AH225 F09 Syllabus

AH225 F09 Nineteenth Century Art
T/Th 2:40-4:05 pm
Myers Auditorium

Adrian Duran
aduran@mca.edu
901.272.5129 [x 272]
theduranarthistoryblog.blogspot.com

Office Hours: Wednesday 2-5pm (3rd floor, North tower, otherwise Library)

Notice: Some of the content of this course may disturb the sensibilities of some students. If you need to discuss this situation, please contact me.

Notice: Students who are entitled to considerations under ADA guidelines are asked to contact me immediately. Every situation is unique and warrants specific consideration. Thus, notifications made in close proximity to exams and/or other due dates may cause complications. The greater the amount of available time, the more appropriately and successfully these matters can be addressed.

Goal: This course will introduce students to the major artists, themes, media, and developments of the long Nineteenth Century, ca. 1750-1910. Students will learn the specific iconographies used by these artists, develop interpretive mechanisms for these works, and become familiar with past and current methodologies of the history of the period.

Communication: I can be contacted by both phone and e-mail. E-mail is preferred and, most likely, will result in a quicker response. I will contact you via your MCA e-mail account. If you are having any problems with your e-mail account, please contact Ian Sterling. It is your responsibility to monitor these accounts actively and consistently. Students’ individual choices regarding the maintenance and awareness of MCA e-mail will not be acceptable as excuses for missing e-mails.

Attendance: Attendance is mandatory and will be monitored. Expecting to pass this course without constant, attentive attendance is not realistic. Missed classes will have a negative effect on your final grade. Upon your fourth absence, you will receive an F grade in the course. Punctuality is likewise expected. For every two late arrivals, you will be assessed one absence.

Powerpoints: Class Powerpoints are available on the MCA server (Dali). Students will be responsible for these materials, which will be eligible for inclusion on exams.

Readings: Please complete ALL readings prior to class. They will provide important background and will be directly addressed in class. Some readings will be available only on reserve at the MCA library. It is your responsibility to obtain these readings.

The primary course textbook is: Petra ten-Doesschate Chu. Nineteenth-Century European Art, 2nd ed. Pearson Prentice Hall, 2006.

DO NOT PURCHASE THE 1st EDITION. IT IS OBSOLETE.

The text is available for purchase at Davis-Kidd (in the Laurelwood Shopping Center on Poplar). If you have any questions regarding any texts or wish to explore further, I am more than happy to help you find bibliography.

Exams: Exams will consist of a combination of slide identifications, slide discussions, compare/contrasts and essays. The distribution of these segments is at my discretion and may be changed at any point during the semester. Exams WILL NOT be cumulative. You will be responsible for purchasing and bringing blue books to the exams. These can be bought in the MCA Supply Store.

There will be NO make-up exams. If there is legitimate reason for missing an exam, this will be taken under consideration, but students are not guaranteed any make-up opportunities. The burden of presence at and preparation for exams in on the student.

Internet Resources: Students should be wary of internet resources. Art History, as is the case with many academic disciplines, is still primarily a paper-based endeavor. There are a number of online journals, but students must be diligent in recognizing the difference between a legitimate, academic journal and other, less rigorously prepared sites. Many websites are excellent (Web Gallery of Art, Met Museum of Art), while many are questionable (Wikipedia, blogs). If there is any doubt, please consult me. Students may consider the below as helpful points of reference:

· http://www.wga.hu/index1.html
· http://www.metmuseum.org/toah/
· http://www.19thc-artworldwide.org/

Research Assignment: As part of this course, students will undertake a research assignment due November 24. This will include a multi-step process by which students will propose, refine, and solidify a topic of research. This research will then be developed into a research paper (7-10 pages, 12-point font, 1” margins, double-spaced), which will be properly formatted according to the Chicago Manual of Style. The Chicago Manual of Style can be found on reserve in the MCA library. Work that does not conform to this format will be returned to the student, ungraded, for correction. It will then be the task of the student to correct and resubmit the paper for grading. If the assignment is not returned before the final date of submission, a zero (0) grade will be assessed.

The total assignment is built of a progression of individual parts, each of which will have its own deadline, as listed in the course schedule. Late submissions will not be accepted, and a zero (0) grade will be assessed to that respective component of the assignment.

