DEPARTMENT OF HISTORY OF ARTFirst Year Single and Joint Honours 2005-6

Approaches ARTH 1018570 Term 1: Content and Style

AIMS: This module provides a thorough foundation in the styles and subject matter of art. Drawing widely on examples of art from the fifteenth to the twentieth centuries, the module engenders proficiency in visual analysis and discrimination, as well as in iconographic understanding; it explores questions of style and subject, and it introduces good practices in oral seminar presentations and essay writing. The second part of the module, on Critical and Historical Perspectives, will be taught in term 2.

LEARNING OUTCOMES: By the end of the module, students should be able to recognise the characteristics of many of the styles of European art from the fifteenth to the

twentieth centuries; identify many types of subject matter in art of the same period; make stylistic distinctions through visual analysis; understand the significance of iconography and visual tradition in art historical method; begin to relate questions of style and content to larger historical and cultural issues; have gained competence in presenting seminar papers and writing essays.

DELIVERY: Students will have a weekly lecture (1 hour) and a weekly seminar (1 hour) based on looking at works of art. The weekly lecture will set up the topics for the subsequent seminar. Seminars will take a number of forms, but many will be based on student oral presentations. The topics will be set early in the course, and there will be assistance in preparing for these.

The first term of the first-year programmes includes a study trip to London to the National Gallery’s Study Day, which will take place on Thursday 27

October; and a study trip to Tate Britain and Tate Modern, London, which will take place on Saturday 12

November. On both occasions, the coaches will depart early morning. Check Departmental Intranet or notice board for further details. The trips are financed by the Department and is COMPULSORY. If you are a Joint Honours student, you may need to get permission from your other department to miss classes. If you foresee problems attending you must contact David Hemsoll in advance.

ASSESSMENT: Assessment for the module as a whole will be by TWO essays of 2,500-3,000 words of equal weighting (50%) plus ONE written examination of three hours duration in the Summer Term (50%).

The first essay is due on Friday 9 December The second essay is due on Friday 24 March

Failure to hand the essays in on the specified dates will normally lead to the penalty deduction of marks (see departmental handbook). All students are also required to prepare and give oral presentations with slides. These should last no longer than 15 minutes. See the Notes for Guidance in the Department handbook.

TIMES AND DAYS: Groups meet as follows:

Lecture: Monday 11-12 (Barber Lecture Theatre; all students)

Seminar Group A: Tuesday 1-2 (Barber Institute Photograph Room)

Seminar Group B: Thursday 2-3 (Barber Institute Photograph Room)

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N.B. DURING WEEK 1 THERE WILL NOT BE TWO SEPARATE SEMINAR GROUPS. ALL STUDENTS WILL MEET TOGETHER AT BOTH THE TUESDAY AND THURSDAY SEMINAR TIMES. YOU WILL BE DIVIDED INTO TWO GROUPS FROM WEEK 2 ONWARDS

MODULE COORDINATOR: David Hemsoll

OTHER TEACHING STAFF: Professor Shearer West and post-graduate teaching assistants.

READING

Students are required to do the necessary reading for lectures and seminars, as indicated under individual headings. In addition, you should read and consult the textbooks listed below. The lectures, seminars and assessments will build on ideas contained in these books. These books are referred to hereafter by the author's last name.

SET TEXTSThe Holy Bible (any edition)Ernst Gombrich, The Story of Art, 2001Heinrich Wölfflin, Principles of Art History, 1950 (extracts in both Fernie andPreziosi)

KEY SOURCESGrove onlineNorman Bryson, Michael Ann Holly and Keith Moxey, eds, Visual Theory, 1991Mark A. Cheetharn, Michael Ann Holly and Keith Moxey, eds, The Subjects of ArtHistory, Cambridge, 1998George Ferguson, Signs and Symbols in Christian Art, 1966Eric Fernie, Art History and its Methods, London, 1998 (includes a useful glossary)The Golden LegendGrove Dictionary of Art (including online version)Hall's Dictionary of Subjects and Symbols in Art, 1974Hugh Honour and John Fleming, A World History of Art, 1991Martin Kemp, ed., The Oxford History of Western Art, Oxford, 2000Robert S. Nelson and Richard Schiff, Critical Terms for Art History, Chicago, 1996Erwin Panofsky, Studies in Iconology, Oxford, 1972Donald Preziosi, The Art of Art History: A Critical Anthology, 1998Roelof Van Straten, An Introduction to Iconography, 1994Richard Verdi, ed., The Barber Institute of Fine Arts, 2005Shearer West, ed., The Bloomsbury Guide to Art, London, 1996

Other useful reading is listed under individual lectures and seminars.

