History of Art I. WA/A/HSzt1-R2-Z
Lectures are conducted in a chronological (epoch, works) and diachronic system (cross-sectional topics, such as nude, perspective, illusion and portrait). Learning the selected methodology of the New History of Art (NAH) by students
Scope of individual topics:
1. Introduction to the history of art (basic concepts of art history, iconographic analysis, symbol, allegory, attribute, perspective, color, elements of selected non-European cultures, selected theories of art - in outline). Art History//Visual Culture
2. Prehistoric art and the first artifacts. Review of contemporary research proposals. Palaeolithic cave as a "space of cultural adaptation". Mask as a representation of the absent - the birth of art.
3. Ancient civilizations (Egypt, Greece, Rome) Basic concepts in the history of architecture, sculpture, painting. Learning the basic terminology (archaic, classical and Hellenistic period of Greek art; architectural orders). Aesthetic theories. Gender policy in ancient Greece and Rome (on the example of Greek / Roman house premises). Ancient nudity. The history of clothing in antiquity. Ancient theater.
4. The beginnings of old Christian art (Eastern and Western Christianity - the birth of Christian symbolism and their sources in the ancient tradition. Christian iconography: the Christological Cycle and the Marian Cycle. Selected examples. Antiquity in early Christian art.
5. Middle Ages - Romanesque architecture and sculpture. "Other" of the Middle Ages. The gothic cathedral and its architectural program. Court culture and international style (Burgundy, France, Austria, Czech Republic); The History of Clothing in the Middle Ages. The Body Practices in the Middle Ages: Cleanliness and Dirt. Bourgeois culture. Art market.
6. The main centers of the Renaissance. Global art circulation: graphics. Was there bourgeois painting? Birth of the portrait. The history of clothing.
Act: from Giorgione to Vanessa Beecroft.
8. "Melancholia" by Durer and Lars von Trier.
9. Mannerism and early baroque: Caravaggio.
10. Why were there no great female artists? Sofonisba Anguissola, Artemisia Gentileschi and others.
11. The art of the Counter-Reformation: illusionist painting.
12. Rococo and European court culture. From King the Sun to Marie Antoinette - court fashion in the 17th / 18th century, and contemporary theater and film stagings.
Culture of intimacy - history of interiors. Colonialism.
13. Art of the Great French Revolution and the Empire. A new audience for art. Lounges.
14. Romanticism. Goya and the horrors of war. Abject in ar. "The horrors of war" and the art of the 20th century. Caspar David Friedrich and the romantic landscape. Romantic horror. Gothic.
15th century: Academism. Orient in 20th century painting in postcolonial perspective.
16. 19th century: Optical experiments, theories of perception and the beginning of modernity: Photography.
17. Disassembly of the visual field. Manet, Cezanne, Seurat.
18. Paris of the nineteenth century: why painting Impressionists could not paint the same as the Impressionist painters.
19. The birth of mass culture.
20. Neocolonialism and art at the turn of the 19th and 20th centuries.
21. Futurism as an anthropological project.
22. Theory of the avant-garde: T. Buerger.
23. Deserters of the Great War: Dadaism.
24. Duchamp. Ready-mades and consumer culture.
Jeff Koons, Haim Steinbach.
