Scheda programma d'esame
MODERN AND CONTEMPORARY ART
SERGIO CORTESINI
Anno accademico2021/22
CdSINTERNATIONAL PROGRAMME IN HUMANITIES
CodiceL1478
CFU6
PeriodoSecondo semestre
LinguaInglese

ModuliSettoreTipoOreDocente/i
MODERN AND CONTEMPORARY ARTL-ART/03LEZIONI36
SERGIO CORTESINI unimap
Obiettivi di apprendimento
Learning outcomes
Conoscenze

Il corso intende fornire una conoscenza di base della storia dell'arte occidentale dall'Impressionismo agli anni 1960, con una maggiore enfasi su alcuni esponenti chiave dell'arte italiana. Piuttosto che una rassegna esaustiva di movimenti e artisti, la selezione dei temi trattai è fatta con l'intento di fornire a studenti provenienti da diversi retroterra culturali alcuni essenziali strumenti critici per comprendre la sfida al gusto comune portata avanti dalle forme dell'arte moderna. Infati, con lo sviluppo delle ideologie ed estetiche moderniste, gli artisti hanno progressivamente sovvertito le aspettative tradizionali riguardo la natura rappresentativa dei quadri e delle statue, e sulle loro funzioni morali, educative o di semplice piacevolezza. Pertanto, le opere d'arte modena saranno considerate non solo per le loro caratteristiche formali-stilistiche ma anche per i loro contesti storici, politici e intellettuali.

Knowledge

The course aims to provide students with a basic knowledge of the history of Western art from Impressionism to the late 1960s, with some stronger emphasis on a few key exponents of Italian art. Rather than an exhaustive survey of movements and artists—which would have been an exorbitant task anyway—the selection of the topics of this course was made with the intent of introducing students coming from diverse cultural backgrounds to some critical tools necessity to comprehend the challenges to common taste brought forth by many modern or contemporary artworks. In fact, with the unfolding of modernist ideologies and aesthetics, artists have progressively subverted the traditional assumptions about the representational nature of pictures and statues, and the delighting, moral, or educational functions of their fruition. Therefore, modernistic artworks shall be considered not only for their formal-stylistic features, but also in their historical, political, intellectual contexts.

Modalità di verifica delle conoscenze

La verifica in corso d'opera dei progressi nell'apprrendimento avverrò attraveso le discussioni aperte dutrante le lezioni e nell'esame orale infividuale alla fine del corso.

Assessment criteria of knowledge

Ongoing assessment to monitor the learning progress will be carried out in the form of open discussions during the classes, and in the final individual oral exam

Capacità

Gli studenti saranno in grado di comprendere e spiegare le ragioni storiche che hanno modellato le espressioni artistiche moderne.

Skills

Students will be able to understand and discuss the historical reasons that shaped modern artistic expressions 

Modalità di verifica delle capacità

La verifica delle capacità progressivamente aquisite avverrà nelle discussioni aperte in classe, sotto la guida del docente, stimolate dalle proiezioni delle immagini o di fronte alle opere d'arte originali nella lezione fuori sede.

Assessment criteria of skills

The assessment of the skills progressively aquired will be carried out in open discussions during the classes stimulaed by slides and in the fied trip in front of orginal artworks

Comportamenti

La partecipazione attiva nelle discussioni è altramente desiderata. Gli studenti devono leggere i tesi assegnati prima di ciascuna lezione, in modo da poter frequentare con una conoscenza di base ed essere in grado di partecipare in modo profiquo al dialogo con il docente, indicando eventuali dubbi o argomenti che richiedano ulteriori spiegazioni.

Behaviors

Active participation in discussion is strongly encouraged. Students are therefore asked to read all the assigned readings before each lesson, in order to attend the classes already with a basic knowledge and engage in a more profitable dialogue with the teacher about any doubts or topics that may require explanations and further elaboration

Modalità di verifica dei comportamenti

L'atteggiamento costruttivo degli studenti apparirà nella loro capacità di intervenire nelle discussioni in classe, sotto la guida del docente, e stimolate dalle proiezioni di slides.