PLEASE NOTE: The Library is under a statutory duty to observe copyright conventions, and which are summarised as follows:

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• All copying, including photocopying and scanning, should be carried out within the terms and conditions set out in the Copyright, Designs and Patents Act 1988 (and related legislation) or in licences held by the University. Details of these will be posted adjacent to photocopiers and can also be consulted at the web site: http://www.is.bham.ac.uk/copyright.

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Approaches ARTH 1018570 Term 1: Content and Style

Module Outline

Week 1 (26-30 September)

Lecture: Meeting to discuss term’s arrangements

Tuesday (both groups) Tour of the Barber Institute galleries (meet in foyer)

Thursday (both groups) Introduction to module (Barber Institute Photograph Room)

Week 2 (3-7 October)

Lecture: What is Art History?

Seminar (Discussion): Looking at art: value, connoisseurship, attribution

This class will involve some looking exercises.

Required reading:Introduction to Mark Roskill, What is Art History?, London, 1989Pointon, chapter 2: ‘Art History as a Discipline’Richard Schiff, ‘Originality’ in Nelson and Schiff, pp. 103-15

Week 3 (10-14 October)

Lecture: Subject matter: religious iconography

ReadingPanofsky, Introduction 3-32

Seminar: Discussion - representations of the Beheading of John the Baptist

For this seminar, all students must have read the account about the execution of John the Baptist in the Bible (Mark 6: 21-8) and in the Golden Legend (on reserve in the Barber Library). Having considered the theme as it is represented in written accounts, we will examine how it is represented in art. For example, consider the moment that is depicted, how it is depicted, and with what emphasis, as well as formal matters such as setting, composition and style.

Representations of the John the Baptist story we will be discussing will be by some or all of the of the following artists:DonatelloFilippo LippiCaravaggioGustav MoreauPuvis de Chavannes (in the Barber Institute and the National Gallery)Klimt

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Other artists who have treated the theme include Giotto, Andrea Pisano, Ghiberti(Siena), Rogier van der Weyden, Verrocchio, Diirer, Schiavone (Birmingham City Art Gallery), Honthorst, Terbruggen, Beardsley (drawing, Barber Institute)

Additional reading:FergusonHall's DictionaryVerdi

Week 4 (17-21 October)

Lecture: Subject matter: classical iconography

Seminar: Discussion – Representations of Apollo and Daphne

For this seminar, we shall be discussing representations of Apollo and Daphne. We shall be comparing the images to the textual account, and considering the ways in which the images diverge from it or represent it faithfully.

The representations of the Apollo and Daphne story we will look at will be by the following artists:

Paris Master (in the Barber Institute)PollaiuoloBernini RubensPoussin

General reading as for religious iconography seminar.All students must also read the relevant passage on the story of Apollo and Daphne from Ovid's Metamorphoses. You should prepare for the class by reading up on the artists as well (consulting the Grove Dictionary of Art).

Week 5 (24-28 October)

The week is organised as follows:

Tuesday 1-2 JH Fine Art and Slide Library InductionWednesday 11-12 SH Fine Art and Slide Library InductionThursday all day Study Trip to National Gallery Study Day, London Friday am Compulsory Progress Review Tutorial with DH

The study trip is compulsory. The coach will depart early morning. Check Departmental Intranet or notice board for further details of programme and coach arrangements. If you are a Joint Honours student, you may have to ask permission to miss classes in your other subject on that day. If you have problems attending you must contact David Hemsoll in advance.

Week 6 (31 October-4 November):

The week has no teaching connected with specific modules, and time is to be set aside for the preparation of essay work. However, the Department has also scheduled compulsory IT training and study skills classes as follows:

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Monday 11-1 Study Skills class oneTuesday 1-2 Information source training (for Approaches group A)Wednesday 11-1 Study Skills class twoThursday 2-3 Information source training (for Approaches group B)

Week 7 (7-11 November)

Lecture: Subject matter; symbolism; meaning; genres

ReadingStephen Bann, `Meaning/Interpretation' in Nelson and Schiff, 87-102

Seminar: Discussion – subjects and genres

This seminar will be based around a series of comparisons between history paintings, portraits and still lifes from different periods of art history. It will consider the different uses and significance of each genre and how the genre takes different forms in different periods of history.

