to attend class. Evidence is provided of a family emergency. Attendance policies also apply to any required co-curricular class excursion or event. Persistent absenteeism (students approaching 20% or more of total course hours missed, or violations of the attendance policies in more than one class) may lead to a written warning from the Academic Director or Resident Director, notification to the student s home school, and/or dismissal from the program in addition to reduction in class grade(s). Weekly Schedule NOTE: Following is the course schedule subject to change. 3
Week 1 Introduction to the course; Titian, Bosch and El Greco 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 also offered. Visit to El Prado Museum: Bosch, Van der Weyden, Titian and El Greco Assignment : Short analysis I Readings: Moxey, Keith. Making Genius. The Practice of Theory. Ithaca & London: Cornell University Press, 1994. (pp. 111-147). Marías, Fernando. El Greco. Life and Work- A new history. London: Thames & Hudson, 2013. Print. (pp.167-216) Week 2 Lights and shadows in Spanish paintings This week students will approach to the works of one Spain s major artist painters: Velazquez and Goya, as well as their contemporaries Zurbarán, Maino, Ribera and Murillo. Visit to the Prado Museum: the works of Velazquez, Murillo, Ribera and Goya. Assignment : Short analysis II Readings: Carroll, M., "The Erotics of Absolutism". Representations. nº 25, Winter 1989, pp.3-30 Kasl, R.: Sacred Spain. Yale University Press. 2009 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, 1986. Print. (pp. 243-64) Midterm exam Week 3 The Nineteen Century in Spain: towards modernity This week students will approach to the works of Goya, the revolutionary artists who changed the way painting was conceived in Spain. They will also have the opportunity to learn about different approaches to art among Spanish artists: 4
from paintings based on Historical events to portraiture not to mention the impressionist style of Joaquin Sorolla. Visit to the Prado Museum & Sorolla Museum Assignment: Short analysis III Readings : Tomlinson, Janis, From El Greco to Goya. Painting in Spain 1561-1828. New York: Harry N.Abrams, 1997. Print. ISBN 0-8109-2740-3. (pp. 119-137). Tomlinson, Janis. Francisco Goya y Lucientes, New York: Phaidon Press, 1994. (pp. 45-54). 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. 2005. (pp.64-81) Week 4 Twentieth Century. The final week of the course will review 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. Visit to the Reina Sofía Museum. Assignment : Submission of final paper and short analysis IV Final exam. Reading : Steinberg, L., The Philosophical Brothel. October, Vol. 44 (Spring, 1988), pp. 7-74 (JSTOR). Bibliography Ames-Lewis, Francis. The Intellectual Life of the Early Renaissance Artist. New Haven & London: Yale University Press, 2000. Alpers, Svetlana. The decoration of the Torre de la Parada. London & New York: Phaidon Press, 1971.. The Making of Rubens, New Haven & London: Yale University Press, 1995.. The Vexations of Art. Velazquez and Others. New Haven & London: Yale University Press, 2005. 5
Alpers, S. & Baxandall. M. Tiepolo and Pictorial Intelligence. New Haven & London: Yale University Press, 1994. Berger, J., Ways of Seeing, London, Penguin Books, 1972. Bray, Xavier (Ed.). The Sacred Made Real. London, National Gallery, 2009. 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, 1978.. Velázquez: Painter and Courtier. New Haven & London: Yale University Press, 1986. Eisenman, Sthephen F. (ed.). Nineteenth Century Art. A Critical History. London: Thames & Hudson, 2002. Foster, H. et al, Art Since 1900, London, Thames and Hudson, 2004. Harrison, C. et al (eds.). Art in Theory 1648-1815. Oxford: Oxford University Press. 2000. Harris, Enriqueta. Velázquez. Ithaca: Cornell University Press, 1982., Goya. London: Phaidon Books, 2003. Krauss, R., Passages in Modern Sculpture, Cambridge (Mass.) & London, 1981., The Optical Unconsciouss, Cambridge (Mass.) & London, 1993. Larson, Susan & Woods, Eva. Visualizing Spanish Modernity. Berg PUBLISHERS. 2005. Marías, Fernando. El Greco. Life and Work- A new history. London: Thames & Hudson, 2013. Moxey, Keith. The Practice of Theory. Ithaca & London: Cornell University Press, 1994. Penrose, R., Miró, London, 1971., Picasso, Barcelona, 1981. Schulz, Andrew. Goya s Caprichos. Aesthetics, Perception and the Body. Cambridge : Cambridge University Press, 2005. Stoichita, Victor. Visionary Experience in the Golden Age of Spanish Painting. London: Reaktion, 1996. & Coderch, Ana Mª. Goya the Last Carnival. London: Reaktion, 1999. Stratton-Pruit, Suzanne (ed.). The Cambridge Companion to Velázquez. Cambridge & New York: Cambridge University Press, 2002.. V elazquez s Las Meninas. Cambridge & New York: Cambridge University Press, 2003. Sullivan, Edward. Baroque Painting in Madrid: The Contribution of Claudio Coello. Columbia: 1986. The Oxford Guide to Classical Mythology in the Arts 1300-1990, New York & Oxford: Oxford University Press, 1993. Tomlinson, Janis. Goya in the Twilight of Enlightenment, New Haven and London: Yale University Press, 1992.. Francisco Goya y Lucientes 1746-1828. London: Phaidon Press, 1994. 6