Art History Teaching Resources (AHTR) is thrilled to release the inaugural issue of Art History Pedagogy and Practice (AHPP), the first academic journal dedicated to the scholarship of teaching and learning in art history (SoTL-AH). The result of a two year initiative, generously funded by the Samuel H. Kress Foundation, AHPP responds to the need to support, collect, and disseminate pedagogical research specific to the discipline. Published biannually by AHTR in partnership with the Graduate Center for the City University of New York and the CUNY Office of Library Services, AHPP is available as an open access e-journal on Academic Works, CUNY’s Digital Commons repository.
With its first issue, “What’s the problem with the introductory art history survey?” AHPP seeks to advance a long-running conversation in art history by exploring issues related to the introductory survey course. A robust response to the initial call for papers revealed that discourse around this topic has evolved in recent years to reflect current changes across the educational landscape. Faculty today acknowledge a broader range of skills and content to be foundational to art historical study and the significant role of digital technology in instructional practice, but research is necessary to examine the impact of new pedagogies when applied in the classroom.
The Scholarship of Teaching and Learning in Art History
The scholarship of teaching and learning (SoTL) encourages scholars to investigate their teaching practice with the same curiosity and intellectual rigour used to approach key research questions in their discipline. While SoTL research encompasses many interests, it generally involves asking meaningful questions about student learning and how it can be improved; conducting research into teaching and learning that is systematic, analytical, evidence-based, and uses a variety of research methods; and sharing the results of that inquiry to benefit colleagues and contribute to a growing body of knowledge around teaching and learning.
As a peer-reviewed journal, AHPP developed as a natural outgrowth of the AHTR Weekly, a lively and wide-ranging blog series where diverse practitioners write about their teaching ideas and experiences. Together, these forums offer a digital model of publication where informal and formal SoTL exchange can complement one another and foster public-facing discourse about education in the humanities. The articles in first issue explore different models of inquiry appropriate to SoTL in art history. They include case studies and qualitative data in the form of student comments, personal reflections, and observations in the classroom, and address quantifiable measurements around learning outcomes, graded performance, and other methods used in education and the learning sciences. Most importantly they ask questions that are important to developing conceptual frameworks for pedagogical practice in art history, and serve as a point of departure for future study in this emerging area of the discipline.
ArtHistoryTeachingResources.org (AHTR) is a online platform that connects a diverse field of practitioners teaching art history and visual culture. The site currently provides an evolving repository of adaptable lesson plans; a weekly blog of shared assignments, teaching ideas, and reflective essays; and biannual publication of Art History Pedagogy and Practice. Founded on dual goals to raise the value of the academic labor of teaching and to provide peer support across ranks of tenured, tenure-track, and contingent instructors, AHTR began in 2011 as a collaboration between Michelle Millar Fisher (CUNY, MOMA) and Karen Shelby (Baruch College, CUNY), who created the arthistoryteachingresources.org website with support from the New Media Lab at the CUNY Graduate Center. Since its public launch in 2013, AHTR has grown an average of 120% each year and has been viewed over 500,000 times by educators in K-12, post-secondary institutions, and art museums, and academic support staff including reference librarians and curriculum designers. AHTR’s administration has similarly expanded to a leadership collective of art historians and an advisory network assembled for expertise and leadership in art history, museum education, and digital humanities.
AHTR believes that effective high-quality instruction is essential to the future of art history. We are excited to contribute to this goal by providing a platform for scholarly discourse and publication on teaching and learning in art history, and look forward to the next issue of AHPP in Spring 2017. We are grateful for the support, encouragement, and hard work of so many people who have helped to realize this major initiative. In addition to the authors and peer reviewers who contributed content to AHPP’s inaugural issue, we wish to thank Jill Cirasella and Megan Wacha at CUNY, Jillian Clark at bepress, Danielle Maestretti at Flexport, CHIPS, Max Marmor, Lisa Schermerhorn, and Wyman Meers at the Kress Foundation, AHPP’s Advisory Board, and co-editors Renee McGarry and Virginia B. Spivey.