Assessment criteria of behaviors

The costructive behaviors of the students will appear in their ability of engaging in classroom discussions, under the guidance of the lecturer, trigged by the slide projections 

Prerequisiti (conoscenze iniziali)

Una conoscenza di base della storia dell'arte occidentale è raccomandata, sebbene non obbligatoria

Prerequisites

A basic knowledge of the history of western art is recommened, although not mandatory.

Indicazioni metodologiche

Lezioni frontali, proiezioni di slides di opere d'arte. 

Teaching methods

Lectures, slide projections.

Programma (contenuti dell'insegnamento)

1. A brief introduction to painting in the Nineteenth Century; Manet

Arnason, pp. 13-22; Rubin, pp. 9-48.

Suggested: Harrison-Wood-Gaiger, pp. 493-506 (Charles Baudelaire, The Painter of Modern Life).

  

2. Monet, Renoir, Degas, Seurat, Gauguin

Arnason, pp. 22-27 (Claude Monet, Auguste Renoir, Edgar Degas) and pp. 37-40 (Paul Cézanne); Rubin, pp. 308-320.

 

3. Van Gogh, Cézanne, Redon

Arnason: pp. 40-46 (Vincent van Gogh; Paul Cézanne); pp. 70-72 (Odilon Redon); Rubin, pp. 373-387; Harrison-Wood-Gaiger, pp. 896-898 (Vincent van Gogh, Letters to his brother Theo [only 30 April 1885]); Harrison-Wood, pp. 37-40 (Paul Cézanne, Letters to Emile Bernard).

Suggested: Harrison-Wood-Gaiger, pp. 945-948 (Vincent van Gogh, Letters to his brother Theo and his sister Wilhelmina, [8 September 1888; 5 June 1890]; pp. 1064-1966 (Odilon Redon, Suggestive Art).

 

4. Fauves and Cubists 

Arnason, pp. 100-103 (Henri Matisse and Fauvism to 1912); pp. 117-122 (Picasso before cubism); Foster et alii, pp. 70-84 (1906-1907); pp. 100-105 (1910); Harrison-Wood, pp. 72-78 (Henri Matisse, Notes of a Painter).

 

5. Cubism and the beginning of Abstraction

Foster et alii, pp. 106-124 (1911; 1912; 1913); Harrison-Wood, pp. 152-154 (Robert Delaunay, On the Construction of Reality...).

 

6. Italian Futurism

Humphreys, pp. 12-48; Foster et alii, pp. 90-96 (1909: exclude Fascism and Futurism); Harrison-Wood, pp. 145-152 (Filippo Tommaso Marinetti, The Foundation and Manifesto of Futurism; Umberto Boccioni, Futurist Painting: Technical Manifesto).

 

7. German Expressionism

Arnason, p. 163 (introduction only); pp. 164-168 (Emil Nolde; Die Brücke; Ernst Kirchner), pp. 172-174 (Der Blaue Reiter. Vasily Kandinsky to 1914); Foster et alii, pp. 85-88 (1908: exclude sub-chapter Dehumanization as diagnostic); Harrison-Wood, pp. 67-68 (Ernst Ludwig Kirchner, Programme of the Brücke); pp. 101-102 (Emil Nolde, On Primitive Art) ; pp. 86-91 (Wassily Kandinsky, Concerning the Spiritual in Art).

 

8. Abstract art

Foster et alii, pp. 130-134 (1915); pp. 148-153 (1917a); Arnason, pp. 219-221 (Kasimir Malevich) ; Harrison-Wood, pp. 282-287 (Piet Mondrian, Dialogue on the New Plastic) ; pp. 290-292 (Kasimir Malevich, Non-Objective Art and Suprematism).

 

9. Dada

Foster et alii, pp. 135-138 (1916a: exclude sub-chapter A miniature sublime); pp. 174-179 (1920); pp. 186-190 (1922); Harrison-Wood, pp. 248-255 (Tristan Tzara, Dada Manifesto 1918; Richard Huelsenbeck, First Dada Manifesto).

