Global Nineteenth Century Art Prof Tim BarringerHSAR 318B Spring 2012Grader Nicole Sullo <Nicole.Sullo@yale.edu>Tuesday and Thursday, 2.30-3.45 Loria 351.

This new survey offers an alternative to the traditional Paris-based, Modernist narrative of nineteenth-century art based on style and form, and examines art and visual culture across Europe and North America in a global cultural context. It provides a new view of the aesthetics and politics of art making in the nineteenth century and brings currently neglected works and artists into consideration. This was a politically turbulent period of imperial expansion, global trade and cultural interaction and exchange. Looked at in this framework, the art of this familiar period can be reconsidered. The main focus will be on art created by Europeans, and the canonical artists and movements of the period, from Romanticism to Realism and Impressionism, will remain central. However, the course attempts to track contact zones with other cultures, as well as interaction between artists of European nations such as Britain, Russia, Spain, Italy, Hungary and the German-speaking lands. European responses to, and appropriations of, artistic styles and practices from across the world will be a central focus. The agency of indigenous artists at the moment of colonial encounter, only now emerging as a subject of study, will be emphasized. The visual resonances and implications of empire and imperialism will emerge as a major theme, as will responses in Asia, Africa, the Caribbean, the Americas, the Pacific and Australasia to European incursions and European art-making. Artists under consideration will include David, Gros, Delacroix, Friedrich, Runge, Blake, Constable, Turner, Courbet, Cole, Church, the Pre-Raphaelites, Manet, Homer, Eakins, Sargent, van Gogh, Gauguin.

REQUIREMENTS

All students must read all the readings below – this is up to 250 pages per week, an intensive amount of reading.

1. DUE 16 February at classESSAY 1: 6 pagesSelect a single work created between 1785 and 1850, ideally one that you have seen in person, in which you can discern the interaction of cultures. You may use examples discussed in class or identify a work yourself. Please confirm your choice before beginning to write.

Discuss the work’s composition, technique and its historical context. How do the form and content of this work relate to the broader cultural history of the period?

2. DUE 17 APRIL at classESSAY 2: 8-10 pages

Select one or two works of art that you consider to be paradigmatic of modernity (not necessarily examples of Modernism). Explain what you mean by modernity and how the subject, style and form of the work under consideration define it as an exemplar of modernity.

SYLLABUSTUESDAY 10 JANUARY1. Introduction

C.A. Bayly, ‘Converging Revolutions’ in The Birth of the Modern World, 1780-1914, Oxford: Blackwell, 2004, 86-120.

A. Art in the Age of Revolutions, 1789 to 1815

THURSDAY 12 JANUARY2. The Academy in a world of Revolutions Key figures: Boucher; David; Zoffany; Reynolds; West; Canova; Blake, Goya; Ingres

*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.

*Stephen Eisenman, ‘Tensions of the Enlightenment: Goya’, in Stephen Eisenman, Nineteenth-Century Art: A Critical History, London: Thames & Hudson, 2011, 82-101

TUESDAY 17 JANUARY3. Napoleon and Empire Key figures: David, Gros, Girodet, Ingres

*Albert Boime, ‘The Napoleonic Era’ in Art in An Age of Bonapartism, 1800-1815, Chicago and London: University of Chicago Press, 1990.

*Todd Porterfield, ‘Paintings of the Egyptian Campaign’, Staging Empire : Napoleon, Ingres, and David, University Park, Pa. : Pennsylvania State University Press, 2006, 43-79

THURSDAY 19 JANUARY4. The Black Atlantic and the Battle over Atlantic SlaveryKey figures: Girodet, Robertson, Rowlandson, Gillray, Belisario

*Darcy Grimaldo Grigsby, ‘Black Revolution: Saint Domingue’ in Extremities: Painting Empire in Post-Revolutionary Europe, New Haven: Yale University Press, 2002, 9-62.

*Tim Barringer and Gillian Forrester, ‘Introduction’, Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds, New Haven: Yale University Press, 2007.

TUESDAY 24 JANUARY5. The Industrial Revolution and the InfernalKey figures: de Loutherbourg, Blake, Turner, Cole, Sharples, Menzel

*Stephen Daniels, ‘Loutherbourg’s Chemical Theatre’ in John Barrell, ed., Painting and the Politics of Culture, Oxford: OUP, 1992, 195-230.

*Tim Barringer, ‘The Englishness of Thomas Cole' in Nancy Siegel, ed., The Cultured Canvas: A Social History of American Landscape Painting, University Press of New England, 2012. Pdf.