Art History Pedagogy and Practice 1.1 (December 2016)
• Virginia B. Spivey and Renee McGarry — Editor’s Introduction: Advancing SoTL-AH
• Aditi Chandra, Leda Cempellin, Kristen Chiem, Abigail Lapin Dardashti, Radha J. Dalal, Ellen Kenney, Sadia Pasha Kamran, Nina Murayama, and James P. Elkins — Looking Beyond the Canon: Localized and Globalized Perspectives in Art History Pedagogy
• Melissa R. Kerin and Andrea Lepage — De-Centering ‘The’ Survey: The Value of Multiple Introductory Surveys to Art History
• Beth Harris and Steven Zucker — Making the Absent Present: The Imperative of Teaching Art History
• Julia A. Sienkewicz — Against the ‘Coverage’ Mentality: Rethinking Learning Outcomes and the Core Curriculum
• Glenda M. Swan — Building a Foundation for Survey: Employing a Focused Introduction
For anyone thinking about introducing digital tools into the classroom in connection with structured assignments, you might find this model from Oxford’s Bodleian Library useful. -CH
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23 Things for Research
An online learning programme for researchers, students and staff at the University of Oxford
23 Things is a self-directed course, run as part of the Engage programme, that aims to expose you to a range of digital tools that could help you in your personal and professional development as a researcher, academic, student or in another role. The aim is for you to spend a little time each week over Michaelmas Term, building up and expanding your skills. Each week, we’ll talk about one or more of the tools/tasks from our 23 Things programme and encourage you to try it out and reflect on it. We hope that the programme presents a realistic challenge and will allow you to fit it into your schedule. 23 Things for Research is inspired by the first 23 Things Oxford and based on the original 23 Things program, which ran at the
Public Library of Charlotte & Mecklenburg County in the USA in 2006.
Continue reading here»
Though especially concerned with issues of book production, this research and the resulting website have implications for all early modern print culture. Aimed at a wide range of audiences — “from the complete novice to the paper-conservation scientist” — the site might be especially helpful for teaching purposes.. –CH
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From a UICB press release (17 January 2012) . . .
Tim Barrett of the University of Iowa Center for the Book Launches Paper History Website
Research by a University of Iowa led team reveals new information about why paper made hundreds of years ago often holds up better over time than more modern paper. Led by Timothy Barrett, director of papermaking facilities at the UI Center for the Book, the team analyzed 1,578 historical papers made between the 14th and the 19th centuries. Barrett and his colleagues devised methods to determine their chemical composition without requiring a sample to be destroyed in the process, which had limited past research. The results of this three-year project show that the oldest papers were often in the best condition, in part, Barrett says, due to high levels of gelatin and calcium.
“This is news to many of us in the fields of papermaking history and rare book and art conservation,” says Barrett. “The research results will impact the manufacture of modern paper intended for archival applications, and the care and conservation of historical works on paper.”
Barrett says one possible explanation for the higher quality of the paper in the older samples is that papermakers at the time were attempting to compete with parchment, a tough enduring material normally made from animal skins. In doing so, they made their papers thick and white and dipped the finished sheets into a dilute warm gelatin solution to toughen it. . . .
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From the project website, Paper through Time . . .
This website is designed for use by a wide range of visitors, from the complete novice to the paper-conservation scientist. Newcomers to the site may want to begin with the PROJECT OVERVIEW & AUTHORS and CONCLUSIONS sections for a quick sense of our research and what we learned. Those unfamiliar with papermaking history and technique may wish to start with European Papermaking Techniques 1300-1800 (under BACKGROUND) for an introduction to the craft. Visitors with a strong interest in papermaking history, materials and processes, paper permanence, paper science, and paper conservation are advised to begin at the top of the menu to the left and click on each tab, reading as interest and time permit. The site will be updated regularly. Suggestions for changes are welcome via email messages . . .
Here’s the second part of our back-to-school syllabus feature for the fall, this one from one of Laura Auricchio’s undergraduate courses. It’s a nice pairing with yesterday’s MA-level course and interesting to see how some themes persist even as the readings and assignments have been reworked for a different context. Both syllabi offer terrific examples of pace variation, nicely inserted late in the semester. I’ve abridged much of the logistical content, but the full syllabus is available here as a PDF file. Thanks again to Laura, and all the best to everyone still pulling syllabi together for the new semester. -CH
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Arts and Trans-Atlantic Revolution
Professor Laura Auricchio
Visual culture plays crucial roles in both shaping and commemorating moments of political and social change. This course asks how both “high art” and “popular” images and objects contributed to upheavals that shook both sides of the Atlantic at the end of the 18th century. Focusing on revolutions in the U.S. (1775-1783), France (1789-1799) and Haiti (1791-1804), the course examines thematic, stylistic, and iconographic influences that crossed the ocean, with particular emphasis on the varying roles of race, class, and gender in each context. The course also traces the visual legacies of these revolutions in the 19th, 20th and 21st centuries, examining, for instance, how, why, and to what effect Jacob Lawrence created his series dedicated to the Haitian slave-turned-leader Toussaint L’Ouverture (1938), or Emanuel Leutze painted George Washington Crossing the Delaware (1851). Visits to works on view in NYC are central to the course experience.