Week 8 (14-18 November)

Lecture: Subject matter: art and its locations

ReadingPeter Humfrey, The Altarpiece in Renaissance Venice, New Haven, 1993 Paul Duro, ed., The Rhetoric of the Frame, Cambridge, 1996

Seminar (student presentations):

Student 1: The Sistine Chapel wallsDiscuss the subject matter of the walls, considering the theological and political significance of the themes that were chosen. Wherever relevant, indicate any literary sources. Consider also the contributions of different artists and the ways in which they contribute to an overall programme.

ReadingL. Ettlinger, The Sistine Chapel Before Michelangelo, Oxford, 1965The Sistine Chapel: Michelangelo Rediscovered, London, 1986

Student 2: The Whitehall CeilingDiscuss the imagery of Rubens’s Whitehall Ceiling, giving note to the question of political symbolism, as well as to the artist's own creative inclinations and to the tastes of Charles I's court. Wherever relevant, indicate any literary sources. Consider also pictorial parallels, both in the art of Rubens and in that of other masters, and describe how such sources contribute to the ceiling’s symbolism.

Reading John Charlton, The Banqueting House, Whitehall, London, 1983 Oliver Millar, `The Whitehall Ceiling', Burlington Magazine (1956), 258ff Roy Strong, Britannia triumphans: Inigo Jones, Rubens and the Whitehall Palace, London, 1980

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Week 9 (21-25 November)

Lecture: Style

Seminar: Discussion – period styles

This seminar will compare works of art, as a way of identifying stylistic traits of different periods and how to describe them.

Required reading:Wolfflin

Week 10 (28 November -2 December)

Lecture: Style and subject matter: modern life

Seminar (student presentations)

Students will be asked to prepare a presentation on one of the following works.

Student 3: Georges Seurat, Une Baignade, Asnieres (National Gallery)Student 4: Edgar Degas, Jockeys (Barber Institute)Student 5: William Powell Frith, Railway Station (Royal Holloway)

These students should read Baudelaire and consider the painting in relation to it. They should analyse the content of the painting, and the way it is painted, and discuss the extent it is an accurate representation of contemporary life. Information on the artist from relevant books (such as those listed below) or from the Grove Dictionary of Art should also be used.

Additional reading for seminar papers

Mary Cowling, The Artist as Anthropologist, Cambridge, 1990 [SW's copy on reserve in Fine Art Library] Paul Smith, Seurat and the Avant-Garde, New Haven, 1997 John Leighton, Seurat and the Bathers, London, 1997 Richard Thomson, Seurat, Oxford, 1985 Jean Sutherland Briggs, Degas at the Races, New Haven, 1998 Richard Kendall, Degas: Beyond Impressionism, London, 1996

All students must read Charles Baudelaire, The Painting of Modern Life.

Week 11 (5-10 December)

Lecture: Style and subject matter: modernism and abstraction

ReadingCharles Harrison, `Modernism', in Nelson and Schiff, 142-51Ann Gibson, `Avant-garde' in Nelson and Schiff, 156-69

Seminar (student presentations):

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Selected students will be asked to consider the following art movements, using at least three slides of selected works by different artists.

Student 6: ExpressionismStudent 7: CubismStudent 8: Futurism

Students should define the key features of the movement and identify these features in the works. They should also describe the different approaches of different artists. Some other questions may also be considered, such as: What were the aims of the movement? Why was abstraction important to the movement? What other priorities did the movement have? Who were the main artists associated with the movement? Was the movement radical and, if so, why? In what ways was the movement influential?