 

10. Duchamp and de Chirico

Foster et alii, pp. 96-97 (1909 – Fascism and Futurism only); pp. 125-129 (1914); pp. 160-165 (1918); Arnason, pp. 284-289 (Giorgio de Chirico); Harrison-Wood, pp. 60-61 (de Chirico, Mistery and Creation); p. 248 (Marcel Duchamp, The Richard Mutt Case).

 

11. Surrealism; “Degenerate art” and Guernica

Foster et alii, pp. 190-195 (1924); pp. 250-254 (1931); pp. 281-285 (1937a);

Suggested: Harrison-Wood, pp. 440-446 (André Breton, Surrealism and Painting).

 

12. Abstract expressionism and Informel

Phillips, pp. 12-27 (The Postwar American Art Community; and Abstract Expressionism: The New York Vanguard [exclude sub-chapter Sculpture of the New York School); Foster et alii, pp. 369-374 (1946); pp. 380-391 (1947b; 1949a); Harrison-Wood, pp. 593-595 (Jean Dubuffet, Crude Art Preferred to Cultural Art);

Suggested: Harrison-Wood, pp. 590-593 (Notes for the Well-Lettered); and pp. 619-620 (Michel Tapié, An Other Art)

 

13. Italian art 1943-1953

Vetrocq, pp. 20-31.

 

14. New-Dada/Nouveau Réalisme and Pop art

Phillips, pp. 83-94. Collins, pp. 301-315; Harrison-Wood, pp. 711-712 (Pierre Restany, The New Realists).

 

15. Pop art/Italian art to 1968

Phillips, pp. 109-11; 114-145; Briganti.

 

16. Italian art to 1968

Briganti; Potts; Silk.

 

17. Italian art to 1968

Potts; Silk

 

18. Field trip

Syllabus

1. A brief introduction to painting in the Nineteenth Century; Manet

Arnason, pp. 13-22; Rubin, pp. 9-48.

Suggested: Harrison-Wood-Gaiger, pp. 493-506 (Charles Baudelaire, The Painter of Modern Life).

  

2. Monet, Renoir, Degas, Seurat, Gauguin

Arnason, pp. 22-27 (Claude Monet, Auguste Renoir, Edgar Degas) and pp. 37-40 (Paul Cézanne); Rubin, pp. 308-320.

 

3. Van Gogh, Cézanne, Redon

Arnason: pp. 40-46 (Vincent van Gogh; Paul Cézanne); pp. 70-72 (Odilon Redon); Rubin, pp. 373-387; Harrison-Wood-Gaiger, pp. 896-898 (Vincent van Gogh, Letters to his brother Theo [only 30 April 1885]); Harrison-Wood, pp. 37-40 (Paul Cézanne, Letters to Emile Bernard).

Suggested: Harrison-Wood-Gaiger, pp. 945-948 (Vincent van Gogh, Letters to his brother Theo and his sister Wilhelmina, [8 September 1888; 5 June 1890]; pp. 1064-1966 (Odilon Redon, Suggestive Art).

 

4. Fauves and Cubists 

Arnason, pp. 100-103 (Henri Matisse and Fauvism to 1912); pp. 117-122 (Picasso before cubism); Foster et alii, pp. 70-84 (1906-1907); pp. 100-105 (1910); Harrison-Wood, pp. 72-78 (Henri Matisse, Notes of a Painter).

 

5. Cubism and the beginning of Abstraction

Foster et alii, pp. 106-124 (1911; 1912; 1913); Harrison-Wood, pp. 152-154 (Robert Delaunay, On the Construction of Reality...).

 

6. Italian Futurism

Humphreys, pp. 12-48; Foster et alii, pp. 90-96 (1909: exclude Fascism and Futurism); Harrison-Wood, pp. 145-152 (Filippo Tommaso Marinetti, The Foundation and Manifesto of Futurism; Umberto Boccioni, Futurist Painting: Technical Manifesto).