15% Attendance/ participation/ preparation
15% Weekly reading responses
Preliminary assignments on topic of final paper:
15% -Formal analysis (2-3 pages)
15% -Annotated bibliography (8-10 sources)
10% -Proposed argument (1 page)
30% -Final paper (8-10 pages)
C O U R S E S C H E D U L E (more…)
With a new academic year upon us, this year’s syllabi sampling is generously provided by Laura Auricchio, of Parsons The New School for Design in New York City. Today’s syllabus comes from a graduate seminar offered four years ago in conjunction with Parsons’s MA program in the History of Decorative Arts (thus it’s heavy on visual and material culture and light on painting and sculpture). It’s been reformatted slightly, but the original is available here as a PDF document. We’ll have one more tomorrow. Thanks, Laura!
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Visualizing Revolution: America and France
Professor Laura Auricchio
How did works of visual and material culture help to shape, reflect, and commemorate the revolutions that roiled France and the United States at the end of the eighteenth century? Drawing on objects housed at the Cooper-Hewitt, and timed to coincide with a New-York Historical Society exhibition focusing on America’s 1824-5 celebrations of the Marquis de Lafayette, French hero of the American Revolution, this course will examine stylistic and iconographic influences that crossed the Atlantic, and ask how and why the different contexts of the French and American revolution yielded different roles for the visual arts. Issues to be addressed will include: Neoclassicism as a “republican” style; the politics of dress and decoration; public festivals and monuments; and nineteenth-century visions of eighteenth-century events. This course will require students to integrate primary-source research with historical and theoretical readings, and is recommended only for students who have already taken Proseminar. (more…)
Note from the Editor
One of the challenges of ‘doing’ art history, whether at the introductory, student level or as an established scholar, is knowing how to pronounce lots of unfamiliar words and names. That making sense of the eighteenth century requires such a wide range of international knowledge just compounds the difficulties. A working knowledge of French and Italian go a long way, but they hardly solve all of one’s problems (and incidentally just reinforce how large the gaps are in what often counts as the field’s dominant terrain). The important addition of German helps a lot, but there’s still plenty of room for serious gaffes. Latin is always useful with languages, though sometimes it can hurt with pronunciations. And names can be tough even in one’s native language. At least for American speakers, British names like Albemarle, Derby, and Leicester are tricky enough without the likes of Featherstonhaugh (which is sometimes, maybe all the time?, pronounced Fanshaw).
The digital revolution has transformed lots of what we do, but until recently, the usage model depended upon reading as an exclusively visual (and thus silent) experience. How often have I heard fine presentations from my students, marred by their serious mispronunciation of some crucial term or person in their paper? How often have I done the same thing, realizing only a few moments before giving a talk that I’ve never actually heard that name pronounced before?
One indication of the expanding sensory dimensions of the web comes from a source that I stumbled across several months ago, Forvo. The site’s tagline is clear enough: All the words in the world. Pronounced. Well, they’re not there yet (at least as of today, no Featherstonhaugh), but what is included is impressive. This past May, the site passed the million mark, with 267 languages represented . . .
We are celebrating these days our third year online and coinciding with this anniversary we have reached an amazing number of pronunciations: 1,000,000. We have no words to thank you for making this possible but we have a graphic instead : )
Our friend Asier has created this nice infographic where you can see the evolution of Forvo and also the key data in our way.
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The site allows users to see how the same word would be pronounced in multiple locations. The proper pronunciation, for instance, of the British surname, Albemarle, would be a mispronunciation of the eponymous town in North Carolina. Forvo gives you both.
I still have questions. Is it affectation for an American to pronounce the city Bath with a British accent? Or in fact a mispronunciation of the city’s name not to do so? It also is often quite useful to know how names were pronounced in the eighteenth century (sometimes the shifts have been substantial), and at least currently Forvo appears to deal only with the present. Still, I think it’s a really valuable tool. I’ll be pointing students to it and also checking words myself (likely much more often than I would care to confess). -CH.
