Major Works of Modern Art (HUM 312)

2021 Fall
Faculty of Arts and Social Sciences
Humanities(HUM)
3
6/5 ECTS (for students admitted in the 2013-14 Academic Year or following years)
Fatma Coşkuner fatma.coskuner@sabanciuniv.edu,
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English
Undergraduate
HUM201 HUM202 HUM207 SPS101 SPS102
Formal lecture,Recitation
Interactive,Communicative,Discussion based learning,Guided discovery
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Programs\Type Required Core Elective Area Elective
Art Theory and Criticism Minor *
Cultural Studies
Cultural Studies
Economics
Economics
International Studies
International Studies
Management
Management
Political Science
Political Science and International Relations
Political Science and International Relations
Political Science (Previous Name: Social and Political Sciences)
Psychology
Psychology
Visual Arts and Visual Communications Design
Visual Arts and Visual Communications Design

CONTENT

Major Works of Modern Art aims to introduce students to one of the crucial periods of Western art which is the birth, development and "triumph" of Modern Art from the 1860's to the 1960's. The primary purpose of this course however is not to stress the chronological development of modern art but rather to focus on and pursue specific art-related and cultural issues that pertain to those chosen works. Even though the masterpieces are presented chronologically, the lectures themselves are kept fairly independent and presented like a series of visits to an 'imaginary museum'. The chosen works are discussed along with comparative material to explore specific issues that are selected for each work and to illustrate earlier and later thematic developments.

OBJECTIVE

This is a chronological survey that traces developments in Western modern art from the late 19th century to the mid-20th, with a focus on artists and artworks that have contributed to the definition of various styles, movements and artistic transformations.

LEARNING OUTCOMES

  • Achieve a chronological insight into the art of the Western world in the 20th century.
  • Develop understanding of how cultural modernity reflects on the production of works of art.
  • Describe cultural concepts such as modernity, modernism, formalism, anti-formalism and the avantgarde.
  • Gain critical insight into how artists and artworks become "major" examples of their "cultural" time, and how a painting or sculpture becomes a cultural icon.
  • Compare the historical and cultural contexts that influence the diversity of artistic mediums such as painting, sculpture, performance, installation.

PROGRAMME OUTCOMES

1. Understand the world, their country, their society, as well as themselves and have awareness of ethical problems, social rights, values and responsibility to the self and to others. 4

2. Understand different disciplines from natural and social sciences to mathematics and art, and develop interdisciplinary approaches in thinking and practice. 5

3. Think critically, follow innovations and developments in science and technology, demonstrate personal and organizational entrepreneurship and engage in life-long learning in various subjects; have the ability to continue to educate him/herself. 3

4. Communicate effectively in Turkish and English by oral, written, graphical and technological means. 3

5. Take individual and team responsibility, function effectively and respectively as an individual and a member or a leader of a team; and have the skills to work effectively in multi-disciplinary teams. 2