 

7. German Expressionism

Arnason, p. 163 (introduction only); pp. 164-168 (Emil Nolde; Die Brücke; Ernst Kirchner), pp. 172-174 (Der Blaue Reiter. Vasily Kandinsky to 1914); Foster et alii, pp. 85-88 (1908: exclude sub-chapter Dehumanization as diagnostic); Harrison-Wood, pp. 67-68 (Ernst Ludwig Kirchner, Programme of the Brücke); pp. 101-102 (Emil Nolde, On Primitive Art) ; pp. 86-91 (Wassily Kandinsky, Concerning the Spiritual in Art).

 

8. Abstract art

Foster et alii, pp. 130-134 (1915); pp. 148-153 (1917a); Arnason, pp. 219-221 (Kasimir Malevich) ; Harrison-Wood, pp. 282-287 (Piet Mondrian, Dialogue on the New Plastic) ; pp. 290-292 (Kasimir Malevich, Non-Objective Art and Suprematism).

 

9. Dada

Foster et alii, pp. 135-138 (1916a: exclude sub-chapter A miniature sublime); pp. 174-179 (1920); pp. 186-190 (1922); Harrison-Wood, pp. 248-255 (Tristan Tzara, Dada Manifesto 1918; Richard Huelsenbeck, First Dada Manifesto).

 

10. Duchamp and de Chirico

Foster et alii, pp. 96-97 (1909 – Fascism and Futurism only); pp. 125-129 (1914); pp. 160-165 (1918); Arnason, pp. 284-289 (Giorgio de Chirico); Harrison-Wood, pp. 60-61 (de Chirico, Mistery and Creation); p. 248 (Marcel Duchamp, The Richard Mutt Case).

 

11. Surrealism; “Degenerate art” and Guernica

Foster et alii, pp. 190-195 (1924); pp. 250-254 (1931); pp. 281-285 (1937a);

Suggested: Harrison-Wood, pp. 440-446 (André Breton, Surrealism and Painting).

 

12. Abstract expressionism and Informel

Phillips, pp. 12-27 (The Postwar American Art Community; and Abstract Expressionism: The New York Vanguard [exclude sub-chapter Sculpture of the New York School); Foster et alii, pp. 369-374 (1946); pp. 380-391 (1947b; 1949a); Harrison-Wood, pp. 593-595 (Jean Dubuffet, Crude Art Preferred to Cultural Art);

Suggested: Harrison-Wood, pp. 590-593 (Notes for the Well-Lettered); and pp. 619-620 (Michel Tapié, An Other Art)

 

13. Italian art 1943-1953

Vetrocq, pp. 20-31.

 

14. New-Dada/Nouveau Réalisme and Pop art

Phillips, pp. 83-94. Collins, pp. 301-315; Harrison-Wood, pp. 711-712 (Pierre Restany, The New Realists).

 

15. Pop art/Italian art to 1968

Phillips, pp. 109-11; 114-145; Briganti.

 

16. Italian art to 1968

Briganti; Potts; Silk.

 

17. Italian art to 1968

Potts; Silk

 

18. Field trip

 

Bibliografia e materiale didattico

- H. H. Arnason, History of Modern Art, New York, Harry N. Abrams, 1970.

- James H. Rubin, Impressionism, London, Phaidon, 1999.

- Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, David Joselit, Art since 1900. Modernism Antimodernism Postmodernism, New York, Thames and Hudson, 2011.

- Richard Humphreys, Futurism, Cambridge, Cambridge University Press, 1999.

- Charles Harrison and Paul Wood (editors), Art in Theory 1900-1990. An Anthology of Changing Ideas, Oxford-Cambridge, Blakwell, 1992.

- Charles Harrison, Paul Wood and Jason Gaiger (editors), Art in Theory 1815-1900. An Anthology of Changing Ideas, Oxford, Blackwell, 1998.

- Lisa Phillips, The American Century. Art and Culture 1950-2000, New York, Whitney Museum/W. W. Norton, 1999.

- Bradford R. Collins, Pop Art, London, Phaidon, 2012.

- Marcia E. Vetrocq, Painting and Beyond: Recovery and Regeneration, 1943-1952, in Germano Celant (editor), The Italian Metamorphosis, 1943-1968, New York, Guggenheim Museum Publications, 1994, pp. 20-31.

