Department of Art History and Archaeology
Columbia University

Humanities C1121 - Fine Arts F1121
SYLLABUS


Masterpieces of Western art (also known as Art Humanities) has been an integral part of the core curriculum of Columbia College since 1947. Structured along the lines of Humanities C1001-C1002 (Masterpieces of European literature and philosophy ), it is not an historical survey but an analytic study of a limited number of works central to the Western tradition of art. The chief purpose of the course is to provide students with a foundation in visual literacy, to introduce them to the special character of the visual arts, and to a critical vocabulary for analysis and interpretation of those arts and their experience of them. The focus of the course is on the individual work of art, its formal structure and expressive function; the goal is to understand the work in its originating context as well as its transcendence of that context, to understand its continuing aesthetic validity and challenge. The syallabus comprises a series of topics from the development of Western art from Periklean Athens to contemporary New York, selected to represent a range of expressive possibilities in architecture, sculpture, and painting. (The Department of Art History and Archaeology offers a comparable set of courses in Asian Art Humanities: Masterpieces of the art of China, Korea, and Japan [V3340] and Masterpieces of Indian and Islamic art [V3342].)

  1. Course Requirements
  2. Museum Visits
  3. Readings
  4. Illustrations
  5. General Issues
  6. The Parthenon
    1. diagrams
  7. Amiens Cathedral
    1. diagrams
  8. Raphael
  9. Michelangelo
  10. Bruegel
  11. Bernini
  12. Rembrandt
  13. Goya
  14. Monet
  15. Picasso
  16. Wright and Le Corbusier

COURSE REQUIREMENTS

In addition to a midterm and a final examination, as well as optional quizzes, several short papers will be assigned, involoving analyses of original works of art. Participation in classroom discussion is an essential part of the course.

MUSEUM VISITS

Both group anbd individual vistis to museums in New York are an integral part of the course, and some paper assigments will be based on works of art in the museums and galleries as well as on buildings of architectural interest in the city. Those objects in this syllabus on display in local museums are so indicated:

ILLUSTRATIONS

A boxed set of University Prints includes black-and-white reproductions of all works on the syllabus; it should be purchased at the Columbia University Bookstore and is also available on reserve in the College Library in Butler.

The Art Humanities Image Reserve Collection is an online collection of images created for Art Humanities; each image includes basic information, and many offer details as well. This is a work in progress, however, and does not inculde the entire syllabus, although images will be added throughout the semester. The Art Humanities Image Reserve Collection is available on the ColumbiaNet World Wide Web site by clicking on the Art Humanities Home Page. Access is available from any residence hall, computer lab, public access or digital library terminal. (Questions about connecting a computer to the online image collection should be addressed to Academic Information Systems (AcIS) at 854-4854, or the Computing Support Center in 102 Philosophy.)

Additional visual materials are on display in the Howard McP. Davis Humanities Study Center on the ninth floor of Schermerhorn Hall.

Diagrams:

Parthenon, west elevation
Parthenon, plan
Doric and Ionic orders
Amiens Cathedral: wall system, vaulting and buttressing
Amiens Cathedral, plan

READINGS

Accompanying each topic in the syllabus is a short list of recommended readings. Individual instructors will decide which, if any, of these titles is considered required reading. All of the books listed are on reserve in the College Library in Butler. Those books marked by an asterisk (*) may also be purchased at the Columbia University Bookstore. In addition, individual instructors may assign readings from The Art Humanities Primary Source Reader ; which is on reserve in College Library and may also be purchased at the Columbia University Bookstore.
The following books, all available in paperback editions, provide useful basic introductions to the analysis and interpretation of works of art:

SYLLABUS


INTRODUCTION

  1. Elements of formal analysis: line, mass, space, light/dark, color, texture, scale, etc.
  2. Composition: the interrelation of elements.
  3. Technique, medium, material: their role in design.
  4. Iconography: images, symbols, programs.
  5. Style and taste.
  6. The artist and the work in society.: social hierarchy, economis structure, patronage, etc.
  7. Levels of meaning in art, conscious and unconscious.
  8. Modes of artistic expression: realism, abstraction, idealization, etc.
  9. Genres: narrative, portraiture, landscape, still life, etc.

