| SES # | LECTURE Topics | READINGS |
|---|---|---|
| 1 | Introduction: What is Art? | No readings assigned. |
| 2a | Learning to Look/Interpreting What We See |
John Berger, Ways of Seeing (London: Penguin, 1972), 7–33. ISBN: 9780140135152. Marita Sturken and Lisa Cartwright, “Images, Power, and Politics,” in Practices of Looking: An Introduction to Visual Culture (Oxford: Oxford University Press, 2009), 9–48. ISBN: 9780195314403. |
| 2b | The Devotional Image |
Michael Baxandall, “Conditions of Trade,” in Painting and Experience in Fifteenth-Century Italy (Oxford: Oxford University Press, 1988), 1–29. ISBN: 9780192821447. |
| 3a | Pictorial Space and Perspective |
Leon Battista Alberti, “On Painting” (1453), in Italian Art, 1400–1500: Sources and Documents, ed. C. Gilbert (Evanston, IL: Northwestern University Press, 1991), 51–75. ISBN: 9780810110342. |
| 3b | Media Revolutions: Paint and Print in the North |
Joseph Koerner, “Albrecht Dürer: A Sixteenth-Century Influenza,” in Giulia Bartram et al., Albrecht Dürer and his Legacy: The Graphic Work of a Renaissance Artist (Princeton: Princeton University Press, 2002), 18–38. ISBN: 9780691114934. |
| 4a | Worlding the Italian Renaissance |
Jill Burke, “Nakedness and Other Peoples: Rethinking the Renaissance Nude.” Art History 36, no. 4 (2013): 714–739. Paul Wood, “Renaissance and Old World,” in Western Art and the Wider World (Oxford: Wiley-Blackwell, 2014), 12–51. ISBN: 9781444333923. |
| 4b | Leonardo, Michelangelo, Raphael: Making Renaissance Art |
Leonardo on Painting: An Anthology of Writings, ed. M. Kemp (New Haven: Yale University Press, 1989), 9–10, 19, 38–46, 220–228. ISBN: 9780300090956. William E. Wallace, “A Week in the Life of Michelangelo,” in Looking at Italian Renaissance Sculpture, ed. S. Blake McHam (Cambridge: Cambridge University Press, 1998), 203–22. ISBN: 9780521479219. |
| 5a | Representing Women |
Suzanna Danuta Walters, “Visual Pressures. On Gender and Looking” in Material Girls: Making Sense of Feminist Cultural Theory (Berkeley: University of California Press, 1995), 50–66. ISBN: 9780520089785. Rose Marie San Juan, “The Court Lady's Dilemma: Isabella d'Este and Art Collecting in the Renaissance.” Oxford Art Journal, 14/1 (1991), 67–78. |
| 5b | The Status of the Artist |
Linda Nochlin, “Why Have There Been No Great Women Artists?” (1971), in Women, Art, Power and Other Essays (New York: Harper & Row, 1988), 145–178. ISBN: 9780064301831. Giorgio Vasari, “Introduction” (optional) and “Preface” (1550) to Vasari, The Lives of the Artists, ed. J.C. Bondanella and P. Bondanella (Oxford: Oxford University Press, 2008), vii–xiv, 3–6. ISBN: 9780199537198. |
| 6 | Art as Theater in 17th-Century Rome |
Genevieve Warwick, “Speaking Statues: Bernini’s Apollo and Daphne at the Villa Borghese”. Art History 27 (2004): 353–381. |
| 7 | Dutch Art in Global Perspective |
Julie Hochstrasser, “Remapping Dutch Art in Global Perspective: Other Points of View,” in Cultural Contact and the Making of European Art since the Age of Exploration, ed. Mary D. Sheriff (Chapel Hill: University of North Carolina Press, 2010), 43–71. ISBN: 9780807872703. Thijs Weststeijn, “Cultural Reflections on Porcelain in the 17th-Century Netherlands,” in Chinese and Japanese Porcelain for the Dutch Golden Age, ed. J. van Campen and Titus Eliens (Amsterdam: Uitgeverij De Kunst, 2014), 213–229. ISBN: 9789491196805. |
| 8a | Art and Absolutism in France and Spain |
Norman Bryson, “The Legible Body: Le Brun,” in French Painting of the Ancien Régime (Cambridge: Cambridge University Press, 1981), 29–57. ISBN: 9780521276542. |
| 8b | Public Exhibitions: Enter the Art Critic |
Thomas Crow, “The Salon Exhibition in the Eighteenth Century,” in Painters and Public Life in Eighteenth-Century Paris (New Haven: Yale University Press, 1985), 1–22. ISBN: 9780300033540. Étienne de La Font de Saint Yenne, “Reflections on Some Causes of the Present State of Painting in France,” in Art in Theory, 1648–1815, ed. Charles Harrison et al. (Oxford: Wiley-Blackwell, 2000), 554–561. ISBN: 9780631200642. |
| 9a | The Lure of the Antique |
Johann Joachim Winckelmann, from Reflections on the Imitation of Greek Works in Painting and Sculpture (1755) in Art in Theory, 1648–1815, 450–456. ISBN: 9780631200642. Anonymous, Salon reviews from Mémoires Secrets (1783, 1785) in Art in Theory, 1648–1815, 695–701. ISBN: 9780631200642. Andrew McClellan, “Nationalism and the Origins of the Museum in France,” in The Formation of National Collections of Art and Archaeology (Washington: National Gallery of Art, 1996), 29–39. ISBN: 9780894682025. |
