Undergraduate Course: Romanticism to Expressionism (HIAR10108)

Course Outline
School	Edinburgh College of Art	College	College of Humanities and Social Science
Credit level (Normal year taken)	SCQF Level 10 (Year 3 Undergraduate)	Availability	Available to all students
SCQF Credits	20	ECTS Credits	10
Summary	This course examines the nineteenth- and early twentieth-century artistic quest for the origins of Germanic identity and the Romantic roots of early Expressionism. Identity, as it is understood here, is a multifaceted concept, one that might encompass geo-politics, self-perception, or, in an essentialist formulation, 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' Germanic identity played out in the visual culture of the long nineteenth century i.e. from the Nazarenes to the Brücke. Indeed both formations, while separated by a hundred years, can be considered avant-garde 'brotherhoods', who sought to reinvigorate German art in opposition to academic artistic conventions. We will discuss 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 (Arthur Schopenhauer, Julius Langbehn, Friedrich Nietzsche et al.) and the artistic reception of their ideas. Throughout, the course we shall investigate the enduring Romantic cult of Albrecht Dürer as the German artist par excellence, and his influence on both nineteenth- and early twentieth-century German artists, and society more generally. In addition, we will discuss the German Romantic 'longing for the south' (Italy), in many respects following Dürer's travels, and the more problematic artistic and critical reception of French culture. The course will cover a wide range of subject matter from the arboreal 'fairy-tale' landscapes of artists such as Caspar David Friedrich and Adrian 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. Visual expressions of a 'free body culture' in both Symbolist and Expressionist artworks as part of the Life Reform Movement will also be considered, as will the sexual misogyny and anxiety of turn-of-the-century art in Munich, Vienna, and Berlin.
Course description	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 - 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)

Entry Requirements (not applicable to Visiting Students)
Pre-requisites	Students MUST have passed: History of Art 2 (HIAR08012) OR Architectural History 2a: Order & the City (ARHI08006) AND Architectural History 2b: Culture & the City (ARHI08007)	Co-requisites
Prohibited Combinations		Other requirements	None

Information for Visiting Students
Pre-requisites	Visiting students should have at least 3 History of Art courses at grade B or above (or be predicted to obtain this). We will only consider University/College level courses. as numbers are limited, visiting students should contact the Visiting Student Office directly for admission to this course
High Demand Course?	Yes

Course Delivery Information

Academic year 2017/18, Available to all students (SV1)		Quota: 16
Course Start	Semester 1
Timetable	Timetable
Learning and Teaching activities (Further Info)	Total Hours: 200 ( Seminar/Tutorial Hours 20, Summative Assessment Hours 2, Revision Session Hours 1, Programme Level Learning and Teaching Hours 4, Directed Learning and Independent Learning Hours 173 )
Assessment (Further Info)	Written Exam 50 %, Coursework 50 %, Practical Exam 0 %
Additional Information (Assessment)	One 2,000 word extended essay (50%) One examination (50%) Visiting student variant assessment - 2 x 2000 word essays
Feedback	Mid-way through the semester all students submit an essay abstract for formative feedback. You will be given written feedback/feedforward comments and one-to-one 15 minute meetings on this uncredited submission within 15 days of the hand-in date.
Exam Information
Exam Diet	Paper Name		Hours & Minutes
Main Exam Diet S2 (April/May)	Romanticism to Expressionism		2:00

Academic year 2017/18, Part-year visiting students only (VV1)		Quota: 5
Course Start	Semester 1
Timetable	Timetable
Learning and Teaching activities (Further Info)	Total Hours: 200 ( Seminar/Tutorial Hours 20, Programme Level Learning and Teaching Hours 4, Directed Learning and Independent Learning Hours 176 )
Assessment (Further Info)	Written Exam 0 %, Coursework 100 %, Practical Exam 0 %
Additional Information (Assessment)	One 2,000 word extended essay (50%) One examination (50%) Visiting student variant assessment - 2 x 2000 word essays
Feedback	Mid-way through the semester all students submit an essay abstract for formative feedback. You will be given written feedback/feedforward comments and one-to-one 15 minute meetings on this uncredited submission within 15 days of the hand-in date.
No Exam Information

Learning Outcomes
On completion of this course, the student will be able to: Demonstrate detailed knowledge and critical understanding of the historical and artistic development of Romanticism. Demonstrate awareness of the broader contextual dimensions of German art and society, and the diverse attitudes of German artists and critics to 'Latin culture'. Have a secure understanding of the key issues concerning German cultural identity, and be able to relate how Expressionism connected to some of the ideals of Romanticism. Discuss in seminars and write in essays about challenging and demanding art historical and theoretical concepts, which inform a fuller aesthetic appreciation and critical understanding of the course material. Demonstrate skills of spoken communication for your 10-minute powerpoint presentation exercise. You will also develop your inter-personal skills, listening to and commenting on your colleagues' work, as well as points raised in discussion by the tutor.

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