Suggested Reading:

I. THE PARTHENON (447-432 B.C. )

  1. The dominant temple on the Akropolis in Athens, rebuilt under the leadership of Perikles following the Persian invasion; dedicated to Athena Parthenos. Designed by Iktinos and Kallikrates; built of marble and of exceptional size: c. 225' x 100', column height 34'. Sculptural decoration supervised by Phidias.
  2. Function of the building: political, religious, symbolic, visual; its subsequent history and modern status as a "classical masterpiece."
  3. Structure: post and lintel (beam) construction; interior and exterior space; effects of light and shade; masonry technique.
  4. The concept of the order:
    1. Doric (on the exterior): base, stylobate; column, fluted shaft, capital, echinus, abacus; entablature, architrave, frieze (triglyphs and metopes), cornice, pediment.
    2. Ionic (on the interior): column, base; slender, fluted shaft, volute capital; frieze (continous).
  5. Optical refinements: taper and entasis of column shafts, inclination and displacement of columns, horizontal curvature of stylobate.
  6. Sculptural program:
    1. Outer frieze: Lapiths (Greeks) and Centaurs on south metopes;location,technique (high relief), design and polychrome.
    2. Inner frieze: Panathenaic (all-Athenian) Procession ; location, technique (low or bas-relief), design (narrative flow).
    3. Pediments: sculpture in the round
      1. East Pediment: Birth of Athena --Helios (sun), Demeter, Persephone, Selene (moon); problems of figure identification; differences in style.
      2. West pediment: Contest between Athena and Poseidon --river god and anthropomorphism; civic meaning of the program.
    4. Statue of Athena Parthenos in the naos; made of gold and ivory
  7. Figural style: classicism and idealism; contrapposto; Polykleites and the canon of proportion (Doryphoros ).
    Comparisons:
    Kouros (c.610-600 B.C.E.; marble, M MA )
    Kore (c. 600 B.C.E.)
    Mycernius and His Queen (Egyptian, IV Dynasty; c. 2500 B.C.E.)
    Ranefer (Egyptian, V Dynasty; c. 2300 B.C.E.)
    Venus of Willendorf (c.25,000-20,000 B.C.E.)
  8. Art, architecture and literature: style and values in Periklean Athens.


Reading and Illustrations:

II. NOTRE-DAME, CATHEDRAL OF AMIENS (1220-1269)

  1. The gothic cathedral of Amiens was constructed between 1220 and 1269, following the destruction of the old cathedral in 1218; nave chapels, west towers and central steeple are later. Bishop Evrard de Fouilloy initiated the work; the master masons were Robert de Luzarches, Thomas de Cormont and his son Renaud de Cormont. Built of chalk; measures 417' in length and 213' in overall width; crown of interior vaulting rises to 137', the equivalent of 144 royal feet.
  2. Position of the cathedral in the town. Aimens, aquired by the French monarchy in the 1180s, was governed by a commune. Norte-Dame was the seat (cathedra=chair )of the bishop and was served by a chapter of forty cannons. The Gothic cathedral as civic and religious monument.
  3. Plan: cruciform; orientation. Parts of plan: nave, aisles, transepts, crossing, choir, apse, ambulatory, radiating chapels. The plan involves a combination of arithmetic and geometric proportions. The nave bays are modular (squares and double squares); the overall dimensions are derived from the great square placed in the center of the edifice.
  4. Construction: arch and vault; pointed arch and ribbed quadripartite vaults, piers with colonnettes (piliers cantonnés), tower and flying buttresses.
  5. Interior elevation: nave arcade, triforium, clerestory.
  6. Stained glass: lancets, oculi, rose window; space and light; directionality. (The stained glass at Amiens was lost to storms and other destruction before the Frence Revolution; for a cathedral with its original windows, see the comparative material on Chartres.)
  7. Sculptural program: Design and style; location and relation to architecture.
    1. West facade: Last Judgement in tympanum of central portal. Trumeau figures: St. Firmin (parton saint of Amiens), Beau Dieu (Christ), Virgin Mary. Quatrefoils: Labors of the Months, Signs of the Zodiac, Virtues and Vices.
  8. South transept portal: Vierge Doree--Gothic style of the 1250's.

