History of Art 286: Twentieth Century Art, 1900-1945
|Professor Samantha Kavky||Office: 211 Jaffe Bldg|
|E mail: firstname.lastname@example.org||
Hours: Wed. 12:00-1:00
Teaching Assistants: Emily Hage (email@example.com)
Lectures: Monday and Wednesday 11:00-11:50, Meyerson B3
Recitation Sections: 201 Wed. 2-3
202 Wed. 2-3
203 Wed. 3-4
204 Thurs. 10:30-11:30
205 Wed. 1-2
206 Wed. 3-4
The course is affiliated with WATU (Writing Across the University)
This course offers a general survey of European (and some American) visual
art during the first half of the twentieth century. We
will consider major artists and movements within in the context of the social, economic and political upheavals of the time period. We will
focus on topics such as the social and symbolic meanings of abstraction, the contested ideas of Primitivism and Modernism, and the impact of new
technologies, industrial mass production, and two world wars on the making and viewing of art. The course will consist of weekly lectures,
recitation sections and three trips to the Philadelphia Museum of Art.
Texts available at the Penn Book Center, 130 S. 34th St.
C. Harrison, F. Frascina, and G. Perry, Primitivism, Cubism,
Abstraction: The Early Twentieth Century
B. Fer, D. Batchelor, and P. Wood, Realism, Rationalism,
Surrealism: Art Between the Wars
Reading packet, available at Campus Copy, 3907 Walnut St.
Recommended readings and a selected bibliography can be found on reserve at
the Furness/Fisher Fine Arts Library.
The slides shown in class will be available for additional viewing through the History of Art homepage a week or so after they are
shown in class. The Web address is: http://www.arthistory.upenn.edu/fall01/286/index.html
Wed. Oct. 10 3-5 page comparative visual analysis of two works of art from
the Philadelphia Museum of Art. 15%
Mon. Oct. 22 Midterm Exam 20%
Wed. Dec. 5 8-10 page research paper due. 25%
Final Exam 25%
Class participation: 15% Attendance at recitation is required. Students will be expected to actively participate in class discussion and attend all scheduled museum trips. They will also be asked to introduce one article to their recitation and to turn this in to their TA, in written form, on the day of their presentation (1-2 pages). Students who do not attend recitation regularly will not receive a passing grade.
Friday, Sept. 7 Introduction to the Course
Mon., Sept. 10 From Post-Impressionism to Fauvism
Gill Perry, pages 46-62, in Primitivism, Cubism, Abstraction.
Henri Matisse, ÒNotes of a Painter,Ó (1908), from Hershel
B. Chipp, Theories of Modern Art, 130-137.
Wed., Sept. 12 Fauvism and Matisse
James D. Herbert, ÒPainters and Tourists in the Classical
Landscape,Ó Chapter 3 from Fauve Painting: The Making
of Cultural Politics, 82-111.
Recommended: Roger Benjamin, ÒMatisse in Morocco: A
Colonizing Esthetic?Ó Art in America
(November 1990): 157-165, 211, 213.
Mon., Sept. 17 German Expressionism: Die Brcke (The Bridge)
Perry, pages 34-45, 62-82.
Emile Nolde, excerpt from Jahre der Kmpfe, from Chipp, 146-151.
Recommended: Carol Duncan, ÒVirility and Domination in
Early 20th- Century Vanguard Painting,Ó
Artforum (December 1973), 30-39, reprinted
in N. Broude and M. Garrard, eds., Feminism and Art
History: Questioning the Litany, 293-313.
Wed., Sept. 19 Wassily Kandinsky and Der Blaue Reiter (The Blue Rider)
Kandinsky, ÒThe Effect of Color,Ó (1911) and ÒOn the
Problem of Form,Ó (1912), from Chipp, 152-170.
Rose-Carol Washton Long, ÒKandinskyÕs Abstract Style: The
Veiling of Apocalyptic Folk Imagery,Ó Art
Journal 24 (Spring 1975): 217-228.
Mon., Sept. 24 PicassoÕs Blue and Rose Periods and the Demoiselles dÕAvignon
Leo Steinberg, ÒThe Philosophical Brothel,Ó October 44
(Spring 1988): 7-74.
Wed., Sept. 26 Picasso and Braque, Inventing Cubism 1908-1911
For the entire section on Cubism, see the illustrations
in Chapter 2 of Primitivism,
Cubism, Abstraction, 87-180 (the text is optional).
Mon., Oct. 1 Cubism 1912-14: Collage and Constructed Sculpture
Clement Greenberg, ÒCollage,Ó from Francis Frascina and
Charles Harrison, eds., Modern Art and
Modernism, A Critical Anthology, 105-108.
Robert Rosenblum, ÒPicasso and the Typography of Cubism,Ó
from R. Penrose and J. Golding eds.,
Picasso in Retrospect, 49-75.
