INTRODUCTION

1.      Introduction to the Course

         Course materials, Ground rules, Navigating the web page.

2.      The Paradigms and Meta-commentary

         PHA on The Paradigms (introduction to essence definitions)

         PHA on Classicism (system to Idealization)

         Quiz on PHA pages

         Introduction to the paradigms

PART 1: ART UNDER THE CLASSICAL PARADIGM

3.      Problems of Classical Beauty in painting

         PHA on linear perspective; HF; 376-380; last para of 391-396

                  Intellectual background: Pliny and art history (realism, development and progress); Social background: New Republics, St Francis and church reform

         Giotto and the problem of Classically Beautiful realism (sacrifice of unified scale); Brunelleschi, Donatello and linear perspective (creation of Ideal space); Masaccio and the problem of Classically Beautiful realism (sacrifice of completeness)

         Mantegna and the problem of foreshortening (distortion)

         Leonardo's rebellion (sfumato and tenebrism)

4.      Problems in Classical Architecture

         PHA on Classicism (greatness to exhaustion)

         PHA on Architecture (Greek system and Roman system)

         HF 388-91; 402-5; 442-6 (5th ed: 422-425; 430-435; 476-479)

         Quiz

         Alberti and the problem of Beauty and Ornament, Sta Maria Novella (impossible façade); Bramante and logical/structural problems, Tempietto, St Peter's (impossible structures)

5.      Transcending the problems: The High Renaissance

         HF 442-453 (5th ed: 480-488)

         Raphael, Disputà (Classical Beauty in action); School of Athens (artist in control); Michelangelo, Sistine Ceiling (expressing emotions through the body); David (artist in control)

6.      Solving the Problems: Mannerism, Greatness and Exhaustion

         PHA on greatness; HF 455-6; 466-71 (5th ed: 491-494; 504-509)

         Pliny 171 (xerox); Vasari 325-335 (xerox)

         Quiz

         Architecture - Giacomo della Porta, Il Gesù (corbels)

         Women Artists - Properzia de Rossi and Sofonisba Anguissola

PART 2: ART UNDER SENSUALISM

7.      Art and Experience

         PHA on Compositional Analysis

8.      Art and Communication

         PHA on the five Truth Types

         Quiz

9.      Recognizing the potential of Sensualism

         PHA on the Paradigms (again)

         PHA on Sensualism (Sensual Truth, Sensual Beauty and the Romanticization)

         HF 456-61 (Venetian Renaissance) (5th ed: 495-501)

         Quiz on: Sensualism, Sensual Beauty, and the Romanticization

         Giorgione, Castelfranco Madonna (enigma, sense, color composition); Titian, Assuntà and Rape of Europa (spiritual passion, sensual rapture), Murillo, Immaculate Conception (Sensual Beauty, Romanticization and audience longing)

10.    New issues arising from Sensualism (stylistic diversity and knock-on effects)

         PHA on Style as Communication; practice: Lotto (HF 458, 5th ed: 496) Titian (HF 459, 5th ed: 497) Rembrandt (HF 557, 5th ed: 601) Hals (HF 555, 5th ed: 599)

         Titian, Veronese, Rubens, Velasquez: stylistic individuality, artistic presence, collectability, connoisseurship

11.    New issues arising from Sensualism (artist-audience dialogue on life and art)

         PHA on Classical and Dutch Landscape; HF 549-551; 561-3 (5th ed: 592-595; 605-609); HF 551-554; 565-566 (5th ed: 595-598; 609-610)

               Social background: A fractured world - Classical/Christian schism; Catholic/Protestant schism; the beleaguered Empire and war in Europe

         Classical and Dutch Landscape as meditations on the human condition

         Tintoretto & gesture; Sofonisba, Velasquez, and Vermeer on the art and nature of painting

12.    New issues arising from Sensualism (excess?  or the sensual experience of power?)

         PHA on Classical Beauty, Idealization; HF 538-539; 543-548 (5th ed: 582-583; 587-592)

         Quiz

         Bernini, St Peter's Baldacchino, St Theresa in Ecstasy; Borommini, S Ivo; Pozzo, S Ignazio

13.    New issues arising from Sensualism (Good Taste, The Canon, Academic Art History; appropriateness: style as meaning in architecture)

         PHA on Taste and The Canon; Classical Revival; Academic Art History; HF 570-580; 587-588 (5th ed: 614-423; 630-632); HF 620-623 (5th ed: 669-671)

         Rococo taste, sentiment and manners - Fragonard, The Swing; Hoare, Stourhead Park; The home – Burlington, Chiswick House; Adam interior decoration; Walpole, Strawberry Hill

         Classical Revival - Smirke, The British Museum, London; Jefferson, State Capitol, Washington

         Gothic Revival - Barry; Houses of Parliament, London; Upjohn, Trinity Church, Boston

