JOHN CABOT UNIVERSITY COURSE CODE: "AH 251" COURSE NAME: "Nineteenth Century Art and Architecture" SEMESTER & YEAR: Fall 2014

SYLLABUS INSTRUCTOR: Karen Georgi EMAIL: [email protected] HOURS: TTH 1:30 PM 2:45 PM TOTAL NO. OF CONTACT HOURS: 45 CREDITS: 3 PREREQUISITES: OFFICE HOURS: Tuesdays, 3-4pm

COURSE DESCRIPTION: In the 19th century the rise of nationhood and development of modern industrial society brought fundamental changes to art patronage and audiences, encouraged different roles for artists, and altered habits of vision and aesthetic discourses. The modern art museum and the discipline of art history were also born in this century, institutionalizing modes for categorizing, historicizing, and even seeing artwork. By the end of the century, many of the ideas we currently associate with ­Art had settled into place as seemingly natural definitions. The course will introduce many of the canonical “isms” of Western European and U.S. art, seeking to situate the production and reception of such work with the historical conditions of the new institutional matrix.

SUMMARY OF COURSE CONTENT: Beginning with French academic neoclassicism and ending with post-Impressionism, the course will focus on Western European and U.S. art, concentrating on the major artists and critical definitions of the century’s key movements including Romanticism, Realism, and Impressionism. It will also include the century's major architectural interventions, highlighting the development of museum architecture. The course will also study the changing modes of perception and practices of vision that accompanied the experience of modern urban life and that were also institutionalized in new public venues such as world fairs, department stores, and art museums.

LEARNING OUTCOMES: Students who conscientiously apply themselves will become conversant in key 19th century American and European movements and artists and the critical discourses with which they were elaborated and defined. They will also develop skills for visually analyzing and recognizing forms and competently assessing stylistic differences with an understanding of how such styles communicated historically. They will begin to grasp the complex role of art in society and the ideological bases for 19th century notions of art that are still with us today.

TEXTBOOK: Book Title Author Publisher ISBN number Library Call Number Comments Format Local Bookstore Online Purchase Nineteenth-century Art: A Critical History Eisenman, Stephen Thames & Hudson xxxx

REQUIRED RESERVED READING: Book Title Author Publisher ISBN number Library Call Number Comments Realism Nochlin, Linda Penguin xxxx     Romanticism Honour, Hugh Penguin xxxx     Image of the People: Courbet and the 1848 Revolution Clark, T.J. Thames & Hudson xxxx     The Painting of Modern Life: Paris in the Art of Manet and his Followers Clark, T.J. Princeton xxxx     Neoclassism and Romanticism, 1750-1850 :Anthology of Sources and Documents Eitner, Lorenz Harper & Row xxxx     American Encounters: Art, History, and Cultural identity Miller, Angela, et. al Pearson Prentice Hall xxxx     The Art of Art History: A Critical Anthology Preziosi, Donald, ed. Oxford xxxx     Nineteenth-century European Art ten-Doesschate Chu, Petra Prentice Hall xxx     RECOMMENDED RESERVED READING: NONE

GRADING POLICY -ASSESSMENT METHODS: Assignment Guidelines Weight midterm exam   25 final exam   30 term paper   25 presentation/short papers   20 -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 cou 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 mandatory

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.

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.

SCHEDULE

Course schedule will be distributed in class. Below are the topics that will be covered  Academic Neoclassicism and the antique Enlightenment critiques: Jacques-Louis David France and Francisco Goya in Spain Neoclassicism in the US: architecture and democratic national identity Romance of tradition: American ex-patriot sculptors in Italy Romanticism in France and the challenge to the hierarchy of the genres, revolutions--symbolic and actual Romantic landscape painting in England: place and identity, nature and sensibility American landscape painting, 1830-1860: national identity and transcendental visions Realism and "reality": social critique in France The "Macchiaoli" in Italy Photography and new technologies of vision World's fairs: Modern vision and the commodity Urban spectacle and industry: Architecture Urban spectacle and the avant-garde: Manet and the Impressionists The develpment of the art museum and its architecture: The Architecture of Display French Post-Impressionism Symbolism