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Course Criteria
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3.00 Credits
European painting, sculpture, and printmaking from the French Revolution to the mid-19th century; French, English, German, and Spanish artists discussed in social and aesthetic context, with a focus on links between art and ideology in times of political turmoil. The styles of classicism and romanticism, the rise of history painting, and the development of realism in both landscape and genre painting. Prerequisite: Art-Arch 112, or permission of instructor.
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3.00 Credits
An examination of the development of European art from approximately 1848 to the mid-1880s, with a focus on the development of Realism and Impressionism in England and France. Issues explored include the breakdown of academic art, the rise of landscape and naturalist themes, the emergence of alternative exhibition spaces and new dealer systems, and the relationship between gender and avant-garde practice. Prerequisite: Art-Arch 112 or Art-Arch 211, or permission of instructor.
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3.00 Credits
The course studies the conceptual basis of the institution of the art museum in the United States and Europe, including its history, theoretical foundations, design, and cultural function. We begin with the origins of the modern museum in the 18th century and earlier; trace the development in the 19th century of the earliest national art museums in the United States and Europe; consider the opportunities and problems of museums of modern and contemporary art in the 20th century; address the question of appropriate architectural strategies for art museums of the past and the present; and consider a variety of developments in the art museum today. We study and visit art museums in St. Louis and take a field trip to selected art museums in Davenport and Des Moines. Prerequisite: Art-Arch 211 (Introduction to Modern Art) or Architectural History II (Arch 2284/4284), or permission of instructor. Students in the College of Architecture may register for this course under the assigned College of Architecture course number.
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3.00 Credits
This course examines artistic production at the turn of the century in France, Belgium, England, and Scandinavia. Beginning with the re-evaluation of impressionism and naturalism in France, we examine Neo-Impressionism (Seurat and Signac) and Symbolism (Moreau, Van Gogh, Gauguin, the Nabis, Rodin, Munch), as well as later careers of Impressionists (Cassatt, Monet, Degas, Renoir). Considers cross-national currents of Symbolism in Belgium and Scandinavia; the Aesthetic Movement in Britain; the rise of Expressionist painting in French art (particularly with the Fauvism of Matisse and Derain), and the juncture of modernist primitivism and abstraction in early Cubism (Picasso). Prerequisite: Art-Arch 112 or permission of the instructor.
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1.00 Credits
This course surveys the development of the Mediterranean region as an important site of Modernist artistic practice. Among the artists considered are Pierre-Auguste Renoir, Henri Matisse, Pablo Picasso, Marc Chagall, and Yves Klein. Excursions to museums and other artistic sites.
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3.00 Credits
An examination of European art within its social and political context from 1914 to 1945. Lectures and readings address major artistic developments such as Cubism, Expressionism, Dadaism and Surrealism, as well as cultural production under totalitarian regimes. Prerequisite: Art-Arch 221 (Introduction to Modern Art) or permission of instructor.
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3.00 Credits
In this multimedia, interdisciplinary course, we consider the history, theory, and practice of Dada and Surrealism, from its Symbolist and Expressionist roots at the end of the 19th and the beginning of the 20th centuries through its late expressions in Beat culture and Pop art of the 1950s and 1960s. Dada's emergence in Zürich and New York in the midst of the First World War set the tone for its stress on irrationality as an oppositional strategy. Surrealist research into the domain of the unconscious continued this extreme challenge to dominant culture, but in a revolutionary spirit that proposed new possibilities for personal and collective liberation. The international character of the movements, with substantial cross-transmission between Europe and the United States, is emphasized. Prerequisite: Art-Arch 112 (Introduction to Western Art) or Art-Arch 211 (Introduction to Modern Art), or permission of instructor.
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3.00 Credits
This course examines the development of Cubism from its origins in 1906 to the decline of modernism after 1945. Cubism's pictorial language revolutionized the practice of art making in the early 20th century, encouraging artists to interrogate the nature of signification (how form produces meaning). Topics considered include Cubism's innovations in painting, collage, papiers collés, and sculpture, as well as its formation and reception by writers, critics, and artists such as Braque, Picasso, Duchamp, Gris, Léger, Le Corbusier, Ozenfant, and the Salon Cubists. This class explores the various ways in which artistic production intersects with popular culture and the rise of consumerism, major events in world history, and changing notions of identity in the 20th century. Readings are drawn from primary sources such as artists' manifestos, poetry, literature, and philosophy (which we read in English translation). Visits to the Mildred Lane Kemper Art Museum and the St. Louis Art Museum complement our study. Prerequisite: Art-Arch 112 (Introduction to Western Art), Art-Arch 211 (Introduction to Modern Art), or permission of the instructor.
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3.00 Credits
This course surveys sculpture in Europe and the United States from about 1800 to the present, with an emphasis on the period 1890-1980. A rapid traverse of Neoclassicism, Realism, and the rage for statuary in the later 19th century takes us to the work of Rodin and a more systematic exploration of developments in sculpture of the 20th century. Particular emphasis also is given to the work of Brancusi, Picasso, Matisse, Duchamp, Giacometti, Oppenheim, David Smith, Serra, Morris, Judd, Hesse, and Bourgeois. An important theme running through the course as a whole, from an age of nationalism and manufacturing to our own time of networks and information, is the changing definition of sculpture itself within its social and political context. We also explore various new artistic practices-video, performance, installations and body art, for instance-and interrogate their relationship to sculptural tradition and innovation. Prerequisite: Art-Arch 112 (Introduction to Western Art) or Art-Arch 211 (Introduction to Modern Art) or permission of instructor.
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3.00 Credits
In the criticism of modern art, decoration and decorative have often been used as pejorative terms, designating art that has no intellectual basis but is merely pleasing, intended to fill space, and delight the eye. But in the late 19th century, these terms carried important cultural value and opened the door to significant experiments in abstraction. Moreover, the decoration of a public space or surface may have political implications. This course investigates decoration and theories of "the decorative" in modern art in Europe and the United States, with special attention to the evolution of ideas of modernism in both 2-dimensional and 3-dimensional environments. We also consider some of the political meanings that may be borne by both public mural painting and domestic decoration, as well as easel painting that aspires to conditions of the decorative. Key figures include Puvis de Chavannes, Morris, the Nabis, Van de Velde, Monet, Matisse, the Mexican muralists, Pollock, and Shapiro. Prerequisite: Art-Arch 211(Introduction to Modern Art) or any 300-level course in Art History, or permission of instructor.
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