ReadingAlfred Barr, Cubism and Abstract Art, 1986Shulamith Behr, Expressionism, 2000Richard Brettell, Modern Art 1851-1930, 1999Herschel Chipp, Theories of Modern Art, 1968John Golding, Cubism: A History and Analysis, 1988Charles Harrison et al., Primitivism, Cubism, Abstraction, New Haven, 1993Richard Humphreys, Futurism, 1999Paul Wood, ed., The Challenge of the Avant-Garde, New Haven, 1999

ESSAY: ‘Compare two different works of art of similar subject or title.’The two works may be from different periods or countries or the same period or country, and they may be in different or the same media. One of these works must be from the Barber Institute or the Birmingham City Art Gallery, but the other work can be anything you choose. Compare the style and subject matter of the two works, paying attention, where appropriate to issues of medium, date, historical context, iconography and function. Students will benefit from consulting Grove online as well as some subject dictionaries of signs and symbols, including: George Ferguson, Signs and Symbols in Christian Art, 1966; Howard Daniel, Encyclopedia of Themes and Subjects in Painting, 1971 or Hall's Dictionary of Subjects and Symbols.

The essay must be handed in with a signed declaration of authorship form NO LATER THAN 5.00 pm on Friday 9 December.

EXAMINATION: See below.

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DEPARTMENT OF HISTORY OF ARTFirst Year Single and Joint Honours 2004-5

Approaches ARTH 1018570 Term 2: Critical and Historical Perspectives

AIMS: The aims of this module are to provide a thorough grounding in the various approaches of art history; to draw widely on examples of art from the fifteenth to the twentieth centuries; to build up a picture of the range of historical and cultural contexts against which works of art can be set, with consideration being given to such matters as patronage and collecting; to provide an initial introduction to some of the theoretical approaches of recent art history; to introduce good practices in oral seminar presentations and in essay writing. The first part of the module, on Content and Style, took place in the Autumn Term

LEARNING OUTCOMES: By the end of this module, students should be able to treat art historical texts in a more open-minded manner and to read them more critically; place works of art from many periods in appropriate historical and cultural contexts; relate works of art to questions of taste and patronage; begin to apply theoretical approaches to visual imagery; have greater competence in presenting seminar papers and writing essays.

DELIVERY: Students will have a weekly lecture (1 hour) and a weekly seminar (1 hour) based on looking at works of art. Seminars will take a number of forms, but they will be largely devoted to student oral presentations. The topics will be set early in the module, and there will be assistance in preparing for these.

The second term includes a study trip to Liverpool on Wednesday 23rd February. This is intended for Single Honours students, but Joint Honours Students may attend if they wish.

ASSESSMENT: Assessment for the module as a whole will be by TWO essays of 2,500-3,000 words of equal weighting (50%) plus ONE written examination of three hours duration in the Summer Term (50%).

The first essay is due on Friday 9 December The second essay is due on Friday 24 March

Failure to hand the essays in on the specified dates will normally lead to the penalty deduction of marks (see departmental handbook). All students are also required to prepare and give oral presentations with slides. These should last no longer than 15 minutes. See the Notes for Guidance in the Department handbook.

TIMES AND DAYS: Groups meet as follows:

Lecture: Monday 11-12 (Barber Lecture Theatre; all students)

Seminar Group A: Tuesday 1-2 (Barber Institute Photograph Room)

Seminar Group B: Thursday 2-3 (Barber Institute Photograph Room)

MODULE COORDINATOR: David Hemsoll

OTHER TEACHING STAFF: : Professor Shearer West and post-graduate teaching assistants.

READING

Students are required to do the necessary reading for lectures and seminars, as indicated under individual headings. In addition, students should read and consult the textbooks listed below. The lectures, seminars and assessments will build on ideas contained in these books. These books are referred to hereafter by the author’s last name.

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SET TEXTSErnst Gombrich, The Story of Art, London, latest edition 1999Marcia Pointon, History of Art: A Student’s Handbook, London, latest edition 1998

OTHER KEY TEXTSEmma Barker, ed., Contemporary Cultures of Display, New Haven, 1999John Berger, Ways of Seeing, London, 1972Norman Bryson, Michael Ann Holly and Keith Moxey, eds, Visual Theory, 1991Mark A. Cheetham, Michael Ann Holly and Keith Moxey, eds, The Subjects of Art History, Cambridge, 1998Carol Duncan, Civilising Rituals: Inside Public Art Museums, London, 1995Eric Fernie, Art History and its Methods, London, 1998 (includes a useful glossary)Grove Dictionary of Art (including online version)Martin Kemp, ed., The Oxford History of Western Art, Oxford, 2000Robert S. Nelson and Richard Schiff, Critical Terms for Art History, Chicago, 1996Gill Perry and Colin Cunningham, eds, Academies, Museums and Canons of Art, New Haven, 1999Donald Preziosi, The Art of Art History: A Critical Anthology, 1998Richard Verdi, ed., The Barber Institute of Fine Arts, 1999Shearer West, ed., The Bloomsbury Guide to Art, London, 1996

Other useful reading is listed under individual lectures and seminars.

