The Art of Impressionism, Art 384
Monty Helm

June 11,25,July 16, 8:00-5:00
Executive Session, Summer 2005, Weekend College
Art Department, Brescia University

NOTE: ATTENDANCE DURING ALL THREE SESSION IS A REQUIREMENT
NO EXCEPTIONS or EXCUSED ABSENSES. Failure to do so will result in a failing grade.

I.Art 384-01, The Art of Impressionism.
Room 111A, June 11,25,July 16, 8:00-5:00

II. Monty Helm, Lecturer, Art Department, Brescia University. 270 683-8256 or
monty@montyhelm.com and for class details website: www.thestudioarts.com

III. Art 180 or permission of instructor.

VI. Required Text:
Thomson, Belinda. Impressionism: Origins, Practice, Reception. London, England: Thames and Hudson, 2000.
Turner, Jane. From Monet to Cezanne. NY: St. Martin's Press, 2000.

V. General Education Requirements: (course fulfills General Education Requirements)

Value outcomes: Art History courses in relation to value outcomes allow the student to critically examine aspects of cultural diversity through the visual arts. Works of art provide students with a common ground to discuss and interpret intellectual concepts reflected by the society in focus. This mirror of the given culture is presented by the artist - an individual motivated by a variety of reasons: self-expression, intellect, financial gain, or simply in search of understanding.
Impressionism is easily understood on a global level. Impressionistic art is one of the first art movements to combine ideas and styles from two distant, unrelated cultures: specifically France and Japan. It also can serve as a model for the open pursuit of knowledge. The French Impressionists are certainly perceived by contemporary society as marvelous painters, but to the student of art, they represent artistic freedom. The student will come to understand how these highly individualistic artists overturned tendencies of isolation with an allied camaraderie in pursuit of a higher level of understanding. Their alliance enabled them to overcome obstacles and barriers of a highly established academy. Their demonstrated openess to artistic experimentation is a familiar norm among today's contemporary artist.

Knowledge outcomes: In regard to knowledge outcome, students will expand their sensitivity in the arts through in depth studies and examinations of specific works. Students will discern the contributing factors (individuals, events, political and religious thought, and cultural influences) and how these elements contribute to the development of artistic theme and style. The course is designed to reveal the key element surrounding the success of Impressionism, experimentation through direct observation without obscuring what had come before.

Skill outcomes: Students will exercise skills in logic, creative and philosophical thought, and critical analysis to achieve understanding in the arts. These skills will be demonstrated verbally and literally as they interpret classroom and individual research experiences in the form of writing and presentation. Student's research skills in library science will be realized as a key to success. These skills will lead students to obtain information necessary for critical analysis, both in their research assignments, classroom discussion, and presentations. Students will employ the use of the Internet to visit distant cites - through this source they will experience directly, information from museums and collections holding masterworks of art. Students will develop analytical skills in an environment that promotes discussion and diversity of thought. The success factors mentioned in this statement will be reflected in the participation of the student in the classroom, the assigned research, readings, and writings.

VI. The course is an upper division art history. Art majors: fulfills 3 credit hours of the upper division art history requirement. Non majors: fulfills 3 credit hours of the required Fine Arts electives.

VII. Departmental and University-Wide Curriculum.

The Art of the Impressionism complements the current art curriculum as a specialized course in art history. The course provides an in depth study of the development of impressionism and the profound impact it made upon modern art. The influence of impressionistic color theory is realized in the contemporary world as an established standard for color usage. The Impressionist developed a new approach in the pursuit of art theory. The structure of the movement has served and is serving as a prototype for the artists of the 20th and now 21st century. The formation of the group constituted the first of the "isms" in the history of art.

The course not only strengthens the curriculum in the art department by offering the students specialized study in art history but offers the students of the Brescia community an opportunity to examine one of the most celebrated periods in the history of art. The characteristics of this art movement are defined by creative thought and scientific theory - a combination not always realized- but resulting in an area of study that is understood on various level, crossing the curriculum from art to science.

