Cours: 2015-16
18TH CENTURY ART (22229)
Class: Tuesday & Thursday 9am - 11am
Room: 20.059
Degree: (Grau in) Humanities
Year: opt. 3rd/4th
Term: 1st trimester
ECTS credits: 5
Teaching language: English
Teacher: Tobias Locker
Office hours: each Tuesday (of class) 11.15 am - 12.15 (contact e-mail will be provided in class)
1. Course description
The historic Baroque would manifest as a result of the debates at the Council of Trent (1545-1563). Employing the arts for propagandistic purposes this artistic phenomenon expressed the self-conception of the Roman Catholic Church to promulgate the (only) religious truth. This ideological conception that intended to visually if not sensually legitimate the Church's claim for predominance in the religious as well as in political sphere was in the 17th century increasingly contested. It led eventually to a different one, which is exemplified in particular in the artistic expressions that emerged during the reign of Louis XIV and that defied the pope's claim for ultimate power. The arts were put in service of the French monarchy and the splendor of Versailles became not just the shining example of the sun king, but a model for potentates.
The course will analyse the Baroque notion that was put forward with use of the arts under the French sun king Louis XIV. It will explain how this grand manner, best exemplified in the palace of Versailles, fascinated other potentates and wealthy individuals on the European continent during the 18th century and was imitated to a larger or smaller extent. Rulers authorized for example the creations of academies that did not just promote the professionalization of artistic and intellectual pursuits but also sponsored the growth of the new ideas that emerged in the socio-political context of the 18th century.
The course will show how French art and culture became exemplary and how the Baroque entered a new phase after the death of that French ruler, leading to the birth of the more intimate Rococo style. Paris was at that time a fashion metropolis that set the tone for large parts of the continent inciting, amongst others, conspicuous consumption of luxury goods and leading to an increasing importance of fashion and taste as a means of social distinction. The growing hunger for novelty and led eventually to the birth of Neoclassicism. This last expression of Baroque values would also express artistically some ideals of the Enlightenment. Nevertheless, in the end a lot of the ideas that had emerged within that context of the 18th century (and that are also reflected in the artistic discourses) had the power to undermine the authoritarian basis of absolute divine-right monarchy. They would not just lead to decisive changes in mentality but also to the end of the ancient regime and prepare the ground for the birth of the modern nation-states of the 19th century.
Ranging from the style and subject matter of painting to the appropriate forms of architecture and decorative furnishings for intimate spaces in private residences, the course will contextualize the way secular genre subjects of everyday life were powerfully expressive of the shift in values from hierarchical institutions of religion and state to the subversive realm of private emotion and the desire for individual happiness. Particular emphasis will be given to the historical, sociological (e.g. the need for representation, emergence of new social elites, diplomacy) cultural (e.g. patronage, inventions) and ideological context (e.g. religion, Absolutism, Enlightenment). Therefore the study of artists and artworks will be completed by readings of selected texts in order to understand the aesthetic, cultural, and intellectual concepts of the periods and movements covered by the course. Thus, not only the changing role of the artist will become clear, but also technical and artistic developments as well as shifts of the artworks meanings and style.
2. Competences to be attained
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General competences |
Specific competences |
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Instrumental skills: - Arguing, that is, defending or justifying a certain position in written and in speech. - Analysing and synthesising information taken from a variety of sources. - Developing deductive reasoning skills; reaching a conclusion from a series of premises. - Applying theory to practice. - Generalising, or extracting a general norm from a limited amount of data or examples. - Transmitting, in written and in oral speech, and in a well-organised fashion, the acquired knowledge. - Using previous knowledge in any learning activity. Interpersonal skills: - Communicating interpersonally in small and in big groups. - Negotiation skills within group work. - Integrating group work in the autonomous work. Systemic skills: - Creativity. - Work-load managing work load in order to present and complete tasks on time. - Organizational skills in order to present the academic work in a well-structured and convincing manner. |
- Skills for visual analysis and the interpretation of artworks. - Identifying key artworks and artists. - Identifying the characteristics and particularities of styles and movements with knowledge of their chronology and dates. - Developing a basic understanding of artist's training, materials and techniques. - Acquiring a working vocabulary of art terms. - Question and debate the role and function of art. |
General course objectives:
- Through the study of artworks in their historical, socio-political and cultural context students will be able to understand how artistic production responds, shapes and informs the mentality of a period.
- The students will see how artistic artifacts can make us understand better certain aspects of past cultures and understand that they have besides their artistic value a historic value.
- This survey will focus on the characteristics and particularities of style and movements during the 18th century giving students the necessary skills to learn how to 'read' and look at artworks.