PLEASE NOTE: The Library is under a statutory duty to observe copyright conventions, and which are summarised as follows:

• All copying, including photocopying and scanning, should be carried out within the terms and conditions set out in the Copyright, Designs and Patents Act 1988 (and related legislation) or in licences held by the University. Details of these will be posted adjacent to photocopiers and can also be consulted at the web site: http://www.is.bham.ac.uk/copyright.

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Approaches ARTH 1018570 Term 2: Critical and Historical Perspectives

Module Outline

Week 1 (9-13 January)

Lecture Critical Approaches to the History of Art

Seminar (discussion): Approaches to the history of art: Arnolfini Portrait by Van Eyck

The following articles will be made available:

Robert Witkin, ‘Van Eyck through the Looking Glass’, in his Art and Social Structure, 1995Erwin Panofsky, ‘Jan Van Eyck’s Arnolfini Portrait’, Burlington Magazine, 1934Craig Harbison, ‘Sexuality and Social Standing in Jan van Eyck’s Arnolfini Double Portrait’, Renaissance Quarterly, 1994Linda Seidel, ‘Jan van Eyck’s Arnolfini Portrait: Business as Usual’, Critical Inquiry, 16/1 (1989)M.L. Koster, ‘The Arnolfini double portrait: a simple solution’, Apollo, September 2003, 3-14

Please read the texts carefully. Be prepared to provide a critical assessment of their virtues and weaknesses for a reader unfamiliar with this painting, and consider which criticisms and commentaries you found most helpful and why.

Week 2 (16-20 January)

Lecture: The Artist

ReadingMichel Foucault, ‘What is an author?’ in Preziosi 299-314Giorgio Vasari, preface to Lives of the Artist, parts 2 and 3 in Fernie 34-42

Seminar (Discussion): Biography and autobiography

All students will be asked to read an extract from the following texts:

Giorgio Vasari, Life of MichelangeloKarel Van Mander on Dürer (extract in Fernie)Roland Penrose, Picasso: His Life and Work, 3rd edn, Berkeley, 1981Elisabeth Vigée Lebrun’s Souvenirs

We will look at a variety of works of art by each of these artists and consider how the artists have been represented by themselves and others, as well as the extent to which the life of artists is significant for their work.

Week 3 (23-27 January):

Lecture: Institutions: Patronage, Collecting and the Market

ReadingFrancis Haskell, Patrons and Painters, London, 1963, introduction

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Evelyn Welsh, Art and Society in Italy 1350-1500, Oxford, 1997, chapter 4Anabel Thomas, The Painter’s Practice in Renaissance Tuscany, Cambridge, 1995Robert Jensen, Marketing Modernism in Fin de Siècle Europe, Princeton, 1994

Seminar (Discussion): Looking at art: Languages of art history This class will be concerned with helping to build students’ vocabulary and critical awareness of how to interpret and discuss paintings. We will be looking a variety of works of art, and students will be given exercises in building their vocabulary.

Required ReadingPointon, pp. 77-96 Michael Baxandall, ‘Patterns of Intention’, in Preziosi, 52-62

There will also be time in this seminar for a discussion on improving your oral presentation skills.

Week 4 (30 January-3 February)

Lecture: Institutions: Academies, exhibitions and museums

Reading:Stephen Bann, ‘Art History and Museums’ in Cheetham, Holly and Moxey, 230-49Donald Preziosi, ‘Collecting Museums’ in Nelson and Schiff, 281-91Perry and CunninghamDuncan

Seminar (student presentations): Patronage

Selected students will be asked to prepare oral presentations considering the following questions:

Student 9: Describe the programme of Raphael’s Stanza della Segnatura, considering the patronage of the Stanza and the relationship between the patron’s and the artist’s roles.

ReadingJames Beck, Raphael: The Stanza della Segnatura, New York, 1993Marcia Hall, ed., Raphael’s School of Athens, Cambridge, 1997Roger Jones and Nicholas Penny, Raphael, New Haven, 1983

Student 10: Consider Urban VIII’s patronage of Bernini. To what extent can this be related to social and political events in Rome during that time?