| 9b | Beyond Representation: Color and Touch |
Angela Dunstan, “Nineteenth-Century Sculpture and the Imprint of Authenticity.” Interdisciplinary Studies in the Long Nineteenth Century 19 (2014). Peter John Brownlee, “Color Theory and the Perception of Art.” American Art 23, no. 2 (Summer 2009): 21–24. Judith Walsh, “Winslow Homer and the Color Theories of Michel-Eugène Chevreul,” in Watercolors by Winslow Homer: The Color of Light, ed. Martha Tedeschi and Kristi Dahm (New Haven: Yale University Press, 2008), 198–205. ISBN: 9780865592261. Jordanna Bailkin, “Indian Yellow: Making and Breaking the Imperial Palette,” in Empires of Vision: A Reader, ed. Martin Jay and Sumathi Ramaswamy (Durham, NC: Duke University Press, 2014), 91–110. ISBN: 9780822354482. |
| 10 | Romanticism and Empire |
Edward Said, Orientalism (1978), anthologized in Art in Theory, 1900–2000: An Anthology of Changing Ideas, ed. C. Harrison and P. Wood (Oxford: Blackwell, 2003), 1005–1009. ISBN: 9780631227083. Linda Nochlin, “The Imaginary Orient,” in The Politics of Vision: Essays on Nineteenth-Century Art and Society (New York: Westview Press, 1989), 33–59. ISBN: 9780064301879. Zeynep Çelik, “Speaking Back to Orientalist Discourse,” in Orientalism’s Interlocutors: Painting, Architecture, Photography, ed. J. Beaulieu and M. Roberts (Durham, NC: Duke University Press, 2002), 19–42. ISBN: 9780822328742. |
| 11a | Photography and Photographic Truth |
Charles Baudelaire, “The Modern Public and Photography,” and Oliver Wendell Holmes, “The Stereoscope and the Stereograph,” in Art in Theory, 1815–1900: An Anthology of Changing Ideas (Oxford: Wiley-Blackwell, 1998), 666–672. ISBN: 9780631200666. Jonathan Crary, excerpt on the stereoscope from Techniques of the Observer (1990), in The Nineteenth-Century Visual Culture Reader, ed. V. Schwartz and J. M. Przyblyski (New York: Routledge, 2004), 82–92. ISBN: 9780415308663. Richard Kreitner, “Stereoscopes could change how we see the world—again.” Boston Globe, August 16, 2015. |
| 11b | The Artist and the City |
Charles Baudelaire, “The Painter of Modern Life” (1863), in Baudelaire, The Painter of Modern Life and Other Essays, ed. J. Mayne (London: Phaidon Press, 1995), 1–41. ISBN: 9780714833651. |
| 12 | The Artist and the City, part 2 |
Griselda Pollock, “Modernity and the Spaces of Femininity,” in Vision and Difference: Femininity, Feminism and the Histories of Art (London and New York: Routledge, 1988), 50–90. ISBN: 9780415007221. |
| 13a | Modernist Primitivism |
Simon Gikandi, “Picasso, Africa, and the Schemata of Difference.” Modernism/Modernity 10 (2003): 455–80. Mark Antliff and Patricia Leighten, “Primitive,” in Critical Terms for Art History, ed. R. S. Nelson and R. Shiff, 2nd edition, (Chicago: University of Chicago Press, 2003), 217–233. ISBN: 9780226571683. |
| 13b | Surrealism and Dada |
Tristan Tzara, “Dada Manifesto,” and Richard Huelsenbeck, “First German Dada Manifesto,” in Art in Theory, 1900-2000: An Anthology of Changing Ideas, ed. C. Harrison and P. Wood (Oxford: Blackwell, 2003), 252–259. ISBN: 9780631227083. William Pietz, “Fetish,” in Critical Terms for Art History, ed. R. S. Nelson and R. Shiff, 2nd edition, (Chicago: University of Chicago Press, 2003) 306–317. ISBN: 9780226571683. |
| 14a | Abstract Expressionism: Art and Politics |
Eva Cockroft, “Abstract Expressionism: Weapon of the Cold War” (1974), anthologized in Art In Modern Culture: An Anthology of Critical Texts, ed. Francis Frascina and Jonathan Harris (London: Phaidon Press, 1992), 82–90. ISBN: 9780064302241. David Craven, “Introduction,” “Abstract Expressionism and Afro-American Marginalization,” and “Dissent During the McCarthy Period,” in Reading Abstract Expressionism: Context and Critique, ed. E. Landau (New Haven: Yale University Press, 2005), 510–526. ISBN: 9780300106138. |
| 14b | After the Art Object: From Pop to Performance |
Thomas Crow, “Saturday Disasters: Trace and Reference in Early Warhol,” in Modern Art in the Common Culture (New Haven: Yale University Press, 1996), 49–65. ISBN: 9780300064384.
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| 15 | Where We Are Now; Concluding Thoughts |
Kate Cowcher, “Luanda Onde Está? Contemporary African Art and the Rentier State.” Critical Interventions 8, no. 2 (2014): 140–159. |
