History of Art 107: Critical Approaches to Visual Representation      Fall 2006
Self and Other in the Arts of France, 1500-2000
 
Instructor: Steven Z. Levine                                                                    Teaching assistant: Lesley Shekitka
Office: Thomas 232                                                                                 
Office hours: Wed. 3-4, Thurs. 3-4                                                          email: lshekitk
Telephone: 610-526-5333
Fax: 610-526-7955
email: slevine@brynmawr.edu

Readings for daily discussions, listed below, may be picked up and paid for in the office of Art, Archaeology, and Cities, Thomas 235.

Many illustrations from the readings are reproduced on the ARTstor website which you may access from within the Bryn Mawr College network. 
At the left edge of the welcome page click on SEARCH AND BROWSE FOR IMAGES. 
From the ARTstor Home page you may VIEW IMAGE GROUPS for History of Art 107. 
From the pulldown menu SELECT A COURSE FOLDER click on History of Art 107. 
From the pulldown menu SELECT AN IMAGE GROUP click on the reading of your choice. 
You may also perform KEYWORD SEARCHES in all of ARTstor from this page.

1. Dora and Erwin Panofsky, "The Iconography of the Galerie François Ier at Fontainebleau," Gazette des Beaux-Arts, 6th ser., 52 (1958): 113-35, 158-60.

2. Erwin Panofsky, "Et in Arcadia Ego: Poussin and the Elegiac Tradition," in Meaning in the Visual Arts (Garden City, NY: Doubleday, 1955), pp. 295-320.  Also see Guercino.

3. David Carrier, "Overture," in Poussin’s Paintings: A Study in Art-Historical Methodology (University Park, PA: Pennsylvania State University Press, 1993), pp. 1-46.

4. Norman Bryson, "Watteau and Reverie," in Word and Image: French Painting of the Ancien Régime (Cambridge: Cambridge University Press, 1981), pp. 58-88.

5. Mary Vidal, "L’Enseigne de Gersaint and the Conversational Structure of the Artistic Sign," in Watteau’s Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France (New Haven: Yale University Press, 1992), pp. 173-96.

6. Michael Fried, "The Primacy of Absorption," in Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Berkeley: University of California Press, 1980), pp. 35-70.  Also see Boucher, Chardin, and Greuze.

7. Mary D. Sheriff, "The Dynamics of Decoration," in Fragonard: Art and Eroticism (Chicago: University of Chicago Press, 1990), pp. 58-94.

8. Thomas E. Crow, "David and the Salon," in Painters and Public Life in Eighteenth-Century Paris (New Haven: Yale University Press, 1985), pp. 211-54.

9. Norman Bryson, "Mortal Sight: The Oath of the Horatii," in Tradition and Desire: From David to Delacroix (Cambridge: Cambridge University Press, 1984), pp. 63-84.

10.  Carol Ockman, "A Woman’s Pleasure: The Grande Odalisque," in Ingres's Eroticized Bodies: Retracing the Serpentine Line (New Haven: Yale University Press, 1995), pp. 33-65.

11.  Norman Bryson, "Géricault and ‘Masculinity,’" in Visual Culture:  Images and Interpretations, ed. Norman Bryson, Michael Ann Holly, and Keith Moxey (Hanover, NH: University Press of New England, 1994), pp. 228-59.

12. Nina Athanassoglou-Kallmyer, "La Mort du jeune diacre and Les Massacres de Scio: Christianity against Islam, Civilization against Barbarity, 1821-1824," in French Images from the Greek War of Independence, 1821-1830: Art and Politics under the Restoration (New Haven: Yale University Press, 1989), pp. 14-37.

13. Linda Nochlin, "Courbet’s Real Allegory: Rereading ‘The Painter’s Studio,’" in Courbet Reconsidered, ed. Sarah Faunce and Linda Nochlin (New Haven: Yale University Press, 1988), pp. 17-41.

14. Michael Fried, "Courbet’s ‘Femininity,’" in Courbet Reconsidered, ed. Sarah Faunce and Linda Nochlin (New Haven: Yale University Press, 1988), pp. 43-53.

15.  T. J. Clark, "A Bar at the Folies-Bergère," in The Painting of Modern Life:  Paris in the Art of Manet and His Followers (New York: Alfred A. Knopf, 1985), pp. 205, 239-58.

16.  Mary Matthews Gedo, "Final Reflections: A Bar at the Folies-Bergère as Manet’s Adieu to Art and Life," in Looking at Art from the Inside Out:  The Psychoiconographic Approach to Modern Art (Cambridge: Cambridge University Press, 1994), pp. 1-52.