While working on an article related to William Cowper’s Myotomia Reformata, I recently discovered that I could purchase a paperback copy for less than $25 at Amazon or Alibris. I was surprised but guessed that these copies were the remainders from a recent printing of the 1724 text. In fact, however, they are the result of a print-on-demand initiative. Here’s the description from Alibris:
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The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Medical theory and practice of the 1700s developed rapidly, as is evidenced by the extensive collection, which includes descriptions of diseases, their conditions, and treatments. Books on science and technology, agriculture, military technology, natural philosophy, even cookbooks, are all contained here.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT132919Titlepage in red and black. Edited by Richard Mead, assisted by Joseph Tanner, James Jurin and Henry Pemberton. Large paper issue.London: printed for Robert Knaplock, and William and John Innys; and Jacob Tonson, 1724. ,
lxxvii, ,194p., plates: ill.; 2.
Publisher: Gale Ecco, Print Editions
Date published: 2010
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An online search quickly turned up a fine discussion of the issue — not surprisingly — at Early Modern Online Bibliography. Eleanor Shevlin wrote a thoughtful posting on the subject last August, which has thus far occasioned 27 responses. The posting nicely lays out the potential advantages and drawbacks. Most objections relate to concerns over bibliographic completeness and uniformity. I’ve not yet looked to see what the art offerings might look like, but for anyone looking to incorporate primary sources into the classroom, this could be useful. I’ve included below a comment on the posting from Scott Dawson (24 August 2010) that clarifies some of these issues, but by all means have a look at the full discussion at EMOB. -CH. (more…)
After a few minutes exploring the ‘classroom’ resources at Electronic Enlightenment (free until the end of June), I was impressed by the possibilities. So often amazing electronic resources are presented (or at least perceived) as if the value lay simply in the information that’s been digitized. It’s nice to see EE thinking about the pedagogical potential (I really like Meghan Roberts’s lesson plan for ‘Inoculation in the Age of Enlightenment’).
Perhaps at some point, Enfilade could feature a series of lesson plans generally. Members’ contributions are most welcome. -CH.
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Electronic Enlightenment, Classroom
Through a collaboration with academics using EE in their teaching, EE is pleased to present a selection of lesson plans suitable for undergraduate classes. We would like to thank the academics involved, and also to extend an offer to others who would like to make their lesson plans available to get in touch with us.
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Dissonance in the Republic of Letters
Christopher Tozzi, Johns Hopkins University
Abstract: This lesson plan highlights the diversity of opinion within the Republic of Letters by presenting a few of the personal and intellectual conflicts in which thinkers of the seventeenth and eighteenth centuries involved themselves. By reading letters exchanged by Enlightenment thinkers, students will gain an appreciation of the intellectual nuances of the period and the way in which knowledge was pursued.
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Inoculation in the Age of Enlightenment
Meghan Roberts, Northwestern University
Abstract: This lesson would be suited to courses that deal with the Enlightenment, the history of science and medicine, and could also be adapted to courses on early modern France and early modern Europe.
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National Identity and Otherness in the Eighteenth Century
Neven Leddy, University of Ottawa
Abstract: This session tackles the complexities of identity in 18thC Great Britain and Europe. The correspondence of the key figures of the Scottish Enlightenment is used to illuminate the personal experiences which structure 18thC theories of the Other. In this session EE can be productively interleaved with electronic texts from other sources to structure a dialogue between biography and philosophy. The aim of this session is to problematize the modern nation-state as a conceptual lens to view the past. Students will become familiar with the 18thC model of a multi-ethnic state, a well the many layers of national and human identity.
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Optimism and Cosmopolitanism in the Enlightenment
Neven Leddy, University of Ottawa
Abstract: This session introduces the Enlightenment through the Lisbon Earthquake of November 1st, 1755 focusing on the elements of Optimism and Cosmopolitanism. In the process it illuminates the diffusion of “news” through the eighteenth century Republic of Letters. The methodological thrust of the lesson plan is interdisciplinary, demonstrating the crossover and feedback between history, philosophy, religion and literature. It assumes a bilingual student body.
