Art History and Theory
Undergraduate: Level 4
Monday 13 January 2020
Friday 20 March 2020
05 July 2019
Requisites for this module
BA V351 Curatorial Studies,
BA V352 Curatorial Studies (Including Year Abroad),
BA V353 Curatorial Studies (including Placement Year),
BA V359 Curatorial Studies (Including Foundation Year),
BA V35B Curatorial Studies (Including Foundation Year and Year Abroad)
This module offers an in-depth study of a revolutionary moment in the production of art. Starting with the provocative Realism of the mid nineteenth century, we'll further investigate Impressionism and its main rival, Salon Naturalism, in the context of social, political, and economic changes that heralded the birth of modernity in France.
The themes we will explore will include labour and class, gender, technology including photography, the built environment, and display. We will explore not only the historical stature and reputation of Courbet, Manet, Degas, Monet, Morisot, Cassatt, Caillebotte, Pissarro, Renoir and others, but their contemporary relevance. And we will examine not only why and how artists reacted to their time, but how they also came to influence it.
The aims of the module are:
1. to introduce students to key movements in the history of art by focusing on Impressionism;
2. to develop skills of oral and written description and analysis of art works;
3. to develop interpretation skills through comparative visual analysis;
4. to familiarise students with the use of primary and secondary sources.
By the end of this module the student should have:
1. a sound grasp of Realist and Impressionist artworks and their context;
2. the ability to interpret works and texts based on sound knowledge of the appropriate historical and interpretative contexts;
3. the confidence to subject the texts studied to critical analysis; and
4. good bibliographic and basic research skills.
By the end of the module, students should also have acquired a set of transferable skills, and in particular be able to:
1. define the task in which they are engaged and exclude what is irrelevant;
2. seek and organise the most relevant discussions and sources of information;
3. process a large volume of diverse and sometimes conflicting arguments;
4. compare and evaluate different arguments and assess the limitations of their own position or procedure;
5. write and present verbally a succinct and precise account of positions, arguments, and their presuppositions and implications;
6. be sensitive to the positions of others and communicate their own views in ways that are accessible to them;
7. think 'laterally' and creatively (i.e., to explore interesting connections and possibilities, and to present these clearly rather than as vague hunches);
8. maintain intellectual flexibility and revise their own position based on feedback;
9. think critically and constructively.
No additional information available.
10 x 2 hour seminars
1 x Gallery visit
- Pollock, Griselda. (1988, c1987) 'Modernity and the Spaces of Femininity', in Vision and difference: femininity, feminism, and histories of art, New York: Routledge., pp.50-90
- Herbert, Robert. (1979) 'Method and Meaning in Monet', in Art in America, New York: F.F. Sherman. vol. 67 (5) , pp.90-108
- Armstrong, Carol. (1986) 'Edgar Degas and the Representation of the Female Body', in The Female body in western culture: contemporary perspectives, Cambridge, Mass: Harvard University Press., pp.223-242
- Courbet, Gustave. (1966) 'The Realist Manifesto', in Realism and tradition in art, 1848-1900: sources and documents, Englewood Cliffs, N.J.: Prentice-Hall., pp.33-34
- Baudelaire, Charles. (c1964) 'The Painter of Modern Life', in The painter of modern life: and other essays, [London]: Phaidon., pp.1-40
- Marilyn R. Brown. (2007) '"Miss La La's" Teeth: Reflections on Degas and "Race"', in The Art Bulletin. vol. 89, pp.738-765
- Petra ten-Doesschate Chu. (no date) Showing Making in Courbet’s The Painter’s Studio.
- Shiff, Richard. (1992) 'Defining "Impressionism" and the "Impression"', in Art in modern culture: an anthology of critical texts, London: Phaidon Press., pp.181-188
- Nochlin, Linda. (1989) 'Morisot's Wet Nurse: The Construction of Work and Leisure in Impressionist Painting', in Women art and power: and other essays, London: Thames and Hudson., pp.37-56
- Susan Sidlauskas. (2001) '‘Painting Skin: John Singer Sargent’s Madame X’', in American Art: The University of Chicago Press. vol. 15, pp.8-33
- Garb, Tamar. (1998) 'Gustave Caillebotte’s Male Figures: Masculinity, Muscularity and Modernity', in Bodies of modernity: figure and flesh in fin-de-siècle France, New York: Thames and Hudson.
- Frédérique Desbuissons. (no date) 'Courbet's Materialism', in Oxford Art Journal.
- Duranty, Louis Emile Edmond. (1986) 'The New Painting: Concerning the Group of Artists Exhibiting at the Durand-Ruel Galleries ', in The New painting: impressionism 1874-1886, Oxford: Phaidon., pp.37-49
The above list is indicative of the essential reading for the course. The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students. Further reading can be obtained from this module's reading list.
Assessment items, weightings and deadlines
|Coursework / exam
||In-Class Slide Test
||Abstract & Literature Review
||Essay (2500 words)
Module supervisor and teaching staff
Dr Natasha Ruiz-Gómez
Prof Richard Simon Clay
Professor of Digital Cultures
Available via Moodle
Of 20 hours, 20 (100%) hours available to students:
0 hours not recorded due to service coverage or fault;
0 hours not recorded due to opt-out by lecturer(s).
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