Development of Modern Art FA2012: Study Guide

Tuesday, October 23, 2012

Study Guide – Quiz 1

Development of Modern Art Fall 2012

Tuesdays + Thursdays 1:00pm - 2:20pm Bradley Hall 312

Department of Arts, Culture and Media – Rutgers University

Study Guide – Quiz 1

Neoclassicism

Jacques-Louis David, Belisarius Begging Alms, 1781
Jacques-Louis David, Oath of the Horatii, 1785
Jacques-Louis David, The Death of Socrates, 1787
Jacques-Louis David, Oath of the Tennis Court, 1791
Jacques-Louis David, Death of Marat, 1793
Jacques-Louis David, Napoleon at the Saint-Bernard Pass, 1800
Jean-Auguste Ingres, Napoleon on his Imperial Throne, 1806
Jean-Auguste Ingres, Apotheosis of Homer, 1827
Jean-Auguste Ingres, Grand Odalisque, 1814
Antonio Canova, Perseus Carrying the Head of Medusa, 1804-8.
Antonio Canova, Pauline Bourghese as Venus, 1808

Romanticism

Théodore Géricault, The Charging Light Calvaryman, 1812
Théodore Géricault, The Raft of the Medusa, 1818-9
Eugène Delacroix, The Death of Sardanapalus, 1827
Eugène Delacroix, The Massacre at Chios, 1824
Eugène Delacroix, The 28th of July- Liberty Leading the People, 1830
Joseph Mallord William Turner, The Slave Ship, 1840
John Constable, The Hay Wain (Landscape- Noon), 1821
John Constable, Hadleigh Castle, 1829

Goya
Francisco de Goya, Family of Charles IV, 1800
Francisco de Goya, Second of May, 1808, 1814
Francisco de Goya, Third of May, 1808, 1814
Francisco de Goya, The sleep of reason produces monsters, 1797-8
Francisco de Goya, Pilgrimage to San Isidro, 1820-3
Francisco de Goya, Saturn Devouring his Son, 1819-23

American Art 1770-1865
John Vanderlyn, The Death of Jane McCrea, 1804
Casper David Friedrich, The Abbey in the Oakwood, 1809-10
Casper David Friedrich, Monk by the Sea, 1809
Thomas Cole, Kaaterskill Falls, 1826, detail
Thomas Cole, Course of the Empire- The Pastoral or Arcadian State, 1834
Thomas Cole, Course of Empire- Consumation, 1835-6
Thomas Cole, Course of the Empire- Desolation, 1836
Thomas Cole, View from Mount Holyoke, The Oxbow, 1836
Asher Brown Durand, Progress (The Advance of Civilization), 1853
Frederic Edwin Church, Cotopaxi, 1862
Harriet Hosmer, Zenobia in Chains, 1859
Edmonia Lewis, Hagar in the Wilderness, 1868
Edmonia Lewis, Forever Free, 1867
Edmonia Lewis, Old Indian Arrowmaker and His Daughters, 1872

Realism
Jean-François Millet, The Sower, 1850
Jean-François Millet, The Gleaners, 1857
Rosa Bonheur, Plowing the Ninervais, 1849
Rosa Bonheur, The Horse Fair, 1853-5
Honoré Daumier, Rue Transnonian, April 15, 1834, 1834
Honoré Daumier, The Third Class Carriage, c. 1860-2
Gustave Courbet, The Meeting, 1854
Gustave Courbet, Peasants of Flagey Returning from the Fair, 1849
Gustave Courbet, The Stonebreakers, 1849
Gustave Courbet, Interior of My Studio, a Real Allegory Summing Up Seven Years of My Life as an Artist, 1854-5

Impressionism
Edouard Manet, Déjeuner Sur L’Herbe, 1863
Edouard Manet, Olympia, 1863
*Titian, Venus of Urbino, 1538

Edouard Manet, A Balcony, 1868-69

Claude Monet, Women in the Garden, 1866-7
Claude Monet, Impression Sunrise, 1872
Claude Monet, Gare St-Lazare, 1877

Berthe Morisot, Psyche, 1876

American Painters and Gender - Realism and Impressionism

Mary Cassat, Five O'Clock Tea, 1880

Mary Cassat, The Boating Party, 1893-4

Mary Cassat, Woman in Black at the Opera, 1880

Post Impressionism

George Seurat, A Bathing Place, Asnieres, 1883-4
George Seurat, A Sunday Afternoon on the Island of the Grande Jatte, 1884-6
George Seurat, Invitation to the Sideshow (La Parade), 1887-8
Henri Toulouse-Lautrec, At the Moulin Rouge, 1892-5
George Seurat, La Chahut, 1889-90
George Seurat, The Circus, 1890-1
Henri Toulouse-Lautrec, At the Circus, Fernando, the Ring Master, 1888

ADDED on 10/25
Post Impressionism (con't)

Henri Toulouse-Lautrec, Ambassadeurs, Artistide Bruante, 1892

Vincent Van Gogh, The Artist's Bedroom in Arles, 1888
George Seurat, Woman Powdering Herself, 1889-90
Vincent Van Gogh, La Berceuse, 1889
Vincent Van Gogh, The Potato Eaters, 1885
**from Realism - Gustave Courbet, After Dinner at Ornans, 1849
Vincent Van Gogh, Sower, 1888

