Rococo to Now: Artworks in History

SALC10042 Rococo to Now: Artworks in History 20 Semester 2 Undergraduate Level 1 Luke Skrebowski Unit coordinator 1 FHEQ level (Framework for Higher Education Qualifications) ' First part HE study/Bachelors ' European Credit Transfer & Accumulation System Rating : 10.0 The course unit uses in-depth analyses of individual artworks to introduce students to key methods and concepts of art historical understanding. Each lecture is focused on the detailed exposition of one artwork and the critical debates surrounding its interpretation. The lectures as a whole are arranged chronologically from the 18th century to the present, covering art produced around the globe. The course unit is neither the study of a canon nor a traditional survey of art history, although it will reflect upon both. It examines some well-known artworks of the past alongside others that have been considered marginal or have been neglected. Two things are key: that the artworks in focus are used to introduce and explain foundational art historical concepts, and that the lectures centre on the problems of understanding and interpreting artworks in relation to their historical moment. An important aim of the course unit is to provide students with a broad chronological and methodological armature for their study of art history in other course units. Accordingly, the lectures and seminars will explore skills of visual analysis, engage with critical issues of historical interpretation (style, period, school, movement, development etc.), and help students develop a theoretical toolkit for approaching the study of art history.  The course unit uses in-depth analyses of individual artworks to introduce students to key methods and concepts of art historical understanding. Each lecture is focused on the detailed exposition of one artwork and the critical debates surrounding its interpretation. The lectures as a whole are arranged chronologically from the 18th century to the present, covering art produced around the globe. The course unit is neither the study of a canon nor a traditional survey of art history, although it will reflect upon both. It examines some well-known artworks of the past alongside others that have been considered marginal or have been neglected. Two things are key: that the artworks in focus are used to introduce and explain foundational art historical concepts, and that the lectures centre on the problems of understanding and interpreting artworks in relation to their historical moment. An important aim of the course unit is to provide students with a broad chronological and methodological armature for their study of art history in other course units. Accordingly, the lectures and seminars will explore skills of visual analysis, engage with critical issues of historical interpretation (style, period, school, movement, development etc.), and help students develop a theoretical toolkit for approaching the study of art history.  ‘Rococo to Now: Artworks in History ’ aims –<ul> <li> To introduce students to a rich and varied range of artworks (and works of architecture) across the period from the mid-eighteenth century to the present.</li> <li> To provide students with an understanding of some of the problems of locating art in historical contexts.</li> <li> To model students’ powers of description and analysis.</li> <li> To introduce key concepts for the historical understanding of artworks.</li></ul> <ul> <li> Demonstrate an understanding of some of the basic art historical terms for describing artworks (or works of architecture)</li> <li> Locate artworks from the course in their historical context across the period.</li></ul> <ul> <li> Explain the problems of applying the idea of a canon to art history and of organizing artworks as a survey</li> <li> Describe artworks at length, based on close observation</li> <li> Develop multi-layered explanations of art’s relation to other historical phenomena</li></ul> <ul> <li> Write essays, both as coursework and in exams, that demonstrate a BA level 1 competence in the organization of evidence and argument </li></ul> <ul> <li> Take appropriate notes in lectures.</li> <li> Reflect on the qualities needed to contribute effectively in seminar discussion </li></ul> Other To work alone and collaboratively Meet deadlines and take responsibility for one¿s own work Express ideas clearly in written and spoken form Use IT resources for research and communication Possible lectures may include:<ul><li>William Hogarth, Marriage A-la-Mode, 1743-1745  </li><li>Jean-Honoré Fragonard, The Swing, 1767</li><li>Angelica Kauffman, The Artist hesitating between the Arts of Music and Painting, 1794</li><li>Francisco Goya, Los caprichos, 1797-1798  </li><li>William Blake, The Spiritual Form of Pitt, c1805  </li><li>Barry and Pugin, Houses of Parliament, 1836-1870  </li><li>Congolese minkisi minkondi, c.19th  </li><li>Berthe Morisot, The Cradle, 1872</li><li>Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892-5  </li><li>Kazimir Malevich, Black Square, 1913</li><li>Duchamp, Fountain, 1917</li><li>Gaganendranath Tagore, Jagadish Chandra Bose Demonstrating His New Apparatus, 1925</li><li>Meret Oppenheim, Object, 1936  </li><li>Le Corbusier, Villa Savoie, 1928-31  </li><li>Jackson Pollock, Autumn Rhythm, 1950    </li><li>James Rosenquist, F-111, 1964-65  </li><li>Hélio Oiticica, Barracão  2, 1970</li><li>Mrinalini Mukherjee, ‘Mrinalini Mukherjee putting final touches …’, 1977</li><li>Mary Kelly, Post-Partum Document, 1973-79  </li><li>Nasreen Mohamedi, Untitled, 1990  </li><li>Trevor Paglen, Autonomy Cube, 2014 </li></ul> Lectures and small group seminars. 0 Other 100% <figure class="table"><table><tbody><tr><td>Assessment task</td><td>Formative or Summative</td><td>Length</td><td>Weighing within unit (if relevant)</td></tr><tr><td>Essay plan with indicative bibliography</td><td>Formative</td><td>500 words excluding bibliography</td><td>0%</td></tr><tr><td>Essay</td><td>Summative</td><td>1000 words</td><td>40%</td></tr><tr><td>Exam</td><td>Summative</td><td>2 hours</td><td>60%</td></tr></tbody></table></figure>  <figure class="table"><table style="width:662px;" border="1" cellpadding="0" cellspacing="0" 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 literature review</td><td style="width:340px;">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;">One-to-one feedback during consultation hour/by appointment</td><td style="width:340px;">Formative</td></tr><tr><td style="width:322px;">Examination feedback (on request)</td><td style="width:340px;">N/A.</td></tr></tbody></table></figure>  BA (Hons) History of Art BA (Hons) History of Art First Year Mandatory Y Reading will be a combination of readings specific to the art work discussed in the lectures (which will change from year to year), and more general reading on surveys, canons, and the language of art history.General reading as follows:Arnold, Dana, Art History: A very short introduction, Oxford, 2004.Bell, Julian, Mirror of the World: a new history of art, London, 2007.Chadwick, Whitney, Women, Art and Society, London, 1990.Elkins, James, Stories of Art, London and New York, 2002.Gardner, Helen Louise, Gardner’s Art Through the Ages: A Global History, New York, 2009.Gombrich, Ernst, The Story of Art (first pub. 1950), London and New York, 2006.Gombrich, Ernst, ‘The Renaissance Conception of Artistic Progress and its Consequences’ in Ernst Gombrich, Norm and Form, London, 1966.Harrison, Charles, An Introduction to Art, New Haven, 2009.Honour, Hugh and Fleming, John, A World History of Art, London, 1999.Janson, H. W., History of Art, London, 1995.Pointon, Marcia, History of Art: a student’s handbook, London and New York, 1992.Pooke, Grant, and Diana Newall, Art History: the basics, London and New York, 2008.    Lectures 22 Seminars 11 0 167