VIII. Course Description:
The Art of Impressionism is a course which exams the development of Impressionistic painting and the impact it had on modern art. The course will include the contributing factors of the Barbizon school of plein aire painting and the introduction of the Japanese Print to European Art. An in depth study of the major artists, artworks, patrons, and exhibitions will be conducted

Course Objectives: The objective of this course is for the student to gain a thorough understanding of the Impressionistic Period of art and to comprehend the extent of its impact upon modern art. It is also an objective for the student to develop the ability to recognize the individual styles of the major artists of the impressionist art movement.

Course Outline:
I. The Influences.

A. The Barbizon School and Plein Aire Painting. Theodore Rousseau, Baudelaire, Corot, Daubigny, Boudin, Jongkind, Millet, Dupre.
B. British Landscape Painting. Constable and Turner.
C. The Caricature. Daumier.

II. The Impressionists.
A. The Art of the Day. Ecole des Beaux- Arts.
B. Realism. Courbet and Manet.
C. Edgar Degas.
D. The Japanese Print: Hokusai and Utamaro.
E. The French Impressionists. Monet, Pissaro, Renoir, Cassatt, Morisot, Sisley, and Signac.

III. The Post Impressionists.
A. Color and Form. Paul Cezanne.
B. The Post Impressionists: Lautrec, Gauguin, Van Gogh,, Seurat, and Valladon
C. The Nabis.

IV. The Early Moderns.
A. Munch
B. the Fauves
C. American Impressionists

IX. The Principal instruction technique will be conducted through slide lectures, presentations, and open class discussion.

X. Required Work and Assignments: Two Research papers and regular essay response papers.

 

Pre-assignment: Due 1st session 1½ - 2 pages, typed. [Grade value 12%]

This essay is in response to your first reading assignment. Pay particular attention to Chapter Two, The Artists of the Batignolles, and Chapter Three, Personalities and Family Histories.
1. Who are the early members of the Impressionist Group? 20 points
2. Why are Manet and Monet particularly important? 40 points
3. What factors (social, personal, and artistic) contributed in forming the Impressionist group? 40 points. Total points for this assignment: 100

Research paper on an Impressionist, or Barbizon artist. Due 2nd session, (5-7 pages, typed, cite sources).
[Grade value 26%]

This research paper is designed to initiate a thinking process focused on the material covered in the first half of the class. Each student will be assigned a different artist and will research the artist's individual style, social/economic background, major contribution in the form of masterworks, writings, and journal entries, and the impact the artist made on society and/or other artists or movements. (88% content, 12% bibliography).

*I always grade the bibliography, I do this primarily to demonstrate the significance of good sources and the importance of library skills in conducting research.

Research Paper on a Post Impressionist or Nabis artist: Due 3rd session (5-7 pages, typed, cite sources).
[Grade value 26%]

Essentially, the same criteria as stated in the first assigned research paper. The sequence of the assignment is also designed to direct the student toward the material covered in the second half of the course. As a result, the student will be prepared to contribute to in-class discussions of the topic at hand. The fact that the whole class is focusing on artists of the same period in conjunction with the time-frame of material covered in class, creates a situation where both students and teacher share in the learning experience and enhances in-class discussion. (88% content, 12% bibliography)

In-class response essays [Grade Value, 36% total, 12% per essay]

Three In-class response essays. The in-class essays are written responses to several questions surrounding the nature of each topic below. Through the essays the students will reflect the knowledge gained in the class experience as well as the assigned reading.

Topics:
The Barbizon influence on Impressionism.
The phenomena of the Salon of Refusal.
Comparative analysis of individuals within the Impressionist Group.
The innovations of the Post Impressionists, the factors that influenced them, and
Impressionism/Post Impressionism's impact on Modern Art

Reading Assignment in Thomson's Impressionism
Before session 1: Pages 5-120
Before session 2: Pages 120-188
Before session 3: Pages 189-259
(reading assignments in Monet to Cezanne, to be announced)

XI. Assignment Value: Research papers: 52% Essays and Pre-assignment: 48%
Grade Scale: 100-90 A, 89-80 B, 79-70 C, 69-60 D, 59 - below F

Bibliography

Abbate, Francesco. Impressionism, its forerunners and influences;L'Ottocento in Europa. Simbolismo e impressionismo. English. London, New York, Octopus Books Ltd, 1972.

