Cultural History of the Visual Arts I - History of... · cultural history and art history, and to discuss…

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<ul><li><p>CulturalHistoryoftheVisualArtsI.</p><p>Art,Culture,Politics</p><p>Prof.IlonaSrmnyParsonsFallTerm2006</p><p> HistoryDepartment</p><p>Thecourseisintendedtogiveanoverviewofthemainculturalandartistictrendsin</p><p>paintingandarchitecture fromthefifteenth centuryto thelate nineteenth century,</p><p>concentratingonthechangingroleoftheartsandartistinsociety.Thefocuswillbe</p><p>onartisticproductioninitssocialandculturalcontexts,enablingtherelationshipof</p><p>arttopolitics,ideasandsocialstructurestobeanalyzedinsomedepth.</p><p>Thelectureswill coverdifferinginterpretations ofcultureandcultural history.By</p><p>usingclassicworksofscholarship,aswellascurrentdiscussionsofproblemsofstyle</p><p>andcontext,thelectureswilladdressthemainstylistictrendsoftheagesdiscussed:</p><p>Renaissance, Mannerism, Baroque, Classicism, Romanticism, Historicism, Realism</p><p>andModernism.</p><p>Thecoursehastwomainaims:Thefirstistoaddressthedifferentmethodologiesof</p><p>culturalhistoryandarthistory,andtodiscussvarioustypesofconceptualframeworks</p><p>forinterpretation,includingformalstylistic,aesthetic,historical,ideological,political,</p><p>sociologicalandgenderbased.Thesemethodologiesandframeworksareintendedto</p><p>stimulatethedevelopmentofananalyticalandcriticalapproachtowardtheproblems</p><p>ofinterpretingtheartsintheirsocialcontext.</p><p>Thesecondaimofthecourseistodeveloptheskillofidentifyingstylesandtheir</p><p>developmentsandtoprovideaframeworkforthescholarlyanalysisofpaintingand</p><p>architecture. Apart from the Italian, French, English andGerman intellectual and</p><p>artistic mainstreams (e.g. Humanism, Enlightenment, Romanticism, Realism,</p></li><li><p>Historicism), special attention will be paid to the specifically Central European</p><p>variations of periodstyles. (e.g. Biedermeier, Viennese Historicism etc. ). In</p><p>particularthedifferentsocialandinstitutionalcontextswithinwhichtheartistsofthis</p><p>regionoperatedwillbedealtwithindetail.</p><p>Lectures will be illustrated withslidesofart works, andreadings fromproseand</p><p>poetry of the various periods under discussion. There will also be a visit to the</p><p>Museum of Fine Arts (Szpmvszeti Mzeum) which is intended to illustrate</p><p>stylisticdevelopmentinpaintinginEurope,andtotheHungarianNationalGallery.</p><p>Thewrittenassignmentforthecoursewillbeaninterpretativepaperof1012pages</p><p>ononeofthetopicsthathavebeencovered.Aparagraphofaboutonehundredwords</p><p>describing the proposed research topic should be submitted by November 1. In</p><p>additiontherewill beatest inwhichstudentsareexpectedtorecognizethemain</p><p>worksofartshownandanalyzedduringthelectures.</p><p>StudentswhohavenotrecentlyrefreshedtheirknowledgeofEuropeanhistoryare</p><p>encouragedtoreadthefollowing:</p><p>KevinWilsonandJanvanderDusen(eds.)TheHistoryoftheIdeaofEurope</p><p>London,NewYork,1993.183.</p><p>NormanDavies:EuropeAHistory.Oxford,NewYork,1996.</p><p>oralternativelyanygoodsurvey,e.g.:</p><p>EricHobsbawm:TheAgeofRevolution17891849.London,1962.</p><p>EricHobsbawm:TheAgeofCapital,18481875.London,1975.</p><p>StudentswhoareunfamiliarwiththegeneralstylistichistoryoftheartsinEurope</p><p>arewarmlyencouragedtoreadbeforeembarkingonthecourse:</p><p>JanGympel:HistoryofArchitecture.Cologne1996.</p><p>ErnstH.Gombrich:TheStoryofArt.London,19501998.</p><p>thechaptersonEuropeanartuptopage360.</p></li><li><p>oralternatively:</p><p>HughHonourandJohnFleming:AWorldHistoryofArt.London1982thechapters</p><p>onEuropeanArt:Nr.4,5,7,9,10,11,13,14.