Janis Tomlinson ed. Readings in Nineteenth-Century Art. Upper Saddle River: Prentice Hall, Custom Courseware

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1 Department of History Art and Revolutions in France History/Art History 2DF3, Winter 2013 Mondays and Wednesdays 4:30-5:20 p.m., Togo Salmon Hall B-105 Dr. A. McQueen, Office CNH-601, Tel: Ext Office Hours: Fridays 10:30 a.m. to 12:30 p.m., and by appointment Web site: This course examines the intersections of visual culture and the political revolutions of 1789, 1830, 1848 and The course evaluates art in a range of media including painting, sculpture, printmaking, photography, and architecture. Lectures will present material chronologically and will focus on major movements and stylistic innovations in art including Romanticism, Realism, Impressionism, Post-Impressionism, Expressionism, Cubism, and Dada but will also include artists who worked independent of these movements. Prerequisite: Registration in Level II or above. Antirequisite: Art History 2D03. Required Texts Janis Tomlinson ed. in Nineteenth-Century Art. Upper Saddle River: Prentice Hall, Custom Courseware Course Evaluation: Paper, January 30 th, 30% Each student will write a review of a book related to the material of this course. The books that can be considered are listed below. An equal number of students will write on each book and assignments will be made on a first-requested, first-secured basis via Avenue to Learn. This paper will be an analytic review of pages in length ( words) and is due at the beginning of class on Wednesday January 30 th. List of books Athanassoglou-Kallmyer, Nina. Théodore Géricault. New York: Phaidon, Betzer, Sarah. Ingres and the Studio: Women, Painting, History. University Park: The Pennsylvania State University Press, Garb, Tamar. The Painted Face: Portraits of Women in France, New Haven: Yale University Press, Jones, P.M. The French Revolution nd ed. Harlow: Pearson, Mayo Roos, Jane. Auguste Rodin. New York: Phaidon, Pinson, Stephen C. Speculating Daguerre: Art & Enterprise in the Work of L.J.M. Daguerre. Chicago: University of Chicago Press, Rey, Jean-Dominique. Berthe Morisot. Paris: Flammarion, Rubin, James H. Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh. Berkeley: University of California Press, Sidlauskas, Susan. Cézanne s Other: The Portraits of Hortense. Berkeley: University of California Press,

2 Smart, Annie K. Citoyennes: Women and the Ideal of Citizenship in Eighteenth-Century France. Newark: University of Delaware Press, Smith, Paul (ed). Seurat Re-viewed. University Park: Pennsylvania State University Press, Thomas, Greg M. Impressionist Children: Childhood, Family, and Modern Identity in French Art. New Haven: Yale University Press, Contact information for Teaching Assistants: Lauren Goldstein: Gillian Lessard: Kevin Anderson: Mark Gulla: Midterm Test, February 13 th, 30% The midterm test will include material up to and including the lecture directly preceding the test. The midterm test will be graded out of 40 points and it will have two parts. Part One: Identification and Analysis: students will identify 6 works, citing the name of the artist, title of the work, and date the work was produced; students will then discuss the significant points of the work by drawing on information discussed in the lectures and the assigned readings (5 points per slide, 1.5 for identification and 3.5 for discussion, total 30 points; 6 minutes per slide, total 36 minutes). Part Two: Analysis of an Unknown Work: students will identify an unknown work of art and will be asked to identify the movement and/or historical context with which the work can be connected. Students will write a short answer defending their identification and will be expected to analyze the work based on information discussed in both lectures and assigned readings; students will cite works discussed in lecture (with full identification) to support their analysis of the unknown work (10 points; 10 minutes). Final Examination, Date TBA, 40% The final examination will be scheduled during the final exam period. This examination will, in part, follow the format of the midterm and will address material covered since the first lecture after the midterm and up to and including the last lecture. The final examination will also include an additional section, which will be cumulative. The format of this section will be addressed during the last week of class. * Students must not expect to achieve success in this course if they are not prepared to complete all of the assigned readings and to incorporate information they have learned from the readings into their answers on the tests and exam. Students will need to take careful notes during lectures and must also extend their analysis to include material from the readings. Review slides will be available through ARTstor. Please consult the instructions on Avenue to Learn to set up your ARTstor account. 2