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The Restoration and Early Eighteenth-Century Theatre World
Anne Greenfield, University of Denver
Abstract: This section will discuss the value of incorporating correspondence into courses on History and/or Literary History. Writers of letters tend to move from topic to topic far more readily and abruptly than do writers of more singularly-focused works (e.g., essays, poems, or political treatises). For this reason, correspondence gives students of History and Literary History a more expansive vision of the past, exposing them to writers’ insights into a wide variety of phenomena.
Benedict Carey, “Forget What You Know about Good Study Habits,” The New York Times (6 September 2010) . . .
. . . In recent years, cognitive scientists have shown that a few simple techniques can reliably improve what matters most: how much a student learns from studying. The findings can help anyone, from a fourth grader doing long division to a retiree taking on a new language. But they directly contradict much of the common wisdom about good study habits, and they have not caught on. . . .
These findings extend . . . even to aesthetic intuitive learning. In an experiment published last month in the journal Psychology and Aging, researchers found that college students and adults of retirement age were better able to distinguish the painting styles of 12 unfamiliar artists after viewing mixed collections (assortments, including works from all 12) than after viewing a dozen works from one artist, all together, then moving on to the next painter. . . .
The full article is available here»
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The Psychology and Aging article referenced is even more interesting than the the NY Times piece might imply:
Nate Kornell, Alan D. Castel, Teal S. Eich, Robert A. Bjork, “Spacing as the Friend of Both Memory and Induction in Young and Older Adults,” Psychology and Aging 25 (2010): 498-503.
Abstract: We compared the effects of spaced versus massed practice on young and older adults’ ability to learn visually complex paintings. We expected a spacing advantage when 1 painting per artist was studied repeatedly and tested (repetition) but perhaps a massing advantage, especially for older adults, when multiple different paintings by each artist were studied and tested (induction). We were surprised to find that spacing facilitated both inductive and repetition learning by both young and older adults, even though the participants rated massing superior to spacing for inductive learning. Thus, challenging learners of any age appears to have unintuitive benefits for both memory and induction.
Today closes our special week on teaching the eighteenth century. Warm thanks to Georgina Cole, Jennifer Germann, and Susan Dixon for commenting on Professor Plax’s undergraduate survey course. We owe Julie a great debt of gratitude for her willingness to share that syllabus as well as this one for a graduate course on the French Rococo! All the best to those of you who are, in fact, still finalizing your own syllabi for the fall and thinking about that first day of class . . . -C.H.
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Professor Julie-Anne Plax
Pleasures, Pastimes, Parks and Pavilions:
The Spaces and Spectacles of Sociability in the French Rococo
This seminar will focus on French eighteenth-century art and architecture. In particular we will explore the intersection of art and shifting modes of social relationships and hierarchies in what could be termed “Rococo culture.”
I have not ordered any texts for this class. The books for the course will be on reserve at the main library and many of the shorter readings will be available as PDFs located in the D2L course site. We will be reading all, or substantial portions of the following books in case would like to order any of them from a preferred source.
- William Reddy, The Navigation of Feeling: A Framework for the History of Emotions
- Daniel Gordon. Citizens without Sovereignty: Equality and Sociability in French Thought, 1670-1789
- François Bastide, The Little House
- Jennifer Milam, Fragonard’s Playful Paintings: Visual Games in Rococo Art
- Katie Scott, The Rococo Interior
- Mary Sheriff, Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France
This course requires extensive reading. Weekly reading assignments must be done in advance of the Tuesday class meeting, since they will be discussed at that time.
- seminar participation 25.5%
- opinion papers 32.5%
- seminar paper 32%
- oral presentation based on the term paper 10%
A seminar can be successful only when all participants are prepared and ready to discuss the readings. It is expected that students will have completed all the assigned readings and at least perused the suggested readings. View this seminar as a time to clarify issues, to thrash out points of views, and to hash out new ideas with a sympathetic and engaged audience. Each week a pair of students will be responsible for leading the discussion. We will determine the grouping of students and the meetings for which they will be responsible during the first meeting. Discussion leaders will be responsible for framing the course of discussion, based on the required reading. The weekly discussion leaders should be flexible enough to allow the discussion to meander into uncharted waters when it proves fruitful to the seminar as a whole; I also expect the leaders to pull the discussion back on track if it begins to flounder. At the end of each meeting, I will spend a few minutes previewing the readings for the next week.