Students should begin by visiting the MCA Library and consulting the college’s online resources, which are collected at www.delicious.com/mcalibrary. Do not overlook the Grove Dictionary of Art, in the library’s reference section. MCA students have library privileges at the University of Memphis and Rhodes College and should not neglect these collections.

Plagiarism: MCA policy on plagiarism can be found in the student handbook. Students under suspicion of plagiarism will be given one opportunity to prove their conduct as other than plagiarism. The burden of proof is on the student. If the state of plagiarism cannot be disproved, the student will be given a grade of F for the course and administrative action will be taken.

Grading: My grading system works as follows. Please consider these numbers indisputable. Refer to the MCA Student Handbook for an understanding of grading policy. MCA policy on plagiarism can be found on page 66 of the Student Handbook.

A 93 and above
A- 90-92
B+ 88-89
B 83-87
B- 80-82
C+ 78-79
C 73-77
C- 70-72
D 65-69
F Below 65

Exam 1: 25%
Exam 2: 25%
Exam 3: 25%
Research Assignment: 25%

Classroom Conduct: Students are expected to conduct themselves in an appropriately professional manner. Anything otherwise is disrespectful to yourselves, your peers, your faculty, and the educational endeavor.

1. Conversing is unacceptable. It is both distracting to those seated nearby and disruptive to the professor. You will be warned. You will then be asked to leave. If you are asked to leave, you will be marked as absent and penalized accordingly.
2. Cell phone/PDA/PSP/DS/etc. use is prohibited. Claiming the cell phone as your only personal timepiece is not sufficient. Texting is forbidden. If your phone rings, the professor reserves the right to answer the call, take the phone, or any other measures deemed appropriate by the professor. Those who do not abide will be warned, then asked to leave, with the aforementioned attendance penalty.
3. Those who take notes on computers are expected to be taking notes, not surfing the internet or any other activities than those immediately associated with the lecture. Those who are caught doing otherwise will be warned, then asked to leave, with the aforementioned attendance penalty.
4. Eating in class is forbidden. Drinking is acceptable, though only if students consider such as a privilege. Policing your own area and disposing of your own trash is expected. If litter and/or filth becomes a problem, drinking will be forbidden.
5. Students may make audio recordings of class lectures for study use only. Any recordings made are to be used for the purposes of class members only. Other uses are forbidden, and will be met with disciplinary action.
6. Drawing in class is offensive. Your purpose is to listen and take notes, not sketch or plan projects for other classes. Of course, making sketches of the works discussed in class for study purposes is understandable, though course ppts are available on the server.
7. Please do not get up and leave class except when absolutely necessary. Absolutely necessary constitutes emergencies and use of the facilities. Garbage and/or other incidental needs should be held until the end of class. There is no need to ask permission to leave.

Safety: This class will follow the standards detailed in the "EPA Material Handling Protocols - September 2007," as issued by MCA.


Course Schedule:

Week One

Tuesday August 25: Syllabus Review

Thursday August 27: Library & Paper writing discussion; Renaissance/Baroque
Giovanni Pietro Bellori ‘The Idea of the Painter, Sculptor and Architect’ 1644 AiT 1648 96-101.
Peter Paul Rubens ‘De Imitatione Statuorum’, before 1640 AiT 1648 144-46.
Roger de Piles ‘from The Principles of Painting’ 1708 AiT 1648 308-14.
Denis Diederot ‘‘Art’ from the Encyclopédie’ 1751 AiT 1648 581-87.


Week Two

Tuesday September 1: 18th century Art
Chu 19-41.

Thursday September 3: Art, Politics, History
Chu 95-128, 143-52, 208-216, 225-231, 247-252
Jules-Antoine Castagnary ‘The Three Contemporary Schools’ 1863 AiT 1815 410-13.
Jacques-Louis David ‘on his picture of Le Peletier’ 1793 AiT 1648 718-20.
Jacques-Louis David ‘Proposal for a monument to the French preople’ 1793 AiT 1648 724-27.
Jacques-Louis David ‘Project for the apotheoses of Barra and Viala’ 1794 AiT 1648 728-30.


