Courseguide ARTH 2600 A

Carleton University ARTH 2600 A Modern European Art 1900-1945 Fall 2022 Wednesdays 11:35am – 2:25pm. SP 100 Professor Jill Carrick Contact: JillCarrick@cunet.carleton.ca Office Hours: by appointment. TA: Jessica Endress JessicaEndress@cmail.carleton.ca Course Description: This course explores the great visual breakthroughs of early 20th century European modern art. Through focus on movements such as Cubism, Futurism, Russian Constructivism, Dada, and Surrealism, the class investigates what one historian perceptively described as the “demolition of the received visual order”. How did modern art re-imagine the world? What were modernism and the avant-garde? How did artists picture desire and sexuality, political change and social contestation, and the dramatic technological transformations of their century? The class is based on illustrated lectures, weekly readings, and class discussion. Learning Outcomes: Familiarity with key European modern art movements, artists, and artworks, and ability to discuss key themes and issues associated with them. Acquisition of visual analysis and critical thinking skills through the detailed study and comparison of works of art. Course Requirements : 1

Regular attendance at weekly classes held in SP 100. Active, engaged participation in course discussions and presentations is required. Students are expected to remain up to date with the weekly readings and assessment deadlines provided by the instructor. There are no extensions. Please note that some course details in this outline may need to be adjusted as we proceed through the term. If this occurs, you will be clearly informed of any changes. Course Website: Brightspace Textbook (required): H. H. Arnason and Elizabeth C. Mansfield. History of Modern Art: Painting, Sculpture, Architecture, Photography . 7th edition. Prentice Hall, 2012. Electronic edition available. For sale in the Carleton University Book Store. Other required readings will be made available on Brightspace through the Library Reserves Ares system. Ares access link: Ares e-reserves Weekly Class Structure: The class takes place in SP 100 and consists of two halves. One half consists of an interactive discussion of the week’s set questions. The other half consists of a live lecture. Schedule: WEEK DATES DISCUSSION TOPIC LECTURE 1 September 7 Introduction to Course 19th Century Traditions 2 September 14 Fauvism:19th Century Art. Comparisons Fauvism 3 September 21 Fauvism: continued German Expressionism 4 September 28 German Expressionism Cubism 5 October 5 Cubism Futurism 6 October 12 Futurism Russian Avantgardes 7 October 19 Russian Avantgardes Bauhaus & De Stijl Assignment due 8 October 26 Reading Break Reading Break 9 November 2 Bauhaus & De Stijl Dada 10 November 9 Dada Surrealism 11 November 16 Surrealism 20s Photography 12 November 23 20s Photography 20s Film 2

Arnason and Mansfield, Chapter 2: “The Search for Truth: Early Photography, Realism and Impressionism” Arnason and Mansfield, Chapter 3: “Post-Impressionism” Fer, Briony: “Introduction,” in Francis Frascina et al, (eds), Modernity and Modernism: French Painting in the Nineteenth Century , Yale University Press/Open University, London, 1993, pp. 6-15, 21-28. Wood, Paul: “Introduction,” in Steve Edwards, Paul Wood (eds.), Art of the Avant-Gardes , Yale University Press/Open University, 2004. Week 3: Fauvism Discussion Preparation: 1. The authors of the “1903” reading mention “a paradox of much primitivist art: … it often pursues purity and primacy through hybridity and pastiche.” -Define “primitivism” and the “primitive”. -How do the Fauvists convey primitivist ideas in their work? -What paradoxes exist in primitivism as it is practiced by artists at this time? Refer to the arguments of the “1903” authors in your response. Practice answering these questions by comparing and contrasting Matisse’s Le Bonheur de vivre 1906 (p. 96 in your textbook) with Matisse’s Blue Nude: Memory of Biskra 1907 (p. 97). Key Concepts: primitivism, orientalism, colonialism Required Readings: Arnason and Mansfield, Chapter 5: “The New Century: Experiments in Colour and Form” “1903” in Hal Foster et al. Art Since 1900 , Thames and Hudson, 2016. (Available in Brightspace/Ares) Recommended Readings: Perry, Gill: “Primitivism and the ‘Modern’,” in Charles Harrison, F. Frascina, G. Perry (eds), Primitivism, Cubism, Abstraction: The Early Twentieth Century , Yale University Press/Open University, London, 1993, pp.3-8, 46-54. Gaiger, Jason: “Expressionism and the crisis of subjectivity,” in Steve Edwards, Paul Wood (eds.), Art of the Avant-Gardes , Yale University Press/Open University, 2004. Perry, Gill: “Gender and the Fauves: flirting with the ‘wild beasts’” in Steve Edwards, Paul Wood (eds.), Art of the Avant-Gardes , Yale University Press/Open University, 2004. Week 4: German Expressionism 4