THURSDAY 26 JANUARY6. Empire, Trade and VisualityKey figures: Thomas and William Daniell, Charles d’Oyly, Edward Lear, George Chinnery, Lam Qua, ‘Company School Painters’

* Patrick Conner, ‘Macao’ in George Chinnery, 1774-1852 : artist of India and the China coast, Woodbridge, Suffolk: Antique Collectors' Club, 1993, pp. 183-211

* Douglas Fordham, ‘On Bended Knee: James Gilray’s Global View of the Courtly Encounter’ in Todd Porterfield, ed., The Efflorescence of Caricature, Aldershot: Ashgate, 2011, 61-75.

B. Age of the Bourgeoisie, 1815-1848

TUESDAY 31 JANUARY8. Extremities in History Painting and Portraiture

Key figures: Géricault; Wappers; Haydon; Delacroix;Lawrence;

* Darcy Grimaldo Grigsby, ‘Cannibalism: Senegal. Géricault’s Raft of the Medusa’ in Extremities: Painting Empire in Post-Revolutionary Europe, New Haven: Yale University Press, 2002, 165-237.

* Cassandra Albinson, ‘The Construction of Desire: Lawrence’s Portraits of Women’, in Cassandra Albinson, Peter Funnell and Lucy Peltz, Thomas Lawrence : Regency power and brilliance, New Haven: Yale University Press, 2010, 27-53.

THURSDAY 2 FEBRUARY9. The Noble Savage and Romantic ExoticismKey figures: Delacroix; Ingres; Catlin: Angas; Glover

* Darcy Grimaldo Grigsby, ‘Orients and Colonies: Delacroix's Algerian Harem’ in The Cambridge companion to Delacroix, edited by Beth S. Wright, Cambridge : Cambridge University Press, 2001, 68-87.

* Angela Miller, et al, ‘Native and European Arts at the Boundaries of Culture: The Frontier West and Pacific Northwest’ in Angela Miller, Janet C. Berlo, Bryan J. Wolf and Jennifer L. Roberts, American Encounters: Art, History and Cultural Identity, Upper Saddle River NJ: Prentice Hall, 2008, 209-239.

* Ian McLean, ‘Figuring Nature: Painting the Indigenous Landscape’ in David Hansen, ed., John Glover and the Colonial Picturesque, Hobart: Tasmanian Art Gallery and Museum, 2003, 122-134.

TUESDAY 7 FEBRUARY10. The Natural ParadiseKey figures: Friedrich; Runge; Palmer; Linnell; Constable; Glover; von Guerard

* William Vaughan, ‘Philipp Otto Runge’ and ‘Caspar David Friedrich’ from German Romantic Painting, second edition, 1994, 41-96.

* William Vaughan, ‘Introduction’ and ‘The Ancients as an Artistic Community’ in W. Vaughan, E.E. Barker, C. Harrison, Samuel Palmer 1805-1881 Vision and Landscape, London: British Museum, 2005, 11-21.

THURSDAY 9 FEBRUARY10. Panoramas: Global Picturesque, Imperial Sublime Key figures: Turner, Burford, Roberts, Church, Lear

* Ann Bermingham, ‘Landscape-O-Rama: The exhibition landscape at Somerset House and the rise of popular landscape entertainments’ in David H Solkin, ed.,Art on the Line: the Royal Academy exhibitions at Somerset House, 1780-1836, New Haven: Yale University Press, 2001.

* Sam Smiles, ‘Painting and Meaning’, ‘The Contemporary Scene’ and ‘Late Work’, JMW Turner, London: Tate, 2000, pp. 27-38, 55-75

* Malcolm Andrews, ‘Astonished beyond Expression’, in Landscape and Western Art, Oxford: Oxford University Press, 1999, 129-149.

* John Zarobell, ‘Jean-Charles Langlois’s Panorama of Algiers (1833) and the Perspective Colonial Landscape’ in Empire of Landscape: Space and Ideology in French Colonial Algeria, University Park, PA: Penn State University Press, 2010, 9-32.

TUESDAY 14 FEBRUARY11. The Past is Another Country: Gothic RevivalsKey Figures: Overbeck; Pforr; Cornelius; Pugin; Ruskin; Dyce

* Cordula Grewe, ‘The Great Code of Art: Religious Revival and the Rebirth of Pictorial Meaning’ in Painting the Sacred in the Age of Romanticism, Aldershot: Ashgate, 2009, 19 – 60.

* Tim Barringer, Reading the Pre-Raphaelites, New Haven: Yale University Press, 1998, Introduction and chapter 1 ‘Rebellion and Revivalism’.

C. Art in the Age of Capital, 1848-1870THURSDAY 16 FEBRUARY14. Pre-Raphaelites: the Victorian Avant-Garde and the moment of PhotographyKey figures: Madox Brown, Millais, Rossetti, Siddall, Holman Hunt; Fox Talbot; Claudet; Hill and Adamson; Fenton; Cameron

* Tim Barringer, Reading the Pre-Raphaelites, New Haven: Yale University Press, 1998, chapter 2.