ReadingCharles Scribner, Gianlorenzo Bernini, New York, 1991Rudolf Wittkower, Gian Lorenzo Bernini, London,Torgil Magnuson, Rome in the Age of Bernini, 2 vols, Stockholm, 1986entry on Barberini (includes Urban VIII) in Grove Dictionary of Art

Student 11: Consider the architecture and decoration of Kedleston Hall, Derbyshire. In what ways did the Curzons cultivate a particular image through their choices of architects and artists? What kind of taste did they display, and what was the purpose for their demonstrations of taste?

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ReadingKedleston Hall, Derbyshire, guidebook (in the Fine Art Library)Mark Girouard, Life in the English Country House: A Social and Architectural History, Harmondsworth, 1980 [copy in Continuing Studies library and SW’s personal copy on reserve in Fine Art Library]entry on Nathaniel Curzon family in Grove Dictionary of ArtDavid King, The Complete Works of Robert and James Adam, Oxford, 1991

Week 5 (6-10 February)

Lecture: Social histories of art

ReadingJanet Wolff, The Social Production of Art, London, 1993T.J. Clark, ‘The Conditions of Artistic Creation’ in Fernie 248-53Terry Smith, ‘Modes of Production’ and Paul Wood, ‘Commodity’ in Nelson and Schiff, 237-80Paul Mattick, jnr, ‘Context’, in Nelson and Schiff, pp. 70-86Berger chapter 5

Seminar (student presentations): Landscape and Ideology

Selected students will be asked to consider landscape paintings of one of the following artists, using two or more examples of their work. Include, where possible, discussion of relevant works in the Barber Institute collection.

Student 14: GainsboroughStudent 15: Turner and ConstableDiscussion: Monet

Some or all of the following questions should be addressed:

How would you describe the artist’s landscape (topographical, fanciful, painted outdoors or in the studio)?What view has the artist chosen and why?What are the salient characteristics of the artist’s landscapes?How did they differ from previous conventions of landscape painting? How do his landscapes relate to contemporary social or political attitudes?

Reading

John Barrell, The Dark Side of the Landscape, 1980Anne Bermingham, Landscape and Ideology, 1987Michael Rosenthal, Constable, 1983Andrew Hemingway, Landscape Imagery and Urban Culture in early 19th-century Britain, 1992Paul Hayes Tucker, Monet in the ‘90s: The Series Paintings, 1989

Week 6 (13-17 February)

The week has no teaching connected with specific modules, and time is to be set aside for the preparation of essay work. However, the Department has also scheduled compulsory study skills classes as follows:

Monday 11-1 Study Skills class 3

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Wednesday 11-1 Study Skills class 4

Week 7 (20-24 February)

NB: study trip to Liverpool on Wednesday 23rd February. This is intended for Single Honours students, but Joint Honours Students may attend if they wish.

Lecture: Art, Architecture and National Identity

ReadingN. Pevsner, The Englishness of English Art, Harmondsworth, 1964

Seminar (student presentations): Art, architecture and national identity

Student 12: Explain Hitler’s art policy and examine the view of Germany that he and his followers were trying to promote.

ReadingArt and Power: Europe Under the Dictators, exhibition catalogue, 1995Stephanie Barron, Degenerate Art, 1996Igor Golomstock, Totalitarian Art, 1995

Student 13: In what ways was the work of the Abstract Expressionists used for political and national purposes in America of the 1940s and 1950s?

ReadingRobert Hughes, American Visions, 1997Francis Frascina, ed., Pollock and After: The Critical Debate, 2000Serge Guilbaut, How New York Stole the Idea of Modern Art, 1983

Week 8 (27 February-3 March) Lecture: Gender and histories of art

Seminar (student presentations): Women artists

Students 16 and 17 will be asked to prepare presentations on one or more of the following artists:

Käthe Kollwitz (include discussion of work in Barber Institute)Frida KahloJudy ChicagoAna MendietaLouis Bourgeois

Be prepared to address some or all of the following questions:

In what ways (if any) is the work of women artists different from that of men?If it is different, what factors account for this difference?Do male artists view the female body differently from women artists? If so,

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what are the motivations and what are the expectations of their audiences?Is there an argument for looking at representations of women and men as constructions of femininity and masculinity in particular periods of history? If so, what aspects of the feminine/masculine are emphasised and why?

