THE UNIVERSITY of EDINBURGH

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

Undergraduate Course: Expressionism, Dada, Bauhaus and Beyond (HIAR10109)

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 4 Undergraduate) Credits20
Home subject areaHistory of Art Other subject areaNone
Course website None Taught in Gaelic?No
Course descriptionExpressionism reached its climax before the outbreak of World War I when artists in Vienna, Dresden, Berlin and Munich rebelled against the prevailing aesthetic and the moral and religious conventions of their time. The belief in the need for artistic renewal motivated painters such as Kirchner, Kandinsky and Marc to create a new visual language, characterised by vivid colours and stark contrasts. In the late teens and the 1920s, disillusioned by the experience of mass destruction and violence during the First World War, artists such as Grosz and Dix were increasingly occupied with socially- and politically-engaged subjects. At the Bauhaus, leading figures of the European avant-garde developed utopian ideas about reshaping society through art. These powerful artistic expressions of modernity troubled many contemporaries and led to a backlash in the 1930s, when the National Socialists declared such works degenerate. From exile, leading artists made crucial contributions to the development of modern art and architecture. In the 1960s and 1970s artists such as Baselitz and Kiefer developed a form of art that critics dubbed 'Neo-Expressionism', which attempted to deconstruct the idealism of the German tradition in a manner that caused great controversy in their homeland. We will fully explore the disruptions and continuities in modern German art in the twentieth century, and the often problematic reception of Expressionist visual culture.

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?No
Course Delivery Information
Not being delivered
Summary of Intended Learning Outcomes
This course aims to introduce you to the work of artists and critics who have most emphatically attempted to deal with issues concerning German cultural identity. It explores the cultural exchanges, divisions and contestations in German art and aesthetics, from the early twentieth century to the present day.

The objective is to allow you the scope to apply your conceptual and critical skills to this body of material, and to develop the skills of presentation and writing in an independent and reflective manner.

Throughout the course, you will be expected, to equip yourselves with the ability to research in some depth a topic growing out of the material discussed in seminars.

You will use skills of spoken communication and presentation, in preparation for your 10-minute presentation exercise. You will use bibliographic, research and written communication skills in working on your essay. You will use inter-personal skills, listening to and commenting on your colleagues' work. You will be expected to seek out ideas, readings and objects that are not in the course document. In your essay, you will be expected to balance and present alternative points of view.
Assessment Information
One Essay 50%
One Degree Examination 50%
Special Arrangements
None
Additional Information
Academic description Not entered
Syllabus Week 1
Introduction to the Course

Seminar Reading:
Shulamith Behr, Expressionism, London, 1999.

Further Reading:
* Jill Lloyd, German Expressionism: Primitivism and Modernity, London, 1991
* Jill Lloyd, Van Gogh and Expressionism, exhibition catalogue, Amsterdam, 2006
* Rose-Carol Washton Long, German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, California, 1993
* Nina Lubbren, Rural Artists' Colonies in Europe, Manchester, 1870-1910
* Gill Perry, Francis Frascina, and Charles Harrison, Primitivism, Cubism, Abstraction, The Early Twentieth Century, London, 1993
* Colin Rhodes, Primitivism and Modern Art, London, 1994
* Christian Weikop, 'Brücke and Canonical Association', in Reinhold Heller (ed.), Brücke: The Birth of Expressionism in Dresden and Berlin, 1905-1913, exhibition catalogue, New York, 2009, pp.102-127.
* Christian Weikop, 'The Arts and Crafts Education of the Brücke: Expressions of Craft and Creativity', Journal of Modern Craft, 1:1 (2008)77-100.
* Shearer West, Utopia and Despair: The Visual Arts in Germany 1890 - 1937, Manchester, 2001

Week 2
Viennese Modernism: Art at the Crossroads

Seminar Reading:
* Carl Schorske, Fin de Siècle Vienna, Politics and Culture, 1981
* Peter Vergo, Art in Vienna, 1975
* Christian Weikop, 'Ver Sacrum; The Printed Face of the Vienna Secession', in Jill Lloyd (ed) Vienna 1900: Style and Individuality, 2011

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
* Tobias Natter (ed.), The Naked Truth: Klimt, Schiele, Kokoschka and Other Scandals, 2005
* 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
* Shearer West, Fin de Siècle: Art and Society in an Age of Uncertainty, 1993
* Frank Whitford, Gustav Klimt, 1993

Week 3
Austrian Expressionism: Gerstl, Schiele and Kokoschka

Seminar Reading:
Tobias Natter (ed.), The Naked Truth: Klimt, Schiele, Kokoschka and Other Scandals, 2005

Further Reading:
* Emst Gombrich, Kokoschka in his Times, 1986
* Oskar Kokoschka, My Life, 1974
* Tobias Natter (ed.), The Naked Truth: Klimt, Schiele, Kokoschka and Other Scandals, 2005
* 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
* Shearer West, Fin de Siècle: Art and Society in an Age of Uncertainty, 1993
* Frank Whitford, Gustav Klimt, 1993
* Frank Whitford, Oskar Kokoschka, A Life, 1986

Week 4
Brücke Expressionism: Dresden and Berlin

Seminar Reading:
* Christian Weikop, 'Brücke and Canonical Association', in Reinhold Heller (ed.), Brücke: The Birth of Expressionism in Dresden and Berlin, 1905-1913, exhibition catalogue, New York, 2009, pp.102-127.
* Christian Weikop, 'The Arts and Crafts Education of the Brücke: Expressions of Craft and Creativity', Journal of Modern Craft, 1:1 (2008)77-100.