1. Develop knowledge of theories, concepts, and research methods in humanities and social sciences. 3

2. Assess how global, national and regional developments affect society. 3

3. Know how to access and evaluate data from various sources of information. 3

ASSESSMENT METHODS and CRITERIA

  Percentage (%)
Final 40
Midterm 30
Assignment 15
Participation 15

RECOMENDED or REQUIRED READINGS

Readings

? Briony Fer, ?Introduction? in Modernity and Modernism: French Painting in the Nineteenth Century,
written by Francis Frascina, Nigel Blake, Briony Fer, Tamar Garb, Charles Harrison. Yale University
Press, 1994, pp. 3?49
? Robin Walz, ?Introduction? in Modernism. London: Routledge, 2013, pp. 3?12.
? Marcia Pointon, ?Liberty on the Barricades: Woman, Politics and Sexuality in Delacroix,? in Naked
Authority: The Body in Western Painting, 1830 ? 1930. Cambridge University Press, 1990, pp.
? Stephen F. Eisenman, ?The Rhetoric of Realism: Courbet and the Origins of the Avant-Garde? in
Nineteenth Century Art: A Critical History, pp. 250?272.
? Meyer Schapiro, ?Courbet and Popular Imagery? in Modern Art: 19th and 20th Centuries. New York:
George Braziller, 2011, pp. 47?85.
? Jean François Millet, ?Truth in Painting? in Art in Theory 1815?1900: An Anthology of Changing Ideas,
edited by Charles Harrison, Paul Wood and Jason Gaiger. Oxford: Blackwell, 1998, pp. 373?378.
T. J. Clark, ?Preliminaries to a Possible Treatment of Olympia in 1865? in Modern Art and Modernism:
A Critical Anthology, edited by Francis Frascina and Charles Harrison. New York: Westview Press,
1983, pp. 259?273.
? Eunice Lipton, ?Manet: A Radicalized Female Imagery? Artforum (March, 1975). At
https://www.artforum.com/print/197503/manet-a-radicalized-female-imagery-36081.
? Karin Sagner-Düchting, ?A New Way of Seeing? in Claude Monet, 1840?1926: A Feast for the Eyes,
translate by Karen Williams. Cologne: Benedikt Taschen, 1999, pp. 22?47.
? T. J. Clark, ?Introduction? in The Painting of Modern Life: Paris in the Art of Manet and His Followers.
Princeton: Princeton University Press, 1986, pp. 3?22.
Rosemary Betterton, ?Maternal Figures: the Maternal Nude in the work of Kathe Kollwitz and Paula
Modersohn Becker? in Generations and Geographies in the Visual Arts, edited by Griselda Pollock.
London: Routledge, 1996, pp. 159?179.
? Rainer Stamm, ?Paula Modersohn-Becker and the Body in Art? Woman?s Art Journal 30, no. 2 (2009):
22?24.
? Shulamit Almog, ?Les Demoiselles D?Avignon: Painting Prostitution, Delineating Law? Cardozo Arts &
Entertainment 36 (2018): 63?82.
? Tara Lloyd, ?The Controversy Behind Les Demoiselles d?Avignon by Pablo Picasso? Singulart Magazine
(2019). At https://blog.singulart.com/en/2019/12/03/the-controversy-behind-les-demoisellesdavignon-by-pablo-picasso/.
Irina Vakar, ?New Information Concerning The Black Square? in Celebrating Suprematism: New
Approaches to the Arts of Kazimir Malevich, edited by Christina Lodder. Leiden: Brill, 2019, pp. 11?28.
? Watching: Iwona Blazwick, ?The Revolution of the Black Square? Heni Talks Series. At
https://henitalks.com/talks/black-square/.
Jason Gaiger, ?Interpreting the readymade: Marcel Duchamp?s Bottlerack? in Frameworks of Modern
Art, edited by Jason Gaiger. New Haven: Yale University Press, 2003, pp. 57?103.
Frank Whitford, ?Deaths? in Egon Schiele. London: Thames and Hudson, 1981, pp. 179?204.
? Joseph L. Goldstein, ?The Spanish Flu and the Covid-19 Disease: The Art of Remembering and
Foreshadowing Pandemics? Cell 183 (October 2020): 285?289.
Emma Barker, ?Art In Paris in 1930s? in Varieties of Modernism, edited by Paul Wood. New Haven: Yale
University Press, 2004, pp. 33?51.
? Salvador Dali, ?Total Camouflage for Total War? in Dali: The Centenary Retrospective, written by Dawn
Ades. London: Thames and Hudson, 2004, pp. 562?563.
? Watching: Dawn Adès, ?Metamorphosis of Narcissus: When Salvador Dali Met Sigmund Freud? Heni
Talks. At https://henitalks.com/talks/narcissus/.
Charles Harrison, ?Jackson Pollock? in Varieties of Modernism, edited by Paul Wood. New Haven: Yale
University Press, 2004, pp. 117?146.
? Watching: Beth Harris, Steven Zucker, ?Jackson Pollock, Autumn Rhythm? Khan Academy. At
https://www.khanacademy.org/humanities/art-1010/post-war-american-art/abex/v/jacksonpollock-autumn-rhythm-number-30.
John Roberts, ?Warhol?s Factory: Painting and the Mass-Cultural Spectator? in Varieties of Modernism,
edited by Paul Wood. New Haven: Yale University Press, 2004, pp. 339?362.