Wed., Oct. 3 Futurism: Painting--Giacomo Balla, Umberto Boccioni,
F.T. Marinetti, ÒThe Foundation and Manifesto of
Futurism,Ó (1908); ÒFuturist Painting:
Technical Manifesto,Ó (1910), from Chipp, 281- 293.
Mon., Oct. 8 Sculpture: Futurist, Primitivist--Boccioni and Brancusi
Boccioni, ÒTechnical Manifesto of Futurist Sculpture,Ó
(1912), from Chipp, 298-304.
Rosalind Krauss, except from ÒAnalytic Space: Futurism
and Constructivism,Ó in Passages in Modern
Edith Balas ÒThe Sculpture of Brancusi in the Light of
His Romanian Heritage,Ó Art Journal 35
(Winter 1975/6): 94-104.
Wed., Oct. 10 Puteaux Cubism and Early Duchamp
Albert Gleizes and Jean Metzinger, excerpts from
ÒCubism,Ó (1912), from Chipp, 207-216.
Comparison Papers Due
Mon., Oct. 15 Orphism, Synchronism, Rayonism, Cubo-Futurism, Fernand
Charles Harrison in Primitivism, Cubism, Abstraction, 185-200.
Delaunay, ÒLetters,Ó from Chipp, 317-320.
Lger, ÒContemporary Achievements in Painting,Ó from Functions of Painting, 11-19.
Wed., Oct. 17 Abstraction and Autonomy
Charles Harrison, pages 200-228.
Mon., Oct. 22 Midterm
Wed., Oct. 24 Purism and the ÒCall to OrderÓ
David Batchelor in Realism, Rationalism, Surrealism,
Le Courbusier and Ozenfant, ÒPurism,Ó (1920) from Robert
L. Herbert, ed., Modern Artists on Art, 58-73.
Recommended: Kenneth Silver, ÒPurism: Straightening Up
after the Great War,Ó Artforum 15 (March
Mon., Oct. 29 European Dada
Tristan Tzara, ÒDada Manifesto 1918,Ó from Lucy Lippard,
ed. Dadas on Art, 13-20.
Wed. Oct. 31 New York Dada
Marcel Duchamp, ÒPainting...at the service of the mind,Ó
(1946) from Chipp, 392-395.
Molly Nesbit, ÒReady-Made Originals: The Duchamp Model,Ó
October 37 (Summer 1986), 53-64.
Mon., Nov. 5 The Russian Avant-Garde: Kasimir MalevichÕs Suprematism
and Vladimir Tatlin
Margit Rowell, ÒVladimir Tatlin: Form/Faktura,Ó October 7
Wed., Nov. 7 Russian Constructivism
Briony Fer, in Realism, Rationalism, Surrealism, 87-138.
Recommended: Nikolai Tarabukin, ÒFrom the Easel to the
Machine,Ó (1923) from Modern Art and
Mon., Nov. 12 The Bauhaus
Walter Benjamin, excerpts from ÒThe Work of Art in the
Age of Mechanical Reproduction,Ó from Modern Art
and Modernism, 217-220.
Wed., Nov. 14 Mondrian and De Stijl
Harrison, 250-262; Fer, 149-167.
Piet Mondrian, ÒPlastic Art and Pure Plastic Art,Ó
(1937), from Herbert, 114-130.
Recommended: Yve-Alain Bois, ÒThe De Stijl Idea,Ó from
Painting As Model, 101-122.
Mon., Nov. 19 Surrealism: The Circle of Andr Breton
Batchelor, 47-61, 77-85; Fer 171-199.
Max Ernst, ÒWhat is the mechanism of Collage,Ó (1936),
and ÒOn Frottage,Ó (1936), from
Wed., Nov. 21 No Lecture or Recitation Section, Happy Thanksgiving!
Mon., Nov. 26 Surrealism: The Circle of Georges Bataille
Rosalind Krauss, ÒNo More Play,Ó from The Originality of
the Avant-Garde and Other Modernist
Wed. Nov. 28 Surrealism, cont.
Fri. Nov. 30 Optional discussion and review with Prof. Kavky, 11:00,
Mon., Dec. 3 Social Realism and the American Scene
Paul Wood, in Realism, Rationalism, Surrealism, 251-270.
Lowery Stokes Sims, ÒStuart Davis in the 1930s: A Search
for Social Relevance in Abstract
Art,Ó from Stuart Davis American Painter, 56- 69.
` Research Papers Due
Wed., Dec. 5 Weimer Germany and the Neue Sachlichkeit (New
Maud Lavin, ÒHeartfield in Context,Ó Art in America 73
(February 1985), 84- 93.
Mon., Dec. 10 The Approach of War
Adolf Hitler, excepts from the speech inaugurating the
ÒGreat Exhibition of German Art,Ó (1937), and
Pablo Picasso, statement and conversation
on Guernica, (1945), both from Chipp, 474-483, 487-489.
Optional review section during reading week