Symbolism
Vincent Van Gogh, Crows in a Wheatfield, 1890
Paul Gauguin, Yellow Christ, 1889
Paul Gauguin, The Meal, 1891
Paul Gauguin, The Seaweed Gatherers, 1889
Paul Gauguin, Where do we come from? Where are we? Where are we going?, 1897
James Ensor, Christ's Entry into Brussels in 1889, 1888
Odilon Redon, The Cyclops, 1905
Odilon Redon, Smiling Spider, 1881
Gustav Klimt, The Kiss, 1907-8

Edvard Munch, The Voice, 1893
Edvard Munch, Madonna, 1893

1 comment:

Curtis LabowNovember 8, 2012 at 7:49 AM
This will not end well for me
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*Check out the syllabus as I have made adjustments and corrections for our final weeks.

Quiz 2 - 12/20 11:45am-2:45pm

Study Guide Here

Due 12/11

Quiz review and good-bye party

Due 12/4
The Bauhaus, Le Corbusier, The International Style and Frank Lloyd Wright
Required Reading:
· Hunter, Jacobus & Wheeler, Chapter 13
Additional Readings and Reproductions:
· Le Corbusier, Towards a New Architecture
· Le Corbusier, “Five Points Towards a New Architecture,” 1926, from Programs and Manifestoes on 20th-Century Architecture, ed. Ulrich Conrads, pp. 99-101

Due 12/6
The Rise of New York as an Art Capital
Required Reading:
· Hunter, Jacobus & Wheeler, Chapter 17
Suggested Readings and Reproductions:
· ”Jackson Pollock: Is he the greatest living painter in the United States?,” Life Magazine, August 1949, in Richard Hertz and Norman M. Klein, Twentieth Century Art Theory: Urbanism, Politics and Mass Culture, pp. 351-356
· Martica Sawin, Surrealism in Exile and the Beginning of the New York School

POST 4 due (edit until 12/8)
What is Bauhaus? What is the history of this important school of modernism? How did it become one of the most influential movements in art and design history? How has and does Bauhaus continue to influence art, architecture and design?

Please find examples of contemporary works directly influenced by Bauhaus. Explain specifically how principles may still be referenced and used to create the contemporary works.

5-6 paragraphs, include images and links. Use your readings and additional resources to help in your analysis. Cite your resources.
_______________________

Due 11/27 and 11/29

Surrealism

Required Reading:

· Hunter, Jacobus & Wheeler, Chapter 12

Suggested Reading:

· André Breton, excerpt from the first “Manifesto of Surrealism,” 1924, in Charles Harrison and Paul Wood, ed., Art in Theory, 1900-1990: An Anthology of Changing Ideas, pp. 432-439

Architecture at the Turn of the Century

Required Reading:

· Hunter, Jacobus & Wheeler, Chapter 6

· Eisenman , pp. 331

Suggested Reading:

· Frank Lloyd Wright, “A Home in a Prairie Town,” in Holt

Post 3 Due 11/29

Select a 19C painting from the exhibition Angels and Tomboys at the Newark Museum. Based on your observation, the information from the tour, your readings in Eisenman and other research, briefly describe the painting, the subject and the time in which it was created.

Then choose a modernist painting (in Hunter text) from the early 20C (Cubism, Abstract Art, Dada, Constructivism, Surrealism etc. through the 1940s) Briefly describe this painting as well. How are these paintings similar and different? What art principles are each depicting? In what context is each made? How is gender depicted/addressed (if it is addressed?) In this comparison be sure to define Modernism.

5-6 paragraphs, include images and links. Use your readings and additional resources to help in your analysis. Cite your resources. Be sure to link back to the Newark Museum as well.

TRIP TO NEWARK MUSEUM

SUNDAY 11/18 at 12:45pm *mandatory assignment if you cannot attend, you must attend on your own before the assignment is due. We are meeting just inside the museum's main entrance by 12:45pm.

___________________

Due 11/20 (NO CLASS on 11/22)

Dada and the Ready Made

Required Reading:

· Hunter, Jacobus & Wheeler, Chapter 11

Suggested Reading:

· Richard Huelsenbeck, “En Avant Dada: a History of Dada,” and in Chipp pp. 377-382

· Marcel Duchamp, “The Richard Mutt Case,” 1917, in Charles Harrison and Paul Wood, ed., Art in Theory, 1900-1990: An Anthology of Changing Ideas, p. 248

________________________

DUE 11/13 and 11/15

*NO Group presentations for the rest of the semester

Cubism and Abstraction in the Wake of Cubism

READINGS: Hunter, Jacobus & Wheeler, Chapter 9 and ch 10

PLAN FOR TRIP TO NEWARK MUSEUM

SUNDAY 11/18 at 1pm *mandatory assignment if you cannot attend, you must attend on your own before the assignment is due

____________________________

Classes cancelled 10/30 and 11/1

Classes should resume Tuesday 11/6

*Reminder: groups must post a summary of their presentation (just one post per group) and link to the resources ASAP in order to be graded!! Title your post Group___ presentation: __________.