3 Note: 1. Students are expected to attend all classes and arrive promptly for the beginning of each class. To be respectful of others, students are asked not to enter the classroom late; if you do, you must enter the classroom by the back door and quietly take a chair close to the door so as not to disturb other students. 2. Students are requested not to eat in class; beverages are permitted. Students must also refrain from listening to any sound recording devices during lecture. Recording of lectures is not permitted without advance permission from the professor. 3. Laptop computers are permitted only so long as students remain focused on the class. Game playing, internet use or any other disruptive computer use by one student during lecture will result in laptops not being permitted in class for any student. 4. The instructor and university reserve the right to modify elements of the course during the term. The university may change the dates and deadlines for any or all courses in extreme circumstances. If either type of modification becomes necessary, reasonable notice and communication with the students will be given with explanation and the opportunity to comment on changes. It is the responsibility of the student to check their McMaster and course websites weekly during the term and to note any changes. 5. It is the policy of the Faculty of Humanities that all communication sent from students to instructors (including TAs), and from students to staff, must originate from the student s own McMaster University account. This policy protects confidentiality and confirms the identity of the student. Instructors will delete s that do not originate from a McMaster account. 6. Extensions or other accommodations will be determined by the instructor and will only be considered if supported by appropriate documentation. Absences of less than 5 days may be reported using the McMaster Student Absence Form (MSAF) at If you are unable to use the MSAF, you should document the absence with your faculty office. In all cases, it is the student s responsibility to follow up with the instructor immediately to see if an extension or other accommodation will be granted, and what form it will take. There are no automatic extensions or accommodations. 7. In this course we will be using Avenue to Learn. Students should be aware that, when they access the electronic components of this course, private information such as first and last names, user names for the McMaster accounts, and program affiliation may become apparent to all other students in the same course. The available information is dependent on the technology used. Continuation in this course will be deemed consent to this disclosure. If you have any questions or concerns about such disclosure please discuss this with the course instructor. 8. You are expected to exhibit honesty and use ethical behaviour in all aspects of the learning process. Academic credentials you earn are rooted in principles of honesty and academic integrity. Academic dishonesty is to knowingly act or fail to act in a way that results or could result in unearned academic credit or advantage. This behaviour can result in serious consequences, e.g. the grade of zero on an assignment, loss of credit with a notation on the transcript (notation reads: Grade of F assigned for academic dishonesty ), and/or suspension or expulsion from the university. It is your responsibility to understand what constitutes academic dishonesty. For information on the various types of academic dishonesty please refer to the Academic Integrity Policy, located at Grading scale: A B C D A B C D A B C D F

4 Lecture Topics and The Academy and Anti-Academics in late 18 th -Century and early 19 th -Century Art McClellan, Andrew L. The Musée du Louvre as Revolutionary Metaphor during the Terror, in in Nineteenth-Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1996, pages Porterfield, Todd. David sans David, in Mark Ledbury et al. David after David: Essays on the later work. Williamstown: Clark Art Institute, 2007, pages Vigée-Lebrun, Elizabeth. Memoirs of Madame Vigée-Lebrun. Trans. Lionel Strachey Intro. John Russell. New York: George Braziller Inc., 1989, pages 34-35, Ryan, Maureen. Liberal Ironies, Colonial Narratives and the Rhetoric of Art: Reconsidering Géricault s Radeau de la Meduse and the Traite des Nègres, Théodore Géricault: The Alien Body, Tradition in Chaos. eds. Serge Guibault, Maureen Ryan and Scott Watson. Vancouver: The University of British Columbia, 1997, pages Leeks, Wendy. Ingres Other-Wise, in in Nineteenth-Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1996, pages Said, Edward. Orientalism, in Art in Modern Culture: An Anthology of Critical Texts. eds. Francis Frascina and Jonathan Harris. London: Phaidon, 1992, pages Realism Mainardi, Patricia. The Political Origins of Modernism, in in Nineteenth-Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1996, pages Bezucha, Robert. J. An Introduction to the History, in The Art of the July Monarchy: France 1830 to Columbia: University of Missouri Press, 1990, pages Nochlin, Linda. The De-Politicization of Gustave Courbet: Transformation and Rehabilitation under the Third Republic, October 22 (Autumn 1982): Clark, Timothy J. Preliminaries to a Possible Treatment of Olympia in 1865, in Art in Modern Culture: An Anthology of Critical Texts. eds. Francis Frascina and Jonathan Harris. London: Phaidon, 1992, pages Impressionism Eisenman, Stephen F. The Intransigent Artist or How the Impressionists Got Their Name, in Impressionism and Post-Impressionism. ed. Mary Tompkins Lewis. Berkeley: University of California Press, 2007, pages Tucker, Paul. The First Impressionist Exhibition and Monet s Impression, Sunrise: A Tale of Timing, Commerce and Patriotism, in in Nineteenth-Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1996, pages Pollock, Griselda. Modernity and the Spaces of Femininity, in Vision and Difference: Femininity, Feminism, and Histories of Art. New York: Routledge, 1988, pages Garb, Tamar. Berthe Morisot and the Feminizing of Impressionism, in in Nineteenth- Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1996, pages

