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JOHN CABOT UNIVERSITY
COURSE CODE: "AH 380"
COURSE NAME: "Selected Topics in Art History: Picasso"
SEMESTER & YEAR:
Spring 2014
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SYLLABUS
INSTRUCTOR:
Yvonne Dohna
EMAIL: [email protected]
HOURS:
MW 10:00 AM 11:15 AM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
Prerequisite: One course in Art History
OFFICE HOURS:
M/W 9.00
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COURSE DESCRIPTION:
This course is an in depth study of works, artistic thinking and life experiences of Pablo Picasso. In particular the course will probe the relation between the philosophy of Existentialism, and its concepts of salvation in the work of Spanish master. The course will analyze, through an iconographic and semiotic methodology, the correlations and similarities of Picasso’s life work with the existential thinking, not understood as a not a unique specific concept, but rather as a philosophy stemming from various different approaches with a special emphasis on the writings of Soeren Kierkegaard, Friedrich Nietzsche, Jean Paul Sartre, Simone de Beauvoir and Albert Camus, which played such a large role in influencing Picasso’s art. In the pursuit of this quest we shall examine Picasso’s approach to the unchanging truths of existence, but also to topics related to spiritual and human salvation, including healing and hope and their iconographic and aesthetic formulations. Methodologically, the course will not be limited to art historical critiques, but will try instead to outline the meaning of Picasso’s art by analyzing a variety of writings, related to his work, authored by poets, critics and philosophers.
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SUMMARY OF COURSE CONTENT:
The course will provide an overview of the development of the oeuvre of Picasso, but is concentrated on an in-depth analysis of several works of art in the context of the philosophers of French Existentialism, across a broad, multifaceted context. Starting with a methodological discourse on how to “read” and “perceive” the spiritual dimension in a work of art, based on the study the main concepts like “emptiness and loneliness”, “being strange”, “disgust” and the “absurdity” and “senselessness of being” etc. characterizing the different writings of the philosophers of the French Existentialism. Starting with his early work, we will then move on to a critical review of his Blue and Rose periods, concentrating on the suffering of the human being, ending with an in depth analysis of cubism and the fourth dimension. For this critical period, we will concentrate on Guernica and on his late works. Chronologically a special emphasis will be placed on the period spanning between 1925 and 1950, in which the artist was exposed to a direct influence of Camus, Jean Paul Sartre e Simone de Beauvoir. The last part of the course is dedicated to the concepts of salvation like “ritual”, “cult” and “magic” in Picasso’s oeuvre in which the artist develops his personal iconography of salvation.
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LEARNING OUTCOMES:
By focusing on the life work of Pablo Picasso, students will gain an understanding of how a work of art can be analyzed, on both a practical and theoretical level. They will gain a good working familiarity with the standard terminology and techniques of the analysis of art, a broad understanding of different sorts of historical interpretations, and a capacity to analyze these strategies critically. They thus also acquire the appropriate tools with which to approach new and unfamiliar works. Presentations in class and personal written essays should give the students the chance to defend one aspect of interpretation in art. Thorough analyses and discussions will put emphasis on the formation of conceptual thinking and help the students to find critical access to the theories of art history. They should have learned to do research and answer questions with the help of specific bibliography.
Upon completion of this course, students will be able to:
1. successfully identify visual design relationships; recognize and then develop ideas and concepts into associative concepts by using associative relationships, concepts of visual design, and visual metaphor; engage in class room discussions; and produce oral presentations and papers.
2. achieve an understanding of specific artistic terms and theories.
3. apply terms/theories as they relate to specific works of art.
4. clearly apply the terms, theories, symbols, styles and techniques to interpretive ideas expressed through the principles and elements of design and cite their intended application in the context of intention by the artist/culture.
5. recognize essential expressive characteristics of painting styles, of painting and sculptural technique, and of changes in the application of plastic form and their relationships and influences on particular art historical traditions.
6. successfully identify, comprehend, assess and discuss aesthetic relationships in a painting or object; recognize, develop and integrate concepts and information; and demonstrate skill in synthesizing and articulating stimuli and ideas into associative concepts.
7. show a greater understanding of the elements and principles of design as they relate to other artistic disciplines.