Reading and Illustrations:

III. RAPHAEL (1483-1520)

  1. Raffaello Santi born in Urbino, then a small but important cultural center of the Italian Renaissance; trained by his father, Giovanni Santi; influenced by Perugino, Leonardo da Vinci, and Michelangelo; worked in Florence 1504-08, in Rome 1508-20, where his chief patrons were Popes Julius II and Leo X.
  2. Pictorial structures and concepts: the picture plane, linear and atmospheric perspective, fore- shortening, chiaroscuro; contrapposto.
  3. Painting media:
    Tempera (egg binder and pigment) or oil (usually linseed oil as binder); support: wood panel (prepared with gesso ground) or canvas.
    Fresco (painting on wet plaster); cartoon, pouncing.
  4. Religious subjects:
    Marriage of the Virgin (1504; panel, 5'-7 x 3'-10)
    Madonna del Cardellino (Goldfinch ) (1506; panel, 3'-5 x 2'-5)
    Sistine Madonna (Virgin and Child with Sts. Sixtus and Barbara) (1512-13; canvas, 8'-8x 6'-5)
  5. Portraits:
    Agnolo Doni (c.1506; panel, 2'-0 3/4 x 1'-5 3/4)
    Maddalena Doni (c.1506; panel, 2'-0 3/4 x 1'-5 3/4)
    Tommaso Inghirami (c.1514; panel, 2'-11 1/4 x 2'-0)
    Baldassare Castiglione (c.1514-15; canvas, 2'-8 x 2'-2)
    Pope Leo X and Two Cardinals (c.1517-18; panel, 5'-1 x 3'-11)
  6. Stanza della Segnatura (1508-11), frescoes in the Vatican (palace of the popes), Rome:
    Vault: personifications of Theology, Philosophy, Poetry, Justice.
    Disputa (c. 25' wide)
    School of Athens (c. 25' wide)
    Parnassus (c. 22' wide)
    Jurisprudence (in the lunette: The Three Cardinal Virtues: Fortitude, Prudence, Temperance ) (c. 22' wide).
  7. Comparisons:
    Giotto, Ognissanti Madonna (c. 1305-10; panel, 10'-8 x 6'-8 1/4)
    Masaccio, Trinity (c. 1425; fresco, 21'-10 5/8 x 10'-0 3/4)
    Domenico Veneziano, St. Lucy Altarpiece (c. 1445- 47; panel, 6'-10 5/8 x 7'-1 1/4)
    Leonardo da Vinci, Last Supper (1495-97; mixed tempera on plaster, 15'-1 x 28'-10)____. Study of Human Proportions (Vitruvian Man)(c. 1490; pen and ink, 1'-1 1/2 x 9 5/8)
    ____. Anatomical Studies (1508-10; pen and ink, 11 1/2 x 7 7/8)

Reading and Illustrations :

