PAULA HARPER
Neo-Classicism, Romanticism, Realism, Impressionism
Against a background of cultural and political history, this course will trace developments in European art beginning with reactions against the sensuous Rococo style in the late 18th century, continuing through the French Revolution, the Napoleonic wars, the revolutions of 1848, and concluding with the late 19th century artistic revolution called Impressionism. We will explore the major changes in the theory, practice and style of art and important shifts in the art institutions, including patronage and exhibition systems.
The structure of the course will be geared to the lives and careers of the individual artists who shaped the spirit of their time: David, Goya, Blake, Friedrich, Gericault, Delacroix, Ingres, Constable, Turner, Corot, Daumier, Courbet, Millet, Manet, Degas, Pissarro, Renoir, Monet, Cezanne.
Important women painters of the period -- Elizabeth Vigee-Lebrun, Rosa Bonheur, Berthe Morisot and Mary Cassatt -- will be included.
Reading List
Lorenz Eitner, An Outline of 19th Century European Paintinq From David through Cezanne (Required reading for every student -- in the book store)
Robert Rosenblum and H.W. Janson, Nineteenth Century Art (Strongly recommended for the illustrations -- on reserve at Richter)
T. J. Clark, The Absolute Bourgeois (chapters on Daumier
and Delacroix)
Elizabeth Holt, The Triumph of Art for the Public
Aaron Scharf, Art and Photography
Fred Licht, Goya The Origins of the Modern Temper in Art
G.H. Hamilton, Manet and His Critics
Linda Nochlin, Realism
Theodore Reff, Degas The Artist's Mind
Ralph Shikes and Paula Harper, Pissarro His Life and Work
Ann S. Harris and Linda Nochlin, Women Artists:1550-1950
J. Letheve, Daily Life of French Artists in the Nineteenth
Century
Colta Ives, et al, Daumier Drawings
There will be two short papers (5-7 pages) on assigned topics, a slide quiz at the midterm (on October 10th), and a final takehome examination in essay form, which will focus on broad concepts and trends encompassing the entire century. Students who are taking the course for graduate credit have the option of researching and writing a third paper on a topic chosen in consultation with me or of extending one of the two short assigned papers to 10-14 pages.
ARH343 -- FROM CEZANNE TO SURREALISM: PAINTING AND SCULPTURE IN EUROPE FROM 1880 TO 1940.
The course will begin with the innovations of the Impressionists and Neo-Impressionists and the work and ideas of Cezanne, Van Gogh, Gauguin and the Symbolists as a prologue to understanding the forms that express twentieth century states of mind. We will continue with the following schedule of topics, set against the social and political background of the period:
The Fauves and Matisse
German Expressionism
Primitivism and Modern Art: Rousseau, Paula Modersohn-
Becker, Kandinsky, Klee
Cubism -- Picasso and Bracque
Futurism in Italy
The Russian Revolutionaries
Early Modern Sculpture -- Arp, Brancusi, Boccioni
Dada and Marcel Duchamp
Mondrian and DeStijl -- Spiritual Abstractions
The Banhaus -- Faith in the Rational
Surrealism -- The Exploration of the Unconscious
Hitler and "Degenerate Art"
World War II: The international art center shifts from
Paris to New York.
REQUIRED READING:
Herschel Chipp, Ed., Theories of Modern Art, U. of California
Press, 1968. Sections I, II, III, IV, V, VI, VII.
Robert Hughes, The Shock of the New, Viking, 1991.
In addition, I recommend the following books:
George Heard Hamilton, Painting and Sculpture in Europe 1880-1940.
Roger Shattuck, The Banquet Years
Gertrude Stein, The Autobiography of Alice B. Toklas
Kenneth E. Silver, Esprit de Corps The Art of the Parisian Avant-
Garde and the First World War, 1914-1925.
Gillian Perry, Paula Modersohn Becker: Her Life and Work
Whitney Chadwick, Women Artists and the Surrealist Movement
Francoise Gilot, Life with Picasso
Georgia O'Keeffe (exhibition catalogue) The Metropolitan Museum of
Art, New York, 1988)
E. E. Cummings, The Enormous Room
Virginia Woolf, To the Liahthouse
Barbara Tuchman, The Guns of August
ARH 343 -- PAGE 2
The course will be conducted as a series of lectures, with discussion periods included. There will be two examinations, a midterm and a final:
Graduate students taking the course for graduate credit will also write a research paper on a topic chosen in consultation with me.
