|SES #||LECTURE Topics||READINGS|
|1||Introduction: What is Art?||No readings assigned.|
|2a||Learning to Look/Interpreting What We See|
|2b||The Devotional Image|
|3a||Pictorial Space and Perspective|
|3b||Media Revolutions: Paint and Print in the North||
Joseph Koerner, “Albrecht Dürer: A Sixteenth-Century Influenza,” in Giulia Bartram et al., Albrecht Dürer and his Legacy: The Graphic Work of a Renaissance Artist (Princeton: Princeton University Press, 2002), 18–38. ISBN: 9780691114934.
|4a||Worlding the Italian Renaissance||
Jill Burke, “Nakedness and Other Peoples: Rethinking the Renaissance Nude.” Art History 36, no. 4 (2013): 714–739.
|4b||Leonardo, Michelangelo, Raphael: Making Renaissance Art|
Suzanna Danuta Walters, “Visual Pressures. On Gender and Looking” in Material Girls: Making Sense of Feminist Cultural Theory (Berkeley: University of California Press, 1995), 50–66. ISBN: 9780520089785.
Rose Marie San Juan, “The Court Lady's Dilemma: Isabella d'Este and Art Collecting in the Renaissance.” Oxford Art Journal, 14/1 (1991), 67–78.
|5b||The Status of the Artist||
Giorgio Vasari, “Introduction” (optional) and “Preface” (1550) to Vasari, The Lives of the Artists, ed. J.C. Bondanella and P. Bondanella (Oxford: Oxford University Press, 2008), vii–xiv, 3–6. ISBN: 9780199537198.
|6||Art as Theater in 17th-Century Rome||
Genevieve Warwick, “Speaking Statues: Bernini’s Apollo and Daphne at the Villa Borghese”. Art History 27 (2004): 353–381.
|7||Dutch Art in Global Perspective||
Julie Hochstrasser, “Remapping Dutch Art in Global Perspective: Other Points of View,” in Cultural Contact and the Making of European Art since the Age of Exploration, ed. Mary D. Sheriff (Chapel Hill: University of North Carolina Press, 2010), 43–71. ISBN: 9780807872703.
Thijs Weststeijn, “Cultural Reflections on Porcelain in the 17th-Century Netherlands,” in Chinese and Japanese Porcelain for the Dutch Golden Age, ed. J. van Campen and Titus Eliens (Amsterdam: Uitgeverij De Kunst, 2014), 213–229. ISBN: 9789491196805.
|8a||Art and Absolutism in France and Spain|
|8b||Public Exhibitions: Enter the Art Critic||
Étienne de La Font de Saint Yenne, “Reflections on Some Causes of the Present State of Painting in France,” in Art in Theory, 1648–1815, ed. Charles Harrison et al. (Oxford: Wiley-Blackwell, 2000), 554–561. ISBN: 9780631200642.
|9a||The Lure of the Antique||
Andrew McClellan, “Nationalism and the Origins of the Museum in France,” in The Formation of National Collections of Art and Archaeology (Washington: National Gallery of Art, 1996), 29–39. ISBN: 9780894682025.
|9b||Beyond Representation: Color and Touch||
Angela Dunstan, “Nineteenth-Century Sculpture and the Imprint of Authenticity.” Interdisciplinary Studies in the Long Nineteenth Century 19 (2014).
Peter John Brownlee, “Color Theory and the Perception of Art.” American Art 23, no. 2 (Summer 2009): 21–24.
Judith Walsh, “Winslow Homer and the Color Theories of Michel-Eugène Chevreul,” in Watercolors by Winslow Homer: The Color of Light, ed. Martha Tedeschi and Kristi Dahm (New Haven: Yale University Press, 2008), 198–205. ISBN: 9780865592261.
Jordanna Bailkin, “Indian Yellow: Making and Breaking the Imperial Palette,” in Empires of Vision: A Reader, ed. Martin Jay and Sumathi Ramaswamy (Durham, NC: Duke University Press, 2014), 91–110. ISBN: 9780822354482.
|10||Romanticism and Empire||
Zeynep Çelik, “Speaking Back to Orientalist Discourse,” in Orientalism’s Interlocutors: Painting, Architecture, Photography, ed. J. Beaulieu and M. Roberts (Durham, NC: Duke University Press, 2002), 19–42. ISBN: 9780822328742.
|11a||Photography and Photographic Truth||
Charles Baudelaire, “The Modern Public and Photography,” and Oliver Wendell Holmes, “The Stereoscope and the Stereograph,” in Art in Theory, 1815–1900: An Anthology of Changing Ideas (Oxford: Wiley-Blackwell, 1998), 666–672. ISBN: 9780631200666.
Jonathan Crary, excerpt on the stereoscope from Techniques of the Observer (1990), in The Nineteenth-Century Visual Culture Reader, ed. V. Schwartz and J. M. Przyblyski (New York: Routledge, 2004), 82–92. ISBN: 9780415308663.
Richard Kreitner, “Stereoscopes could change how we see the world—again.” Boston Globe, August 16, 2015.
|11b||The Artist and the City|
|12||The Artist and the City, part 2|
Simon Gikandi, “Picasso, Africa, and the Schemata of Difference.” Modernism/Modernity 10 (2003): 455–80.
Mark Antliff and Patricia Leighten, “Primitive,” in Critical Terms for Art History, ed. R. S. Nelson and R. Shiff, 2nd edition, (Chicago: University of Chicago Press, 2003), 217–233. ISBN: 9780226571683.
|13b||Surrealism and Dada||
Tristan Tzara, “Dada Manifesto,” and Richard Huelsenbeck, “First German Dada Manifesto,” in Art in Theory, 1900-2000: An Anthology of Changing Ideas, ed. C. Harrison and P. Wood (Oxford: Blackwell, 2003), 252–259. ISBN: 9780631227083.
|14a||Abstract Expressionism: Art and Politics||
Eva Cockroft, “Abstract Expressionism: Weapon of the Cold War” (1974), anthologized in Art In Modern Culture: An Anthology of Critical Texts, ed. Francis Frascina and Jonathan Harris (London: Phaidon Press, 1992), 82–90. ISBN: 9780064302241.
David Craven, “Introduction,” “Abstract Expressionism and Afro-American Marginalization,” and “Dissent During the McCarthy Period,” in Reading Abstract Expressionism: Context and Critique, ed. E. Landau (New Haven: Yale University Press, 2005), 510–526. ISBN: 9780300106138.
|14b||After the Art Object: From Pop to Performance||
Adrian Piper, “Performance and the Fetishism of the Art Object” (1981), in Out of Order, Out of Sight, Vol. II: Selected Writings in Art Criticism, 1967-1992 (Cambridge, MA: MIT Press, 1996), 51–61. ISBN: 9780262661539.
|15||Where We Are Now; Concluding Thoughts||
Kate Cowcher, “Luanda Onde Está? Contemporary African Art and the Rentier State.” Critical Interventions 8, no. 2 (2014): 140–159.