IV. MICHELANGELO (1475-1564)

  1. Michelangelo Buonarroti born in Caprese, a village near Florence and a center of stone cutters; apprenticed in 1488 to Ghirlandaio, a Florentine painter known for his frescoes; studied the collection of ancient sculpture in the Medici gardens; religious spirit affected by Savonarola and by Neoplatonism. Worked chiefly in Florence and Rome, where he frescoed the ceiling of the Chapel (1508-12) and painted the Last Judgement on the end wall (1535-41); he was as well an architect of St. Peter's. Michelangelo always thought of himself primarily as a sculptor--and we focus on that aspect of his art.
  2. Early sculpture:
    1. Pieta , St. Peter's, Rome (1498-99; marble, 5'-9)
    2. David , Accademia, Florence (1501-04; marble, 14'-0)
  3. Comparisons:
    1. Donatello, David (c.1425-30; bronze, 5'-2 1/4)
    2. Andrea del Verrocchio, David (c.1476; bronze, 5'-1 3/4)
  4. Funerary monuments:
    1. a.Tomb of Julius II, San Pietro in Vincoli, Rome, 1505-47
    2. Moses (c. 1515; marble, 8'-4)
    3. Dying Slave (c. 1515; marble, 7'-1)
    4. Rebellious Slave (c. 1514; marble, 7'-6)
    5. Prisoner ("Atlas") (c. 1520-23; marble, 9'-1)
  5. b.Medici tombs in New Sacristy of San Lorenzo, Florence, 1519-34)
    1. Giuliano de' Medici , Night and Day
    2. Lorenzo de' Medici , Evening and Dawn .
  6. Late Work:
    1. Deposition (Florence Pieta) (c. 1547-55; marble, 7'-5)
    2. Rondanini Pieta (1555-64; marble, 6'-4)

Reading and Illustrations:

V. PIETER BRUEGEL (c. 1525-69)

1. Pieter Bruegel was born in the village of Brueghel, near Breda, in the southern Netherlands; traveled to Italy in 1552; worked in Antwerp 1552-62, in Brussels 1563-69.

2. Historical background: Northern Europe, Luther and Protestant Reformation; Emperor Charles V, Philip II of Spain, and the Inquisition in the Netherlands.

3. The artist as critic: The Painter and the Connoisseur (c. 1565; pen and ink, 10' x 8 1/2)

4. Drawings and engravings:
Alpine Landscape (c. 1555; engraving, 1'-0 5/8 x 1-4 5/8)
Big Fish Eat Little Fish (1556; pen and ink, 10 1/4 x 12 5/8)
Sloth (1557; pen and ink, 8 7/8 x 11 3/4)
Justice (1559; pen and ink, 8 3/4 x 11 1/4)
Temperance (1560; pen and ink, 8 3/4 x 11 5/8)
5. Narrative, humor, irony:
Fall of Icarus (c. 1558; transferred from wood panel to canvas, 2'-5 x 3'-8)
Netherlandish Proverbs (1559; panel, 3'-10 x 5'-4)
Children's Games (1560; panel, 3'-10 x 5'-3)
Procession to Calvary (1564; panel, 4'-1 x 5'-7)
6. The Seasons (1565):
Hunters in the Snow (panel, 3'-10 x 5'-4)
Dark Day (panel, 3'-10 x 5'-4)
Hay Making (panel, 3'-10 x 5'-3)
Harversters (panel, 3'-10 x 5'-3) (MMA)
Return of the Herd (panel, 3'-10 x 5'-3)
7. Late works:
Flemish Kermesse (Peasant Dance) (c. 1567-68; panel, 3'-11 x 5'-5)
Peasant Wedding (or Harvest Festival) (c. 1567-68; panel, 3'-11 x 5'-4)
The Land of Cockaigne (1567; panel, 1'-8 x 2'-7)
Parable of the Blind leading the Blind (1568; canvas, 2'-10 x 5'-1)

Reading and Illustrations

VI. GIAN LORENZO BERNINI (1598-1680)

1. Born in Naples, son a of sculptor; family moved to Rome in 1505. Favorite artist of Pope Urban VIII (1623-44); lost and partially regained favor under Pope Innocent X (1644-55); favorite again of Pope Alexander VII (1655-67); traveled to Paris in 1665 at the invitation of Louis XIV.

