ARTH 260 * Introduction to Art History * Professor Sarah Benson * Spring 2005




syllabus
schedule | requirements | PDF

images
Unit 1: week 1 | week 2 | week 3

blackboard

>>assignments
    section: week 2 | week 3 | week 4 | week 5
   paper 1 | paper 2 | paper3 | journal

online resources
Cornell Library | Grove Dictionary of Art | Encyclopaedia Britannica | Oxford Dictionary of Art | Oxford Companion to Western Art | Oxford Dictionary of Architecture | History of Art Dept. | Cornell Homepage
WEEK 5

No quizzes

Discussion topic:
The politics of Realism and the aesthetics of death

Assignment:
Complete the readings and prepare answers for the following questions in your journal.

1) How do MARX and ENGELS define artists and the role of art?
2) According to D'ALLEVA, why does the practice of Marxist/Marxian art history remain relevant after the end Cold War?
3) According to STOKSTAD, why should we look for the sociopolitical messages and meanings of works of art?
4) Do the early photographs illustrated in STOKSTAD follow the same conventions as Naturalist and Realist art?

Prepare one of the following projects, as assigned by your section TA.

Project 1
COURBET created this image around the time that MARX first published his ideas. Does The Stone Breakers   exhibit any of the same thinking on class and labor that Marx was formulating in this period? Using the D'ALLEVA reading as a model, how can you carry out a Marxian analysis of this image, and what does it reveal?
Gustave COURBET (1819-77)
The Stone Breakers
1849
Oil on canvas
1.6 x 2.59 m.
Formerly Dresden: Gemäldegalerie
Believed to have been destroyed in World War II
   

Project 2
Using the D'ALLEVA reading as a model, how can you carry out a Marxian analysis of this image, and what does it reveal?
Honoré DAUMIER (1808-79)
The Third-Class Carriage
c. 1862
Oil on canvas
65.4 x 90.2 cm.
Ottawa: National Gallery of Canada
   

Project 3
Look at the photograph A Harvest of Death from Alexander GARDNER's Photographic Sketchbook of the War (available through Cornell's online digital collections). Read the accompanying captions, listed below, then compare to WEST's The Death of General Wolfe.
* Gardner's Publication
* Title page
* Plate 36 caption
Timothy H. O’SULLIVAN
A Harvest of Death
July 1863
Albumen silver print
plate 36 from Gardner's Photographic Sketchbook of the War
Cornell Library Division of Rare & Manuscript Collections
Benjamin WEST (1738-1820)
The Death of General Wolfe
1770
Oil on canvas
1.51 x 2.14 m.
Ottawa: National Gallery of Canada

Project 4
Look at the photograph Home of a Rebel Sharpshooter from Alexander GARDNER's Photographic Sketchbook of the War (available through Cornell's online digital collections). Read the accompanying captions, listed below, then compare to DAVID's Death of Marat.
* Gardner's Publication
* Title page
* Gettysburg
* Plate 41 caption
Alexander GARDNER (1821-82)
Home of a Rebel Sharpshooter
July 1863
Albumen silver print
plate 41 from Gardner's Photographic Sketchbook of the War
Cornell Library Division of Rare & Manuscript Collections

Jacques-Louis DAVID ( 1748-1825 )
Death of Marat
1793
Oil on canvas
1.65 x 1.28 m.
Brussels: Musées Pyaux des Beaux-Arts de Belgique


Readings:
* Stokstad , AH , "Uncovering Sociopolitical Intentions," pp. xlv-xlvi; "Early Photography in Europe," "Technique: How Photography Works," pp. 964-967; "French Naturalism and Realism and their Spread," "French Naturalism," "French Realism," "Naturalism and Realism Outside France," pp. 971-976; "Civil War Photography and Sculpture," p. 1009; "Post-Civil War Realism," 1009-1011
* D'ALLEVA, "Marxist and Materialist Perspectives on Art," pp. 48-60 {same file as WEEK 3}

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