17.  Richard Shiff, "The End of Impressionism," in The New Painting:  Impressionism 1874-1886, ed. Charles S. Moffett (San Francisco: The Fine Arts Museums of San Francisco, 1986), pp. 61-86.

18.  Tamar Garb, "Berthe Morisot and the Feminizing of Impressionism," in Perspectives on Morisot, ed. T. J. Edelstein (New York: Hudson Hills Press, 1990), pp. 57-63.

19.  Eunice Lipton, "The Bathers:  Modernity and Prostitution," in Looking into Degas:  Uneasy Images of Women and Modern Life (Berkeley: University of California Press, 1986), pp. 151-86.

20.  Carol Armstrong, "Against the Grain:  J. K. Huysmans and the 1886 Series of Nudes," in Odd Man Out:  Readings of the Work and Reputation of Edgar Degas (Chicago: University of Chicago Press, 1991), pp. 157-209.

21. Linda Nochlin, "Seurat’s La Grande Jatte: An Anti-Utopian Allegory," in The Politics of Vision: Essays on Nineteenth-Century Art and Society (New York: Harper and Row, 1989), pp. 170-90.

22. Meyer Schapiro, "The Apples of Cézanne: An Essay on the Meaning of Still-Life," in Modern Art: 19th and 20th Centuries: Selected Papers (New York: George Braziller, 1978), pp. 1-33.

23. Nathalie Heinich, "From Silence to Hermeneutics: The Posthumous Making of van Gogh’s Oeuvre," in The Glory of van Gogh: An Anthropology of Admiration, trans. Paul Leduc Browne (Princeton: Princeton University Press, 1996), pp. 3-34.

24. James D. Herbert, "The Golden Age and the French National Heritage," in Fauve Painting: The Making of Cultural Politics (New Haven: Yale University Press, 1992), pp. 112-45.

25. Mary Mathews Gedo, "Art as Exorcism: Picasso’s Demoiselles d’Avignon," in Looking at Art from the Inside Out:  The Psychoiconographic Approach to Modern Art (Cambridge: Cambridge University Press, 1994), pp. 133-59.

26. Jerrold Seigel, "Desire, Delay, and the Fourth Dimension: The Large Glass," in The Private Worlds of Marcel Duchamp: Desire, Liberation, and the Self in Modern Culture (Berkeley: University of California Press, 1995), pp. 86-114.

3. Comparison of two art historical writings (e. g., Panofsky/Carrier on Poussin, Bryson/Vidal on Watteau, Crow/Bryson on David, Nochlin/Fried on Courbet, or Clark/Gedo on Manet).
5 pages. Draft due 11/10, Draft returned 11/15, Revised paper due 11/20.

4. Interpretation of a work of French art at the Phildelphia Museum of Art (1st floor), bringing to bear the mode or modes of analysis of some piece or pieces of writing studied during the semester.
7 pages. Draft due 12/08, Draft returned 12/13, Revised paper due 12/22.

There will be three slide examinations, covering a total of 80 images.  These images are available on the course website on Blackboard.

The first exam (Friday, October 7) will go up through David, slide 33. 
The second exam (Monday, November 7) will go up through Manet, slide 51. 
The final exam (to be scheduled during the examination period) will cover all 80 images.  

All three exams will have the same format:
Part I: 10 identifications, 1 minute each. Give the title, artist, and date of the work as given on the slide list.
Part II: 2 comparisons, 20 minutes each. Images will be shown in pairs. Identify the images and discuss each pair in terms of significant similarities and differences, according to formal, iconographic, historical, and/or theoretical points of view.

This is a discussion class.  Participation, or lack of it, will be a factor in your grade.  Good participation requires that you do the reading, formulate some thoughts about it before coming to class, and willingly share those thoughts, even if they are opposed to those of your classmates.  It makes for a much more interesting discussion if people are willing to express different points of view, all of which may be quite valid.  In order to facilitate discussion you will be required to prepare a brief question or comment about the day’s reading to be sent by email to Mr. Levine prior to the class.  You might wish to keep your notes and questions on the readings in a journal for ready review.  Please note:  There is no question that you may have about the reading that is too elementary.  Email questions or comments on the readings are mandatory.

Drafts of papers will not be formally graded.  They will be read and commented upon by the teaching assistant.  Drafts should be submitted along with the final revised papers which will be graded by Mr. Levine.  Exams will be graded by both the professor and the assistant.

In determining the final grade, exams and papers will be weighted equally, 40%/40%, and class participation will count about 20%.  Attention is mandatory.