- Tracing developments (in technique, mentality and the social sphere) in the history of Western Art, students will learn how the roles of art and artist have changed through time.
- Analysis and discussion will encourage the students to critically question the notion and nature of art.
3. Contents
- Introduction The Eighteenth Century as object of study: Between glorification and disdain
- Versailles: The ideal of absolute power and the arts
· From Vaux-le-Vicomte to Versailles
· Palace, City, Landscape
· The French Garden as allegory of power
· The grand manner and large-scale decorations
· Interior decoration: complementing essential of the Gesamtkunstwerk
- Academies and royal patronage: Issues of Aesthetics and Power
· Art and Politics
· Art and Rhetoric
· The academy as a model
· Louvre and Gobelins
- Art in the emerging public sphere
· The public image of the monarchy
- Patrons, Artists and Artisans
· Of social reputation and classes
· Artistic invention and design
· Decorative arts: Craftsmanship and techniques
- From Grandeur to Intimacy: Towards a private art or the birth of Rococo
· From Regènce to style Louis XV: Uprising classes
· Paris, fashion capital of 18th century Europe
· Fètes galants and Sensual delights: Watteau, Fragonard, Boucher
- France as a model for Europe? The spreading of an ideal
· The importance of Travel and First Hand Experience: Grand Tour, Artist Travels and art in the service of Diplomacy
· From Versailles to Potsdam
· Versailles in Spain? La Granja de San Ildefonso and Palacio Real Madrid
· Rococo in Europe: Germany, Italy & Spain
· A moral critique and a sociable ideal: Hogarth
- From goût grec to Neoclassicism or Last refuge of the Ancien Régime
· Herculaneum, Pompeii and the Art-World of Rome
· Sensibilité: Doctrine versus feeling
- Conclusion(s)
· Religious Baroque vs. Aristocratic Baroque?
· Art and Enlightenment: The dawn of a new age
· 18th century: The autumn of the Baroque?
4. Assessment
% of final grade
60 % written final exam
10 % class participation
30 % - oral presentation of an article or an artwork in groups of 2 to (max.) 3 students (15%)
- (individual) written version of this presentation (15%)
- The final exam will concern artworks, topics and texts discussed in the lectures and the seminars. Students who miss lectures or seminars are responsible for catching up on the topics that were explained during class. This counts for notes as well as for announcements or texts distributed in class.
- Class participation consists in active participation (asking questions, answering, discussion) during class as well as in the preparation for class if readings are due (to be announced in class). This counts for lectures as well as for the seminars.
- The individual written work (of the oral presentation) is to be handed in last day of class. The individual texts of one group cannot be the same (see point 4.1).
RECUPERATION EXAM
- The percentage of the final grade (30%) that comprises oral presentation (15%) and its written version (15%) cannot be recuperated. It is elementary to fulfill these two tasks in order to pass this class!
- In case the student needs to repeat the exam (recuperation exam), she/he will have to take a 3-hour-long written exam about all topics covered by the course. This exam will count 70% of the final grade.
- The dates for the recuperation exam will be announced in the academic calendar.
4.1 Academic Honesty
Students are expected to be honest in their academic work. UPF takes this issue very serious and will penalize any student whose academic conduct at any time is, in its judgment, detrimental to the politics of academic honesty. Such Conduct shall include cases of plagiarism, collusion, cheating, giving or receiving or offering or soliciting information in examinations, or the use of previously prepared material in examinations or quizzes. The occurrence of such conduct will result in an immediate suspension of the student.
4.2 Evaluation criteria
CLASS PARTICIPATION
Outstanding Contributor (10-9): Contributions in class are frequent and reflect exceptional preparation in nearly every class. Consistently volunteers answers and asks questions. Class activities are always approached with enthusiasm and diligence.
Good Contributor (8,9-7): Contributions in class are frequent and reflect thorough preparation in nearly every class. Often volunteers answers to questions. Frequently asks questions that assist the learning of the class as a whole. Class activities are almost always approached with seriousness and diligence.
Adequate Contributor (6,9-5): Contributions in class are infrequent but reflect adequate preparation. Rarely volunteers answers to questions. Infrequently asks questions, but they are appropriate and helpful to class. Class activities are usually approached with diligence. Absent from a few class sessions.
Non-Participant (4,9-0): This person participates little or not at all in class. Absenteeism is a problem. Hence, there is not an adequate basis for evaluation. Class activities are approached without seriousness and in such a way as to be disruptive to the student's colleagues.