ARH344 -- CONTEMPORARY ART
Tuesday and Thursdays, 3:05-4:20
This course will trace significant and innovative trends in the visual arts, mostly in the United States, since World War II. Major art movements, and the work of the artists within those movements, will be examined against the cultural, social and political background of the last 60 years. The course will begin with the formation of Abstract Expressionism and continue through Pop Art, Op Art, Chromatic Abstraction, Minimalism, Assemblage and Happenings, Process Art, Performance Art, Video Art, Land Art, Conceptual Art, Bodyworks, Photo-Realism, Neo-Expressionism, Neo-Geo, Pluralism, Multiculturalism, Post-Modernism and What's Next.
REQUIRED READING:
Jonathan Fineberg, Art Since 1940, Prentice Hall, 1995.
RECOMMENDED READING:
Sandler, Irving, The Triumph of American Painting.
Rosen, Brawer, Eds., Makinq Their Mark Women Enter the Mainstream.
Michael Crichton, Jasper Johns.
Lucy Lippard, From the Center: Feminist Essays on Women's Art
------------, Six Years: The Dematerialization of the Art-Obiect
Allan Kaprow, Assemblage, Environments and Happenings
John Cage, Silence. Lectures and Writinas
Susan Sontag, On Photography
Judy Chicago, Through the Flower
Tom Wolfe, The Painted Word
Leo Steinberg, Other Criteria, Confrontations with 20th c. Art
Douglas Davis, Artculture -- Essays in the Postmodern
Corinne Robins, The Pluralist Era. American Art 1968 to 1981.
Your grade for the course will be based on a short, 6 to 8 page report on your research in the art magazines, due on February 23rd; a one hour slide quiz scheduled for March 30th; and a 10-12 page term paper on a topic chosen from a list you will receive, due on the last day of class, Thursday, April 29th.
Students who are taking the course for graduate credit have the option to write a second paper on a topic chosen in consultation with me, or to research and write a single, but longer paper (15-20 pages).
Enjoy!
ARH345 -- ART OF THE UNITED STATES
This course surveys painting, sculpture, architecture and photography during the period between the American Revolution and World War II, and explores some of the recurring questions, for example: "What is American about American art?", "Does American art emphasize the real versus the ideal?", "Is American painting and sculpture documentary rather than imaginative, utilitarian rather than enjoyable for its own sake?, "What is the relationship between American art and architecture and European art?", What are American attitudes toward time and space?, "What are the important American contributions to the world history of art and architecture?".
Required Reading
Barbara Novak, American Paintinq of the Nineteenth Century, New York: Harper and Row, 1979.
David P. Handlin, American Architecture, New York and London: Thames and Hudson, 1985.
Recommended Reading
John W. McCoubrey, American Art 1700-1960 (Sources and Documents).
Barbara Novak, Nature and Culture.
Neil Harris, The Artist in American Society.
Robert Taft, Photography and the American Scene.
D. Hoopes, The American Impressionists.
Milton Brown, American Paintinq from the Armory Show to the Depression.
This is designated as a writing course. A short, five page paper on an assigned topic will be due on September 24th; a Midterm examination will be given on October 15th. A second, short paper on an assigned topic will be due on November 14th. Each student will write a term paper of between 10 and 15 pages on a topic chosen in consultation with me, due on or before the last class of the semester, December 5th.
Students who are taking the course for graduate credit will research and write an additional 8 to 10 page paper on a topic chosen in consultation with me.
SEMINARS:
ARH598 ISSUES IN ART SINCE 1960
Dr. Paula Harper
University of Miami, Fall, 1998
Wednesdays, 2:00 to 4:45
In this seminar we will explore some of the aesthetic and ideological issues generated by the art of the last forty years, as expressed in the writing of artists and art critics. Students will become familiar with a broad spectrum of this writing, both descriptive and theoretical. These varying points of view provide the context for our own discussion and definition of the nature and significance of contemporary art.
