AR121-4-SP-CO:
Art Revolutions

The details
2019/20
Art History and Theory
Colchester Campus
Spring
Undergraduate: Level 4
Current
Monday 13 January 2020
Friday 20 March 2020
15
05 July 2019

 

Requisites for this module
(none)
(none)
(none)
(none)

 

(none)

Key module for

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)

Module description

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.

Module aims

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.

Module learning outcomes

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.

Module information

No additional information available.

Learning and teaching methods

10 x 2 hour seminars 1 x Gallery visit

Bibliography

  • 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 [1876]', 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 Description Deadline Weighting
Coursework In-Class Slide Test 10%
Coursework Essay proposal 45%
Coursework Abstract & Literature Review 45%
Coursework Essay (2500 words)

Overall assessment

Coursework Exam
100% 0%

Reassessment

Coursework Exam
100% 0%
Module supervisor and teaching staff
Dr Natasha Ruiz-Gómez
spahinfo@essex.ac.uk

 

Availability
Yes
Yes
No

External examiner

Prof Richard Simon Clay
Newcastle University
Professor of Digital Cultures
Resources
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).

 

Further information
Art History and Theory

Disclaimer: The University makes every effort to ensure that this information on its Module Directory is accurate and up-to-date. Exceptionally it can be necessary to make changes, for example to programmes, modules, facilities or fees. Examples of such reasons might include a change of law or regulatory requirements, industrial action, lack of demand, departure of key personnel, change in government policy, or withdrawal/reduction of funding. Changes to modules may for example consist of variations to the content and method of delivery or assessment of modules and other services, to discontinue modules and other services and to merge or combine modules. The University will endeavour to keep such changes to a minimum, and will also keep students informed appropriately by updating our programme specifications and module directory.

The full Procedures, Rules and Regulations of the University governing how it operates are set out in the Charter, Statutes and Ordinances and in the University Regulations, Policy and Procedures.