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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 278"
COURSE NAME: "Twentieth Century Art"
SEMESTER & YEAR: Spring 2016
SYLLABUS

INSTRUCTOR: Yvonne Dohna
EMAIL: [email protected]
HOURS: MW 11:30 AM 12:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:

COURSE DESCRIPTION:
Twentieth century art consists of well-known Modernist and Postmodernist styles and movements such as Cubism, Futurism, Abstract Expressionism, Pop Art, installations and earthworks, to name a few. It also encompasses lesser-known movements such as the American urban realists, the Regionalists, Soviet Socialist Realism. But what does Modernism mean and how does it relate to the century’s dramatic modernization of daily life, social organization, commercial development, political and cultural nationalism, and two World Wars? Through an analysis of the art, artists, and critical discourses in question, the course will consider the fundamental questions: what is art’s relationship to the larger culture? What is the artist’s role in society? What do aesthetic concerns have to do with life? While these questions are always pertinent, they demand particular attention in the century largely defined by the ideology of art’s autonomy, pure creativity, and individual expression. Extensive visual analysis will be accompanied by attention to the critical discourses with which the aesthetics were defined, giving students the chance to develop an understanding of key 20th century styles but also to learn how these styles communicated historically.
SUMMARY OF COURSE CONTENT:
Starting with the roots of modern art in past centuries, we discuss the expressive language in art from Van Gogh and Nolde to Abstract Expressionism. Then: Cubism (Cezanne, Picasso, Braque, Apollinaire, Kahnweiler, cubist influences). Friedrich, Gauguin, Kandinsky and Worringer and the desire to transcend the material world, which can be seen as leading to abstraction (Mondrian, Newman, Rothko.) Post- WW I realist tendencies (Neue Sachlichkeit etc.) and the New Realism, 1960’s Pop Art with Warhol.  Dada, “anti-art” (Hausmann, Schwitters, Duchamp), the problem of sculpture, collage, objects, and installations from Picasso to Schwitters, Duchamp and Beuys. Surrealism from Goya, Blake, Fuessli and other Symbolists to Dali and Apollinaire, André Masson, Breton, Bataille, Nietzsche, Weininger, Schopenhauer, Sigmund Freud, and subsequent figures such as Francis Bacon. 
LEARNING OUTCOMES:
Students should be able to "read" a work through a knowledge of its author's intentions and the aesthetic and intellectual climate in which it was originally produced and received, and should acquire an understanding of the range of open questions surrounding twentieth-century works. Students gain familiarity with a range of theoretical and methodological strategies for the study of 20th century art; they should to be able to discuss art in a historical context and to analyze readings critically.
 
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Modernity and ModernismFrascina, Blake, Harrison, and GarbYale University and Open University 9 788871 053141     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Class participationArrive 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. 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. 10%
Mid Term Exam 25%
Research paper (10-15 pages) Students will be asked in a final paper to make a comparative analysis of the contrasting vision of modernity of two separate works of art, using visual and conceptual arguments, and making use of the appropriate documents and critical literature. The purpose of writing the research paper is to communicate clearly what you have learned through your research. According to school policy you cannot present the same paper for two (or more) different courses, on pain of failure. The length of the paper should be between ten (minimum) and fifteen pages, character size 12. Papers must be typed, carefully written with correct documentation of sources in proper footnotes. Handwritten papers are not accepted. Late papers may not be accepted. Plagiarism results in an "F". All papers must include a pertinent bibliography, and any websites utilized must be cited as references. The selected topic must be presented to the teacher beforehand, and papers must be handed in on time. A nearly endless number of notable authors for methods in art history are available. 1) Examine the different opinions of at least two authors for the work of art, making several pages of notes: observations, analyses and questions. The authors whose analyses you choose to discuss must obviously have written in a concentrated and authoritative way on the work, not just cited it in passing. 2) Do basic research on the chosen artists and authors using the textbook and basic art historical literature available in the library. You should become familiar with the subject matter and the fundamental aspects of the iconography, patronage and purpose of your chosen works, and with the major issues addressed by scholars concerning stylistic influences, models, or precedents. 3) Write a concise, carefully organized, edited and proofread paper of 10 to 15 pages. This should be an informed visual analysis of the works, taking into account the issues listed in (2). 4) Include your pages of initial research notes with your more formal paper for submission. 5) For this project, research in John Cabot's library is only a beginning. Internet may provide some help, but is extremely limited for this sort of in-depth study. ("Wikipedia" is NOT a scholarly source!) You will need to visit the public art history library in Rome – nearby, in Palazzo Venezia – at least two or three times to accomplish meaningful research. You have at your disposal access to an essential bibliographical website to which the library here has subscribed, the "Bibliography of the History of Art" (BHA), which is the cornerstone of your investigation. Planning ahead is crucial for an effective final result, since research and thought take time. You are expected to work throughout the semester on this project, not begin the week before class ends. It is not too soon right now to start thinking about your topic! 6) It is never too soon in the semester to select your topic and start research and planning. You will need plenty of time for research, locating essential books and articles not available at school, slide selection or image search, and fine-crafting your project. I will meet with each of you at least once individually to help you define, plan and research the topic. 7) Guidelines for the assignment will be provided, and a list of suggested authors. 20%
Oral presentationSelect one work of art which you will present to the class, along with an annotated bibliography. The presentation topic must be related to that of your paper. The presentation will be followed by a discussion. Please do not read your paper, but speak from notes. Be sure to choose a topic that you find interesting and will enjoy working on! (You will receive a list of suggested topics, but you may also create your own.) Your presentation should not simply be a report on information gleaned from general reading and class, but should include the results of your investigation of the state of scholarship on the topic. You are expected to be familiar with several different viewpoints of a variety of scholars writing on the specific subject in specialized literature. The final presentation should be a well-considered summary of the books and articles on the topic, a critical discussion of divergences of opinions and conflicting theories, and an argument of your own giving a balanced assessment of the issues. 20%
Final Exam 25%