* Tim Barringer, “An Antidote to Mechanical Poison: Ruskin, Photography and Early Pre-Raphaelite Painting” in Diane Waggoner, ed., The Pre-Raphaelite Lens, Washington DC: National Gallery of Art, 2010.

TUESDAY 21 FEBRUARY15. Europe in RevolutionKey figures: Gustave Courbet, Millet; Daumier; Meissonier, Couture; Menzel

* T.J, Clark, ‘Courbet in Ornans and Besancon, 1849-50’, in The Image of the People: Gustave Courbet and the Second French Republic, 1848-1851, Greenwich, Conn. : New York Graphic Society, 1973, pp. 77-120,

* Peter Paret, 'The Revolution of 1848', from Art as History: Episodes in the Culture and Politics of Nineteenth-Century Germany, Princeton: Princeton University Press, 1988, 77-130

* Jason Gaiger, ‘Modernity in Germany: the many sides of Adolph Menzel’, in The Challenge of the Avant-Garde, New Haven and London: Yale University Press and the Open University, 1999, pp. 91-111.

THURSDAY 23 FEBRUARYMID TERM EXAM

TUESDAY 28 FEBRUARY [Guest speaker: Dr Emily Weeks]16. The Middle East in the Nineteenth Century Key figures: John Frederick Lewis, William Holman Hunt, Jean-Leon Gerôme

* Tim Barringer, ‘Art, Religion and Empire’, Reading the Pre-Raphaelites, chapter 4.

* Emily Weeks, “Cultures Crossed: John Frederick Lewis and the Art of Orientalist Painting,” in The Lure of the East, New Haven: Yale University Press, 2008, 22-32.

THURSDAY 1 MARCH [Guest speaker: Bradley Bailey]17. Europe and JapanKey figures: Whistler, Rossetti, van Gogh, Degas, Monet

* Akayo Oko, ‘James McNeill Whistler’s Japonisme’, in Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan, London: Routledge Curzon, 2003, 41-86.

Jill De Vonyar and Richard Kendall, Degas and the Art of Japan, Reading, PA: Reading Public Museum; New Haven: Yale University Press, 2007, pp.10-39.

MID TERM BREAK

TUESDAY 20 MARCH18. The Exhibitionary ComplexKey exhibitions: London 1851; Paris 1855; London 1862; Paris 1867, Chicago 1893

*Petra Chu, ‘National Pride and International Rivalry: The Great International Expositions’ in Nineteenth-Century European Art, Boston: Prentice Hall, 2012, 351-369.

*Tony Bennett, ‘The Exhibitionary Complex’ New Formations, 4, Spring 1998.

*Lara Kriegel, “Narrating the Subcontinent in 1851: India at the Crystal Palace,” in The Great Exhibition of 1851: New Interdisciplinary Essays, ed. Louise Purbrick, Manchester: Manchester University Press, 2001, 146-178.

THURSDAY 22 MARCH19. The Americas: Civil War and the end of SlaveryKey figures; Eastman Johnson, Winslow Homer; Frederic Church; Fitz Henry Lane; Timothy O’Sullivan

* Angela Miller et al, ‘Representing War’ and ‘Post-War Challenges’, Encounters: Art, History and Cultural Identity, Upper Saddle River NJ: Prentice Hall, 2008, 266-300.

* John Davis, ‘Eastman Johnson’s Negro life at the Old South’, Art Bulletin, March 1998, 67-92.

TUESDAY 27 MARCH20. Rain, Steam and Speed: The Railway, Technology and the Image

*Ian Kennedy, ‘Crossing Continents: America and Beyond’, in Ian Kennedy and Julian Treuherz, The Railway: Art in the Age of Steam, New Haven: Yale University Press, 119-154.

D. Art in the Age of Empire, 1870-1901

THURSDAY 29 MARCH21. Nationalism in a Globalizing WorldKey figures: The Macchiaioli; Ilya Repin and the Wanderers; Jules Dupré; George Clausen; John Lavery; Wilhelm Leibl; Hans von Marees; Joachim Sorolla

* Nina Lübbren, ‘Painted Peasants’ Rural Artists' Colonies in Europe, 1870-1910, Manchester: Manchester University Press, 2001, pp. 40-63.

*Albert Boime, ‘The Macchia and the Risorgimento’ in Art in an Age of Civil Struggle, 1848-1871, Chicago and London: University of Chicago Press, 2007, 365-402.

* David Jackson, The Wanderers and critical realism in nineteenth century Russian painting, Manchester: Manchester University Press, 2006, pp.XX.