ORAL PRESENTATIONS
(10-9): - Student is completely prepared. Topic presented very clearly and in an interesting way. Links and connection between ideas are clear. Presentation content, structure and delivery are closely tailored to the audience and to the established purpose. Vocabulary is very appropriate to the topic. Visual aids are carefully prepared. Questions answered with no difficulty.
(8,9-7): - Student is prepared; topic presented clearly. Good understanding of the topic shown; delivery is fluent and vocabulary appropriate to the topic. Questions answered with little difficulty, good knowledge of the topic demonstrated. Visual aids support the presentation effectively.
(6,9-5): - Student is mainly prepared. Vocabulary is appropriate in general but lacks energy. Some of the ideas are presented well; others are lacking. Most questions answered, visual aids fairly support the presentation.
(4,9-0): - Topic is presented with minimum details. Bland presentation; techniques used to engage audience are minimal. Vocabulary is mainly appropriate to the topic, visual aids are occasionally related to the spoken message. Questions answered with difficulty and poor knowledge of the topic was demonstrated.
TEAMWORK (during assignments like oral presentation in group and class assignments)
(10-9): - Engages team members in ways that facilitate their contributions to meetings by both constructively building upon or synthesizing the contributions of others as well as noticing when someone is not participating and inviting them to engage. Completes all assigned tasks by deadline; work accomplished is thorough, comprehensive and advances the project. Proactively helps other team members complete their assigned tasks to a similar level of excellence. Helps the team move forward by articulating the merits of alternative ideas or proposals.
(8,9-7): - Engages team members in ways that facilitate their contributions to meetings by constructively building upon or synthesizing the contributions of others. Completes all assigned tasks by deadline; work accomplished is thorough, comprehensive and advances the project. Offers alternative solutions or courses of action that build on the ideas of others.
(6,9-5): - Engages team members in ways that facilitate their contributions to meetings by restating the views of other team members and/or asking questions for clarification. Completes all assigned tasks by deadline; work accomplished advances the project. Offers new suggestions to advance the work of the group.
(4,9-0): - Engages team members by taking turns and listening to others without interrupting. Completes all assigned tasks by deadline. Passively accepts alternate viewpoints, ideas and opinions. Shares ideas but does not advance the work of the group.
WRITTEN ASSIGNMENTS
(10-9): - Compelling writing style; connects strongly with the reader. The paper is clear and focused; relevant, quality details give the reader important information. Detailed analysis accounting for all the information; conclusions extremely well supported.
(8,9-7): - Good writing style; sentences flow smoothly and evenly. Ideas are well organized and help the reader move along; the key points are presented but the paper does not demonstrate in-depth understanding; it leads up to convincing conclusion. Careful analysis; good supporting evidence for conclusions.
(6,9-5): - Words and sentences are appropriate in general but lacks energy. Some of the ideas are presented well; others are lacking. Collects adequate information.
(4,9-0): - Occasional problems with word choices and sentence structure, leaving the reader unsure of the meaning. Bland presentation; sequencing and pace of topics seem random; doesn't lead up to any clear conclusions. Analysis simply involves restating gathered information; claims not supported by evidence.
CRITICAL THINKING
(10-9): - Issue/problem to be considered critically is stated clearly and described comprehensively, delivering all relevant information necessary for full understanding. Viewpoints of experts are questioned thoroughly. Specific position (perspective, thesis/hypothesis) is imaginative, taking into account the complexities of an issue. Conclusions and related outcomes (consequences and implications) are logical and reflect student's informed evaluation and ability to place evidence and perspectives discussed in priority order.
(8,9-7): - Issue/problem to be considered critically is stated, described, and clarified so that understanding is not seriously impeded by omissions. Information is taken from source(s) with enough interpretation/evaluation to develop a coherent analysis or synthesis. Viewpoints of experts are subject to questioning. Specific position (perspective, thesis/hypothesis) takes into account the complexities of an issue. Conclusion is logically tied to a range of information.
(6,9-5): - Issue/problem to be considered critically is stated but description leaves some terms undefined, ambiguities unexplored, boundaries undetermined. Information is taken from source(s) with some interpretation/evaluation, but not enough to develop a coherent analysis or synthesis. Specific position (perspective, thesis/hypothesis) acknowledges different sides of an issue. Conclusion is logically tied to information.
(4,9-0): - Issue/problem to be considered critically is stated without clarification or description. Information is taken from source(s) without any interpretation/evaluation. Viewpoints of experts are taken as fact, without question. Specific position (perspective, thesis/hypothesis) is stated, but is simplistic and obvious. Conclusion is inconsistently tied to some of the information discussed; related outcomes (consequences and implications) are oversimplified.