Required Reading for the course:
Jonathan Fineberg, Art Since 1940, Prentice Hall, 1995.
Peter Schjeldahl, Columns and Catalogues, The Figure, Great
Barrington, Mass., 1995.
John Berger, Ways of Seeinq, Penguin pb., 1977
Rosen and Brawer, Eds., Making Their Mark. Women Artists Move Into the Mainstream 1970-85, (Phila. Museum of Art), Abbeville Press, 1989.
Recommended Reading: (On Reserve)
Richard Hertz, Ed., Theories of Contemporary Art, Prentice Hall, 1993.
Dave Hickey, The Invisible Dragon: Four Essays on Beauty, Art Issues Press, L.A., 1993. (see me)
Robert Storr with Judith Tannenbaum, Devil on the Stairs Looking Back on the Eighties, Institute of Contemporary Art, U. of Pennsylvania, 1992.
Donald Kuspit, The Cult of the Avant-Garde Artist, Cambridge University Press, 1994.
Calvin Tomkins, Post- to Neo- The Art World of the 1980's, Penguin Pb. 1988.
--------------, The Bride and the Bachelors, Penguin pb. 1976.
Suzi Gablik, Has Modernism Failed?, Thames and Hudson, 1984.
-----------, The Reenchantment of Art, Thames & Hudson, 1991.
Corinne Robins, The Pluralist Era. American Art 1968-1984, Harper and Row, 1984.
Gregory Battcock, Ed., The New Art, Dutton pb., 1973.
--------------------, Minimal Art, Dutton pb., 1968.
----------------, Idea Art, Dutton pb., 1973.
---------------- The Art of Performance, Dutton pb, 1981.
Carter Ratcliff, Warhol, New York, 1983.
Brian Wallis, Ed., Hans Haacke, Unfinished Business.
Mark Rosenthal, Anselm Kiefer.
Christo, Surrounded Islands.
Dominique Laporte, Christo.
Mark Rosenthal, Andre, Buren, Irwin, Nordman: Space as Support.
Robert Irwin, Robert Irwin.
Lucy Lippard, From the Center: Feminist Essays on Women's Art.
Mixed Blessings. New Art in a Multicultural America.
CATALOGUES:
American Art Since 1970, Whitney Museum of American Art, 1984.
Biennial Exhibition: Whitney Museum of American Art, 1983, 1985, 1987, 1989, 1991, 1993, 1995, 1997.
Fifth Havana Bienal, Arte, Sociedad, Reflexion (See me).
MAGAZINE ARTICLES:
Art Journal, Fall, 1990, "Computers and Art: Issues of Content"; Summer, 1991, "Feminist Art Criticism"; Fall, 1991, "Censorship I; Winter 1991, "Censorship II", Digital Reflections: The Dialogue of Art and Technoloqy, Fall, 1997. (See me)
Marxist Quarterly, 1979, Carol Duncan and Alan Wallach, "The Museum of Modern Art as Late Capitalist Ritual". (Xerox on reserve)
Gaston Bachelard, The Poetics of Space (Phenomenology of the
imagination).
J.L.Borges, Labyrinths, "Pierre Menard, Author of the Quijote" (the
problem of originality).
Italo Calvino, Six Memos for the Next Millenium "Lightness" (some
qualities of contemporary literature).
*****
Here is a list of suggested "issues" for our study and discussion. Each student in the seminar will choose one of these topics, or another in consultation with me, for a research paper due on November 11th, three weeks before the last meeting of the seminar on December 2nd.
Modernism into Post-Modernism -- what has changed?
Collapsing borders: geographical, psychological, categorical.
New combinations of media -- do they express new content?
Speed: Acceleration of communication/dissemination of culture.
Activist art: sending political and social messages.
The aesthetic and ideological values of "Multi-Culturalism".
Commodification of culture: art as entertainment.
Marxism and contemporary art and media.
The contribution of Feminism.
Is there a "Women~s Art?" in style or subject matter?
Censorship of art: is it ever justified?
Anti-pornography versus anti-censorship.
Sexuality in art.
Gender in art.
The body: fixed and mutable.
Identity and context.
The "death" of the avant-garde.
"Pluralism" -- what is it and why?
Representation vs. abstraction.
Fragmentation of the object/subject.
