Professional Documents
Culture Documents
SYLLABUS
Prof
Tim
Barringer
Tuesdays
&
Thursdays,
11.35-12.25.
YUAG
Lecture
Hall.
This
course
surveys
the
history
of
Western
art
from
1300
to
the
present,
with
an
emphasis
on
the
relationship
between
art
(mainly
painting)
and
its
original
historical
and
cultural
contexts.
We
will
focus
on
how
to
look
at
a
work
of
art
in
the
original,
and
sections
will
be
taught
from
the
uniquely
rich
collections
of
Yale
University
Art
Gallery.
The
course
will
question
the
term
Western
Art,
emphasizing
the
porous
nature
of
European
culture
and
the
dialogue
of
European
artists
with
cultural
traditions
beyond
the
boundaries
of
Europe.
Other
themes
will
include
the
birth
and
development
of
museums,
and
relationships
between
painting
and
the
other
arts,
especially
music.
REQUIREMENTS
--Lecture
and
section
attendance,
section
participation
(10%
of
the
final
grade)
--Short
paper
1
(10%)
Due
March
1
at
class
(before
class
begins)
--Midterm
examination
(20%)
on
March
10
--
Short
paper
2
(10%)
by
April
5
at
class
(before
class
begins)
--10-page
final
paper
(25%)
Due
April
29,
deliver
to
History
of
Art
office
in
Loria
by
4pm.
--Final
examination
(25%)
NB:
There
will
be
an
alternate
final
exam
in
the
first
week
of
the
exam
period.
Sections
This
class
has
a
weekly
section.
The
sections
will
be
taught
entirely
from
the
collections
of
the
Yale
University
Art
Gallery,
so
sections
have
to
take
place
when
the
gallery
is
open.
Section
enrollment
is
on
line.
Attendance
at
section
is
compulsory:
email
your
TA
in
advance
if
you
need
to
miss
section
because
of
illness
or
any
other
reason.
Textbook
All
students
will
need
to
purchase
Fred
S.
Kleiner,
ed.,
Gardners
Art
Through
the
Ages:
The
Western
Perspective,
volume
II.
15th
edition.
ISBN
9781305645059.
Publisher:
Wadsworth
Cengage
Learning,
2016
edition,
available
from
Yale
Bookstore
(with
discount)
and
on
line.
List
price
$175;
Amazon
$148.
ASSIGNMENTS
Short
Paper
1
(4-6
pages,
double
spaced):
CLOSE
LOOKING
Choose
two
works
in
the
collection
of
Yale
University
Art
Gallery
that
represent
the
Virgin
Mary
(with
or
without
the
Christ
child
or
other
figures).
They
can
be
paintings,
reliefs
or
sculptures.
Compare
and
contrast
the
two
works.
Write
a
close
visual
analysis
of
each
work,
bearing
in
mind
the
following
questions:
how
does
the
form
of
the
image/object
relate
to
its
meaning?
How
does
the
artist
deploy
line
and
colour?
How
does
the
medium
of
the
work
affect
its
meaning
and
aesthetic
effect?
What
does
the
visual
appearance
of
the
object
tell
you
about
its
original
location
and
function?
Short
Paper
2
(4-6
pages,
double
spaced):
VISUAL
ANALYSIS
AND
HISTORICAL
RESEARCH
As
before,
look
closely
at
an
object
made
between
1600
and
1900
on
display
at
Yale
University
Art
Gallery
and
provide
a
precise
visual
analysis
of
it.
This
time
connect
the
visual
analysis
to
a
historical
account
of
the
works
meaning
and
function.
Use
the
resources
of
the
Haas
Library
in
Loria
for
research:
you
should
cite
at
least
5
books
or
published
articles
in
your
answer.
Online
sources
not
accepted
(for
exceptions
see
below)
Final
Paper
(8-10
pages,
double
spaced):
THESIS-DRIVEN
ART
HISTORY
PAPER
A
list
of
essay
questions
will
be
circulated
after
mid-term.
NB:
Do
NOT
give
your
essay
its
own
title
but
answer
one
of
the
prescribed
questions.
Your
answer
must
be
thesis-driven.
A
note
on
the
textbook
and
on
sources:
Gardners
Art
through
the
Ages,
fifteenth
edition,
has
been
comprehensively
revised
and
is
an
up-to-date
survey
text.
It
is
mainly
useful
to
us
because
it
provides
a
basic
canon
of
images
with
reliable
information.
For
the
essays,
however,
you
will
need
to
conduct
research
in
the
Haas
Art
and
Architecture
Library,
using
Yales
outstanding
collection
of
books
on
the
history
of
art.
Online
sources
are
not
acceptable.
The
only
exceptions
are
Oxfordartonline
recent
articles
accessible
through
JSTOR
and
the
peer-reviewed
content
of
websites
of
major
museums
such
as
the
Metropolitan
Museums
Heilbrunn
Timeline
of
Art
History.
Any
essay
with
a
reference,
or
which
has
made
use
of,
Wikipedia
or
non-peer-
reviewed
web
content
of
any
kind,
will
not
be
graded
but
returned
to
you
unmarked.
If
your
second
and
third
papers
do
not
contain
references
to
books
you
have
consulted
in
the
Haas
Art
and
Architecture
library,
you
will
not
gain
a
grade
above
B.
Your
TA
will
give
you
a
handout
on
citation
requirements.
SYLLABUS
Tuesday
January
19
1.