Week Three

Tuesday September 8: Art, Politics, History

Thursday September 10: Using the Past
Chu 43-71, 75-77, 134-141, 154-156, 162-75, 334-43
Johann Joachim Winckelmann ‘from Reflections on the Imitation of Greeks Works in Painting and Sculpture’ 1755 AiT 1648 450-56.
Johann Joachim Winckelmann ‘from A History of Ancient Art’ 1764 AiT 1648 466-75.
Gotthold Ephraim Lessing ‘from Laocoön: An Essay on the Limits of Painting and Poetry’ 1766 AiT 1648 477-86.
Jacques-Louis David ‘The Painting of the Sabines’ 1799 AiT 1648 1119-1125.
Philipp Otto Runge ‘Letters’ 1802 AiT 1648 978-89.
Franz Pforr ‘Letter to Passant’ 1808 AiT 1648 1129-31.
Friedrich Overbeck ‘The Three Ways of Art’ 1810 AiT 1648 1131-1134.
Jean-Auguste-Dominique Ingres ‘from Notebooks and Letters’ c. 1813-21 AiT 1648 1169-72.
Jean-Auguste-Dominique Ingres ‘from Notebooks’ c. 1820-48 AiT 1815 183-85.
Friedrich Theodor Vischer ‘Overbeck’s Triumph of Religion’ 1841 AiT 1815 196-99.


Week Four

Tuesday September 15: Using the Past Paper Proposal Due

Thursday September 17: Romanticism & the Fantastical
Chu 80-88, 152-54, 160-162, 175-79, 216-221
Edmund Burke ‘from A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful’ 1757 AiT 1648 516-26.
Friedrich Schelling ‘from ‘Concerning the Relation of the Plastic Arts to Nature’ 1807 AiT 1648 934-41.
Francisco de Goya ‘on the Caprichos’ AiT 1648 1799 975-76.
Friedrich Ramdohr ‘Remarks upon a Landscape Painting intended as an Altar piece by Herr Friedrich’ 1809 AiT 1648 1012-23.
Caspar David Friedrich ‘on The Cross in the Mountains, letter to Schulze’ 1809 AiT 1648 1023-27.
Delacroix ‘on Romanticism, from Journals’ 1822-4 AiT 1815 26-30.
Friedrich ‘Observations on Viewing a Collection of Paintings Largely by Living or Recently Deceased Artists’ AiT 1815 48-54.


Week Five

Tuesday September 22: Romanticism & the Fantastical

Thursday September 24: Constable, Turner & the British Landscape
Chu 181-201
Joshua Reynolds ‘on Thomas Gainsborough’ 1788 AiT 1648 749-52.
William Gilpin ‘from ‘On Picturesque Beauty’ and ‘On Picturesque Travel’’ 1792 AiT 1648 857-62.
Uvedale Price ‘from ‘An Essay on the Picturesque’’ 1794 AiT 1648 865-67.
Uvedale Price ‘from ‘A Dialogue on the Distinct Characters of the Picturesque and the Beautiful’’ 1801 AiT 1648 877-80.
John Constable ‘Introduction to English Landscape’ 1833 AiT 1815 127-29.


Week Six

Tuesday September 29: Constable, Turner & the British Landscape

Thursday October 1: Overflow/Review


Week Seven

Tuesday October 6: Exam #1

Thursday October 8: Women & Alterity
Chu 221-223, 234-237, 281-84
Anonymous ‘Women Artists’ 1836 AiT 1815 275-77.
Various Artists ‘Women’s Petition to the Royal Academy’ 1859 AiT 1815 508-509.
Marie Bashkirtseff ‘Journal Entries’ 1877-82 AiT 1815 765-69.
Leader Scott ‘Women at Work: Their Functions in Art’ 1877-82 AiT 1815 769-72.
Anonymous ‘Woman, and her Chance as an Artist’ 1888 AiT 1815 772-73.
George Moore ‘Sex in Art’ 1893 AiT 1815 773-77.
Octave Uzanne ‘Women Artists and Bluestockings’ AiT 1815 777-81.
Delacroix ‘Letters and Notes on his Journey to North Africa’ AiT 1815 84-88.


Week Eight

Tuesday October 13: Photography
Chu 253-55, 300-03, 343-44
William Henry Fox Talbot ‘Photogenic Drawing’ 1839 AiT 1815 249-55.
Joseph-Louis Gay-Lussac ‘Report on the Daguerreotype’ 1839 AiT 1815 255-57.
Sir William Newton ‘Upon Photography in an Artistic View, and its Relation to the Arts’ 1853 AiT 1815 652-54.
Charles Baudelaire ‘The Modern Public and Photography’ 1859 AiT 1815 666-68.
Peter Henry Emerson ‘Photography, A Pictorial Art’ 1886 AiT 1815 675-77.

