Global Nineteenth Century Art

Prof Tim Barringer HSAR 318B Spring 2012 Grader Nicole Sullo <[email protected]> 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 artmaking. 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 class ESSAY 1: 6 pages

Select 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 works 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 class ESSAY 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.

SYLLABUS
TUESDAY 10 JANUARY 1. 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 JANUARY 2. 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 JANUARY 3. 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 JANUARY 4. The Black Atlantic and the Battle over Atlantic Slavery Key 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 JANUARY 5. The Industrial Revolution and the Infernal Key figures: de Loutherbourg, Blake, Turner, Cole, Sharples, Menzel *Stephen Daniels, Loutherbourgs 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 JANUARY 6. Empire, Trade and Visuality Key figures: Thomas and William Daniell, Charles dOyly, 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 Gilrays 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 JANUARY 8. Extremities in History Painting and Portraiture

Key figures: Gricault; Wappers; Haydon; Delacroix;Lawrence; * Darcy Grimaldo Grigsby, Cannibalism: Senegal. Gricaults 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: Lawrences 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 FEBRUARY 9. The Noble Savage and Romantic Exoticism Key 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 FEBRUARY 10. The Natural Paradise Key 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 FEBRUARY 10. 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 Langloiss 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 FEBRUARY 11. The Past is Another Country: Gothic Revivals Key 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, 1848-1870

THURSDAY 16 FEBRUARY 14. Pre-Raphaelites: the Victorian Avant-Garde and the moment of Photography Key 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 FEBRUARY 15. Europe in Revolution Key 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 FEBRUARY MID 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 Germe * 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 Japan Key figures: Whistler, Rossetti, van Gogh, Degas, Monet * Akayo Oko, James McNeill Whistlers 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 MARCH 18. The Exhibitionary Complex Key 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, 351369. *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 MARCH 19. The Americas: Civil War and the end of Slavery Key figures; Eastman Johnson, Winslow Homer; Frederic Church; Fitz Henry Lane; Timothy OSullivan * 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 Johnsons Negro life at the Old South, Art Bulletin, March 1998, 67-92. TUESDAY 27 MARCH 20. 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 MARCH 21. Nationalism in a Globalizing World Key figures: The Macchiaioli; Ilya Repin and the Wanderers; Jules Dupr; George Clausen; John Lavery; Wilhelm Leibl; Hans von Marees; Joachim Sorolla * Nina Lbbren, 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 APRIL 22. 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 APRIL 23. The Imperial Self Key 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, 349366. 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 Olympias Choice in The painting of modern life : Paris in the art of Manet and his followers Princeton, 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 APRIL 24. The Mythic School Key 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 NineteenthCentury 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 APRIL 25. 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 APRIL 26. Art and Revolution William Morris, Walter Crane, Art Nouveau and internationalism; Pissarro; Fin de Sicle Vienna, Vrubel; Picasso * Morna ONeill, 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, 18501914, 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