2. Dramatic sculpture:
Apollo and Daphne (1622-25; marble, 8'-0)
Pluto and Persephone (1622-25; marble, 8'-0)
David (1623-24; marble, 5'-7)
Daniel in the Lions' Den and Habakkuk and the Angel, Chigi Chapel, Sta. Maria del Popolo, Rome (1655-61; marble, figures over life-size)
Ecstasy of St. Theresa, Cornaro Chapel, Sta. Maria della Vittoria, Rome (1645-52)
Death of the Blessed Lodovica Albertoni, Altieri Chapel, S. Francesco a Ripa, Rome (1671-74)
3. Portrait busts:
Cardinal Scipione Borghese (1632; marble, 2'-7)
Costanza Bonarelli (c. 1635; marble, 2'-4)
Francesco d'Este (1650-51; marble, 2'-7)
Louis XIV (1665; marble, 2'-7)
4. Funerary monuments:
Tomb of Urban VIII, St. Peter's, Rome (1628-47)
Tomb of Alexander VII, St. Peter's Rome (1671-78)
5. Fountain design:
Fountain of the Four Rivers, Piazza Navona, Rome (1648-51)
6. St. Peter's:
St. Longinus (1629-38; marble, 14'-5)
Baldacchino (1624-33; bronze, 94'-0)
Cathedra Petri (Chair of St. Peter) (1657-66; gilt bronze and stucco)
Piazza in front of St. Peter's (1656-67)



Reading and Illustrations


VII. REMBRANDT VAN RIJN (1606-69)

1. Rembrandt born in Leiden, son of a prosperous miller; settled in Amsterdam in 1632; married Saskia van Uylenburgh in 1634, who died in 1642; living with Hendrickje Stoffels by 1649; declaration of bankruptcy in 1656 and auctions of his property in 1657 and 1658; survived Hendrickje (d. 1663) and his son Titus (1641-68).

2. Dutch cultural and political background: war of liberation from Catholic Spain (1568-1648) and Protestant dominance; Dutch commerce and maritime empire.

3. Oil medium: impasto, glazes, canvas support, chiaroscuro and color.
4. Religious subjects:
Supper at Emmaus (1628; paper applied to wood panel, 1'-3 x 1'-5)
Presentation in the Temple (1631; panel, 2'-0 x 1'-7)
Blinding of Samson (1636; canvas, 7'-9 x 9'-11)
Holy Family with a Curtain (1646; panel, 1'-6 x 2'-3)
Supper at Emmaus (1648; panel, 2'-3 x 2'-2)
Return of the Prodigal Son (c. 1665-69; canvas, 8'-7 x 2'-7)
5. Self-Portraits--appearance, identity, the image of the artist:
Self-Portrait (1629; panel, 9 1/4 x 6 3/4)
Self-Portrait (1634; panel, 2'-2 1/4 x 1'-9 1/4)
Self-Portrait leaning on a Stone Still (1639; etching, 8 x 6 1/2)
Self-Portrait at the age of 34 (1640; panel, 1'-10 x 1'-7)
Self-Portrait (1658; canvas, 4'-4 x 3'-4) (Frick)
Self-Portrait (1660; canvas, 2'-8 x 2'-2) (MMA)
Self-Portrait as Zeuxis (1665; canvas, 2'-8 x 2'-1)
Self-Portrait with Saskia (Prodigal Son) (c. 1635; canvas, 5'-3 x 4'-4)