FORMAL REQUIREMENTS
The written work will also be evaluated regarding its formal character. The criteria (including for example text font, paragraph or bibliographic style) will be explained during class.
5. Bibliography & resources
5.1 Basic bibliography
Bailey, C. B.: The Age of Watteau, Chardin and Fragonard. Masterpieces of French Genre Painting, Ex.cat (New Haven: Yale University Press, 2003).
BREMER-DAVID, C. (ed.), Paris: Life and Luxury in the Eighteenth Century, Ex.cat. (Los Angeles: Ghetty Publications, 2011.
Black, J.: Eighteenth Century Europe (New York: St. Martins Press, 21999).
Corvisier, A.: Arts et sociétés dans l'Europe du XVIIIe siècle (Paris: Presses Universitaires de France, 1978).
Dacier, E.: L'Art au XVIIIème siècle en France: Epoques Régence - Louis XV, 1715 - 1760 (Paris: Guy le Prat, 1951).
El arte en la corte de Felipe V., Exh. cat. (Madrid: Caja Madrid Foundation, 2002).
Gady, A.: Les Hôtel particuliers de Paris. Du Moyen Age à la Belle Époque (Paris: Parigramme, 2011)
Hyland, P. (ed.): The Enlightenment: A Sourcebook and Reader (New York: Routledge, 2003).
Kimball, F.: The creation of the Rococo decorative Style (New York: Dover, 1980 [1943]).
Levey, M.: Painting and Sculpture in France. 1700-1789 (New Haven: Yale University Press, 1972).
Norberg-Schulz: Arquitectura Barroca Tardía y Rococó (Milano: Aguilar/Asuri: 1980).
Sabatier, G.: 'Versalles o la figura del rey', in: Cortes del Barroco. De Bernini y Velázquez a Luca Giordano (Exh. Cat., Madrid: Patrimonio Nacional, 2003), pp. 127-138.
Toman, R. (ed.) Grandes jardines en Europa. Desde la Antiquüedad hasta nuestros días (Potsdam: Ullmann, 2011), pp. 186-251.
Scott, K.: The Rococo Interior. Decoration and Social Spaces in Early Eighteenth-century Paris (New Haven: Yale University Press 1995), chapter 10.
Stürmer, M.: 'An economy of delight: court artisans of the 18th century'. The Business History Review, 53 (1979), pp. 496-528.
5.2 Complementary bibliography
Andries, L.: 'Paris et l'imaginaire de la ville dans les almanachs français du XVIIIe siècle, in: Hemming, T.D.; Freeman, E.; Meakin, D. (eds.): The secular city. Studies in the Enlightenement (Exeter: University of Exeter Press, 1994), pp. 15-27.
Berg, M. 2002. 'From imitation to invention: creating commodities in eighteenth century Britain'. Economic History Review, LV(1), pp. 1-30.
Bremer-David, C., Droth, M., Scott, K., Sheriff, M. D. and Hellman, M. (eds.) Taking Shape: Finding Sculpture in the Decorative Arts, Ex.cat. (Los Angeles: Getty Publications, 2009).
Colomer, J. L: La Corte de Luis XIV, in: Cortes del Barroco. De Bernini y Velázquez a Luca Giordano (Exh. Cat., Madrid: Patrimonio Nacional, 2003), pp. 290-302.
De Jean, J.: The Essence of Style: How the French Invented High Fashion, Fine Food, Chic Cafes, Style, Sophistication, and Glamour (New York: Free Press, 22006).
Fernando C.: 'Bernini en París', in: Cortes del Barroco. De Bernini y Velázquez a Luca Giordano (Exh. Cat., Madrid: Patrimonio Nacional, 2003), pp. 192-203.
Goldstein, C.: 'Towards the Definition of Academic Art', The Art Bulletin, 52 (1975), pp. 102-109.
Hallet, M.; Riding, C. (eds.): Hogarth, Exh. cat. (London: Tate publishing 2006).
(Von) Kalnein, W., Architecture in France in the Eighteenth Century (New Haven: Yale University Press, 1972).
Klingensmith, S. J: The Utility of Splendor. Ceremony, Social Life, and Architecture at the Court of Bavaria, 1600-1800, edited by Otto, Christian F. & Ashton, Mark (Chicago: University of Chicago Press, 1993).
Koda, H.; Bolton A. (eds.) 2006. Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century (New Haven, CT: Yale University Press, 2006).