The expansion of scale (land art, environments).
Chance and choice -- Cunningham, Cage and Rauschenberg.
Style, its uses and its meanings.
Art vs. craft.
Interactions of art and criticism.
Art in public places -- who chooses; what criteria?
Art institutions -- what public do they serve & how?
Artistic "freedom".
Regionalism -- its values and disadvantages.
Academic art.
Popular art I -- Wyeth, Norman Rockwell, et al.
Popular art II -- Inner city, third world, art by
non-professionals ("outsider art").
Popular art III -- TV, MTV, print media, advertising, movies.
Immaterial art -- performance, ritual.
Simulation vs. reality.
Copy, pastiche, parody vs. original.
Appropriation.
"Hype" and careerism.
Corporate patronage and its effects.
Government patronage and its effects.
The art market -- commodities trading.
Why make art anyway?
Your assignment for our second meeting on September 2nd:
1. Go over the list of "issues" and choose those that mean something to you and about which you have ideas and opinions. Come prepared to discuss these with the group. We'll go around in turn and give everyone a chance to speak.
2. Consider the last "issue" on the list -- "Why make art anyway?" Formulate an answer to this question based not only on your personal necessities -- although these are important and we want to know about them -- but also on your convictions about the roles and responsibilities of artists in society, the functions of art and the value that art has in the world.
Assignment for Wednesday, September 9th:
Read Clement Greenberg’s definition of "Modernism" (reprinted in Howard Risatti's Postmodern Perspectives--you will receive a Xerox of this) -- and articles on "Post-Modernism", depending on your ambition, from Richard Hertz, Theories of Contemporary Art (On Reserve at Richter Library). Be prepared to discuss modernism and postmodernism; some definitions and implications.
ARH560G CONTEMPORARY MUSEUM PRACTICES
This seminar will offer several kinds of experience to students interested in how contemporary museums operate and what philosophies underlie their exhibition programs, acquisition choices and methods of operation.
A number of books and articles are available (on reserve in the Richter Library) that participants in the seminar will find valuable. They are recommended as preparation for our visits to local art museums to observe their installations and talk with their Directors and staff.
As a term project, each student will conceive and design an exhibition with a catalogue essay and sampling of catalogue entries. This practice exhibition can be organized in a number of ways, traditional and innovative, to be discussed in our sessions. The completed project is due on April 5th.
ASSIGNMENT FOR JANUARY 25th: Each participant will read and be prepared to discuss the following articles:
From Ivan Karp and Steven D. Lavine, Eds., Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian Institution Press,
Washington and London, 1991.
Introduction: "Museums and Multiculturalism".
Svetlana Alpers, "The Museum as a Way of Seeing".
Michael Baxandall, "Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects".
B. N. Goswamy, "Another Past, Another Context: Exhibiting Indian Art Abroad".
ASSIGNMENT FOR FEBRUARY 1ST; The following articles:
From Ivan Karp, Christine Mullen Kreamer and Steven D. Lavine, Eds., Museums and Communities The Politics of Public Culture, Smithsonian Institution Press, Washington and London, 1992.
Introduction: "Museums and Communities".
Ivan Karp, "On Civil Society and Social Identity".
Edmund Barry Gaither, "Hey! That's Mine; Thoughts on Pluralism and American Museums".
Guillermo Gomez-Pena, "The Other Vanguard".
Vera L. Zolberg, "Art Museums and Living Artists: Contentious Communities".
FEBRUARY 8th: Visit to the Wolfsonian Foundation, 1001 Washington Avenue, Miami Beach, Fla., 305-531-1001.
FEBRUARY 15TH: BOOK REPORTS.
ARH560GY - Books and articles on reserve at Richter Library:
Brawne, Michael, The New Museum: Architecture and Display, Praeger, New York, 1965.
Collins, Zipporah W., Ed., Museums. Adults and the Humanities: A Guide for Educational Programming, American Association of Museums, Washington, D.C., 1981.
Crimp, Douglas, On the Museum's Ruins, MIT Press, Cambridge, 1993.
Duncan, Carol and Alan Wallach, "The Museum of Modern Art as Late Capitalist Ritual: An Iconographic Analysis", Marxist Perspectives, Winter, 1978: 28-49.(PH Personal copy).