Thursday October 15: Courbet, Realism & the Rise of the Outskirts Paper Bibliography Due
Chu 237-242, 257-267, 285-91, 364-65, 384-86
Camille Corot ‘Reflections on Painting’ c. 1828 AiT 1815 231.
Eugène Delacroix ‘on Realism and Naturalism’ 1849-60 [entries of Friday, April 15, 1853 August 3, 1855 & February 22, 1860] AiT 1815 359-64.
Max Bouchon ‘on Courbet’s Stonebreakers and Burial at Ornans’ 1850 AiT 1815 364-66.
Champfleury ‘The Burial at Ornans’ 1851/61 AiT 1815 366-70.
Gustave Courbet ‘Letter to Champfleury’ 1854 AiT 1815 370-72.
Gustave Courbet ‘Statement on Realism’ 1855 AiT 1815 372.


Week Nine

Tuesday October 20: NO CLASS—FALL BREAK

Thursday October 22: Courbet, Realism & the Rise of the Outskirts


Week Ten

Tuesday October 27: Overflow/Review

Thursday October 29: Exam #2


Week Eleven

Tuesday November 3: The End of the Academism, Manet, Whistler
Chu 291-99, 344-51, 381-83, 387-89
Various Authors ‘on the Salon des Refusés’ 1863 AiT 1815 509-13.
Various Authors ‘on Manet’s Olympia’ 1865 AiT 1815 514-19.
Edouard Manet ‘Reasons for Holding a Private Exhibition’ 1867 AiT 1815 519-20.
Émile Zola ‘Edouard Manet’ 1867 AiT 1815 554-65.

Thursday November 5: Manet into Impressionism


Week Twelve

Tuesday November 10: Impressionism
Chu 389-409
Jules Laforgue ‘Impressionism’ 1883 AiT 1815 936-41.
Victor Fournel ‘The Art of Flânerie’ AiT 1815 491-93.
Charles Baudelaire ‘from ‘The Painter of Modern Life’’ 1859-63 AiT 1815 493-506.
Eugène Chevreul ‘On Colouring in Painting’ and ‘Of the Complex Associations of Colours, viewed critically’ 1839 AiT 1815 238-49.
Jules-Antoine Castagnary ‘The Exhibition on the Boulevard des Capucines’ 1874 AiT 1815 572-73.
Pierre Auguste Renoir ‘from his Notebooks’ c. 1880-1910 AiT 1815 856-59.

Thursday November 12: Impressionism cot’d


Week Thirteen

Tuesday November 17: The 1880s
Chu 411-39
Vincent van Gogh ‘Letters to his brother Theo’ 1885 [letter of c.30 April 1885] AiT 1815 896-98.
G.-Albert Aurier ‘The Isolated: Vincent van Gogh’1890 AiT 1815 948-52.
Félix Fénéon ‘Neo-Impressionism’ 1887 AiT 1815 966-69.
Georges Seurat ‘Letter to Maurice Beaubourg’ 1890 AiT 1815 969-70.
Paul Signac ‘from From Eugène Delacroix to Neo-Impressionism’ 1899 AiT 1815 978-85.

Thursday November 19: The 1880s cot’d


Week Fourteen

Tuesday November 24: La Belle Epoque PAPER DUE
Chu 463-97
Joris-Karl Huysmans ‘on Gustave Moreau’ 1884 AiT 1815 999-1003.
Jean Moréas ‘Symbolism—a Manifesto’ 1886 AiT 1815 1014-16.
Jean Moréas ‘Response of the Symbolists’ 1886 AiT 1815 1016-17.
Paul Gauguin ‘Fable from ‘Notes Eparses’ 1896-97 AiT 1815 1037-39.
Edvard Munch ‘Notebook and Diary Entries’ 1889-92 [Notebook entry on subjective vision, 1889] AiT 1815 1041-42.

Thursday November 26: NO CLASS—THANKSGIVING BREAK


Week Fifteen

Tuesday December 1: Looking Toward the Twentieth Century
Chu 499-527

Thursday December 3: Overflow/Review


Week Sixteen

Tuesday December 8: Last Day of Class/Evaluations

Thursday December 10: Exam #3