Comparison:
Titian, Portrait of a Man (c. 1512; canvas, 2'-8 x 2'-2)
6. Portraits:
Saskia in a Red Hat (c. 1634; panel, 3'-3 x 2'-7)
Jan Six (1654; canvas, 3'-8 x 3'-4)
Hendrickje at an Open Window (1659; canvas, 2'-10 x 2'-2)
7. Group portraits:
The Anatomy Lesson of Dr. Tulp (1632; canvas, 5'-5 x 7'-2)
The Militia Company of Captain Frans Banning Cocq (The Night Watch) (1642; canvas, 11'-9 x 14'-3)
The Syndics of the Cloth Drapers Guild (1662; canvas, 6'-1x 9'-0)
8. Historical and mythological subjects:
Aristotle contemplating the Bust of Homer (1653; canvas, 4'-8 x 4'-6) (MMA)
Susanna and the Elders (1647; panel, 2'-6 x 2'-11)
Bathsheba (1654; canvas, 4'-8 x 4'-8)
9. Landscape and genre:
Landscape with Stone Bridge (c. 1638; panel, 1'-0 x 1'-5)
The Three Trees (1643; etching and drypoint, 8 1/2 x 11)
Slaughtered Ox (1655; panel, 3'-1 x 2'-2)
10. Prints:
The Three Crosses (1653; drypoint and burin, 1'-3 1/8 x 1'-5 3/4)
11. Problems of attribution:
The Polish Rider (c. 1655[?]; canvas, 3'-10 x 4'-5) (Frick Collection)
The Man with the Golden Helmet (c. 1650[?]; canvas, 2'-2 3/8 x 1'-7 5/8)


Reading and Illustrations


VIII. FRANCISCO GOYA Y LUCIENTES (1746-1828)

1. Born in Fuentetodos, in the province of Saragossa; studied in Saragossa before coming to the court of Madrid in 1775. In October 1792, he addressed the Royal Academy with a call for artistic liberty. Following illness in 1792-93, his career followed a double track: he was First Court Painter and Madrid's foremost portraitist and an independent artist producing uncommissioned paintings, drawings, and four important series of etchings.

2. Historical context: The French Revolution and its impact in Spain; the weakening and eventual downfall of the Bourbon monarchy, the Napoleonic invasion, restoration.


3. Paintings to 1808:
The Hermitage of Saint Isidore (1788; canvas, 1'-4 1/2 x 1'-5 3/8)
The Wedding (1792; canvas, 8'-9 x 11'-4 1/4)
Yard with Lunatics (1794; oil on tinplate, 1'-5 1/8 x 12 3/4)
Nude Maja (c. 1797; canvas, 3'-2 1/4 x 6'-2 3/4)
Clothed Maja (1798-1805; canvas, 3'-1 3/8 x 6'-2 3/4)
Family of Carlos IV (1800; canvas, 9'-10 1/4 x 11'-0 5/8)

Comparisons:
Titian, Venus of Urbino (1538; 3'-10 7/8 x 5'-5)
Diego Velazquez, Las Meninas (1656; 10'-5 1/8 x 9'-7 1/4)
_____, Venus and Cupid (c. 1650; 4'-2 1/4 x 5'-9 5/8)
Edouard Manet, Olympia (1863; canvas, 4'-3 1/8 x 6'-2 3/4)
4. Paintings after 1808
Second of May 1808 (1814; canvas, 8'-8 3/4 x 11'-3 7/8)
Third of May 1808 (1814; canvas, 8'-8 3/4 x 11'-3 7/8)


b. Series of four paintings today in the Royal Academy of San Fernando:

Inquisition Scene (c. 1816; panel, 1'-6 1/8 x 2'-4 3/4)
Procession of Flagellants (c. 1816; panel, 1'-6 1/8 x 2'-4 3/4)
Bullfight (c. 1816; panel, 1'-5 3/8 x 2'-4 3/8)
Madhouse (c. 1816; panel, 1'-5 3/8 x 2'-4 3/8)
5. Prints:
a. Los Caprichos, published 1799 (etchings with aquatint, all approximately 8 1/4 x 5 7/8): They say "yes" and extend their hand to the first comer, Bad night, Neither more nor less, The dream of reason produces monsters

b. Los Desastres de la Guerra, created c. 1810-20, published posthumously in 1863 (etchings with aquatint, the war scenes approximately 6 1/4 x 8 5/8): Charity, This is worse, They don't know the way

c. Bulls of Bordeaux (1825): Spanish Entertainment
(lithograph, 11 3/4 x 1'-4 1/8)



Reading and Illustrations


IX. CLAUDE MONET (1840-1926)

1. Born in Paris; worked there and in Argenteuil, Vetheuil, and after 1883 in Giverny; travelled to London and Venice; exhibited with the Impressionists 1874-82.