Fennelly, Lawrence, Museum. Archive and Library Security,
Butterworths, Boston, 1983.
Guthe, Carl, So You Want a Good Museum: A Guide to the Management of Small Museums, American Association of Museums, Washington, D.C., 1957.
Harris, Neil, Cultural Excursions: Marketing Appetites and Cultural Tastes in Modern America, U. of Chicago Press, Chicago, 1990.
Hendon, William et al., "The General Public and the Art Museum: Case Studies of Visitors to Several Institutions Identify Characteristics of Their Publics", American Journal of Economics and Sociology, Vol. 48 No. 2 (April, 1989), p. 231-243. (PH Personal copy)
Hooper-Greenhill, Eileen, Museums and the Shaping of Knowledge, Routledge, London, 1992.
Hudson, Kenneth, The Directory of World Museums, Columbia
University Press, New York, 1975. RICHTER REFERENCE
Karp, Ivan and Steven Lavine, Eds., Exhibiting Cultures: the Poetics and Politics of Museum Display, Smithsonian Institution Press, Washington, D.C., 1990.
Karp, Ivan, Christine Mullen Kreamer and Steven D. Lavine, Eds. Museums and Communities: the Politics of Public Culture, Smithsonian Institution Press, Washington, D.C., 1992.
Kavanagh, Gaynor, Ed., Museum Languages: Obiects and Texts,
Leicester University Press, Leicester, New York, 1991.
Levine, Lawrence W. Hichbrow/Lowbrow: The Emergence of Cultural Hierarchy in America, Harvard U. Press, Cambridge, 1988.
Newsome and Silver, Eds., The Art Museum as Educator, University of California Press, Berkeley, 1978.
O' Doherty, Brian, Inside the White Cube: the Ideoloqy of the Gallery Space, Lapis Press, San Francisco, 1988.
Phelan, M., Museums and the Law, (LAW LIBRARY)
Searing, Helen, New American Art Museums, Whitney Museum of
American Art, New York, 1982.
Sherman, Daniel J. and Irit Rogoff Eds., Museum Culture: Histories, Discourses, Spectacles, Minneapolis, U.of Minnosota Press, 1994.
Tomkins, Calvin, Merchants and Masterpieces: The Story of the Metropolitan Museum of Art, Henry Holt and Co., N.Y., 1989.
Ullberg, Alan, Museum Trusteeship, American Association of Museums, Washington, D.C., 1981. (PH Personal Copy)
ARH560 Seminar: WOMEN, ART AND SOCIETY
Spring, 1999, University of Miami, Wed. 2:00 - 4:30PM Dr. Paula Harper: Office hours by appointment.
An exploration of the lives and careers of women artists within the context of the social institutions and customs that affected their options and choices, particularly the educational and training systems for artists, and the practices of museums, galleries and art publications. Although briefly surveying women ts careers from the 16th through the 19th century, the seminar will concentrate on roughly the last 100 years, beginning with the women of the Impressionist movement. Each participant will choose a topic in consultation with me, give an oral presentation on the work in progress, and complete a 10 to 14 page paper as the term project.
Required Reading
Whitney Chadwick, Women, Art and Society, Thames and Hudson, N.Y., 1990. (book store)
Anne Wilson Schaef, Women's Reality, Harper San Francisco, 1981. (book store)
Norma Broude and Mary D. Garrard, Eds. The Power of Feminist Art Abrams, 1994. (book store)
Judy Chicago, Throuch the Flower, Penguin, 1993. (book store)
Linda Nochlin,"Why Have There Been No Great Women Artists?", from Women Art and Power and Other Essays, New York,Harper and Row, 1988. (On reserve at Richter)
Paula Harper, "The First Feminist Art Program: A View from the 1980's", in Sians, Vol. 10, No. 4, Summer, 1985. (on reserve at Richter)
Lucy Lippard, "Sweeping Exchanges: the contribution of feminism to the art of the 1970's", Art Journal, 1980, Vol 41, 1/2, p. 362. (on reserve at Richter)
Recommended Reading (on reserve at Richter Library)
Liz McQuiston, Suffragettes to She-Devils; Women's Liberation and Beyond, Phaidon Press, London, 1996.