</p><p>Syllabusofthelectures</p><p>29.September(Friday)</p><p>Introductiontoarthistoryasanaspectofculturalhistory.Asurveyoftheevolution</p><p>ofstylesinEuropeuptotheendofthe16thcentury.PartI.</p><p>Reading:FrancesHaskell:HistoryanditsImages.NewHaven1993.</p><p>chapter7.pp.</p><p>E.H.Gombrich:TheStoryofArt.London,1994.pp.318.</p><p>EricFernie(ed.)ArtHistoryanditsMethods.London,1995.pp.1021.</p><p>plusthechaptersonWinckelmann,pp.6876.,J.Burckhardt,</p><p>pp.8591.A.Riegl,pp.116126,HeinrichWlfflin,pp.127153.</p><p>KennethClark:Civilization.London1969,1991.pp.1116.</p><p>6.October</p><p>Theconceptoftheevolutionofstyles.Historicismandarthistory.</p><p>Asurveyof the evolution of styles in Europe. Part II. (Stylistic periodization of</p><p>Mannerism and the Baroque, its regional variants and its various</p><p>"Weltanschauungen".)Discussionoftheconceptofthis"Spiritoftheage"</p><p>Reading:E.H.Gombrich:TheStoryofArt,London,1989.Chapters:1922.</p><p>Hugh Honour and John Fleming: A Worl History of Art. London,</p><p>1982.pp.426459.</p><p>M.BrusatinandG.Pizzamiglio(ed.):TheBaroqueinCentralEurope</p><p>Venice1992.(theillustrations)</p><p>KennethClark:Civilisation:London1969.Chapters:59.</p><p>PatrickNuttgens:TheStoryofArchitecture.London,1993.</p></li><li><p>Chapter15.pp196213.</p><p>Optional:JohnHale:ThecivilizationofEuropeintheRenaissance,London,1993.</p><p>AlisonCole:ArtoftheItalianCourts(ArtinContext),London,1995.</p><p>13.October</p><p>The Enlightenment; art in the age of reason . Changes in perception and in the</p><p>relationshipoftheartisttohispatronsandthepublic;thenewdidacticqualityofart,</p><p>newformsofpublicity,changesintaste.Thegradualemergenceof(neo)Classicism.</p><p>Readings:EricFernie(ed.):ArtHistoryanditsMethods,Chapteron</p><p>WinckelmannandGoethe.</p><p>E.H.Gombrich:TheStoryofArt.London,1989.Chapter23,24.</p><p>KennethClark:Civilisation.London,1969.Chapter910.</p><p>H.HonourandJohnFleming:AWorldHistoryofArt.London1982,</p><p>pp.475479.</p><p>J.RupertMartin:Baroque.London,1971.</p><p>MatthewCraske:ArtinEurope17001830.(optional)</p><p>HughHonour:NeoClassicism.London1968.(optional)</p><p>20.October</p><p>Changes in architecture, townplanning and urbanismgenerally at the endof the</p><p>eighteenth century. Visions, utopias and the political symbolism of architecture.</p><p>Revolutionary architecture and the coming of architectural romanticism. The</p><p>emergenceofstylisticpluralism,regionaldifferencesandpreferences.</p><p>Reading:PatrickNuttgens:TheStoryofArchitecture.London,1993.Chapter16.</p><p>(TheProphetsofElegance)</p><p>MarkGirouard:CitiesandPeople.London,1985.Chapter9,10,11.</p><p>HenryRusselHitchcock:NewYork1977.Chapter15.</p><p>DavidWatkins:EuropeanArchitecture.London,1994(optional)</p><p>PeterHall:CitiesandCivilization.London,1998.pp.323.</p></li><li><p>BarryBergdoll:EuropeanArchitecture17501890.Oxford,2000.(optional)</p><p>27.October</p><p>ArtandPoliticsintheearly19thcentury:ClassicismandRomanticism.Thenew</p><p>socialpositionoftheartsandthecultoftheartistasgenius.Thenationalvariantsof</p><p>Romanticism,itsstylisticrichnessanditsmainleitmotifs.</p><p>Reading:E.H.Gombrich:TheStoryofArt,pp.383402.</p><p>KennethClark:Civilization.Chapter1112.</p><p>Ch.Baudelaire:WhatisRomanticism?(seeinthereader)</p><p>HughHonourandJohnFleming:AWorldHistoryofArt,Chapter15.</p><p>R.RosenblumandH.W.Janson:ArtoftheNineteenthCentury.</p><p>London,1984.pp.5066.7489.114186.</p><p>Optionalreading:WilliamVaughan:RomanticArt.London,1978.</p><p>HughHonour:Romanticism.1979.</p><p>3.November</p><p>German Romanticism, Biedermeier and its influence in CentralEurope. Herders</p><p>influence.RegionaldevelopmentsinthevisualartsinCentralEuropeinthefirsthalf</p><p>ofthenineteenthcentury:themakingofthenationthroughculture:nationalsymbols</p><p>andmyths,thecultofpeasants."Nationalrevivals"inliteratureandthefineartsin</p><p>CentralEurope.RomanticHistoricism.