- Giuliano Briganti, Cultural Provocation: Italian Art in the Early Sixties, in Italian Art in the 20th Century: Painting and Sculpture, 1900-1988, London, Royal Academy of Art, 1988, pp. 301-307.

- Alex Potts, Disencumbered Objects, in “October”, vol. 124, Spring 2008, pp. 169-189.

- Gerard Silk, Myths and Meanings in Manzoni's Merda d'artista, in “Art Journal”, Vol. 52, No. 3, Autumn, 1993, pp. 65-75.

 

Please, note: the assigned readings and the slides of the lessons are uploaded on Moodle (http://elearning.humnet.unipi.it/)

Bibliography

- H. H. Arnason, History of Modern Art, New York, Harry N. Abrams, 1970.

- James H. Rubin, Impressionism, London, Phaidon, 1999.

- Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh, David Joselit, Art since 1900. Modernism Antimodernism Postmodernism, New York, Thames and Hudson, 2011.

- Richard Humphreys, Futurism, Cambridge, Cambridge University Press, 1999.

- Charles Harrison and Paul Wood (editors), Art in Theory 1900-1990. An Anthology of Changing Ideas, Oxford-Cambridge, Blakwell, 1992.

- Charles Harrison, Paul Wood and Jason Gaiger (editors), Art in Theory 1815-1900. An Anthology of Changing Ideas, Oxford, Blackwell, 1998.

- Lisa Phillips, The American Century. Art and Culture 1950-2000, New York, Whitney Museum/W. W. Norton, 1999.

- Bradford R. Collins, Pop Art, London, Phaidon, 2012.

- Marcia E. Vetrocq, Painting and Beyond: Recovery and Regeneration, 1943-1952, in Germano Celant (editor), The Italian Metamorphosis, 1943-1968, New York, Guggenheim Museum Publications, 1994, pp. 20-31.

- Giuliano Briganti, Cultural Provocation: Italian Art in the Early Sixties, in Italian Art in the 20th Century: Painting and Sculpture, 1900-1988, London, Royal Academy of Art, 1988, pp. 301-307.

- Alex Potts, Disencumbered Objects, in “October”, vol. 124, Spring 2008, pp. 169-189.

- Gerard Silk, Myths and Meanings in Manzoni's Merda d'artista, in “Art Journal”, Vol. 52, No. 3, Autumn, 1993, pp. 65-75.

 

Please, note: the assigned readings and the slides of the lessons are uploaded on Moodle (http://elearning.humnet.unipi.it/)

Indicazioni per non frequentanti

Nessuna

Non-attending students info

None

Modalità d'esame

L'esame finale è composto da un quizz scritto e da un orale che verterà sugli argomenti trattati nelle lezioni e nelle letture del programma d'esame.

Assessment methods

The final exam will consist in a written quizz and orals based on the the topics addressed during the classes and the assigned readings.

Altri riferimenti web

La classe vituale è asscessibile qui: https://teams.microsoft.com/l/team/19%3at2KR5AQdl7qq2wet2nZ25lUPJ-UWvGw6XO7JQhqCc4c1%40thread.tacv2/conversations?groupId=70c29a7d-c453-4201-a2eb-275759616b9a&tenantId=c7456b31-a220-47f5-be52-473828670aa1

Additional web pages

Access the vitual classroom here: https://teams.microsoft.com/l/team/19%3at2KR5AQdl7qq2wet2nZ25lUPJ-UWvGw6XO7JQhqCc4c1%40thread.tacv2/conversations?groupId=70c29a7d-c453-4201-a2eb-275759616b9a&tenantId=c7456b31-a220-47f5-be52-473828670aa1

Note

Il corso inizia venerdì 25 febbraio 2022.

 

Commissione d'esame: Sergio Cortesini, Mattia Patti.

Notes

The course starts Friday, 25th February 2022.

 

Exam commision: Sergio Cortesini, Mattia Patti.

 

Ultimo aggiornamento 21/02/2022 14:52