Norma Broude and Mary D. Garrard, Eds.,The Expanding Discourse Essays in Feminism and Art History, Icon Editions, Harper Collins, New York 1992.
Rosen and Brawer, Eds., Making Their Mark: Women Artists Move into the Mainstream, Abbeville Press, N.Y. 1988.
Ann Harris & Linda Nochlin, Women Artists 1550-1950, Knopf, New York, 1976.
Nancy Heller, Women Artists Abbevile Press, N.Y. 1987. Karen Pedersen and J.J.Wilson, Women Artists, Harper Colophon, New York, 1976.
Charlotte Streifer Rubenstein, American Women Artists, Avon Books, New York, 1982.
Lucy Lippard, From the Center, Feminist Essays on Women's Art, Dutton, New York, 1976.
Norma Broude and Mary D. Garrard, Eds., Feminism and Art History: Questioning the Litany, Harper & Row,1982.
Moira Roth,Ed., The Amazing Decade. Women and Performance Art in America 1970-1980. Astro Artz,1983.
Griselda Pollock, Vision and Difference: Femininity, Feminism and the Histories of Art, London, Routledge, 1988.
Anne Middleton Wagner, Three Artists (Three Women) Modernism and the Art of Hesse, Krasner and O'Keeffe, U. of California Press, 1996.
Judy Chicago, The Dinner Party, Anchor Doubleday, 1979.
Judy Chicago, The Birth Project, Doubleday, N.Y. 1987.
Linda Nochlin, The Politics of Vision: Essays on Nineteenth Century Art and Society, New York, Harper & Row, 1989.
Lynn Hunt, Ed., Eroticism and the Body Politic, Baltimore and London, Johns Hopkins U. Press, 1991.
Gill Saunders, The Nude: A new perspective, Cambridge, Harper and Row, 1989.
Marcia Pointon, Naked Authority: The Body in Western Painting 1830-1908, New York, Cambridge, Cambridge U. Press, 1990.
Rosemary Betterton, Ed., Lookinq On Images of femininity in the visual arts and media, London & N.Y., Pandora, 1987.
Marina Warner, Monuments and Maidens The Allegory of the Female Form, New York, Atheneum, 1985.
Gerda Lerner, The Creation of Patriarchy, New York and Oxford, Oxford University Press, 1986.
Erving Goffman, Gender Advertisements, Harvard U. Press, Cambridge, 1979.
Gill Perry, Women Artists and the Parisian Avant-garde, Manchester University Press, 1995.
A list of topics and questions for discussion:
Before the 20th century:
What accounts for the scarcity of women artists?
What were the educational and training opportunities for
women?
Did social customs and attitudes help or hinder women artists?
What place did women have in the institutions that trained and
supported artists?
Who were the patrons for women artists?
How did women’s art compare with art by men of the same era
and area? In style? In subject matter?
Is there a "gender style"? Define for masculine and feminine.
Did women's strategies for success differ from men's?
Did women work in isolation?
Contemporary issues:
What is the place of women artists in the ideological and
aesthetic context of "Multiculturalism"?
What has been the contribution of women artists, art
historians and critics to the development of post-modernism?
Does women's art take a position on pornography and censorship?
What are the polemics of “victim art” and the “art of
empowerment"?
Is there a contemporary "gender style"? Define for masculine
and feminine.
Is there a "central imagery" in women's art?
Is art by women different from art by men? In formal
characteristics? In subject matter? In approach?
Is feminist art different from women’s art?
Is art by homosexual women different from art by heterosexual
women?
What place do women's crafts have in the history of art?
Do art institutions support women equally with men? (Schools,
Universities, Galleries, Museums, Publications, Foundations?)
Do successful women artists support women?
Does separatism have value in women's art education?
Should women artists marry? Have children?
What role does feminist criticism play in the support of women
artists?
Do contemporary women work in isolation?
ARH560 - SEMINAR IN THE HISTORY OF PRINTS
Wednesdays, 2:00 to 4:50
In this seminar, we will explore the history and nature of a particular art medium -- the print. Prints, because of their small size and modest cost, have always been a personal and popular art. Their history forms an alternative and accompaniment to the grander history of painting and sculpture, which have more often been allied with establishment structures. Some of the topics we will take up are:
I. Techniques: Relief, Intaglio and Planographic: woodcuts, engravings, etchings, aquatints, drypoints, mezzotints, cliche verre, lithographs, monotypes, serigraphs and contemporary combinations of techniques.