Week 1
September 04    Introduction.
September 06    Formalism (photocopy from Heinrich Wölfflin, "Introduction" (1915/29), in Principles of Art History: The Problem of the Development of Style in Later Art, trans. M. D. Hottinger, 1932 (New York: Dover Publications, 1950), pp. 1-17.  For illustrations see 001. Wolfflin in ARTstor.  For accessing instructions see above.
September 08    Iconography (photocopy from Erwin Panofsky, "Iconography and Iconology: An Introduction to the Study of Renaissance Art" (1939), in Meaning in the Visual Arts (Garden City, NY: Doubleday, 1955), pp. 26-41.  For illustrations see 002. Panofsky in ARTstor.

Week 2
September 11    Panofsky, Fontainebleau.
September 13    Panofsky, Poussin.
September 15    Formalism and Iconography review.

Week 3
September 18    Carrier, Poussin.   First draft of paper I due in office by 5:00 pm. 
September 20    Poussin review. 
September 22    Bryson, Watteau.  Museum trip preparation.  Draft I returned.
September 23    Field trip to Philadelphia Museum of Art, leave BMC 9:00 a.m., HC 9:15 a.m.  Return from museum at noon.

Week 4
September 25    Vidal, Watteau.  Final draft of paper I due in office by 5:00 pm.
September 27    Watteau review.
September 29    Fried, Absorption.  First draft of paper II due in office by 5:00 pm.

Week 5
October 02        Sheriff, Fragonard.
October 04        Crow, David. 
October 06        Bryson, David.  Draft II returned.  

Week 6
October 09        David review.  
October 11        Review for slide test I.
October 13        Slide test I.  Final draft of paper II due in office by 5:00 pm.
 
Fall Break.

Week 7
October 23        Ockman, Ingres.  Return slide test I.
October 25        Bryson, Géricault.
October 27        Athanassoglou-Kallmyer, Delacroix. 

Week 8
October 30        Nochlin, Courbet. 
November 01    Fried, Courbet.
November 03    Courbet review.

Week 9
November 06    Clark, Manet.
November 08    Gedo, Manet.
November 10    Manet review.  Review for slide test II.  First draft of paper III due in office by 5:00 pm.  

Week 10
November 13    Slide test II.
November 15    Shiff, Impressionism.  Draft III returned.
November 17    Garb, Morisot.  Slide test II returned.

Week 11
November 20    Lipton, Degas.  Final draft of paper III due in office by 5:00 pm.
November 22    Armstrong, Degas.
November 24    Thanksgiving Break.

Week 12
November 27    Nochlin, Seurat.
November 29    Schapiro, Cézanne. 
December 01    Impressionism review.  Museum trip preparation.
December 02    Field trip to Philadelphia Museum of Art, leave BMC 9:00 a.m., HC 9:15 a.m.  Return from museum at noon.

Week 13
December 04    Heinich, van Gogh. 
December 06    Herbert, Matisse.
December 08    Post-Impressionism review.  First draft of paper IV due in office by 5:00 pm. 

Week 14
December 11    Gedo, Picasso.
December 13    Seigel, Duchamp.  Draft IV returned.

Exam period   Slide test III.

December 22    Final draft of paper IV due in office by 5:00 pm.

