Syllabus


TWENTIETH CENTURY ART TO 1940

MODERN ART


  


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Course Goals:

·         To provide an overview of the major works of modern art made in the first half of the 20th century;

·         To place those works in the context of  major historical events and technological advances;

·         To investigate the formal aspects of those works;

·         To review various methods of defining (and questioning) the modern;

·      and to show just how THOUGHT PROVOKING, FUNNY, SCARY, and WILD modern art can be.

Course Texts & Website:

·         Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh’s Art Since 1900, volume 1 (available at the BU Bookstore)

·         Herschel B. Chipp’s Theories of Modern Art (available at the BU Bookstore)

·         Other readings and images are available on the course website : http://ah391.taraward.net

 


 

 

Week 1 - What is the Modern and why do we care?

 

Sept. 6

Welcome to the Modern:  Course Overview

 

Before the Modern:  Renaissance, Academies, and R(r)ealism

·         Courbet

·         Manet

 

Sept. 8

History, Technology , and Modern Art

·         Impressionism

 

 

Week 2 - Modernity and its Discontents

 

Sept. 13

The Modern Artist

·         Henri "Douanier" Rousseau 


Sept. 15

Van Gogh & Gauguin:  The Irrational, an Introduction

  • “1903,” (Foster et al 64-69)


  • Vincent Van Gogh, “Tropical Color” (Chipp 31); “My Brushstroke Has No System” (Chipp 32); “The Night Café” (Chipp 36-7); “The Bedroom” (Chipp 40-2)

  •  Paul Gauguin et al, “Whence Do We Come? What Are We? Where Are We Going?” (Chipp 69-77); “Primitivism” (Chipp 83-4); “Life of a Savage” (Chipp 84-6)

 

 

Week 3 – New Ways of Organizing the Modern World

 

Sept. 20

Seurat and Color Theory

Sept. 22

Where Does Passage Lead: Cézanne


  • Paul Cezanne, “The Cylinder, the Sphere, The Cone...” (Chipp 18-19); “The Old Masters” (Chipp 21); “Intensity of Nature” (Chipp 22)

 

 

Week 4 – Wild Beasts and Armchairs:  Fauvism, Art Nouveau, and the Avant-Garde

 

Sept. 27

Art Nouveau, Avant-Garde & Kitsch


Sept. 29

Fauvism and Matisse

 

  • “1900b, ”“1906,” and “1910” (Foster et al 57-63, 70-77, 100-105)

  • Henri Matisse, “Notes of a Painter” (Chipp 130-7); “Testimonial” (Chipp 141-3)

 

 

Week 5 – Cubism from Multiple Points of View

 

Oct. 4

Les Desmoiselles d’Avignon and other origins of Cubism to Analytic Cubism

 

  • “1907” (Foster et al 78-84)

  •   Daniel-Henry Kahnweiler, “The Rise of Cubism” (Chipp 248-59)

Oct. 6

Collage and Synthetic Cubism

Response Paper Due

 

  • “1911,” and “1912,” (Foster et al 106-117)

 

 

Week 6 – Cubism Outside the Box

 

Oct. 11

Orphism & Futurism

  • “1913” (Foster et al 118-124)

  •  Robert Delaunay, “Letter to August Macke” (Chipp 317-8); “Letter to Wassily Kandinsky” (Chipp 318-9); “Light” (Chipp 319-20)

  • Fernand Léger, “The Aesthetic of the Machine” (Chipp 277-9); “A New Realism--the Object” (Chipp 279-80)

  • F. T. Marinetti et al, “The Foundation and Manifesto of Futurism” (Chipp 284-9); “Futurist Painting:  Technical Manifesto” (Chipp 289-93)

  • “1909” (Foster et al 90-99)

Oct. 13

QUIZ


 

Week 7 – German Expressionism

 

Oct. 18

Die Brucke

 

  • Ernst Ludwig Kirchner, “Chronik der Brucke” (Chipp 174-8)

  • “1908” (Foster et al 85-89)

Oct. 20

Der Blaue Reiter

  •  Wassily Kandinsky, “The Effect of Color” (Chipp 152-5); “On the Problem of Form” (Chipp 155-70)

  • Franz Marc, “How Does a Horse See the World?” (Chipp 178-9); “Aphorisms” (Chipp 180-2)

 

 

Week 8 – Art and the War to End All Wars

 

Oct. 25

WWI & its Affects on the Arts

Paper Abstract Due

  • “1919” (Foster et al 160-167)

Oct. 27

Purism and Le Corbusier


  • “1925a” (Foster et 196-201)

 

 

Week 9 – The Bauhaus and De Stijl

 

Nov. 1

De Stijl and Mondrian

  • “1917” (Foster et al 148-153)

  • Piet Mondrian, “Natural Reality and Abstract Reality” (Chipp 321-3); “Plastic Art and Pure Plastic Art” (Chipp 349-62); “Statement” (Chipp 362-4)

  • Theo van Doesburg, “Introduction to Volume II of De Stijl” (Chipp 324-5)

Nov. 3

Bauhaus

  • “1923” (Foster et al 185-189)

 

 

Week 10 – Russia

 

Nov. 8

Suprematism

  • “1915” (Foster et al 130-134)

  • Kasimir Malevich, “Introduction to the Theory of the Additional Element in Painting” (Chipp 337-41); “Suprematism” (Chipp 341-9)

Nov. 10

Constructivism

  • “1914”  and “1921” (Foster et al 125 – 129, 174-179)

 

 

Week 11 – Dada

 

Nov. 16

Dada (NY, Zurich, Hannover & Berlin)

  • “1916a,” “1920” and “1926” (Foster et al 135-141, 168-173 and 208-211)

  • Tristan Tzara, “Lecture on Dada” (Chipp 385-9)

Nov. 18

Dada (Duchamp)




  • Review “1914,” “1918,” and “1935” (Foster et al 125-129, 154-159, and 271-275)

 

 

Week 12 –

 

Nov. 22

Movie Break:  Ballet MecaniqueEntr’acte and Chien Andulou

 

Nov. 24

NO CLASS

THANKSGIVING

 

 

Week 13 – Surrealism

 

Nov. 29

Autonomism

  • “1922,” and “Psychoanalysis in modernism and as method” (Foster et al 180-184, 15-21)

  • Andre Breton, “Surrealism and Painting” (Chipp 402-9); “What is Surrealism?” (Chipp 410-7)

Dec. 1

 

Found Objects

  • “1924,” “1927a,” and “1931” (Foster et al 190-195, 212-215, 250-254)

 

 

Week 14 – Political Art in the 1930s

 

Dec. 6

Murals,  Movements, and Fascism on Display

Paper Due

  • “1933, ”  “1934a” and “1937a” (Foster et al 255-265, 281-285)

Dec. 8

What is Modern Art?

  • review

 

Requirements:

Attendance & Participation – 5%

Response Paper (Oct. 4) – 20%

Quiz (Oct. 13) – 15%

Paper (Dec. 6; abstract Nov. 1) – 30%

Final Exam (Dec. 19, 12:30-2:30) – 30%


Subpages (2): Assignments Exams
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Tara Ward,
Sep 5, 2011, 4:18 AM
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