Locker, T.: 'A Prussian manufactory of gilt bronzes à la française: Johann Melchior Kambly (1718-84) and the adoption of Parisian savoir-faire', in: David Bourgarit, Jane Basset, Francesca G. Bewer, Geneviève Bresc-Bautier, Philippe Malgouyres (eds.), French Bronzes (London: Archetype, 2014).
Lynch, J.: La España del Siglo XVIII (Barcelona: Editorial Crítica, 41991 [1989]).
Mancini, M.: 'Participar con las palabras, participar con las imágines: Antiguos y modernos, un debate geográfico?', in: Cortes del Barroco. De Bernini y Velázquez a Luca Giordano, Ex.cat. (Madrid: Patrimonio Nacional, 2003), pp. 139-150.
Mancini, M., 'Antiguos y Modernos', in: Cortes del Barroco. De Bernini y Velázquez a Luca Giordano (Ex.cat., Madrid: Patrimonio Nacional, 2003), pp. 364-372).
Milovanovic, N.: Les Grands Appartements de Versailles sous Louis XIV. Catalogue des décors peints, Paris: Réunion des Musées Nationaux, 2005).
Minguet, P.: Estética del Rococó (Madrid: Cátedra, 1992).
Praz, M.: 'Herculaneum and European Taste', in: The Magazine of Art, 32 (1939), pp. 684-693.
Rosenberg, P.: Peintures françaises dans les collections allemandes XVIIe-XVIIIe siècles : Poussin, Watteau, Chardin, David... , Ex.Cat., (Paris: Réunion des Musées Nationaux, 2005).
Pallot, B. G. B., L'art du siège au XVIIIe siècle en France (Paris: Editorial Gismondi 1987).
Sáenz de Miera, J., 'Sobre los géneros artísticos y la representación del poder', in: Cortes del Barroco. De Bernini y Velázquez a Luca Giordano (Exh. Cat., Madrid: Patrimonio Nacional, 2003), pp. 216-240.
Sergentson, C.: Merchants and Luxury Markets: The Marchands Merciers of Eighteenth-Century Paris (London:Victoria and Albert Museum, 1996).
Sheriff, M.D.: Fragonard: Art and Eroticism (Chicago: University of Chicago, 1990).
Smentek, K.: Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (Aldershot: Asghate, 2014).
Starobinski, J.: L'invention de la Liberté. 1700-1789 (Geneva: Skira, 1964).
Williamson, T: 'Gardens and History' & 'The Age of Brown', in: Polite Landscapes: Gardens and Society in Eighteenth- Century England (Baltimore: Johns Hopkins University Press ,1995), Chapters. 1 and 4.
Michael Yonan, 'The Wieskirche: Movement, Perception, and Salvation in the Bavarian Rococo', in: Studies in Eighteenth-Century Culture, 41(2012), pp. 1-25.
Wilton, A.; Bignamini, I. (eds.): Grand Tour: The Lure of Italy in the Eighteenth Century, (London: Tate Gallery Publishing, 1997).
Ziskin, R.: The Place Vendôme: Architecture and Social Mobility in Eighteenth-Century Paris (Camebridge: Cambridge University Press, 1999).
(for those who are interested about The Baroque after the historic Baroque:)
Zamora, Lois Parkinson; Kaup, Monika: Baroque New Worlds. Representation, Transculturation, Counterconquest (Durham: Duke University Press, 2010).
Locker, T.: 'The Baroque in the Construction of a National Culture in Francoist Spain: An Introduction', in: Bulletin of Spanish Studies, vol. XCI, nº5 (2014), pp. 657-671.
5.2. Basic online resources (no valid scholarly sources! - but for orientation)
Heilbrunn timeline of art history (Metropolitan Museum of Art):
http://www.metmuseum.org/toah/
Kahn academy:
https://www.khanacademy.org/humanities/art-history-basics
Artcyclopedia:
http://www.artcyclopedia.com/index.html
6. Methodology
The course consists of lecture classes and seminars. Both modules imply an active participation of the student, as for example readings and presentations. For further information see evaluation criteria.
7. Course schedule
Time: 9.00 am - 11.00 am
Tuesday Thursday
21/09 - 27/09 Lecture -
28/09 - 04/10 Lecture Lecture
05/10 - 11/10 Lecture Lecture
12/10 - 18/10 Lecture Lecture 19/10 - 25/10 Lecture (cancel?) 101
26/10 - 01/11 102 Lecture 02/11 - 08/11 Lecture 101
09/11 - 15/11 102 Lecture 16/11 - 22/11 Lecture 101
23/11 - 29/11 102 Lecture
30/11 - 06/12 Lecture Lecture