5 Post-Impressionism Clayson, S. Hollis. The Family and the Father: The Grand Jatte and its Absences, in in Nineteenth-Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1996, pages Chevreul, Eugène On Colouring in Painting, and Of the Complex Associations of Colours, viewed critically, in Art in Theory : An Anthology of Changing Ideas. ed. Charles Harrison and Paul Wood. Malden: Blackwell, 1998, pages Van Gogh, Vincent. The Letters of Vincent Van Gogh. ed. Mark Roskill. New York: Macmillan Publishing Company, 1963, pages , Schiff, Richard Mark, Motif, Materiality: The Cézanne Effet in the Twentieth Century, in Critical in Impressionism and Post-Impressionism. ed. Mary Tompkins Lewis. Berkeley: University of California Press, 2007, pages Photography Phillips, David Llewellyn. Photography, Modernity and Art, in Nineteenth Century Art: A Critical History. ed. Eisenman, Stephen F. London: Thames and Hudson, 2002, pages Johnson, Deborah. Confluence and Influence: Photography and the Japanese Print in 1850, in in Nineteenth-Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1995, pages Late 19 th -Century Sculpture Mathews, Patricia. Camille Claudel: A Life, Woman s Art Journal. vol.25 n.2 (Winter 2005): Wagner, Anne M. Rodin s Reputation, in in Nineteenth-Century Art. ed. Janis Tomlinson. Upper Saddle River: Prentice Hall, 1996, pages Rodin, Auguste. Rodin s Defense (May 12, 1898), in Rodin in Perspective. ed. Ruth Butler. New Jersey: Prentice Hall, 1980, page 94. Harris, Frank. A Masterpiece of Modern Art (1898), in Rodin in Perspective ed. Ruth Butler. New Jersey: Prentice Hall, 1980, pages Expressionism Eisenman, Stephen F. The Appeal of Modern Art: Toulouse-Lautrec, in Nineteenth Century Art: A Critical History. ed. Stephen F. Eisenman. London: Thames and Hudson, 2002, pages Kandinsky, Wassily. The Language of Form and Colour, in Concerning the Spiritual in Art. trans. M.T.H. Sadler. New York: Dover Publications Inc., 1977, pages Cubism and Dada Antliff, Mark and Patricia Leighten. European Primitives, in Cubism and Culture. New York: Thames and Hudson Inc., 2001, pages Tzara, Tristan. Dada Manifesto 1918, in Art in Theory : An Anthology of Changing Ideas. eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 2003, pages

6 Reserve List Athanassoglou-Kallmyer, Nina. Théodore Géricault. New York: Phaidon, Betzer, Sarah. Ingres and the Studio: Women, Painting, History. University Park: The Pennsylvania State University Press, Chu, Petra ten-doesschate. Nineteenth-Century European Art. 3 rd ed. New York: Abrams, Eisenman, Stephen F. et al. Nineteenth Century Art: A Critical History. 4 th ed. New York: Thames and Hudson, Garb, Tamar. The Painted Face: Portraits of Women in France, New Haven: Yale University Press, Jones, P.M. The French Revolution nd ed. Harlow: Pearson, Mayo Roos, Jane. Auguste Rodin. New York: Phaidon, Pinson, Stephen C. Speculating Daguerre: Art & Enterprise in the Work of L.J.M. Daguerre. Chicago: University of Chicago Press, Rey, Jean-Dominique. Berthe Morisot. Paris: Flammarion, Rubin, James H. Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh. Berkeley: University of California Press, Sidlauskas, Susan. Cézanne s Other: The Portraits of Hortense. Berkeley: University of California Press, Smart, Annie K. Citoyennes: Women and the Ideal of Citizenship in Eighteenth-Century France. Newark: University of Delaware Press, Smith, Paul (ed). Seurat Re-viewed. University Park: Pennsylvania State University Press, Thomas, Greg M. Impressionist Children: Childhood, Family, and Modern Identity in French Art. New Haven: Yale University Press,