Further Reading:
* Stephanie Barron, German Expressionism: Art & Society 1909-1923, 1997
* Tim Benson, Expressionist Utopias, 2001
* Frances Carey and Anthony Griffiths, The Print in Germany 1880-1932: The Age of Expressionism, 1984
* Donald Gordon, Expressionism: Art and Idea, 1987
* Reinhold Heller, Brücke: German Expressionist Prints from the Granvil and Marcia Specks Collection, 1988
* Jill Lloyd, German Expressionism: Primitivism and Modernity, 1991
* Jill Lloyd, Ernst Ludwig Kirchner: The Dresden and Berlin Years, 2003
* Frank Whitford, Expressionist Portraits, 1987
* Norbert Wolf, Kirchner, 2003

Week 5
Der Blaue Reiter: Munich

Seminar Reading:
Rose-Carol Washton Long, German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, California, 1993

Further Reading:
* Shulamith Behr, Women Expressionists, 1988
* Sean Rainbird (ed) Wassily Kandinsky: The Path to Abstraction, 2006
* Reinhold Heller, Gabrielle Münter: The Years of Expressionism 1903-1920, 1997
* Wassily Kandinsky and Franz Marc, The Blaue Reiter Almanac, (reprinted 2006)
* Armin Zweite (ed.), The Blue Rider in the Lenbachhaus, 1989

Week 6
Reading Week

Week 7
Expressionism in the First World War and 1920s

Seminar Reading:
Rose-Carol Washton Long, German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, California, 1993

Further Reading:
* Stephanie Barron (ed.), German Expressionism: Art & Society 1909-1923, 1997
* Stephanie Barron (ed.), German Expressionism 1915-1925: The Second Generation, 1989
* Stephanie Barron (ed.), German Expressionist Sculpture, 1983
* Richard Cork, Avant-Garde Art and the Great War, 1994

Week 8
Zurich and Berlin Dada

Seminar Reading:
Rose-Carol Washton Long, German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, California, 1993

Further Reading:
* Dawn Ades, Dada and Surrealism, London, 1974
* Dawn Ades, The Dada Reader, 2006
* Dawn Ades, Photomontage, 1986
Simon Alaric, Berlin Dada, Berlin Revolution, 2003
* Leah Dickerman and Brigid Doherty (eds), Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris, 2005
* Leah Dickerman, The Dada Seminars: CASVA Seminar Papers v. I, 2005
Stephen Foster (ed.), Dada Spectrum: the Dialectics of Revolt, 1979
* Richard Huelsenbeck, Memoirs of a Dada Drummer, 1974
* R. Motherwell, Dada painters and poets, 1951
* Hans Richter, Dada: Art or Anti-Art, 1965
* Richard Sheppard, Modernism - Dada - Postmodernism, 2000
* Willy Verkauf, Dada: Monograph of a Movement, 1975


Week 9
Bauhaus

Seminar Reading:
* Rose-Carol Washton Long, German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, California, 1993
* Christian Weikop, 'The Arts and Crafts Education of the Brücke: Expressions of Craft and Creativity', Journal of Modern Craft, 1:1 (2008)77-100.

Further Reading:
* Achim Borchardt-Hume (ed), Albers and Moholy-Nagy: From the Bauhaus to the New World, 2006
* Uwe Westphal, The Bauhaus, 1991
* Frank Whitford, Bauhaus, 1984.

Week 10
Degenerate Art and Neo-Expressionism (Baselitz and Kiefer)

Seminar Reading:
Jack Cowart, Expressions: New Art from Germany; Georg Baselitz, Jörg Immendorff, Anselm Kiefer, Markus Lüpertz, A.R. Penck (St Louis Art Museum, 1983).

Yve-Alain Bois, Benjamin Buchloh, Hal Foster, and Rosalind Krauss, Art Since 1900, Modernism, Antimodernism, Postmodernism, pp. 348-359.

Further Reading:
* Peter Adam, The Arts of the Third Reich, London, 1992
* Stephanie Barron, "Degenerate Art": Fate of the Avant-garde in Nazi Germany, 1991
* Shearer West, Utopia and Despair: The Visual Arts in Germany 1890 - 1937, Manchester 2001

Week 11
Art of the GDR and New German Painting

Seminar Reading:
Christoph Tannert (ed.), New German Painting Remix, (Munich: Prestel, 2006)

Further Reading:
* Jack Cowart, Expressions: New Art from Germany; Georg Baselitz, Jörg Immendorff, Anselm Kiefer, Markus Lüpertz, A.R. Penck (St Louis Art Museum, 1983).
* Christian Weikop, 'Just how new is 'New' German Painting?' Art Book, 14/3 (2007): pp. 8-10. Available as pdf/jstor

Transferable skills Not entered
Reading list Reading

Every week, you will be given extract reading from book chapters and articles. Some of this material will be photocopied; some will be available on JSTOR. You will be expected to read these extracts in advance of the seminar. In addition, you will individually be given extended reading lists, depending on which topic you select for the coursework essay.

General Reading List

Shulamith Behr, Expressionism, London, 1999.

Reinhold Heller (ed.), Confronting identities in German art: myths, reactions, reflections, 2003

Colin Rhodes, Primitivism and Modern Art, London, 1994

Peter Vergo, Art in Vienna, London, 1975

Rose-Carol Washton Long, German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, California, 1993

Shearer West, Utopia and Despair: The Visual Arts in Germany 1890 - 1937, Manchester 2001

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