II. Fine Prints and Connoisseurship: Impressions, editions, restrikes, fakes and semi-fakes.
III. Subject Matter: Parallels to "high art" in "historia," portrait, genre, landscape, and abstract images; the medium's special kinds of subjects -- cycles and sequences (e.g. The Dance of Death), scientific illustration, views, maps, "news", caricature.
IV. The Uses of Prints: the "fine print", reproductive engraving, book illustration, protest and persuasion in posters, "mass media".
V. Style: The linear and the painterly print, parallels to "high art" styles; the world in black and white; the imperatives of techniques; the styles of the masters -- Durer, Holbein, Bruegel, Rembrandt, Goya, Daumier, Hokusai, Hiroshige, Cassatt, Degas, Munch, Kirchner,Picasso, Matisse, Warhol.
The course will be conducted as a seminar, with lectures, discussion, oral presentations by the participants and a term paper on a topic chosen in consultation with me. We will make several field trips: to the Center for the Fine Arts, the Lowe Art Museum and the Mitchell Wolfson Collection, and to studios to observe printmaking and conservation techniques;
REQUIRED BOOKS:
William Ivins, How Prints Look, Beacon, 1958.
-------------, Prints and Visual Communication, MIT Press,1969.
Ralph Shikes, The Indignant Eye, Beacon Press, 1979.
Michel Melot et al., History of an Art Prints, Skira, N.Y. 1981.
Riva Castleman, Prints of the 20th Century, Oxford, 1976.
For additional reading, consult the annotated bibliographies in Shikes, in Melot, the 20th century bibliography in Castleman, and the Art Index since 1980 under the names of individual printmakers for magazine articles.
ARH560GY -- SEMINAR IN THE HISTORY OF PHOTOGRAPHY
Wednesdays, 2:00 to 4:45
In this course we will explore the history of photography from its origins in the early 19th century to the present. Changing styles and treatments of subject matter will be analyzed, as seen in the work of important European and American photographers from Daguerre to Cindy Sherman. The significant impact of photography on the traditional arts, on modern communication, on historical events and social ideas will also be examined. Some topics of discussion will be the following: Is photography art? Photographic vision: what the camera sees. "Pictorial" photography in the 19th century. Photographs as documents: of people, places, events. "Straight" versus "manipulated" photographs. Subjective and objective elements in photographs. Motion arrested and time extended by photography. Fashion, news, commercial photography. Black and white and color. The photobook. Photography and modernism. Photography and Post-modernism.
REQUIRED READING:
Beaumont Newhall, The History of Photography, MOMA, 1982.
Jonathan Bayer, Reading Photographs, Pantheon, 1977.
RECOMMENDED READING:
Roland Barthes, Camera Lucida.
John Berger, About Looking.
Van Deren Coke, The Painter and the Photograph.
Robert Doty, Ed., Photography in America.
Robert Frank, The Americans.
Peter Galassi, Before Photography.
Helmut and Alison Gernsheim, The History of Photography.
John Heartfield, Photomontages of the Nazi Period.
Beaumont Newhall, Ed., Photography, Essays and Images.
Lucas Samaras, Phototransformations.
John Sarkowsky, The Photographer's Eye.
--------------, Mirrors and Windows.
Susan Sontag, On Photography.
Anne Tucker, Ed., The Woman's Eye.
Robert Taft, Photography and the American Scene.
Edward Weston, Daybooks.
San Francisco Museum of Art, Women of Photography
The course will be run as a seminar, with discussion of reading, visits with local photographers, oral presentations by the participants and a term paper due on April 12th.
ARH560 --SEMINAR IN IMPRESSIONISM
This seminar will focus on the group of painters -Manet, Degas, Monet, Renoir, Sisley, Pissarro, Berthe Morisot, Mary Cassatt -- who worked at one time or another in the "impressionist" style and/or exhibited at the so-called Impressionist exhibitions in Paris between 1874 and 1886. We will explore the characteristic subjects and style of the school, its origins and relevance to later art and the issues and ideas connected with it.