*C.A. Bayly, ‘Nation, Empire and Ethnicity, 1860-1900’ in The Birth of the Modern World, 1780-1914, Oxford: Blackwell, 2004, 199-243.

TUESDAY 3 APRIL22. Peripheries Key figures: Thomas Baines; Albert Bierstadt; Raja Ravi Varma

* Hugh Honour ‘The Orient of the Orientalists’, ‘Scenes and Memories’, ‘Senegal’ , ‘South Africa’ and ‘Savagery as Spectacle’ from The Image of the Black in Western Art, IV, part 2, Black Models and White Myths, Cambridge, MA: Harvard University Press, 98-144.

* Tim Barringer, ‘Fabricating Africa: Livingstone and the Visual Image’ in J.MacKenzie, ed., David Livingstone and the Victorian Encounter with Africa (London: National Portrait Gallery, 1996), 169 – 200.

* Angela Miller et al, ‘The Post-War West’, Encounters: Art, History and Cultural Identity, Upper Saddle River NJ: Prentice Hall, 2008, 300-319.

THURSDAY 5 APRIL23. The Imperial SelfKey figures: Whistler, Manet, Millais, Eakins, Sargent

*Paul Barlow, “Millais, Manet, Modernity,” in Peters Corbett, David and Lara Perry, eds., English Art 1860-1914: modernities and identities, Manchester: Manchester University Press, 2000, 49-63.

* David Lubin, ‘The Boit Children’, Act of Portrayal : Eakins, Sargent, James, New Haven : Yale University Press, c.1985, pp. 83-122.

*Linda Nochlin, ‘Issues of Gender in Eakins and Cassatt’ in Stephen Eisenman, Nineteenth-Century Art: A Critical History, London: Thames & Hudson, 2011, 349-366.

TUESDAY 10 APRIL 24. Alterity and the City Frith; Manet; Degas, Renoir, Pissarro; Toulouse Lautrec; van Gogh

* T.J. Clark, ‘The View from Notre Dame’ and ‘Olympia’s Choice’ in The painting of modern life : Paris in the art of Manet and his followersPrinceton, N.J. : Princeton University Press, (1984) 1999, pp. 23-146.

* Griselda Pollock, ‘Modernity and the Spaces of Feminity’ in Vision and Difference: Femininity, Feminism and the Histories of Art, London: Routledge, 1988.

THURSDAY 12 APRIL24. The Mythic SchoolKey figures: Edward Burne-Jones; Julia Margaret Cameron; George Frederic Watts; Frederic Leighton, Anselm Feuerbach, Hans Makart, Arnold Boecklin; Max Klinger, Gustave Moreau Puvis de Chavannes; Georges Seurat

* Stephen Eisenman, ‘Symbolism and the Dialectics of Retreat’ in in Nineteenth-Century Art: A Critical History, London: Thames & Hudson, 2011, 406-439.

*Elizabeth Prettejohn, ‘Aestheticizing History Painting’ in Tim Barringer and Elizabeth Prettejohn, eds., Frederic Leighton: Antiquity, Renaissance, Modernity, New Haven: Yale University Press, 1998, 89-110.

*Stephen Eisenman, ‘Mass Culture and Utopia’ in Nineteenth-Century Art: A Critical History, London: Thames & Hudson, 2011, 368-381.

TUESDAY 17 APRIL25. The Pacific World and the Global Image Economy [with Chloe Portugeis]Japanese art of the Meiji era; Charles Goldie, Gottfried Lindauer; Paul Gauguin

* Andrew Sayers, ‘The Shaping of Australian Landscape Painting’ in Elizabeth Johns et al, New Worlds from Old: Nineteenth Century Australian and American Landscapes, Canberra: National Gallery of Australia, 1998, 53-69.

*Roger Blackley, ‘The Art of Charles F.Goldie’ and Ngahuia te Awekotuku, ‘ta moko: maori tattoo’, in Charles Goldie, Auckland: David Bateman, 1997, 1-26 and 109-114.

*Griselda Pollock, Avant-Garde Gambits 1888-1893, London: Thames and Hudson 1992, 7-72.

THURSDAY 19 APRIL26. Art and RevolutionWilliam Morris, Walter Crane, Art Nouveau and internationalism; Pissarro; Fin de Siècle Vienna, Vrubel; Picasso

* Morna O’Neill, Walter Crane : the arts and crafts, painting, and politics, 1875-1890,New Haven: Yale University Press, 2010, Introduction.

* Lenman, Robin, ‘History,Art and Nation’ in Artists and Society in Germany, 1850-1914, Manchester : Manchester University Press, 1997, pp.16-64.

*Robert Rosenblum, ‘Art in 1900: Twilight or Dawn’ in 1900: Art at the Crossroads, New York: Guggenheim Museum, 2000, 27- 53