Now DUE 11/6 and 11/8

No new readings due - review all readings for your midterm quiz

Study Guide Quiz 1

MIDTERM QUIZ

_______________

DUE 10/23
Post 2 Due
American and European painting in the late 19C is wrought with tension, opposition and technical developments. Please analyze these in an examination of the works of Mary Cassatt and Thomas Eakins. How do issues of gender and gender roles play a part in this comparison? You may use various artists and paintings of the time to support your argument, but you should concentrate on these two artists in particular.

5-6 paragraphs, at least one image and 1 link. Use your readings and additional resources to help in your analysis. Cite your resources.

Group 8 presents

READINGS:

Post-Impressionism

Review Readings:

· Eisenman, Chapters 17-19; 21

· Hunter, Jacobus & Wheeler, Chapter 2; pp. 34-47

DUE 10/25
READINGS:
Expressionism
· Eisenman, Chapter 20
· Hunter, Jacobus & Wheeler, pp. 47-60; 112-126.

_______________
Due 10/16

Impressionism

Review:

· Eisenman, Chapters 15+16 (Impressionism + Manet)

· Hunter, Jacobus & Wheeler, pp. 17-22

Due 10/18

Post-Impressionism

Required Readings:

· Eisenman, Chapters 17-19; 21

· Hunter, Jacobus & Wheeler, Chapter 2; pp. 34-47

Post 2 NOT DUE -- only due 10/23

_________________________

DUE 10/11

Impressionism and Beyond

Groups 6 + 7 present (one unified idea per group - only 10 minutes and a brief discussion!)

Required Reading:

· Eisenman, Chapters 15+16 (Impressionism + Manet)

· Hunter, Jacobus & Wheeler, pp. 17-22

Due 10/9

**SYLLABUS CHANGE****

No Required Reading

Suggested Reading:

· Hunter, Jacobus & Wheeler, pp. 15-17

· Édouard Manet, “Reasons for Holding a Private Exhibition,” 1867, in Holt, pp. 368-369

_________________________

DUE 10/4

Group 5 presents

Required Reading:

· Eisenman, Chapter 11 - (Realism + Courbet)

DUE 10/2

Group 4 presents

Required Reading:
· Eisenman, Chapters 10 + 13

(Realism, Naturalism + Decline of History Painting)
· Hunter, Jacobus & Wheeler, pp. 13-15
_________________________

DUE 9/27
Review the readings due 9/25

DUE 9/25

Group 3 presents

POST 1

Neoclassicism and Romanicism

Choose two (or more) works of art from these periods that we have studied. Explain the works and why each is an example of Neoclassicism or Romanticism. Explain the difference between these two styles by comparing and contrasting them. How do these two styles differ in form, intention and approach? How does each develop and why? Which of these styles ultimately prevails? Be clear and thorough in your analysis.

5-6 paragraphs, at least one image and 1 link. Use your readings and additional resources to help in your analysis. Cite your resources.

Required Reading: American Art 1770-1865

· Eisenman, Chapters 6, 8 & 9.

_________________________

DUE 9/20
Group 2 presents

Required Reading: Goya
Eisenman, Chapter 3

_____________________

DUE 9/18
*Post 1 postponed until 9/25

Group 1 presents

Required Reading:
· Eisenman, Chapters 2 and 5
Suggested Reading:
· Casper David Friedrich, “Thoughts on Art,” Eugène Delacroix, journal excerpts, 1822-1859, in Holt, pp. 152-171
· John Constable, “Letters,” in Holt

DUE 9/13
Review readings
Be prepared to identify slides from Ch 1 for a brief in class response to the readings.

DUE 9/11
Introduce yourself on the blog - MINI POST
Please post 1 paragraph about yourself and your professional and academic goals. How do art and art history fit into your studies and your interests. Do you feel politics and societal conditions influence art and culture? You must include one image and one link.

READINGS:
Required Reading:
• Eisenman, Chapter 1
Suggested Reading:
• Jacques-Louis David, “The Painting of the Sabines” 1800, in Holt, pp. 4-14
• Maurice Denis, “The Doctrine of Ingres,” 1912, in Holt, pp. 34-38

_________________________

DUE 9/06
Please be sure you are signed up for the blog and draft a post to experiment and practice using blogger (first post due Tuesday 9/11.)

No Readings Due. Please be sure to aquire the required and suggested texts.

_________________________

Link to the Syllabus

Readings on the syllabus refer to chapters in your texts:

Required texts:
• Stephen F. Eisenman, ed., Nineteenth-Century Art: A Critical History, 4th Edition

• Hunter, Jacobus, and Wheeler Modern Art: Painting, Sculpture, Architecture, Photography 3rd Edition, Revised and Expanded 2005

Suggested texts:
• Elizabeth Gilmore Holt, ed. From the Classicists to the Impressionists: Art and Architecture in the 19th Century

• Herschel B. Chipp, ed., Theories of Modern Art: A Source Book by Artists and Critics