ReadingNorma Broude and Mary Garrard, Feminism and Art History: Questioning the Litany, 1982Whitney Chadwick, Women, Art and Society, London, 1990Whitney Davis, ‘Gender’ in Nelson and SchiffLinda Nochlin, ‘Why have there been no great women artists’, in Women, Art and Power, 1988Linda Nochlin, ‘Women, Art and Power’, in Bryson, Holly and MoxeyCraig Owen, ‘The Discourse of Others: Feminists and Postmodernism’, in Hal Foster, ed., The Anti-Aesthetic: Essays on Postmodern Culture, 1983, pp. 57-82Griselda Pollock, ‘Feminist Interventions in the History of Art’, in Vision and Difference: Femininity, Feminism and the Histories of Art, 1988 (reprinted in Fernie 300-13)Gill Perry, ed., Gender and Art, New Haven, 1999

Week 9 (6-10 March)

Lecture: Semiotics

Seminar (student presentations): Word and image

Students 18 and 19 will prepare presentations on one of the following artists or groups:Art and LanguageBarbara KrugerCindy ShermanMary Kelly

Be prepared to address some of the following questions:

How can semiotics be used to interpret and understand a work of art?How have artists used semiotic theory in their art? How does the use of theory in art affect the viewing process?Can text successfully be incorporated into a work of art? How does the incorporation of text affect the viewing process?Is appropriation a valid means of expression? If so, what effect does that have on notions of authorship and originality?Is meaning in a work of art constructed by the artist or the viewer? Why? How?

ReadingRoland Barthes, ‘The Death of the Author’, Image-Music-Text, trans. Stephen Heath, 1977, pp. 142-8Norman Bryson, `Semiology and Visual Interpretation' in Bryson, Holly and Moxey,17-30Alex Potts, `Sign', in Nelson and Schiff, 17-30Hubert Damisch, `Semiotics and Iconography' and Mieke Bal and Norman Bryson,`Semiotics and Art History', in Preziosi 227-56Mieke Bal, Reading Rembrandt, Cambridge, 1991

Week 10 (13-17 March)

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Lecture: Postmodernism

Seminar (discussion): This seminar will be devoted to a discussion of how meaning is conveyed in contemporary art. Students will compare key texts on Modernism and Postmodernism and apply theory to image.

ReadingIrving Sandler, Art of the Postmodern Era, New York, 1996Nigel Wheale, ed., The Postmodern Arts: An Introductory Reader, London, 1995Jon Erickson, The Fate of the Object: From Modern Object to Postmodern Sign inPerformance, Ann Arbor, 1995Hal Foster, ed., Postmodern Culture, London, 1985

ReadingTim Barringer, The Pre-Raphaelites: Reading the Image, London, 1998Marcia Pointon, ed., The Pre-Raphaelites Re-viewed, Manchester, 1989The Pre-Raphaelites, exhibition catalogue, Tate Gallery, 1984Re-framing the Pre-Raphaelites, Aldershot, 1996

Week 11 (20-24 March)

Lecture: Focus Study: The Pre-Raphaelites

Seminar: Focus Study: The Pre-Raphaelites

To be discussed in class (all students to prepare):

Dante Gabriel Rossetti’s representations of women.

William Holman Hunt’s Representations of the Holy Land and Ideas of Race and ‘Other’ Cultures

For reading, see below the lecture

ESSAY Choose TWO comparable works of painting, sculpture, drawing or print. ONE of these MAY be a work by a Pre-Raphaelite artist IF YOU WISH. These works should be from different periods but may be the same medium, if you wish. Consider ONE of the following questions in relation to these two works:

1. Compare the significance of gender in the production and/or reception of the two works.

2. Compare the role of the church in providing a context for the interpretation of the two works.

3. Compare the significance of the social and/or political contexts in which the works were produced.

This essay must be handed in with a declaration of authorship form NO LATER THAN 5.00 pm on Friday 24 March.

EXAMINATION: There will be a three-hour examination in the summer term. This will include two compulsory photograph questions asking you to discuss and compare issues of style, subject matter and iconography. It will also include an essay question (from a choice) asking you to consider the different approaches to art history we have studied and the particular images and texts we have focused upon. Be sure to revise these carefully.

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