         Baroque Revival - Garnier, the Opéra Paris, Paris

14.    New issues arising from Sensualism (appropriateness: style as meaning in painting; moral purpose of art); Romanticism and The Sublime

         PHA on Dangerous Beauty; Kant & Schopenhauer; Romantic Landscape; American Landscape; HF 609-16; 632-637 (5th ed: 657-664; 680-683; 684-685) (not Homer)

         HF 593-595; 598-609 (5th ed: 637-639; 642-657)

         Quiz

         David, Goya and protest, Géricault, Delacroix

         Friedrich, Turner, The Hudson River School

PART 3: ART UNDER QUIETISM

15.    The visible precursor of Quietism: the all-powerful machine, God vanquished?

         PHA on the Paradigms and on Quietism; HF 682-683 (5th ed: 732-733)

         Civil Engineering vs architecture - bridges, factories, railways: Abraham Darby III, The Ironbridge, 1779; Telford, Menai Bridge 1819, Brunel, Maidenhead Bridge 1837, Stephenson, Britannia Railway Bridge 1850, Paxton, Crystal Palace 1851; Roebling, Brooklyn Bridge 1869-83; Eiffel, Tower 1887-89;

         Sullivan and the skyscraper (1880s); the International Style

16.    Quietism arrives: establishing the external scope, the use of non-beauty

         PHA on Temporal Plainness, Objectified Figure; HF 625-630; 617-620; 632-642; 661-668 (5th ed: 673-679; 665-668; 680-691; 711-718)

         Quiz on: Quietism, temporal plainness, objectified figure, divorce of art, beauty and use

         Photography 1850s ff (machine and the withdrawal of the artist); Manet, Olympia, Déjeuner 1862-3; Homer, Long Branch 1869 (plainness and detachment, paradox and meditation); Degas 1870s   (objectified figure, social acquiescence)

17.    Quietism expands: the mechanical encounter between internal and external reality - image as convergence point, meta-language of image-making and image-perception

         PHA on Jumping Colors, Quietist Paradox, HF 656-662; 684-668; 730-737 (5th ed: 700-711; 735-739; 786-793)

         Impressionism 1870s (pseudo-scientific optical effects); Cezanne 1870s, Cubism 1908 (image as perspectival paradox, planar technique, jumping color effects - multiple-vision)

18.    The conscious encounter between internal and external reality

         HF 673-678 (5th ed: 723-729)

         Quiz

         Gauguin 1880s ff, van Gogh 1880s ff, Munch 1890s ff, Rodin 1880s   (personal psychology)

         Fauvism, Expressionism, Futurism - all 1908   (examined emotion)

19.    The meditative encounter between internal and external reality

         HF 772-773 (5th ed: 831-832)

         Brancusi, Arp, Moore, Hepworth (connoted form)

20.    Purely internal reality: analysing the image of consciousness itself

         HF 727-729; 741-742 (5th ed: 783-785; 797-799); Kandinsky, Reminiscences (xerox); also read HF 776-784 (5th ed: 835-842) (Abstract Expressionism)

         Quiz

         Abstraction, Kandinsky, Composition VII (no 2) 1913, Malevich, Black Square on White Ground 1913, White on White 1922

21.   Rendering futility, anti-art and happenstance

         HF 745-749; 753-760 (5th ed: 801-804; 809-816); also read HF 785-90 (5th ed: 846-860) (Pop) Dada & Surrealism; Duchamp, Fountain 1917, de Chirico, Mystery and Melancholy of a Street 1914, Arp, Collage with Squares arranged according to the Laws of Chance 1916-17, Schwitters, Merz 83 (Drawing F) 1920

22.    Personal or communal spirituality: the experience of war

         PHA on Modern Religious Art, HF 776-783; 783-784 (5th ed: 835-842)

         Quiz

         Assy consecrated 1950, Coventry dedicated 1962; The Rothko Chapel 1965-66

23.    The Avante Garde in crisis, and the end of Art

         PHA on the End of Art History; HF 791-827 (5th ed: 850-886)

         Fischer, Danto, Belting declare an end to art, to history and to art history (1980s)

         Anything goes? Conceptual art, Earth art, archetypal identity (gender, ethnicity, sexuality), digital art, video, body art. PostModern architecture - style without meaning

24.    The most wanted art: packaged, benign reality with a prospect of a happy ending

         PHA on The Paradigms, introduction (and especially the World's Most Wanted Paintings)

         Komar and Melamid poll the people of the world.

         Quiz

         The Pope and his Millennial Revival of Great Art and Architecture (André Durand; Richard Meier, church of Torre Tre Teste)

25.   Overlooked architecture: the Hi-Tech Hope

         From hi-tech machine to hi-tech dream: what can we be?

CONCLUSION

26.    What is reality?

         Quiz

         Can reality be collaboratively discovered and made visible?  Does reality have any purpose for the human soul?  If reality cannot be packaged and has no intentions is there anything for artists, critics, historians to do?