01. Rosso Fiorentino and Primaticcio, Gallery of François I, 1534-37, Château of Fontainebleau.
02. Rosso Fiorentino, Ignorance Cast Out, Gallery of Francis I, 1534-37.
03. Rosso Fiorentino, The Sacrifice, Gallery of Francis I, 1534-37.
04. Rosso Fiorentino, The Unity of State, Gallery of Francis I, 1534-37.
05. Rosso Fiorentino, The Elephant Triumphant, Gallery of Francis I, 1534-37.
06. Nicolas Poussin, Et in Arcadia Ego, ca. 1630, 101x82 cm, Duke of Devonshire, Chatsworth.
07. Nicolas Poussin, Et in Arcadia Ego, ca. 1640, 85x121cm, Musée du Louvre, Paris.
08. Nicolas Poussin, Self-Portrait, 1649, 78x65 cm, Bode Museum, Berlin.
09. Nicolas Poussin, Self-Portrait, 1650, 98x74 cm, Musée du Louvre, Paris.
10. Nicolas Poussin, The Testament of Eudamidas, ca. 1645-55, 111x139 cm, State Museum, Copenhagen.
11. Jean-Antoine Watteau, The Embarkation for Cythera, 1717, 129x194 cm, Musée du Louvre, Paris.
12. Jean-Antoine Watteau, Les Fêtes vénitiennes, ca. 1717, 56x46 cm, National Gallery of Scotland, Edinburgh.
13. Jean-Antoine Watteau, Gilles, ca. 1718-19, 184x149 cm, Musée du Louvre, Paris.
14. Jean-Antoine Watteau, The Sign of Gersaint, 1721, 163x308 cm, Charlottenburg Palace, Berlin.
15. Jean-Baptiste-Siméon Chardin, The Soap Bubble, ca. 1733, 82x66 cm, National Gallery of Art, Washington, D. C.
16. Jean-Baptiste-Siméon Chardin, The Card Castle, ca. 1737, 82x66 cm, National Gallery of Art, Washington, D. C.
17. Jean-Baptiste-Siméon Chardin, Self-Portrait, 1775, 46x38 cm, Musée du Louvre, Paris.
18. François Boucher, The Rising of the Sun, 1753, 321x270 cm, Wallace Collection, London.
19. Jean-Baptiste Greuze, A Young Woman Crying Over Her Dead Canary, 1765, 53x46 cm, National Gallery of Scotland, Edinburgh.
20. Jean-Baptiste Greuze, The Ungrateful Son, 1777, 130x162 cm, Musée du Louvre, Paris.
21. Jean-Baptiste Greuze, The Punished Son, 1778, 130x163 cm, Musée du Louvre, Paris.
22. Joseph-Marie Vien, The Cupid Seller, 1763, 95x119 cm, Château of Fontainebleau.
23. Joseph-Marie Vien, The Temple of Hymen (from Château of Louveciennes), 1773, 271x226 cm, Prefecture, Chambéry.
24. Jean-Honoré Fragonard, The Progress of Love: The Pursuit (for Château of Louveciennes), 1771-73, 318x215 cm, Frick Collection, New York.
25. Jean-Honoré Fragonard, The Progress of Love: The Meeting (for Château of Louveciennes), 1771-73, 318x224 cm, Frick Collection, New York
26. Jean-Honoré Fragonard, The Progress of Love: The Lover Crowned (for Château of Louveciennes), 1771-73, 318x243 cm, Frick Collection, New York.
27. Jean-Honoré Fragonard, The Progress of Love: The Love Letters (for Château of Louveciennes), 1771-73, 318x215 cm, Frick Collection, New York.
28. Jacques-Antoine Beaufort, The Oath of Brutus, 1771, 189x167 cm, Musée Blandin, Nevers.
29. Jacques-Louis David, The Oath of the Horatii, 1784, 330x425 cm, Musée du Louvre, Paris.
30. Jacques-Louis David, The Death of Socrates, 1787, 130x196 cm, Metropolitan Museum of Art, New York.
31. Jacques-Louis David, The Lictors Returning to Brutus the Bodies of His Sons, 1789, 323x422 cm, Musée du Louvre, Paris.
32. Jacques-Louis David, The Death of Marat, 1793, 165x128 cm, Musée des Beaux-Arts, Brussels.
33. Jacques-Louis David, Self-Portrait, 1794, 81x64 cm, Musée du Louvre, Paris.
34. Jean-Auguste-Dominique Ingres, Queen Caroline Murat, 1814, 92x60 cm, Private Collection.
35. Jean-Auguste-Dominique Ingres, La Grande Odalisque, 1814, 91x162 cm, Musée du Louvre, Paris.
36. Jean-Auguste-Dominique Ingres, The Apotheosis of Homer, 1827, 386x515 cm, Musée du Louvre, Paris.
37. Jean-Auguste-Dominique Ingres, The Turkish Bath, 1862, 108 cm diam., Musée du Louvre, Paris.
38. Théodore Géricault, Mounted Officer of the Imperial Guard, 1812, 292x194 cm, Musée du Louvre, Paris.
39. Théodore Géricault, Start of the Barberi Race, 1817, 45x60 cm, Musée du Louvre, Paris.
40. Théodore Géricault, The Raft of the Medusa, 1819, 491x716 cm, Musée du Louvre, Paris.