Each week you will turn in a 5-page minimum 6-page maximum “opinion” paper discussing the weeks reading. I am more interested in your thoughtful response to the readings than a description or summary of the content. Each paper is worth 2.5 percentage points. They will not be graded but if the paper is not turned in, or deemed unacceptable, I will reduce the point value. Here are some questions that might be useful in thinking about the readings:
- What sorts of concerns do the authors presuppose? Do they present these concerns in a straightforward manner, or do they remain as simply implied assumptions?
- How does the author frame the argument, and what strategies are used to make (or not) the argument?
- In the case of the readings that do not refer specifically to the visual arts, how do you see them as applicable to the study of the history of art?
- What are the larger issues the author addresses and how does the reading relate to previous readings.
The seminar paper will be the major project for the semester. This project is intended to help the art history student’s work toward publication; hence, the art history students should attempt to undertake original research. Art education and studio students’ papers should explore a topic that will enhance and expand their professional goals or artistic practice. All students in the seminar should view this paper as a means to articulate new ideas. It is perfectly acceptable if conclusions are tentative. What is more important is the explanation of why they are so. The topic of the paper is your choice; however, you will need to consult with me about your paper topic.
- Date Due: The last seminar meeting.
- Length: Aim for 20 typewritten pages of text (not counting notes or illustrations).
- Notes: You may use either footnotes or endnotes. Proper end note format must be followed; in-text parenthetical citations will not be accepted. Models for standard format can be found in Kate Turabian, A Manual for Writers of Term Papers, Theses and Dissertations, which is available at the bookstore.
- Bibliography: A bibliography, following proper form, must be included at the end of the paper.
- Illustrations: Please include photocopies of the art works you discuss in your paper. Indicate the illustrations in the text by: (fig. 1) after you first mention the work. The captions for the illustration should include the following information whenever possible: figure number, artist, name of work, date, location.
Each of you will present a 20-minute oral report based on your seminar paper.
Grading will be based on the Art Department Grading System:
A = Excellent. One who answers all of the course requirements and performs at a level which is clearly outstanding.
B = Good. One who answers all of the course requirements and performs at a level measurably above average.
C = Fair. One who answers all of the course requirements and performs adequately in so doing.
D = Poor. One who answers all of the course requirements but performs on a level measurably below the average.
E = Failure. One who either does not complete all of the course requirements or does so inadequately or both.
Grades will take into consideration the subjective criteria normal to academic grading which accords attention to the difficulty of the material considered and the students’ improvement, development, attendance, and performance. Attendance at all seminar meetings is mandatory. Students are cautioned that a grade of C or below in Graduate work is considered inadequate.
Plagiarism, that is, copying of the language, ideas, and thoughts of others and passing them off as one’s original work is contrary to scholarly practice. Please acknowledge the words of others with quotation marks and footnotes, but try to put thoughts into your own words and avoid excessive quotations. For the code of academic integrity see: http://studpubs.web.arizona.edu/policies/cacaint.htm.
August 25: Introduction to the 18th Century
- Professor Plax lectures
September 1: Sociability and Slippery Hierarchies
- Daniel Gordon, Citizens without Sovereignty: Equality and Sociability in French Thought, 1670-1789, pp. 3-126.
- William Reddy, The Navigation of Feeling: A Framework for the History of Emotions, pp. 112-72.
- Thomas Crow, “A Public Space in the Making,” chapter 1 in Painters and Public Life in Eighteenth-Century Paris, pp. 22-44.
- Dena Goodman, “Public Sphere and Private Life: Toward a Synthesis of Current Historiographical Approaches to the Old Regime,” History & Theory 31 (1992): 1-20.
September 8: Watteau’s fêtes galantes and the fêting of Watteau
- Donald Posner, “Fêtes Galantes,” chapter 4 in Antoine Watteau, pp. 116-95.
- Norman Bryson, “The Legible Body: LeBrun,” chapter 2 in Word and Image: French Painting of the Ancien Régime, pp. 29-57.
- Norman Bryson, “Watteau and Reverie,” chapter 3 in Word and Image: French Painting of the Ancien Régime, pp. 58-88.
- Mary Vidal, “Not Just Talk: The Recurring Theme of Conversation in Watteau’s Art,” chapter 1 in Watteau’s Painted Conversations, pp. 11-43.