Anderson, Janice. The art of the impressionists. Bridgeman Art Library. New York, N.Y. : Shooting Star Press, c1994.

Barron, Stephanie, 1950- . German expressionism : art and society. New York : Rizzoli, 1997.

Bolton, Linda. Impressionism. Lincolnwood, IL : Peter Bedrick Books, 2000.

Hill, Ian Barras. Impressionism. New York : Galley Press, c1980.

Bouret, Jean, The Barbizon School and 19th century French landscape painting. Greenwich, Bullard, Edgar John, 1942-. Mary Cassatt: oils and pastels. New York, Watson-Guptill Publications [1972]

Bulliet, Clarence Joseph. The significant moderns and their pictures, Moderns and their pictures.New York, Halcyon House, [c1936]

Cogniat, Raymond, 1896-, The century of the impressionists. New York, Crown Publishers [1967]

Courthion, Pierre, Georges Seurat. New York : Harry N. Abrams, 1988.

Courthion, Pierre. Impressionism. New York, H. N. Abrams [1972].

Crespelle, Jean Paul. The Fauves. Greenwich, Conn., New York Graphic Society [1962]

Cres Huisman, Philippe. Lautrec by Lautrec. New York, Viking Press [1964

Hanson, Lawrence. The seekers:Gauguin,VanGogh,Cezanne...New York : Random House, c1963.

Hill, Ian Barras. Post impressionism. New York : Gallery Press, c1980.

Jaffe, Hans Ludwig C. The world of the impressionists; the artists who painted with delight in being alive. [Maplewood, N.J.] Hammond Incorporated, 1969].

*Katz, Robert. The impressionists in context. New York : Cresent Books ; distr. by Outlet Books, c1991.

Kelder, Diane. The Great Book of French Impressionism. New York : Abbeville Press, c1980.

Kendall, Richard. Van Gogh's Van Goghs. Washington: National Gallery of Art, 1998.

Kostenevich, A. G. (Albert Grigorevich), French art treasures at the Hermitage : splendid masterpieces, new discoveries. New York : Harry N. Abrams, 1999.

Impressionism. Secaucus, NJ: Chartwell Books, [c1971].

Lassaigne, Jacques. Impressionism. 1910-. New York, Funk & Wagnalls [c1966].

Machotka, Pavel. Cezanne : landscape into art . New Haven : Yale University Press, c1996.

Messer, Thomas M., Edvard Munch. New York : Abrams, c1985. 759.81 Mess

Modern French masters, the impressionists. Lamplight Pub., 1975.

Pickersgill, Howard. The impressionists. Secaucus, N.J. : Chartwell Books, [c1979]

Rewald, John. The history of impressionism. New York : Museum of Modern Art ; Greenwich, Conn. : distributed by New York Graphic Society, 1973.

Reyero, Carlos. The key to art from romanticism to impressionism /Del romanticismo al impresionismo. Minneapolis : Lerner Publications Co., 1990.

Richardson, John, 1924-. Manet. London: Phaidon, 1967.

Rosenblum, Robert. 1900, art at the crossroads . New York, N.Y. : H. N. Abrams, 2000.

Salvi, Francesco. The Impressionists : the origin of modern painting / Impressionisti. New York : P. Bedrick Books, 1994.

San Lazzaro, Gualtieri di. Homage a Georges Rouault. English.New York, Tudor Pub. Co., c1971.

Shone, Richard. The Post-impressionists. London : Octopus Books ltd., c1979.

Stuckey, Charles, Claude Monet 1840-1926. Chicago: Chicago Art Institute [1995].

White, Barbara Ehrlich. Impressionists side by side : their friendships, rivalries, and artistic exchanges. New York : A.A. Knopf : Distributed by Random House, Inc., 1996.