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SEMESTER 2, 2019 Course Information
- Course Coordinator
- Robin Woodward – email@example.com
- Robin Woodward – firstname.lastname@example.org
- Course delivery format
- 2 hours of lectures and 1 hour of tutorial per week
- Lecture time and place: Thursday 2-4pm. Room: Arts 1, Room 209
- ARTHIST201: Thursday 12pm - 1pm, 114 G17 (Commerce A)
- ARTHIST321: Thursday 10am-11am. 201E-902 (Human Sciences - East, Rm 902)
Europe was at war for much of the late eighteenth and early nineteenth centuries. As Napoleon and his armies rampaged across the continent and into North Africa, Russia was also forced to defend its borders, and Britain joined the fray. Art was employed as propaganda by all sides in the conflicts; monuments to the heroic and paintings of the suffering prevail. French artists glorified the Revolution and glamourized the military campaign while the Spanish artist Goya showed his compatriots’ suffering at the hands of the French invaders. While documenting the political turmoil in Europe artists also delight in the exotic of newly conquered territories and colonies such as Morocco, India and the Americas. Others, such as Ingres, Fuseli and William Blake are preoccupied with their own personal visions which they paint in a combination of romanticism and the popular neoclassical style.
Just as the political map of Europe was being redrawn, daily life was also changing irrevocably. The rise of a wealthy industrial class in English society led to changes in the subject matter of art. The newly moneyed classes wanted art that reflected their new found status, wealth and education - paintings that showcased their country estates, and portraits that touted their learning and recorded their travels to Italy. However the effects of the Industrial Revolution hit England particularly hard. Do the seemingly idyllic landscape scenes by John Constable reflect what was happening to his beloved countryside? Do Turner’s swathes of colour acknowledge the effects of science, industry and the Enlightenment?
This course focuses on late eighteenth-century and early nineteenth-century painting, sculpture and architecture in Europe, particularly France and Britain. The impact of social and industrial revolution is examined, and developments in portraiture, landscape and history painting are explored. The major artists include Constable, Turner, Goya, Reynolds, Gainsborough, David, Ingres, Gericault and Delacroix.
Lecture 1 Introduction a general introduction to the course
Lecture 2 Italy, Greece and the Grand Tour the neoclassical ideal
Lecture 3 Neoclassicism an introduction to theory and principal artists
Lecture 4 Romanticism ideas and examples
Lecture 5 The Hierarchy of the Arts history painting
Lecture 6 Landscape and Nature inspiration and imagination
Lecture 7 Portraiture: not just a pretty face
Lecture 8 Portraiture: the ‘elevation of ‘mere face painting’ Reynolds & Gainsborough
Lecture 9 A Case Study in Neoclassicism Canova and Sculpture
Lecture 10 A Case Study in Romanticism Edmund Burke and the sublime
Lecture Session 11 Stage 2 Class Test
Lecture 12 A Romantic Individual – Joseph Wright of Derby
Lecture 13 Painting History Jacques Louis David
Lecture 14 Recording History Goya
Lecture 15 Themes Art and Gender
Lecture 16 Ingres, a romantic classicist
Lecture 17 Gericault, in search of an ‘ideal’ style
Lecture 18 Delacroix, classicist or romantic?
Lecture 19 Art, Academies and Society
Lecture 20 The Collapse of the Hierarchy in Art
Lecture 21 Architecture I Neoclassicism
Lecture 22 Architecture II Romanticism
Lecture 23 Survey Review
Lecture 24 Romanticism
ARTHIST201 Class test: Thursday 29 August in the usual lecture time and place
Essay due date: Monday 7 October 4.30pm
ARTHIST321 1st essay due date: Wednesday 28 August 4.30pm
2nd essay due date: Monday 7 October 4.30pm
Coursework + exam
ARTHIST201 Coursework: one visual test and one essay. Exam: two hour exam
50% coursework (essay 30% and a class test 20%) and an examination 50% = 100%
ARTHIST321 Coursework: two essays. Exam: two hour exam
50% coursework (two essays:1st essay 20%, 2nd essay 30%) and an examination 50% = 100%
Note: The exam is a computer based exam. This will be explained in class.
There is a two hour lecture session each week, plus one smaller group lectorial a week which starts in the second week
Readings will be provided
ARTHIST 201: 15 points
ARTHIST 321: 15 points
ARTHIST 201 Any 15 points at Stage I in Art History
ARTHIST 321 Any 30 points at Stage II in Art History
ARTHIST 201: ARTHIST 321
ARTHIST 321: ARTHIST 201
The University of Auckland's expectation on 15-point courses, is that students spend 10 hours per week on the course. Students manage their academic workload and other commitments accordingly. Students attend two hours of lectures each week and participate in a one-hour tutorial from week 2 of semester. This leaves seven hours per week outside the classroom to prepare for tutorials, assignments and the exam.
Deadlines and submission of coursework:
Deadlines for coursework are non-negotiable. In extreme circumstances, such as illness, you may seek an extension but you will be required to provide a doctor's certificate before the assignment is due. All late assignments without a pre-approved extension will be penalised one mark per day late.
The syllabus page shows a table-oriented view of course schedule and basics of course grading. You can add any other comments, notes or thoughts you have about the course structure, course policies or anything else.
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