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DEGREE REGULATIONS & PROGRAMMES OF STUDY 2013/2014
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DRPS : Course Catalogue : Edinburgh College of Art : History of Art

Undergraduate Course: Romanticism to Expressionism (HIAR10108)

Course Outline
SchoolEdinburgh College of Art CollegeCollege of Humanities and Social Science
Course typeStandard AvailabilityAvailable to all students
Credit level (Normal year taken)SCQF Level 10 (Year 3 Undergraduate) Credits20
Home subject areaHistory of Art Other subject areaNone
Course website None Taught in Gaelic?No
Course descriptionThis course examines the 19th- and early 20th-century artistic quest for the origins of Germanic identity, and the romantic-idealist roots of early Expressionism. Identity, as it is understood here, is a multifaceted notion: it might be shaped by geography, politics, self-perception, or, in an essentialist formulation, by the notion of an inherent national spirit. We will use Johann Wolfgang von Goethe's essay 'On German Architecture' (1772) as a starting point, and discuss how his interest in the idea of a 'Gothic' German identity reverberated in the visual culture of the long 19th century, from the Nazarenes to the Brücke Expressionist group. We will consider early organic theories of art as expressed in the written work of such thinkers as Johann Gottfried von Herder, as well as later philosophies of art (Schopenhauer, Langbehn, Nietzsche et al.) and the artistic reception of these theories. The course will cover a wide range of subject matter: from the arboreal 'fairy-tale' landscapes of artists such as Caspar David Friedrich and Ludwig Richter, to the anti-urban 'back-to-nature' tradition of representing rural peasants as seen in the art of Wilhelm Leibl and Paula Modersohn-Becker, among others, through to the visual expressions of a 'free body culture' in the Symbolist canvases of artists such as Hugo Höppener and the work of the Brücke group. We shall also investigate the enduring Romantic cult of Albrecht Dürer as 'the' German master par excellence, and his influence on both 19th- and early 20th-century German artists. By the end of the course, students will have a much better idea of how Expressionism connected with and departed from the ideals of Romanticism.
Entry Requirements (not applicable to Visiting Students)
Pre-requisites Co-requisites
Prohibited Combinations Other requirements None
Additional Costs None
Information for Visiting Students
Pre-requisitesNone
Displayed in Visiting Students Prospectus?Yes
Course Delivery Information
Not being delivered
Summary of Intended Learning Outcomes
- Students will have a sense of "German Romanticism" and its place in history. Students will be able to carry out their own research into topics, finding bibliography and weighing up opposing arguments.
- Students will have some experience of reading and understanding primary sources (in translation).
You will also be able to:
- engage critically with historiographic material.
- move away from bibliography.
- present material orally to your peers.
Assessment Information
One Essay 50%
One Degree Examination 50%

Visiting student variant assessment - 2 x 2000 word essays
Special Arrangements
None
Additional Information
Academic description Not entered
Syllabus Week 1
Introduction to the Course
Expressions of a National Identity in German Romantic Art

Seminar Reading:
Hans Belting, The Germans and Their Art: A Troublesome Relationship, New Haven and London, 1998
John Gage, Goethe on Art, London, 1980
Reinhold Heller, (ed.), Confronting identities in German art: myths, reactions, reflections, Chicago, 2003

Further Reading:
Françoise Forster-Hahn et al., Spirit of an Age: Nineteenth Century Paintings from the Nationalgalerie Berlin, London, 2001
Keith Hartley, Henry Meyrich Hughes, Peter-Klaus Schuster and William Vaughan (eds), The Romantic Spirit in German Art 1790-1990, exhibition catalogue, London, 1994
Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko, New York: Harper and Row, 1975
Simon Schama, Landscape and Memory, London, 1995
William Vaughan, Romanticism and Art, London, 1994
William Vaughan, German Romantic Painting, New Haven and London, 1980

Week 2
The Patriotic Romanticism of Caspar David Friedrich and his Cultural Legacy

Seminar Reading:
Colin Bailey, Caspar David Friedrich, Winter Landscape, exhibition catalogue, London, 1990
Joseph Leo Koerner, Caspar David Friedrich and the Subject of Landscape, London, 1990