2. Plein air painting and Impressionism:
Terrace at Sainte-Adresse (1867; canvas, 3'-2 x 4'-2) (MMA)
The River (1868; canvas, 2'-7 7/8 x 3'-3 3/8)
La Grenouillare (1869; canvas, 2'-5 x 3'-2) (MMA)
Impression, Sunrise (1872; canvas, 1'-8 x 2'-2)
Breakfast Table in the Garden (c. 1874; canvas, 5'-4 x 6'-8)
Bridge at Argenteuil (1874; canvas, 2'-0 x 2'-8)
Vetheuil in Summer (1880; canvas, 2'-2 x 3'-4) (MMA)
3. Paris and the modern city:
Boulevard des Capucines (1873; canvas, 2'-8 x2'-0)
paintings of Gare-Saint-Lazare (1876-77)
4. Series paintings:
Etretat (1883-85) (one at MMA)
Haystacks (1889-93) (one at MMA)
Poplars (1890-91) (one at MMA)
Rouen Cathedral (1892-94) (one at MMA)
Houses of Parliament (1903-04) (one at MMA)
5. Late works:
Water Lilies (c. 1920; three canvases, each 6'-6 x 14'-0) (MoMA)
Japanese Footbridge (1920-22; canvas, 2'-11 x 3'-10) (MoMA)

Comparisons:
Edouard Manet, Claude Monet in His Boat (1874; canvas, 2'-8 1/2 x 3'-5)
Auguste Renoir, Monet Painting in His Garden at Argenteuil (1873; canvas, 1'-6 x 2'-0)
_____, La Grenouillere(1869; canvas, 4'-4 x 5'-9)
_____, Bathers (1884-87; canvas, 3'-10 x 5'-7)


Reading and Illustration


X. PABLO PICASSO (1881-1973)

1. Born in Malaga, Spain, son of a painter; worked in Barcelona; settled in Paris in 1904. Along with Georges Braque (1882-1963) created Cubism.

2. Early works:
a. Science and Charity (1897; canvas, 6'-5 5/8 x 8'-2 1/4)
Le Moulin de la Galette (1900; canvas, 2'-10 3/4 x 3'-9 1/4) (Guggenheim Museum)
b. Blue Period:
Absinthe Drinker (1902; canvas, 2'-7 x 2'-0)
Old Guitarist (1903; canvas, 4'-0 x 2'-8)