41. Eugène Delacroix, Massacres at Chios, 1824, 420x350 cm, Musée d’Orsay, Paris.
42. Eugène Delacroix, Women of Algiers in Their Apartments, 1834, 180x229 cm, Musée du Louvre, Paris.
43. Vincent-Nicolas Raverat, Dying Young Deacon of Messinia, 1824, 211x162 cm, Musée Sandelin, Saint-Omer.
44. Gustave Courbet, Self-Portrait: Man with the Leather Belt, 1845-46, 100x82 cm, Musée d’Orsay, Paris.
45. Gustave Courbet, The Painter’s Studio: A Real-Allegory Determining Seven Years of My Artistic Life, 1854-55, 360x600 cm, Musée d’Orsay, Paris.
46. Gustave Courbet, Woman with a Parrot, 1866, 129x97 cm, Metropolitan Museum of Art, New York.
47. Gustave Courbet, The Source, 1868, 128x97 cm, Musée d’Orsay, Paris.
48. Edouard Manet, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863, 208x264, Musée d’Orsay, Paris.
49. Edouard Manet, Olympia, 1863, 131x190 cm, Musée d’Orsay, Paris.
50. Edouard Manet, Self-Portrait, 1878-79, 83x67 cm, Private Collection, New York.
51. Edouard Manet, A Bar at the Folies-Bergère, 1881-82, 95x130 cm, Courtauld Institute of Art, London.
52. Claude Monet, Impression: Sunrise, 1873, 48x63 cm, Musée Marmottan, Paris.
53. Claude Monet, Grainstack in Winter, 1891, 65x92 cm, Art Institute of Chicago.
54. Claude Monet, Grainstack in Winter, 1891, 65x92 cm, Museum of Fine Arts, Boston.
55. Berthe Morisot, Laundress Hanging Out the Wash, 1875, 33x40 cm, National Gallery of Art, Washington, D. C.
56. Berthe Morisot, Self-Portrait, 1885, 61x50 cm, Private Collection, Paris.
57. Hilaire-Germain-Edgar Degas, The Glass of Absinthe, 1876, 91x69 cm, Musée d’Orsay, Paris.
58. Hilaire-Germain-Edgar Degas, Cabaret, ca. 1875-77, 24x44 cm, Corcoran Gallery of Art, Washington, D. C.
59. Hilaire-Germain-Edgar Degas, The Tub, 1886, 60x82 cm, Musée d’Orsay, Paris.
60. Hilaire-Germain-Edgar Degas, After the Bath, 1886, 54x52 cm, Musée d’Orsay, Paris.
61. Adolphe-William Bouguereau, Bathers, 1884, 200x129 cm, Art Institute of Chicago.
62. Pierre-Auguste Renoir, The Great Bathers, 1884-87, 118x171, Philadelphia Museum of Art.
63. Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1884-86, 207x308 cm, Art Institute of Chicago.
64. Georges Seurat, sketch for La Grande Jatte, ca. 1886, 70x104 cm, Metropolitan Museum of Art, New York.
65. Paul Cézanne, Pastoral (Luncheon on the Grass), 1870, 60x81 cm, Musée d’Orsay, Paris.
66. Paul Cézanne, A Modern Olympia, ca. 1872-74, 46x55 cm, Musée d’Orsay, Paris.
67. Paul Cézanne, The Battle of Love (Bacchanal), ca. 1875-76, 38x46 cm, Private Collection, New York.
68. Paul Cézanne, Still Life with Plaster Cast of Cupid, ca. 1895, 70x57 cm, Courtauld Institute of Art, London.
69. Paul Cézanne, The Large Bathers, 1906, 208x249 cm, Philadelphia Museum of Art.
70. Vincent van Gogh, Self-Portrait: The Man with the Pipe, 1889, 51x45 cm, Private Collection, London.
71. Vincent van Gogh, Self-Portrait, 1889, 57x43 cm, Private Collection, New York.
72. Paul Gauguin, The Vision After the Sermon (Jacob Wrestling with the Angel), 1888, 73x92 cm, National Gallery of Scotland, Edinburgh.
73. Henri Matisse, Luxe, calme, et volupté, 1904-05, 98x118 cm, Musée d’Orsay, Paris.
74. Henri Matisse, Le Bonheur de vivre (The Joy of Life), 1905-06, 175x241 cm, Barnes Foundation, Merion.
75. Pablo Picasso, Self-Portrait with a Palette, 1906, 92x73 cm, Philadelphia Museum of Art.
76. Pablo Picasso, Les Demoiselles d’Avignon, 1907, 238x233 cm, Museum of Modern Art, New York.
77. Pablo Picasso, Ma Jolie (Woman with a Zither or Guitar), 1911-12, 100x65 cm, Museum of Modern Art, New York.
78. Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23, 226x176 cm, Philadelphia Museum of Art.
79. Marcel Duchamp, Given: 1. The Waterfall, 2. The Illuminating Gas, 1946-66, exterior, Philadelphia Museum of Art.
80. Marcel Duchamp, Given: 1. The Waterfall, 2. The Illuminating Gas, 1946-66, interior, Philadelphia Museum of Art.