The course will be run as a combined seminar and colloquium. For the first seven meetings or so, we will discuss the individual artists in the movement and look at their work. During the second part of the semester, each student will make a brief presentation centered on one issue, announced in advance so the others may read the relevant material.
A paper (12 to 15 pages) will be required of each participant, due on November 19th. These papers will be the subject of discussion for the last two meetings of the group on November 26th and December 3rd.
Schedule of Topics
September 10th -- Opening remarks; Impressionism in general, its style, subjects, context, issues -- its relationship to the past and future; spontaneity vs. structure; social values expressed; the problem of the violent rejection of Impressionism followed by its enormous popularity; questions of changing taste and standards of quality; its relationship to Realism; its nature as the first formalist art; its relationship to photography, to Japanese prints; Impressionist time and space; sex and violence in Impressionism.
Sept. 17th -- Manet and Impressionism.
Sept. 24th -- Degas.
Sept. 19th -- Pissarro.
Oct. 1st -- Renoir.
Oct. 8th -- The distaff side -- Morisot and Cassatt.
Oct. 15th -- Sisley and Monet.
Oct. 22nd -- Cezanne, Gauguin and Van Gogh as Impressionists.
Oct. 29, Nov. 5, 12, -- Individual presentations.
Nov. 19 General discussion -- papers due.
Nov. 26, Dec. 3rd -- discussion of papers.
Required Reading:
Shikes and Harper, Pissarro His Life and Work.
John Rewald, The History of Impressionism.
Linda Nochlin, Impressionism and Post-Impressionism.
Recommended Reading:
Barbara Erlich White, Ed., Impressionism in Perspective,
Englewood Cliffs, N.J., 1978.
Phoebe Pool, Impressionism, Oxford U. Press, 1967.
Kermit Champa, Studies in Early Impressionism, Yale, 1973.
Impressionism, a Centenary Exhibition-, Metropolitan Museum, New York, 1974.
Aaron Scharf, Art and Photography, Penguin, 1969.
Magazine articles:
William Seitz, "The Relevance of Impressionism, January, 1969.
Kirk Varnedoe, "The Artifice of Candor. Impressionism and Photography Reconsidered," Art in America, January, 1980.
Robert Herbert, "Method and Meaning in Monet," Art in America, September, 1979.
ARH132 Honors Survey -- ART OF THE MODERN WORLD
University of Miami, Fall, 1999.
Dr. Paula Harper: Office hours Tues.,Wed.,Thurs., by appointment.
"Art of the Modern World" begins with the High Renaissance in Italy and closes with recent developments in the art of the 1990 ts in America. During this period, the subject matter and the style of art went through many changes; our survey will explore the nature of these changes and investigate the lives, temperaments and intentions of the artists whose work reflects them. We will also consider the social, political, and cultural environments in which these artists produced their work, in the hope of finding the connections between the spirit of a time and its visible materializations.
Required Reading:
Frederic Hartt, Art A History of Painting, Sculpture and
Architecture. Vol. II: Baroque to Modern.
Joshua Taylor, Learning to Look.
Recommended Reading (on Reserve in the Library)
Sylvan Barnet, Writing about Art.
Heinrich Wolfflin, Principles of Art History.
Howard Hibbard, Bernini.
Kenneth Clark, Landscape into Art.
Harris & Nochlin, Women Artists 1550-1958.
Michael Levey, Rococo to Revolution.
Aaron Scharf, Art and Photography.
Phoebe Pool, Impressionism.
Robert Hughes, The Shock of the New.
Whitney Chadwick, Women, Art, and Society.
The course will be conducted as a series of lectures and discussion sessions. Two short papers will be assigned based on observation and analysis of works of art at the Lowe Art Museum. In addition, there will be a midterm examination concentrating on factual information -- slide identifications, names, dates, places and terminology. The final exam will consist of an essay prepared at home in answer to assigned questions. These questions will focus on the larger concepts and art historical developments of the entire period.
The ultimate aim of the course is pleasure -- the pleasure that comes from knowledge itself, from insight into the mental and emotional projections of other times and places in comparison with our own, and the pleasure of enjoying the form and meaning of art.
