ARTH 56 — Revolutionary Avant-Gardes: Episodes in 19th-Century European Art
Quarter: Fall
Day(s): Tuesdays
Course Format: Live Online (About Formats)
Duration: 10 weeks
Date(s): Sep 26—Dec 5
Time: 6:00—7:50 pm (PT)
Refund Deadline: Sep 28
Units: 2
Grade Restriction: No letter grade
Tuition: $550
Instructor(s): Natalia Lauricella
Class Recording Available: Yes
Status: Open
Fall
Date(s)
Sep 26—Dec 5
10 weeks
Refund Date
Sep 28
2 Units
Fees
$550
Grade Restriction
No letter grade
Instructor(s):
Natalia Lauricella
Recording
Yes
Open
This course will investigate how artists living through the tumult of 19th-century Europe responded to their changing world. Beginning just before the French Revolution and closing with the rise of the modern art market at the turn of the century, the course surveys key artists, artworks, and movements that register the period’s social and cultural upheaval, seismic political revolutions, rapid urbanization, imperial expansions, and technological developments. In the wake of such radical change, artists challenged traditional systems of patronage and display, experimenting with new materials, subjects, and methods of representation. Moving between close examination of individual artworks and discussions of broader themes, we will explore the art and visual culture of this transformative period and consider how canonical narratives of 19th-century European art have shaped our understanding of modern art—and modern life.
Highlights will include Francisco Goya’s searing depiction of the brutality of war in his iconic The Third of May 1808 (1814); J.M.W. Turner’s daring rendering of the speed of industrialized travel in Rain, Steam, and Speed (1844); Édouard Manet’s shocking flattening of space in The Luncheon on the Grass (1863); Mary Cassatt’s confrontation with the male gaze in At the Opera (1879); and Auguste Rodin’s provocative exploration of the torment and sensuality of the human psyche in The Gates of Hell (1880–1917), on view in the Cantor Arts Center’s sculpture garden.
Highlights will include Francisco Goya’s searing depiction of the brutality of war in his iconic The Third of May 1808 (1814); J.M.W. Turner’s daring rendering of the speed of industrialized travel in Rain, Steam, and Speed (1844); Édouard Manet’s shocking flattening of space in The Luncheon on the Grass (1863); Mary Cassatt’s confrontation with the male gaze in At the Opera (1879); and Auguste Rodin’s provocative exploration of the torment and sensuality of the human psyche in The Gates of Hell (1880–1917), on view in the Cantor Arts Center’s sculpture garden.
NATALIA LAURICELLA
Lecturer, Department of Art & Art History, Stanford
Natalia Lauricella studies the history of print, with a focus on 19th-century Europe. She received a PhD in art history from USC. Her current project traces the network of dealer-publishers, printers, and artists who produced and marketed limited-edition original color lithographs as part of the development of modern art and the art market in 1890s France. She has worked as a curatorial assistant of collections and exhibitions at the Solomon R. Guggenheim Museum in New York, where she contributed to a number of exhibitions, including Italian Futurism, 1909–1944: Reconstructing the Universe, Agnes Martin, and Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897. Textbooks for this course:
There are no required textbooks; however, some fee-based online readings may be assigned.