</p><p>Reading:FritzNovotny:PaintingandSculptureinEurope17801880.London,</p><p>1971.pp.195219,</p><p>LonnieR.Johnson:CentralEurope,NewYork,Oxford.1996.Chapter</p><p>Chapter7:pp124148.</p><p>HughHonour:RomanticismRomanticism.London,1979,1991.pp.1120.</p><p>pp.319323</p><p>(optionalreadingsaccordingtodifferentlieratureinyour</p><p>mothertongue.)</p><p>10.November</p></li><li><p>Historicismasabasiccultural"Weltanschauung"ofthenineteenthcentury.</p><p>Historicisminarchitecturecontradictionbetweenformandfunction.</p><p>Engineeringandthepioneersofmodernarchitectureanddesign.Conservativeutopias</p><p>andconservativereformers(Ruskin,Morris)Thebirthof"Bohemia",</p><p>thenewroleoftheartestablishmentsandthe"Bildungsbrger"idealofculture.</p><p>ThePreRaphaeliteBrotherhood.</p><p>Reading:H.RussellHitchcock:Architecture:Chapter6,pp144190.</p><p>MarkGirouard:CitiesandPeople.Chapter1214.pp.257300.</p><p>NicholasPevsner:ThesourcesofModernArchitectureandDesign.</p><p>London1968.</p><p>R.RosenblumandJanson:ArtoftheNineteenthCentury...</p><p>pp.255269.</p><p>17.November</p><p>Paristheartcapitaloftheworld. worldexhibitionsandtheirspecialfunctionin</p><p>EuropeanculturedifferencesbetweenthecountriesandregionsofEuroperegarding</p><p>theirpublicandsocialattitudetowardsthearts.Theageofrealism.</p><p>Different national versions of bourgeois realism. The official art world and the</p><p>marginalizedartgroups.Thegrowingautonomyofthearts.Stylisticpluralismandthe</p><p>searchforanewaesthetics.Manet,"thepainterofmodernlife."</p><p>Reading:R.RosenblumandH.W.Janson:ArtoftheNineteenthCentury...</p><p>pp.218278.</p><p>LindaNochlin:Realism.Harmondsworth,London.1990.pp1356.</p><p>FritzNovotny:PaintingandSculptureinEurope.17801880.</p><p>Harmondsworth,1971.pp.257274,277297</p><p>RichardR.Brettel:ModernArt18511929.Oxford,1999.pp.5978.</p></li><li><p>24.November</p><p>Impressionismincontext andthevariousnewapproaches to it. Style andsubject</p><p>matter.Urbancultureandanewcultofnature.Theproblemsofpatronageandthe</p><p>roleofartcriticisminestablishinganewcanon.</p><p>Reading:R.RosenblumandJanson:ArtoftheNineteenthCentury.pp.296305,</p><p>326380.</p><p>H.HonourandJ.Fleming:AWorldHistoryofArt.520528.</p><p>TimothyJ.Clark:ThePaintingofModernLife.pp.4950.(reader)</p><p>LindaNochlin:Women,ArtandPower.pp.136.(reader)</p><p>3.December</p><p>Art in Paris in the 1880ies: stylistic pluralism ( Symbolism, NeoImpressionism,</p><p>NaturalismandthebeginningsofPostImpressionism).Thecrisisofpositivismand</p><p>itseffectsontheartworld.Thedifferentnationalartcentresandthedevelopmentof</p><p>theartmarket.Theleadingmastersoftheage(e.g.Rodin,Leighton,Watts,Whistler)</p><p>Genderandartclassandart.</p><p>Reading:R.RosenblumandJanson:Artofthe...326381,394416.476484.</p><p>H.HonourandJ.Fleming:AworldHistoryofArt.pp528538.</p><p>LindaNochlin:ThePoliticsofVision.London1991.pp.170193.</p><p>F.Frascina,N.Blake(etal.):ModernityandModernism.pp.332</p><p>10.December</p></li><li><p>Theincreasingantagonismbetweentheartisticestablishmentandexperimentalartin</p><p>the1890sanditsconsequences.Changingroleoftheofficialforumsofexhibitions,</p><p>thenewlyestablishedartmarketandthemarginalisedstatusoftheavantgarde.</p><p>(Pointilists,Intimists=Nabis,Symbolisttendencies,theJustmilieupainters.</p><p>Readings:ShearerWest:Findesiecle.London1993.Pp.3368.</p><p>G.H.Hamilton:PaintingandSculptureinEurope18801940Pp.105118.</p><p>17.December</p><p> Discussionoftheseminarpapers(criticalessays)I.Test:Identificationofworks</p><p>(Paitingsandbuildings)discussedduringthefallterm.</p><p>Syllabus of the lectures</p></li></ul>