c. Rose Period:
Seated Harlequin (1905; watercolor on paper)
Family of Saltimbanques (1905; canvas, 7'-0 x 7'-6)
3. Reconsidering the conventions of representation:
Self-Portrait with a Palette (1906; canvas, 3'-0 x 2'-5)
Portrait of Gertrude Stein (1905-6; canvas, 3'-3 1/4 x 2'-8) (MMA)
Two Nudes (1906; canvas, 4'-11 5/8 x 3'-0 5/8) (MoMA)
Les Demoiselles d'Avignon (1907; canvas, 8'-0 x 7'-8) (MoMA)
4. Early Cubism:
Factory at Horta de Ebro (1909; canvas, 1'-9 x 2'-0) (MoMA)
Girl with a Mandolin (1910; canvas, 3'-3 x 2'-5) (MoMA)
Portrait of Wilhelm Uhde (1910; canvas, 2'-7 7/8 x 1'-11 5/8)
Portrait of Daniel-Henry Kahnweiler (1910; canvas, 3'-3 5/8 x 2'-1 5/8)
Ma Jolie (Woman with a Zither or Guitar) (1911-12; canvas, 3'-3 x 2'-2) (MoMA)
5. Collage:
Still Life with Chair Caning (1912; oilcloth and paper on canvas, surrounded with rope, 11 x 1'-2)
Man with a Hat (1912-13; charcoal, ink, and pasted paper, 2'-0 x 1'-6 5/8) (MoMA)
6. Cubism after 1912:
Harlequin (1915; canvas, 6'-0 x 3'-5) (MoMA)
Still Life with Compotier and Glass (1914-15; canvas, 2'-1 x 2'-7 1/2)
Three Musicians (1921; canvas, 6'-7 x 7'-4) (MoMA)
7. Other works:
Portrait of Igor Stravinsky (1920; pencil on paper, 2'-0 3/8 x 1'-7 1/8)
Three Women at the Spring (1921; canvas, 6'-8 1/4 x5'-8 1/2) (MoMA)
Woman in White (1923; canvas, 3'-3 x 2'-7) (MMA)
Studio with Plaster Head (1925; canvas, 3'-2 5/8 x 4'-3 5/8) (MoMA)
Seated Woman (1927; canvas, 4'-3 x 3'-2) (MoMA)
Painter with a Model Knitting (1927; etching, 7 9/16 x 10 7/8) (MoMA)
Girl before a Mirror (1932; canvas, 5'-4 x 4'-3) (MoMA)
Guernica (1937; canvas, 11'-6 x 25'-6)
Night Fishing at Antibes (1939; canvas, 6'-9 x 11'-4) (MoMA)

Comparisons:
Paul Cezanne, Pines and Rocks (1900; canvas, 2'-8 x 2'-1 3/4) (MoMA)
Henri Matisse, Joie de Vivre (1905-06; canvas, 5'-9 x 7'10 1/2)



Reading and Illustrations


XI.FRANK LLOYD WRIGHT (1867-1959) and LE CORBUSIER (1887-1965)

Frank Lloyd Wright

1. Born in Richard Center, Wisconsin; limited architectural training in Madison, Wisconsin; in Chicago 1887-93 worked for firm of Adler and Sullivan; practiced in Oak Park, Illinois, 1893-1909; in 1911 established home and practice at Taliesin, near Spring Green, Wisconsin; Taliesin Fellowship founded in 1932; winter home of Taliesin West in Scottsdale, Arizona, begun in 1938.

2. Precursor:
Louis Sullivan
Schlesinger and Mayer Department Store (Carson Pirie Scott), Chicago (1899-1904)
Wainwright Building, St. Louis (1890-91)
3. Early buildings:
Unity Temple, Oak Park, Illinois (1905-06)
Larkin Building, Buffalo, N.Y. (1905; destroyed)
4. Prairie architecture:
Robie House, Chicago (1909)
5. Later work:
Kaufmann House, (Falling Water), Bear Run, Pennsylvania (1936)--cantilever construction and reinforced concrete
Solomon R. Guggenheim Museum, New York City (1959)


Charles-Edouard Jenneret-Gris, known as Le Corbusier

6. Born in Chaux-de-Fonds, Switzerland; studied watchmaking and design with Charles l'Eplattenier; designed several early villas in his hometown. Early influences: Ruskin, Viollet-le-Duc, Camillo Sitte, August Perret, Peter Behrens. Trip to Vienna, the Balkans, Istanbul, Greece, and Italy in 1911. Mediterranean vernacular and the Parthenon were to inspire his work. Moved to Paris in 1916, becoming a French citizen in 1920. Published Vers une architecture (Toward a New Architecture) in 1923.

7. Le Corbusier's Five Points: pilotis (pillars) for elevating the house above the ground, the roof garden, the free plan, horizontal strip windows, the free façade:
Villa Savoye, Poissy (1928-31)

8. Notre-Dame-du-Haut, Ronchamp (1951-55)



Reading and Illustrations