Picasso

HART33131 Picasso 20 Semester 1 Undergraduate Level 3 Charles Miller Unit coordinator 1 FHEQ level (Framework for Higher Education Qualifications) ' Last part of a Bachelors ' European Credit Transfer & Accumulation System Rating : 10.0 Picasso is the most densely inscribed artist of the twentieth century, a key figure in histories of modernism and the avant-garde. This course tracks his production across narratives of art, culture and ideology, placing it in historical and theoretical contexts, while attending to the themes and fictions of the reception. Notwithstanding Picasso’s continuing recuperation as an institution or brand-name, his practice submitted the European world-picture to an unprecedented interrogation. This course brings this radical questioning of identity and meaning to the fore.  Picasso is the most densely inscribed artist of the twentieth century, a key figure in histories of modernism and the avant-garde. This course tracks his production across narratives of art, culture and ideology, placing it in historical and theoretical contexts, while attending to the themes and fictions of the reception. Notwithstanding Picasso’s continuing recuperation as an institution or brand-name, his practice submitted the European world-picture to an unprecedented interrogation. This course brings this radical questioning of identity and meaning to the fore.  <ul> <li> To enable students to gain a detailed knowledge of the work of a major twentieth-century artist.</li> <li> To enable students to situate Picasso’s production in relation to modernism and the avant-garde, in particular Symbolism, Cubism, Surrealism</li> <li> To enable students to describe and analyse complex modernist and anti-modernist artworks</li> <li> To develop the capacity to apply knowledge of social and cultural history to the analysis of the work of major 20th century artists by the study of one example.</li> <li> To enable students to interpret Picasso by means of theoretical concepts</li> <li> To introduce students to challenging art-historical and art-critical texts, and promote good practices of reading and writing</li> <li> To encourage presentational and public speaking skills, in the context of complex discussions</li></ul> <ul> <li> Demonstrate a first-hand knowledge of a wide range of Picasso’s production.</li> <li> Be proficient in the description and analysis of works by Picasso.</li> <li> Analyse Picasso’s statements and interviews in relation to his work and career.</li></ul> <ul> <li> Analyse contemporaneous critical responses to Picasso’s work in their cultural and social context.</li> <li> Demonstrate a critical approach to theoretical, social-historical and biographical interpretations of Picasso.</li> <li> Demonstrate a critical approach to the placing of Picasso in general histories of twentieth-century art and culture.</li></ul> <ul> <li> Develop  writing skills</li> <li> Recall, analyse and articulate complex historical and conceptual data</li></ul> <ul><li>Demonstrate independent learning through assessed work</li><li>Demonstrate research skills through assessed work</li></ul> Other Carry out supervised research using available resources Critically evaluate written and visual sources Present coherent arguments in written work Manage time effectively in order to complete assignments Use Word in order to present work professionally Respond to feedback in order to improve their study skills and understanding of material discussed in class <ol><li>Introduction</li><li>Picasso’s Reputation</li><li>Picasso, Gender, Sexuality</li><li>Picasso and the ‘Primitive’</li><li>Picasso in the History of Perception</li><li>Early Picasso</li><li>Cubism</li><li>Neoclassicism</li><li>Surrealism</li><li>Guernica and Communism</li><li>Late Picasso</li><li>Revision </li></ol> This course is seminar based. Student will participate in class discussion based on set reading. Readings will be available via BlackBoard.   0 Other 100% <figure class="table"><table><tbody><tr><td>Assessment task</td><td>Formative or Summative</td><td>Length</td><td>Weighting within unit (if relevant)</td></tr><tr><td>Essay Plan</td><td>Formative</td><td>500 words</td><td>0%</td></tr><tr><td>Essay</td><td>Summative</td><td>1500 words</td><td>40%</td></tr><tr><td>Essay</td><td>Summative</td><td>2500 words</td><td>60%</td></tr></tbody></table></figure>  <table border="1" cellpadding="0" cellspacing="0" style="width:662px;width:662px;" width="0"> <tbody> <tr> <td style="width:322px;"> Feedback method</td> <td style="width:340px;"> Formative or Summative</td> </tr> <tr> <td style="width:322px;"> Written feedback on essay</td> <td style="width:340px;"> Summative</td> </tr> <tr> <td style="width:322px;height:7px;"> Exam feedback (on request)</td> <td style="width:340px;height:7px;"> Summative</td> </tr> <tr> <td style="width:322px;height:7px;"> Feedback on formative essay</td> <td style="width:340px;height:7px;"> Formative</td> </tr> <tr> <td style="width:322px;height:21px;"> Additional one-to-one feedback in consultation hours (or by appointment)</td> <td style="width:340px;height:21px;"> Formative</td> </tr> </tbody></table>  Y <ul> <li> Dore Ashton, ed., Picasso on Art: A Selection of Views (New York: Da Capo, 1988)</li> <li> Alfred H. Barr, Picasso: Fifty Years of his Art (New York: Museum of Modern Art, 1946)</li> <li> John Berger, The Success and Failure of Picasso (Harmandsworth: Penguin, 1965).</li> <li> Brassaï, Conversations with Picasso, trans. Jane Marie Todd (Chicago: Chicago University Press, 2002)</li> <li> Elizabeth Cowling, Picasso: Style and Meaning (London: Phaidon, 2002)</li> <li> Michael C. Fitzgerald, Making Modernism: Picasso and the Creation of the Market for Twentieth-Century Art (Berkeley: University of California Press, 1995)</li> <li> Françoise Gilot with Carlton Lake, Life with Picasso (New York: New American Library, 1965)</li> <li> Marilyn McCully, ed., A Picasso Anthology: Documents, Criticism, Reminiscences (Princeton: Princeton University Press, 1997)</li> <li> Roland Penrose, Picasso: His Life and Work (London: Gollancz, 1958)</li> <li> Pablo Picasso: A Retrospective, Ex. Cat, MoMA, 1980 [has a useful chronology]</li> <li> Peter Read, Picasso and Apollinaire: The Persistence of Memory (Berkeley: University of California Press, 2008)</li> <li> John Richardson, A Life of Picasso, Vols. I, II and III (London: Jonathan Cape, 1991-2007)</li></ul> Seminars 33 0 167