Further Reading:
Colin Bailey, Caspar David Friedrich, Winter Landscape, exhibition catalogue, London, 1990
Hans Belting, The Germans and Their Art: A Troublesome Relationship, New Haven and London, 1998
Helmut Börsch-Supan, Caspar David Friedrich, New York, 1974
Françoise Forster-Hahn et al., Spirit of an Age: Nineteenth Century Paintings from the Nationalgalerie Berlin, London, 2001
Keith Hartley, Henry Meyrich Hughes, Peter-Klaus Schuster and William Vaughan (eds), The Romantic Spirit in German Art 1790-1990, exhibition catalogue, London, 1994
Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko, New York: Harper and Row, 1975
Simon Schama, Landscape and Memory, London, 1995
William Vaughan, Romanticism and Art, London, 1994
William Vaughan, German Romantic Painting, New Haven and London, 1980

Week 3
The Fairy Tale World of Ludwig Richter, Moritz von Schwind and Alfred Rethel

Seminar Reading:
William Vaughan, German Romantic Painting, New Haven and London, 1980

Further Reading:
Françoise Forster-Hahn et al., Spirit of an Age: Nineteenth Century Paintings from the Nationalgalerie Berlin, London, 2001
Keith Hartley, Henry Meyrich Hughes, Peter-Klaus Schuster and William Vaughan (eds), The Romantic Spirit in German Art 1790-1990, exhibition catalogue, London, 1994
Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko, New York: Harper and Row, 1975
Simon Schama, Landscape and Memory, London, 1995
William Vaughan, Romanticism and Art, London, 1994

Week 4
The German Longing for the South: Nazarenes and Deutschrömer

Seminar Reading:
Ingrid Ehrhardt and Simon Reynolds (eds), Kingdom of the Soul: Symbolist Art in Germany 1870-1920, exhibition catalogue, Munich, 2000
Keith Hartley, Henry Meyrich Hughes, Peter-Klaus Schuster and William Vaughan (eds), The Romantic Spirit in German Art 1790-1990, exhibition catalogue, London, 1994

Further Reading:
Hans Belting, The Germans and Their Art: A Troublesome Relationship, New Haven and London, 1998
Françoise Forster-Hahn et al., Spirit of an Age: Nineteenth Century Paintings from the Nationalgalerie Berlin, London, 2001
Reinhold Heller, (ed.), Confronting identities in German art: myths, reactions, reflections, Chicago, 2003
Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko, New York: Harper and Row, 1975
William Vaughan, German Romantic Painting, New Haven and London, 1980

Week 5
Embracing the French Avant-Garde? A Crisis of German Artistic Identity (1860-1890)

Seminar Reading:
Beth Irwin Lewis, Art for All? The Collision of Modern Art and the Public in Late-Nineteenth Century Germany, Princeton, 2003

Further Reading:
Françoose Forster-Hahn, Imagining Modern German Culture 1889-1910, Washington, D.C., 1996, especially her own introduction and 'Constructing new histories: nationalism and modernity in the display of art', pp. 71-89; and the essay by Kenneth D. Barkin, 'The crisis of modernity 1887-1902', pp. 19-35.
Charles Harrison, Briony Fer (et al.), Modernity and Modernism, French Painting in the Nineteenth Century, London, 1993
Robert Jensen, Marketing Modernism in Fin-de-Siecle Europe, Princeton, 1994
Robin Lenman, 'Painters, patronage and the art market in Germany 1850-1914', Past and Present, 123 (1989), 109-40, and Artists and Society in Germany 1850-1914, Manchester, 1997
Charles McClelland, Prophets, Paupers, or Professionals? A Social History of Everyday Visual Artists in Modern Germany, 1850-Present, Bern, 2003
Irit Rogoff, (ed.), The Divided Heritage: Themes and Problems in German Modernism, Cambridge, 1991
Shearer West, Utopia and Despair: The Visual Arts in Germany 1890 - 1937, Manchester 2001

Week 6
Reading Week

Week 7
Late C19 Artist Colony Culture (Worpswede, Dachau etc)

Seminar Reading:
Gill Perry, Francis Frascina, and Charles Harrison, Primitivism, Cubism, Abstraction, The Early Twentieth Century, London, 1993
Shearer West, Utopia and Despair: The Visual Arts in Germany 1890 $ú 1937, Manchester 2001