-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 f
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:
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until
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

1. Introduction to the subject: What is Modern Art? Difference Modernity and Modernism.

A general orientation. A discussion about modern art. Problems in defining and understanding modern art. Advice on how to approach your research papers.



2. The problem of realism

Realism, Corot, Courbet and Manet

Courbet’s Realism, and the “autonomy of art” (Manet and Mallarmé).  

Required Reading: E.H. Gombrich, The Story of Art, Phaidon Press Limited 1995,  p. 511-512 (Courbet) , p. 512-517 (Manet) 

A. Bowness, Modern European Art, London 2003, p. 9-21 (Manet and Courbet)



2. The Problem of visibility

Impressionism

The Impressionist period brings about new formal problems and strategies, and issues involving societal changes, the birth of photography, and the relationship of the Academy with a new avant-garde. Seurat and Rood’s scientific approach to color, divisionism and symbolism.

Required Reading: Rewald J., History of the Impressionism, New York, 1946. Bowness A. , Modern European Art, London, 2003, Herschel Chipp, Theories of Modern Art, A Source Book   (Cezanne p. 16ff) , Charles Harrison and Paul Wood, Primitivism, Cubism, Abstraction.

 

3. The problem of space

Cezanne

The new vision of the “object”. Examination of the original writings of these artists.

Required readings: H.B. Chipp, Theories of Modern Art. A Source Book by Artists and Critics, University of California Press 1996 (Cezanne p.16)

 

4. The problem of color

Van Gogh and romantic thought.

Required Reading: R. Rosenblum, Modern Painting and the Northern Romantic Tradition  (Van Gogh p. 67ff), Herschel Chipp, Theories of Modern Art, A Source Book   (Van Gogh p. 29ff). E. Gombrich, The Story of Art, 

 

Review for Mid Term



Mid Term

 

5. The problem of symbolism

Gauguin and the new Symbolism

Required Reading: R. Rosenblum, Modern Painting and the Northern Romantic Tradition,    Art in Theory, 1900-1990. An Anthology of Changing Ideas.   Charles Harrison and Paul Wood ed., M. Roskill, Van Gogh, Gauguin and the Impressionist Circle



6. The problem of expression

The expression in art from Munch to Nolde

The “post-impressionist” Van Gogh is leading to the Expressionism.  

Required Reading:

 

7. The problem of tradition

The Fauvism with Matisse

Gauguin, Fontainas and the poetry of  Bernard, Aurier,  Strindberg and Schopenhauer. 

Required Reading: E. Gombrich, The Story of Art,  Herschel Chipp, Theories of Modern Art, A Source Book  (Symbolism p. 87ff, Gauguin p. 58ff)

 

8. The problem of form

Picasso, Braque and Gris . Cubism and its vast influences.

Picasso’s role in the evolution of Cubism. Analytic and Synthetic Cubism. theories of Cubism. Collage.  Apollinaire, Barr, Bergson, Breton, Greenberg. Picasso, Braque, Juan Gris, Delaunay

Required readings: J. Golding, Cubism, A History and an Analysis, 1907-1914, New York 1959; R. Rosenblum, The Cubism and 20thcentury art, New York, 1976; H.B. Chipp, Theories of Modern Art. A Source Book by Artists and Critics, University of California Press 1996 (Cezanne p.16, Braque p.259, Picasso p.263, Delaunay p.318)

 

9. The problem of  abstraction 

Kandinsky, Mondrian, Malevijc

Making visible, what is not visible. Artists’ writings. “Blauer Reiter.”  Purist and transcendental impulses. 

Required readings: R. Rosenblum, Modern painting and the northern romantic tradition: Friedrich to Rothko, New York 1975; H.B. Chipp, Theories of Modern Art. A Source Book by Artists and Critics, University of California Press 1996 (Kandinsky p.346) - Art in Theory 1900-1990, by Harrison and Wood ed.  Blackwell. Theories and documents of contemporary art. A sourcebook of artists writings, University of California Press, London 1996, H.B. Chipp, Theories of Modern Art. A Source Book by Artists and Critics, University of California Press 1996 (Malevich p. 337)

 



10. The problem of presence

Metaphysic: De Chirico

 

11. The problem of inner reality

Surrealism, Dada: Dali, Duchamp

Sigmund Freud and Surrealism. Magritte and an “inner” reality. Breton and his manifesto.

Required readings: H.B. Chipp, Theories of Modern Art. A Source Book by Artists and Critics, University of California Press, Berkeley 1996 (Chagall p.440, Max Ernst p.428, Dali p.417, Miro  p.432)

 

Review for the Final Exam

 

Galleria D`Arte Moderna

 

Final Exam