AR216-5-AU-CO:
After Impressionism: European Art From Van Gogh to Klimt

The details
2019/20
Art History and Theory
Colchester Campus
Autumn
Undergraduate: Level 5
Current
Thursday 03 October 2019
Saturday 14 December 2019
15
05 July 2019

 

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

 

(none)

Key module for

BA V351 Curating,
BA V352 Curating (Including Year Abroad),
BA V353 Curating (including Placement Year),
BA V359 Curating (Including Foundation Year),
BA V35B Curating (Including Foundation Year and Year Abroad)

Module description

This module will explore diverse responses by individual artists working at the end of the nineteenth century to the legacy of Impressionism as the quintessential art of modern life. We shall focus on the expressive inventions of van Gogh, the colonialist impulses of Gauguin, the colour theories of Seurat, and the analytical constructions of Cézanne. We will spend time studying the sculpture of Auguste Rodin, who redefined the modern body.

Out of this fragmented scene emerged the wild beasts of Fauvism, the 'movement' that established Matisse. But this new phenomenon was superseded almost immediately by the even more radical tendency of Braque and Picasso's Cubism, arguably the defining creative moment of modernism.

We will end by looking at the Vienna Secession and the highly stylised and enigmatic paintings of Gustav Klimt, as well as the iconic works of Edvard Munch. We will attempt to discover what it really meant to be 'modern' in turn-of-the century Europe and how artists responded to the dramatic political, social and technological changes that we call modernization.

Module aims

The aims of this module are:

1. to explore issues related to some of the main developments in European art of the late 19th and early 20th centuries;
2. to introduce students to works of this period (as far as possible, in the original) and to the comparative study of modernist phenomena;
3. to introduce students to specialised debates in past and recent literature around the interpretation of European art of this period;
4. to raise student awareness of different methods of approaching the discipline through analysis of chosen texts;
5. to stimulate students to develop skills in written communication through essay and oral communication, class presentations and debate in seminars.

Module learning outcomes

By the end of this module the student should have:

1. a good understanding of the material covered and know some of the key works of the period;
2. a greater appreciation of works related to this subject and period;
3. some insight into the different methods of art-historical investigation that have been explored with reference to European art of this period;
4. some experience in textual analysis relevant to works and theoretical debates from this period;
5. an ability to discuss European art of this period and demonstrate all these competences through seminar presentations, one coursework essay of 3000 words and an unseen examination;
6. worked together as a small team, developing communication and project management skills as well as the ability to meet deadlines for written work.

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

9 x 2 hour lectures/seminars 1 x Gallery visit Week 8 is Reading Week Week 31 is a Revision session

Bibliography

  • Hayward, Philip; Arts Council of England. (1998) Picture this: media representations of visual art & artists, Luton: University of Luton Press.
  • Gauguin, Paul. (1924) Noa Noa, Paris: G. Crès et cie.
  • Matthew Simms. (1999) 'Cézanne's Unfinish', in RES: Anthropology and Aesthetics: The University of Chicago Press. (36) , pp.226-242
  • Harrison, Charles; Wood, Paul; Gaiger, Jason. (1998) Art in theory, 1815-1900: an anthology of changing ideas, Oxford: Blackwell.
  • Steinberg, Leo. (1972) Other criteria: confrontations with twentieth-century art, New York: Oxford University Press.
  • Chipp, Herschel Browning; Selz, Peter; Taylor, Joshua Charles. (c1968) Theories of modern art: a source book by artists and critics, Berkeley: University of California Press. vol. California studies in the history of art
  • Gemma Blackshaw. (2007) 'The Pathological Body: Modernist Strategising in Egon Schiele's Self-Portraiture', in Oxford Art Journal: Oxford University Press. vol. 30 (3) , pp.379-401
  • Solomon-Godeau, Abigail. (1989) 'Going native', in Art in America. vol. 77 (7) , pp.118-129
  • Matisse, Henri; Flam, Jack D. (c1995) Matisse on art, Berkeley: University of California Press. vol. The documents of twentieth century art
  • Poggi, Christine. (1988-24) 'Frames of Reference: "Table" and "Tableau" in Picasso's Collages and Constructions', in Art Journal. vol. 47 (4) , pp.311-
  • Nochlin, Linda. (1966) Impressionism and post-impressionism, 1874-1904: sources and documents, Englewood Cliffs, N.J.: Prentice-Hall.

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 Essay (2500 words) 13/01/2020 80%
Written Exam In-Class Slide Test 20%
Exam 120 minutes during Summer (Main Period) (Main)

Overall assessment

Coursework Exam
50% 50%

Reassessment

Coursework Exam
50% 50%
Module supervisor and teaching staff
Dr Natasha Ruiz-Gomez
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

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