Introduction
Preparation:
If
you
are
new
to
the
History
of
Art,
read
Gardner,
1-13.
Also,
all
students
please
visit
the
Yale
University
Art
Gallery
and
make
sure
you
have
been
in
every
single
gallery
in
the
building,
spending
most
of
your
time
on
Western
art
since
1300!
Thursday
January
21
2.
Florence,
Siena
and
the
World
in
1300
Gardner,
411-433
Tuesday
January
26
3.
Antiquity
and
Reality:
Florence,
1400-1450
Gardner,
461-481
Michael
Baxandall,
Conditions
of
Trade,
in
Painting
and
Experience
in
Fifteenth
Century
Italy
(Oxford:
Oxford
University
Press,
1972),
1-27.
PDF
on
cv2.
Thursday
January
28
4.
Oil
Painting
and
the
North
Gardner,
435-459
Tuesday
February
2
5.
Courtly
Arts
of
the
Renaissance
Gardner,
481-500
Thursday
February
4
NO
CLASS
Tuesday
February
9
6.
Art
in
1500:
A
Global
View
Gardner,
503-527
Thursday
February
11
7.
Venice:
Arts
of
a
Maritime
Republic
Gardner,
527-538
Erwin
Panofsky,
Titian's
Allegory
of
Prudence:
A
Postscript
in
Panofsky,
Meaning
in
the
Visual
Arts,
Chicago:
University
of
Chicago
Press,
1955.
PDF
on
cv2.
Tuesday
February
16
8.
Word
and
Image
in
the
Reformation
Gardner,
555-575
Thursday
February
18
9.
Arts
of
the
Counter
Reformation
Gardner,
581-600;
611-616
Michael
Fried,
Thoughts
on
Caravaggio,
Critical
Inquiry
24
(Autumn
1997):
13-56.
PDF
on
cv2
Tuesday
February
23
10.
Spanish
Art
and
the
Habsburg
Empire
Gardner,
601-609
Thursday
February
25
11.
Worlds
of
Trade
Gardner,
616-629
Tuesday
March
1.
Short
paper
1
due
in
class
at
beginning
of
lecture.
12.
Absolutism,
War
and
Glory:
the
World
in
1700
Gardner,
630-650
Thursday
March
3
13.
Academies
and
Modernities
Gardner,
651-671
Tuesday
March
8
14.
Age
of
Revolutions
Gardner,
673-689
Thomas
Crow,
Patriotism
and
Virtue:
David
to
the
Young
Ingres
in
Stephen
Eisenman,
Nineteenth-Century
Art:
A
Critical
History,
London:
Thames
&
Hudson,
2011,
18-54.
PDF
on
cv2.
Thursday
March
10
MID-TERM
EXAM
MID
TERM
BREAK:
LOOK
AT
SOME
ART
WHEREVER
YOU
ARE!
Tuesday
March
29
15.
Romanticism:
Nature
and
History
Gardner,
689-695
Thursday
March
31
16.
The
First
Avant-Gardes:
Realism
versus
Historicism
Gardner,
695-719
Tim
Barringer,
Reading
the
Pre-Raphaelites,
New
Haven:
Yale
University
Press,
1998,
Introduction
and
chapter
1
Rebellion
and
Revivalism.
PDF
on
cv2.
Tuesday
April
5.
Short
paper
2
due
in
class
at
beginning
of
lecture.
17.
Modernity
in
Question
Gardner,
721-741
Griselda
Pollock,
Modernity
and
the
Spaces
of
Femininity
in
Vision
and
Difference:
Femininity,
Feminism
and
the
Histories
of
Art,
London:
Routledge,
1988.
PDF
on
cv2.
Thursday
April
7
18.
Art
in
1900:
A
global
view
Gardner,
741-759
Tuesday
April
12
19.
Historical
Avant-Gardes
I:
Remaking
the
World
Gardner,
761-780
Hal
Foster,
et
al.,
1906
and
1907
in
Art
Since
1900,
v.
1
(London:
Thames
and
Hudson,
2004),
70-84.
PDF
on
cv2.
Thursday
April
14
20.
Historical
Avant-Gardes
II:
Burning
Museums
and
Great
Utopias
Gardner,
780-787
Tuesday
April
19
21.
The
Great
War
and
the
era
of
Totalitarianism
Gardner,
788-827
Hal
Foster,
et
al.,
Art
Since
1900,
v.
1
(London:
Thames
and
Hudson,
2004),
135-41,
174-79.
PDF
on
cv2.
Thursday
April
21
22.
War
to
Cold
War
Gardner,
829-851
Clement
Greenberg,
Avant-Garde
and
Kitsch,
in
Clement
Greenberg:
The
Collected
Essays
and
Criticism,
v.
1,
ed.
John
OBrian
(Chicago:
University
of
Chicago
Press,
1986),
5-22.
PDF
on
cv2.
NB:
MAKE-UP
CLASS:
FRIDAY
APRIL
22,
usual
time
and
place
23.
Art
of
the
Sixties
Tom
Crow,
extract
from
The
Rise
of
the
Sixties.
PDF
on
cv2.
Tuesday
April
26
24.
Paradox
and
Postmodernism
Gardner,
851-873
Thursday
April
28
25.
A
Global
Art
World
Gardner,
875-911
Friday
April
29:
10-page
final
paper
due.
Deliver
to
History
of
Art
office
(251)
in
Loria
by
4pm.