- Colin Bailey, “Toute seule elle peut remplir et satisfaire l’attention: The Early Appreciation and Marketing of Watteau’s Drawings, with an Introduction to the Collecting of Modern French Drawings During the Reign of Louis XV,” in Watteau and his World, ed. Alan Wintermute, pp. 68-92.
- Julie Anne Plax, “”Belonging to the In Crowd: The Bonds of Art and Friendship,” in French Genre Painting in the Eighteenth Century ed. Philip Conisbee, pp. 48-71.
September 15: New Genre, New Money
- Denise Baxter, “Fashions of Sociability in Jean-François de Troy’s tableaux de mode, 1725-1738: Defining a Fashionable Genre in Early Eighteenth-Century France,” in Performing the “Everyday:” The culture of Genre in the Eighteenth Century ed. Alden Cavanaugh, pp. 27-46.
- Jorg Ebeling, “Upwardly Mobile: Genre Painting and the Conflict between Landed and Moneyed Interests,” in French Genre Painting in the Eighteenth Century ed. Philip Conisbee, pp. 72-89.
- Wolfgang Stechow and Christopher Comer, “The History of the Term Genre,” Bulletin of the Allen Memorial Art Museum 33, no. 2 (1975-76): 89-94.
- JoLynn Edwards, “John Law and His Painting Collection: Connoisseur or Dupe?” in Art and Culture in the Eighteenth Century: New Dimensions and Multiple Perspectives ed. Elise Goodman, pp. 59-75.
- Mary Salzman, “Decoration and Enlightened Spectatorship,” in Furnishing the Eighteenth Century: What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 155-65.
September 22: Dealers and Display, Consumers and Connoisseurs
- Andrew McClellan, “Watteau’s Dealer : Gersaint and the Marketing of Art in Eighteenth-Century Paris,” Art Bulletin 78 (September 1996): 439-53.
- Julie-Anne Plax, “The Meeting of High and Low Culture in Watteau’s Gersaint’s Signboard,” Watteau and the Cultural Politics of Eighteenth-Century France, pp. 154-82.
- Krzysztof Pomian, “Dealers, Connoisseurs and Enthusiasts in Eighteenth-century Paris,” chapter 5 in Collectors and Curiosities: Paris and Venice, 1500-1800, pp. 139-168.
- Colin Bailey, “Conventions of the Eighteenth-Century Cabinet de tableaux: Blondel d’Azincourt’s La première idée de la curiosité,” Art Bulletin 60 (September 1987): 431-47.
- Denise Baxter, “Parvenu or honnête homme: The Collecting Practices of Germain-Louis de Chauvelin,” Journal of the History of Collections 20, (November 2008): 273-89.
September 29: Architecture & Arrangements
- Katie Scott. The Rococo Interior: Decoration and Social Spaces in Early Eighteenth-Century Paris, pp. 1-10; 81-117; 147-239.
- Rochelle Ziskin, The Place Vendôme: Architectural and Social Mobility in Eighteenth-Century Paris, pp. 1-64.
October 6: Furniture & Furnishings
- Mimi Hellman, “Furniture, Sociability and the Work of Leisure in Eighteenth-Century France,” Eighteenth-Century Studies 32 (1999): 414-45.
- Mimi Hellman, “ The Joy of Sets,” in Furnishing the Eighteenth Century : What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 129-53.
- Mimi Hellman, “Interior Motives: Seduction by Decoration in Eighteenth-Century France,” in Dangerous Liaisons: Fashion and Furniture in the eighteenth Century ed. by Harold Koda and Andrew Bolton, pp. 15-23.
- Carolyn Sargentson, “Looking at Furniture Inside Out: Strategies of Secrecy and Security in Eighteenth-Century French Furniture,” in Furnishing the Eighteenth Century: What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 205-36.
- Natcha Coquery, “The Language of Success: Marketing and Distributing Semi-luxury Goods in Eighteenth-Century Paris,” Journal of Design History 17 (2004): 71-81.
- Dena Goodman, “The Secrétaire and the Integration of the Eighteenth-Century Self,” in Furnishing the Eighteenth Century: What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 183-203.
October 13: Pavilions of Seduction (Students will be asked to report on research progress)
- François Bastide, The Little House, all.
- Paula Radisch, “Performing the Libertine: Hubert Robert in the Bagatelle”, chapter 4 in Hubert Robert: Painted Spaces of Enlightenment, pp. 78-96.