Discussion Preparation: 1. Compare and contrast works by Die Blaue Reiter and Die Brücke. How do these works exemplify the various goals of the German Expressionist movement? 2. How does German Expressionist art make use of or challenge ideas of the “primitive”? Refer again to the “1903” reading from last week. -Define “primitivism” and the “primitive”. -How do the German Expressionists convey primitivist ideas in their work? -What paradoxes exist in primitivism as it is practiced by artists at this time? Practice answering question 1 while comparing and contrasting Kirchner’s Street, Dresden , 1908 (p. 115 in your textbook) with Kandinsky’s Sketch for Composition II 1910 (p. 123). Key Concepts: Die Blaue Reiter, Die Brücke, expression, primitivism, purity, pastiche, avant-garde, orientalism, colonialism, modernity Required Readings: Arnason and Mansfield, Chapter 6: “Expressionism in Germany and Austria” “1908” in Hal Foster et al. Art Since 1900 , Thames and Hudson, 2016. (Available in Brightspace/Ares) Recommended Readings: Wood, Paul: “The idea of an abstract art,” in Steve Edwards, Paul Wood (eds.), Art of the Avant-Gardes , Yale University Press/Open University, 2004. Week 5: Cubism Discussion Preparation: 1. How can we interpret Cubist works? -What multiple meanings can be gleaned through the use of different reading strategies? -Are these interpretations in any way contradictory? Practice answering these questions while comparing and contrasting Picasso’s Les Demoiselles d’Avignon 1907 (p. 142 in your textbook) with Braque’s The Portuguese (The Emigrant) 1911 (p. 151). Key Concepts: Early Cubism, Hermetic or Analytic Cubism, Synthetic Cubism Required Readings: Arnason and Mansfield, Chapter 7: “Cubism” 5

Key Concepts: avantgarde experimentation, communism Required Readings: Arnason and Mansfield, Chapter 9: “European Art After Cubism”, pp. 198- 212. Recommended Readings: Harrison, Charles: “Abstraction,” in Charles Harrison, F. Frascina, G. Perry (eds) Primitivism, Cubism, Abstraction: The Early Twentieth Century , Yale University Press/Open University, London, 1993, pp. 228-249. Fer, Briony: “The Language of Construction,” in Briony Fer, David Batchelor, Paul Wood (eds), Realism, Rationalism, Surrealism: Art Between the Wars , Yale University Press/The Open University, London, 1993, pp. 87-138. Lodder, Christina: “Soviet Constructivism,” in Steven Edwards, Paul Wood (eds.), Art of the Avant-Gardes , Yale University Press/Open University, 2004. Week 8: Reading Break (No Class) Week 9: Bauhaus & De Stijl Discussion Preparation: 1. How does the case of the Bauhaus complicate notions of a divide between craft and industry? 2. What ideas and values led to the Bauhaus and De Stijl's attempts to integrate art into life? 3. How would you characterize the relationship between Bauhaus design and the body? Practice answering question 3 by comparing and contrasting Oskar Schlemmer’s Study for The Triadic Ballet , c. 1923 (p. 287 in your textbook) with Marcel Breuer’s Armchair 1928 (p. 288). Required Readings: Arnason and Mansfield, Chapter 12: “Clarity, Certainty and Order: De Stijl and the Pursuit of Geometric Abstraction”, and Chapter 13: “Bauhaus and the Teaching of Modernism.” Recommended Readings: Fer, Briony: “The Language of Construction,” in Briony Fer, David Batchelor, Paul Wood (eds), Realism, Rationalism, Surrealism: Art Between the Wars , Yale University Press/The Open University, London, 1993, pp. 139-169. 7