8. utilize alternative criteria for assessing the quality of a given art object .
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TEXTBOOK:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments | Format | Local Bookstore | Online Purchase |
| A Life of Picasso, vol I (1881 - 1906), New York, 1991 | John Richardson | Random House, | 0-394-55918-5 | | | | | |
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REQUIRED RESERVED READING:
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
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| Class participation and homework: 30% Mid Term Exam: 25% Research paper (10-15 pages) 20% Final Exam: 25% | Midterm Examination – 25%
I. Knowledge Questions
II. An essay question which will propose a theme concerning works and issues discussed during the semester; this will also be a test of your command of the readings.
Final Examinations – 25%
The Final examination will follow the same format as the Midterm.
NB. Final examination will take place from .... to ...
Writing Assignment, Paper – 20%, due TWO weeks before the end of the semester
Each student is required to write an 8-10 page paper on a topic pertinent to the course, to be handed in ….. These should be typed, double-spaced, and include footnotes or endnotes, a bibliography, and neatly identified illustrations. You are encouraged to discuss your essay with the professor in the course of preparation. In addition, students will make short presentations to the class on the subject of their paper topic. All topics of papers/presentations must be approved by lecturer. These may address cultural, political, art historical, philosophical or scientific issues relevant to Picasso. Browsing through the Selected Bibliography handout will suggest possible topics.
Class participation and homework – 30%
Arrive in class having read the assigned texts, and be prepared to answer questions put by the instructor and to contribute to a lively discussion for the benefit of the whole group.
All students are expected to participate fully, therefore thorough reading of the texts is essential. Every student should prepare a set of questions and observations for each discussion. All texts are from course textbooks or on reserve in the Library
Correct classroom etiquette means arriving punctually in order not to disturb others or require time-wasting repetition of assignments and announcements, turning off cell phones and iPods, not eating or drinking during class, not taking brief absences from class, not chatting during lectures.
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-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
Attendance is required
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ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic
dishonesty will receive a failing grade on the work in which the dishonesty occurred.
In addition, acts of academic dishonesty, irrespective of the weight of the assignment,
may result in the student receiving a failing grade in the course. Instances of
academic dishonesty will be reported to the Dean of Academic Affairs. A student
who is reported twice for academic dishonesty is subject to summary dismissal from
the University. In such a case, the Academic Council will then make a recommendation
to the President, who will make the final decision.
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STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap.
Students with approved accommodations must inform their professors at the beginning
of the term. Please see the website for the complete policy.
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SCHEDULE
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13.1. – Review of Syllabus and Introduction
Reading: JOHN RICHARDSON, A Life of Picasso, vol I (1881 - 1906)
15.1. – Methodological discourse
20.1. – Period of the Existentialism in Barcelona
Reading: PATRICIA LEIGHTON, Re-ordering the universe. Picasso and Anarchism, 1897-1914, Princeton, New-Jersey 1989.
22.1. – Thinkers of the philosophy of existential (Soeren Kierkegaard, Friedrich Nietzsche, Albert Camus, Jean Paul Sartre, Simone de Beauvoir)
Readings: Dictionary of Philosophy, JOHN RICHARDSON, A Life of Picasso, vol I, 1881-1906,
pp.13-107, 109-157; MARILYN MCCULLY, A Picasso Anthology: Documents, Criticism,
Reminiscences, pp. 18-32. ELS QUATRE GATS. Art in Barcelona around 1900.
27.1. – The Early Years
Reading: MIRIAM R. LEVIN, When the Eiffel Tower Was New, ROGER SHATTUCK, The Banquet
Years
29.1. – Death
Reading: PATRICIA LEIGHTON, Re-ordering the universe. Picasso and Anarchism, 1897-1914, Princeton, New-Jersey 1989.