Further Reading:
Jill Lloyd, Van Gogh and Expressionism, New York, 2007
Nina Lubbren, Rural Artists' Colonies in Europe, Manchester, 1870-1910
Colin Rhodes, Primitivism and Modern Art, London, 1994

Week 8
Symbolist Fantasies 1: Berlin Secession

Seminar Reading:
Beth Irwin Lewis, Art for All? The Collision of Modern Art and the Public in Late-Nineteenth Century Germany, Princeton, 2003
Shearer West, Utopia and Despair: The Visual Arts in Germany 1890 - 1937, Manchester 2001

Further Reading:
Steven Ascheim, The Nietzsche Legacy in Germany, 1890-1990, 1994
Ketil Bjornstad, The Story of Edvard Munch, 2005
Claude Cernuschi: "Sex and Psyche, Nature and Nurture, The Personal and the Political: Edvard Munch and German Expressionism" in Howe (ed), Edward Munch: Psyche, Symbol and Expression, 2001
Reinhold Heller, Munch: His Life and Work, 1984
Jeffrey Howe (ed), Edward Munch: Psyche, Symbol and Expression, 2001
Iris Mueller-Westermann and Merete Mazzarella, Munch: By Himself, 2005
Rosemarie E. Pahlke, Munch Revisited: Edvard Munch and the Art of Today, 2005
Sue Prideaux, Edvard Munch: Behind the Scream, 2005
John Zarobell et al, Edvard Munch's Mermaid, 2005

Week 9
Symbolist Fantasies 2: Munich and Vienna Secession

Seminar Reading:
Carl Schorske, Fin de Siècle Vienna, Politics and Culture, 1981
Peter Vergo, Art in Vienna, 1994 (3rd edition)

Further Reading:
Bram Dijkstra, Idols of Perversity: Fantasies of Feminine Evil in Fin-de- Siècle Culture, 1988
Wolfgang Fischer, Gustav Klimt and Emilie Floge: An Artist and his Muse, 1992
Gottfried Fliedl, Gustav Klimt 1862-1918: The World in Female Form, 1989
Sigmund Freud and Joseph Breuer, Studies on Hysteria any edition; including Penguin paperback
Peter Gay, Schnitzler's Century: The Making of Middle Class Culture, 1815- 1914, 2001
Richard von Krafft-Ebing, Psychopathia Sexualis, 1921
Tobias Natter and Gerbert Frodl, Klimt's Women, 2000
Tobias Natter (ed), The Naked Truth: Klimt, Schiele, Kokoschka and Other Scandals, 2005
Christian Nebehay, Gustav Klimt: From Drawing to Painting, 1994
Susanna Partsch, Gustav Klimt: Painter of Women, 1994
Marie-Amelie Zu Salm-Salm (ed), Klimt, Schiele, Moser, Kokoschka: Vienna 1900, 2005
Carl Schorske, Fin de Siècle Vienna, Politics and Culture, 1981
Peter Vergo, Art in Vienna, 1994 (3rd edition)
Shearer West, Fin de Siècle: Art and Society in an Age of Uncertainty, 1993
Frank Whitford, Gustav Klimt, 1993

Week 10
The Romantic Roots of German Expressionism / Bauhaus (PART 1)

Seminar Reading:

Further Reading:
Peter Lasko,
August Wiedmann, Romantic Roots in Modern Art, 1979
August Wiedmann, The German Quest for Primal Origins in Art, Culture and Politics, 1900-33, 1995

Week 11
The Romantic Roots of German Expressionism / Bauhaus (PART 2)

Transferable skills Not entered
Reading list General Reading List
These titles are highly recommended and are available in paperback or at a reasonable price. Check amazon.co.uk etc.
Hans Belting, The Germans and Their Art: A Troublesome Relationship, 1998

Joseph Leo Koerner, Caspar David Friedrich and the Subject of Landscape, 2009

Beth Irwin Lewis, Art for All?: The Collision of Modern Art and the Public in Late-Nineteenth-Century Germany, 2003

William Vaughan, German Romantic Painting, 1994

For further reading see Syllabus
Study Abroad Not entered
Study Pattern Not entered
KeywordsNot entered
Contacts
Course organiserDr Christian Weikop
Tel:
Email: C.Weikop@ed.ac.uk
Course secretaryMrs Sue Cavanagh
Tel: (0131 6)51 1460
Email: Sue.Cavanagh@ed.ac.uk
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