- Jill Casid “Commerce in the Boudoir,” in Women, Art and the Politics of Identity in Eighteenth-Century Europe ed. Melissa Hyde and Jennifer Milam, pp. 91-114.
October 20: Madame de Pompadour
- Donald Posner, “Madame de Pompadour as a Patron of the Visual Arts,” Art Bulletin 72 (March 1990): 74-105.
- Katie Scott, “Framing Ambition: The Interior Politics of Mme de Pompadour,” in Between Luxury and the Everyday: Decorative Arts in Eighteenth-Century France ed. Katie Scott and Deborah Cherry, pp. 110-52.
- Colin Jones, Mme de Pompadour: Images of a Mistress, all.
- Melissa Hyde, “The ‘Makeup’ of the Marquise: Boucher’s Portrait of Pompadour at her Toilette,” Art Bulletin 82 (September 2000): 453-75.
- Perrin Stein, “Madame de Pompadour and the Harem Imagery at Bellevue,” Gazette des Beaux-arts 123 (January 1994): 29-44.
October 27: Luxury, Ladies, Rococo
- Katie Scott, “The Rococo Exposed,” chapter 10 in The Rococo Interior, pp. 241-65.
- Rémy Saisselin, “Neo-Classicism: Images of Public Virtue and Realities of Private Luxury,” Art History 4 (March 1981): 15-36.
- Jacqueline Lichtenstein, “Making Up Representation: The Risks of Femininity,” Representations 20 (Fall 1987): 77-87.
- Madelyn Gutwirth, “Gendered Rococo as Political Provocation,” chapter 1 in The Twilight of the Goddesses: Women and Representation in the French Revolutionary Era, pp. 3-22.
- Paula Radisich, “Deconstructing Dissipation,” Eighteenth-Century Studies 29 (Winter 1995-96): 222-25.
- Melissa Hyde, “Boucher, Boudoir, Salon: cherchez la Femme,” chapter 1 in Making Up the Rococo: François Boucher and his Critics, pp. 45-81.
November 3: Theatrics!
- Julie Anne Plax, “Watteau’s Departure of the Italian Comedians in 1697,” chapter 1 in Watteau and the Cultural Politics of Eighteenth-Century France, pp. 7-52.
- Melissa Hyde, “Pastoral Make Believe: Gender Play from the Opéra Comique to the Salon,” chapter 4 in Making Up the Rococo: François Boucher and his Critics, pp. 145-78.
- Mark Ledbury, “Boucher and the Theater,” in Rethinking Boucher, ed. Mark Ledbury and Melissa Hyde, pp. 133-60.
- Mark Ledbury, “Intimate Dramas: Genre Painting and New Theater in Eighteenth-Century France,” in Intimate Encounters: Love and Domesticity in Eighteenth-Century France, ed. Richard Rand, pp. 49-67.
November 10: Playing!
- Jennifer Milam, Fragonard’s Playful Paintings: Visual Games in Rococo Art, all.
- Katie Scott, “Child’s Play,” in The Age of Watteau, Chardin and Fragonard: Masterpiece of French Genre: Painting, ed. by Colin Bailey, pp. 90-105.
- Donald Posner, “The Swinging Women of Watteau and Fragonard,” Art Bulletin 64 (March 1982): 75-88.
November 17: Enthused!
- Mary Sheriff, Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France, all.
November 24: In the Garden
- Dora Wiebenson, “French Picturesque Garden Types,” chapter V in The Picturesque Garden in France, pp. 81-107.
- Kenneth Woodbridge, The Princely Gardens, The Origins and Development of the French Formal style, pp. 267-277.
- Diana Ketcham, Le Desert de Retz, pp. 1-27.
- Michel Baridon, “The Garden of the Perfectiobilists: Mereville and the Dessert de Retz,” in Tradition and Innovation in French Garden Art, ed John Hunt, and Michel Conan, pp. 121-34.
- William Adams, “Labors in Perfection,” chapter 4 in The French Garden 1500-1800, pp. 75-102.
- William Adams, “After Le Notre: a Sentimental Journey,” chapter 5 in The French Garden 1500-1800, pp. 103-38.
- Brigitte Weltman-Aron, Introduction and “Natural Nature,” chapter 1 in On Other Grounds: Landscape Gardening and Nationalism in Eighteenth-century England and France, pp. 1-40.
December 1 and 8: Presentations