3.2. – Blue and Rose period La Vie
Reading: TIM HILTON, Picasso, London 1975, pp. 9-60; MARY MATHEWS GEDO, "The archaeology
of a painting: a visit to the city of the dead beneath. Picasso's La Vie," Arts Magazine (November
1981) photocopy. MICHAEL LEJA, "'Le vieux marcheur' and 'Les deux risques': Picasso, prostitution,
venereal disease, and maternity, 1899-1907," Art History (March 1985) JEAN PAUL CRESPELLE, La
Vie quotidienne a Montmartre au temps de Picasso: 1900-1910
5.2. – Blue and Rose Period The Acrobat’s Family
Reading: TIM HILTON, Picasso, London 1975, pp. 9-60, MARY MATHEWS GEDO, "The archaeology
of a painting: a visit to the city of the dead beneath. Picasso's La Vie," Arts Magazine (November
1981) photocopy. MICHAEL LEJA, "'Le vieux marcheur' and 'Les deux risques': Picasso, prostitution,
venereal disease, and maternity, 1899-1907," Art History (March 1985) JEAN PAUL CRESPELLE, La
Vie quotidienne a Montmartre au temps de Picasso: 1900-1910
10.2. – Cubism Les Demoiselles
Reading: TIM HILTON, Picasso, London 1975, pp. 60-95; PATRICIA LEIGHTON, "The White Peril and
ŒL'Art Nègre': Picasso, Primitivism, and Anti-colonialism," The Art Bulletin (December 1990)
MCCULLY, "Magic and Illusion in the Saltimbanques of Picasso and Apollinaire," Art History
(December 1980), WILLIAM RUBIN, “Primitivism” in Twentieth-Century Art, The Museum of
Modern Art, New York 1984. WILLIAM RUBIN, Les Demoiselles d'Avignon, The Museum of
Modern Art, New York 1995, LEO STEINBERG, "The Philosophical Brothel"
12.2. – Cubism –Braque- Girl with Mandolin
Reading: LINDA DALRYMPLE HENDERSON, "X Rays and the Quest for Invisible Reality in the Art of Kupka, Duchamp, and the Cubists," Art Journal (Winter 1988) WILLIAM RUBIN, "Cézannisme and the Beginnings of Cubism”, from Cézanne: The Late Work, ROBERT CRANSHAW, "Cubism 1910-12: The Limits of Discourse," Art History, (December 1985) NATASHA STALLER, "Méliès' ŒFantastic" Cinema and the Origins of Cubism," Art History (June 1989)
17.2. – Loneliness and emptiness: Minotauromachie
Reading: photocopies
19.2. – 24.2. – Strange and foreign: The Kiss
Reading: photocopies
MID TERM 26.2.
3.3. – MEXICO Disgust and desire: Crucifixion Make-up class
Reading: DOHNA, article
5.3. – MEXICO Disgust and desire: Crucifixion Make-up class
Reading: DOHNA, article
10.3. – Despair: Crying Woman
Reading: photocopies
12.3. – Despair: Still life
Reading: photocopies
17.-21.3. – Spring Break
24.3. – Limits of existence: Woman in an Armchair
Reading: photocopies
26.3. – Limits of existence: Vollard Suite
Reading: HENRY KAHNWEILER, The sculptures of Picasso, London 1949
WERNER SPIES, Picasso Sculpture, 1972
31.3. – The being and the nothing: Bather
Reading: BARR, GOLDING, STEINBERG.
2.4. – The being and the nothing: The black mirror
Reading: ROLAND PENROSE, Picasso and the Surrealists, JOHN GOLDING, ‘Picasso and
Surrealism’ in Picasso 1881-1973,
4. 4. – Make-up day
7.4. – Absurdity: Guernica
Reading: photocopies
9.4. – Absurdity: Guernica
Reading: photocopies
14.4. – Later works
Reading: photocopies
16.4. – Salvation: Cult
Reading: ALBERT CAMUS and JEAN PAUL SARTRE, (writings, photocopies)
21.4. – Salvation: Ritual
Reading: LYDIA GASMAN, Mystery, Magic and Love in Picasso,1925-38, Picasso and the Surrealist Poets, Columbia University, 1981, pp. 906 ff
23.4. – Salvation: Magic
Reading: ALBERT CAMUS - LYDIA GASMAN, Mystery, Magic and Love in Picasso,1925-38, Picasso and the Surrealist Poets, Columbia University, 1981, pp. 906 ff
24.4. – last day: Preparation of the Exam
26.4-2-5 Exam
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