Week 10: Dada Discussion Preparation: 1. What in your opinion are the strengths and weaknesses of the arguments in the Art Since 1900 reading “1920”? 2. How did the Dadaists use fragmentation and mass media imagery in their work, and to what ends? 3. Compare and contrast different Dadaist attitudes to utilitarian objects and aesthetics. Practice answering question 1 by referring to Hannah Hoch’s Cut with the Kitchen Knife through the Beer Belly of the Weimar Republic , c. 1919 (p. 187 in your Art Since 1900 reading “1920”). Key Concepts: art and politics, Weimar Republic, collage Required Readings (3 texts ): Read one Dada Manifesto (many are available online). Arnason and Mansfield, Chapter 10: “Picturing the Wasteland: Western Europe During World War I” “1920” in Hal Foster et al. Art Since 1900 , Thames and Hudson, 2016. (Available in Brightspace/Ares) Week 11: Surrealism Discussion Preparation: 1. How does Surrealism blend traditional and novel methods of artistic production, and to what ends? 2. How do Surrealist works engage with issues of sexuality and gender? 3. What connections are there between the creations and goals of Surrealism and those of Dada? What do the two movements share, and what differences exist between them? 4. How would you characterize Surrealist art’s conception and treatment of the human body? Compare to other movements. Practice answering question 1 by comparing and contrasting Ernst’s Europe After the Rain, 1942 (p. 303 in your textbook) with Magritte’s The Treachery of Images , 1929 (p. 314). Key Concepts : desire, fetishism, the Surrealist object 8

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after the senate deadline for term work. Students are required to retain a copy of term assignments submitted. 4. Final examinations : Attendance at final examinations is compulsory. 5. Incomplete term work : An unexcused absence from a term test is a form of incomplete term work. 6. Numerical equivalents of letter grades : Instructors in this department use the equivalencies stated in section 5.4 of the Undergraduate Calendar, unless specified otherwise in the course outline by the instructor. 7. Instructional offences, especially plagiarism : Students are to read and abide by the regulations stated in Carleton University’s Academic Integrity Policy . The following definition of plagiarism is taken from this policy: 8. Plagiarism is presenting, whether intentionally or not, the ideas, expression of ideas or work of others as one's own. Plagiarism includes reproducing or paraphrasing portions of someone else's published or unpublished material, regardless of the source, and presenting these as one's own without proper citation or reference to the original source. Examples of sources from which the ideas, expressions of ideas or works of others may be drawn from include but are not limited to: books, articles, papers, literary compositions and phrases, performance compositions, chemical compounds, art works, laboratory reports, research results, calculations and the results of calculations, diagrams, constructions, computer reports, computer code/software, and material on the Internet. a. Examples of plagiarism include, but are not limited to: i. submitting a take-home examination, essay, laboratory report or other assignment written, in whole or in part, by someone else; ii. using ideas or direct, verbatim quotations, paraphrased material, algorithms, formulae, scientific or mathematical concepts, or ideas without appropriate acknowledgment in any academic assignment; iii. using another's data or research findings; iv. submitting a computer program developed in whole or in part by someone else, with or without modifications, as one's own; v. failing to acknowledge sources through the use of proper citations when using another's works and/or failing to use quotation marks. Plagiarism is a serious offence that cannot be resolved directly by the course’s instructor. The Associate Dean of the Faculty conducts a rigorous investigation, including an interview with the student, when an instructor suspects a piece of work has been plagiarized. Penalties are not trivial. They can include a final grade of “F” for the course. 9. Deferred final examinations and term work are available to those who meet the criteria stated in the Undergraduate Calendar. For criteria and procedures, see sections 4.3.1 and 4.4 . 11

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