25. Surrealism. Convulsive beauty.
26. Bauhaus and design in the USA.
27. Le Corbusier and contemporary architecture.
28. Totalitarian art and architecture: Italy, Germany, Soviet Union.
29. Artistic geography after World War II: New York as a new Paris.
30. US Artistic Hegemony: Abstract Expressionism.
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Term 2020/21-Z:
1. The Art of the Great French Revolution and the Empire: Jacques-Louis David and his Pupils. 2. Goya's "Horrors of War" as a non-humanistic project. 3. Caspar David Friedrich and the romantic landscape. 4. The Orient in 19th-century painting in a post-colonial perspective. 5. 19th century: Optical experiments, theories of perception and the beginning of modernity: Photography. 6. Impressionist Eden near Paris: free time of the Paris bourgeoisie at the end of the 19th century. 7. Why the Women Impressionist painters could not paint the same as the Male Impressionist painters. Griselda Pollock on the birth of modernity. 9. Limits of modernity: Cubism, futurism, abstract painting. 11. Duchamp, Jeff Koons, and Haim Steinbach. A ready-made in 20th century art 12. Surrealism. 13. Bauhaus and design in the USA. 14. Le Corbusier and the Machines for Living: From Warsaw's WSM to modern housing estates. 15. Study lecture - Warsaw Housing Cooperative. 16. Totalitarian art and architecture: Italy, Germany, the Soviet Union. 17. Polish art and architecture of the Second Polish Republic. 18. New artistic geography after World War II. New York as a new Paris. 18. The impact of Abstract Expressionism: Pollock, Rauschenberg, Kaprow and others. 19. Sons of castrated Fathers: Viennese Actionists. 20. Performance: Marina Abramović. 21. Oskar Hansen: the idea of monument and counter-monument. 22. Polish art after 1945 (study lecture at the National Museum in Warsaw). 23. On the rubble of the Warsaw : Muranów (study lecture in Muranów) 24. Video-art. 25. Second wave of feminism and women's art: Chadwick, Natalia LL, Ewa Partum. 26. The crisis of representation: art after the Holocaust. 27. Critical art and postmodernism of resistance: Polish artists in the period of transformation. 28. Museum Today: The Bilbao Effect. 29. The collapse of Anthropocene: contemporary artists and the planetary crisis. 30. Study lecture at the temporary exhibition at the Museum of Modern Art in Warsaw. |
Course coordinators
Term 2016/17-L: | Term 2018/19-L: | Term 2017/18-L: | Term 2020/21-Z: | Term 2021/22-Z: | Term 2022/23-Z: | Term 2019/20-Z: | Term 2018/19-Z: |
Learning outcomes
Students should acquire the ability to independently analyze a work of art at in the context of the culture of a given period, including theatr, and know trends in European and American art of the twentieth century, including avant-garde trends, as a symptom of modernization changes in the nineteenth century.
After completing the course, students should recognize the works of the most outstanding artists in a given period, accurately characterize architectural objects, interpret works of contemporary art and associate them with a specific artistic environment. They should know the basic bibliography and art collections in Europe and the USA. They should be familiar with the New History of Art (NAH) methodology at a basic level.
Assessment criteria
In the full-time mode, the assessment is based on:
- presence and active participation in classes
- test closed in the middle of the semester
- an essay on one of the three topics (up to 5200 characters).
In the e-learning mode:
After each lecture, students receive an abstract of the lecture (summary of the presentation) along with a question related to the issues discussed. Students have until the next lecture to answer. Correct answers to all questions are the basis for passing the semester.
Bibliography
Gombrich E., O sztuce, Arkady (wszystkie wydania)
Sztuka świata, Arkady, 12 tomów, Arkady, Warszawa 1990 – 1998 (wybrane rozdziały z poszczególnych tomów).
D. Arasse, Detal. Historia malarstwa w zbliżeniu, Kraków 2013.
R. Barthes, Światło obrazu. Uwagi o fotografii, Warszawa 1996.
W. Benjamin, Twórca jako wytwórca, Warszawa 2011.
J. Berger, Sposoby widzenia, Poznań 1997.
Le Corbusier, W stronę architektury, tłum. T. Swoboda, Warszawa 2012
R. Krauss, Oryginalność awangardy i inne mity modernistyczne, Warszawa 2011.
L. Nochlin, Realizm, Warszawa 1974.
M. Porębski., Granica współczesności 1909-1925, Warszawa 1989.
S.E. Rasmusseen, Odczuwanie architektury, Warszawa 1999.
B. Rose, Malarstwo amerykańskie dwudziestego wieku, WAiF, Warszawa 1991
J. Shearman, Manieryzm, Warszawa 1970.
S. Sontag, Widok cudzego cierpienia, Kraków 2010.
S. Sontag, O fotografii, Karakter, Kraków 2009.
C. Tomkins, Duchamp. Biografia, Poznań 2001
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Term 2020/21-Z:
In chronological order, adequately to the schedule of lectures: W. Benjamin, Twórca jako wytwórca, tłum. Robert Reszke, Wydawnictwo KRM, Warszawa 2011. (wybrane rozdziały). John Berger, O patrzeniu, przeł. Sławomir Sikora, Wydawnictwo Fundacji Aletheia, Warszawa 1999 (wybrane rozdziały). S. Sontag, Widok cudzego cierpienia, Kraków 2010. Lynda Nead, Akt kobiecy. Sztuka, obscena i seksualność, przeł. Ewa Franus, Dom Wydawniczy REBIS, Poznań 1998. (wybrane rozdziały). |
Notes
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Term 2020/21-Z:
A study lecture means classes outside, e.g. at the National Museum in Warsaw or at the Museum of Modern Art. Necessary tools for work: projector and screen. Computer and Internet - belong to the lecturer. |
Additional information
Information on level of this course, year of study and semester when the course unit is delivered, types and amount of class hours - can be found in course structure diagrams of apropriate study programmes. This course is related to the following study programmes: