National Yang-Ming Univ. Course Schedule System

Registration No. 071336108215000 Class 亞際文化國際學位學程一
Course Name(chinese) 近現代西方藝術史
Course Name(English) History of Western Art, 1600-1900
Instructor 黃桂瑩 
Group Course No. 82A0300  Group Course Class 視文所碩一、亞際文化國際學位學程一
Course Place 人社213會議室 Time(Week) 週一567
  Credits   3 Credits Instruction Method Lecture 3 hrs,Practice 0 hrs
Course Type Lecture
Course Objective
Course Guideline
Grading Method
References Book/Information 9/10 說明上課方式,評分標準,課程導論
Stephen Melville and Svetlana Alpers, “Sites That Have Mattered: Svetlana Alpers in Conversation with Stephen Melville,” The Art Bulletin, Vol. 95, No. 1 (March 2013), pp. 38-52

9/17 文藝復興:藝術與社會文化
1. 布拉姆‧克姆佩斯,楊震譯,《繪畫、權力與贊助機制:文藝復興時期義大利職業藝術家的興起》, (北京大學出版社:2018年)。章節待定

2. Thomas McGrath, “Color and the Exchange of Ideas between Patron and Artist in Renaissance Italy,” The Art Bulletin, Vol. 82, No. 2 (Jun., 2000), pp. 298-308

Richard E. Spear and Philip Sohm, Painting for Profit: the Economic Lives of Seventeenth-Century Italian Painters (New Haven and London: Yale University Press, 2010), “Introduction,” pp. 1-31.

9/24 中秋節放假

10/1 藝術家形象與傳記寫作
1. Marc Gotlieb, “The Painter's Secret: Invention and Rivalry from Vasari to Balzac,” The Art Bulletin, 84: 3 (Sep., 2002), pp. 469-490.

2. 花亦芬,〈瓦撒利如何書寫喬托時代的雕刻史?——以《比. 薩諾父子傳》為中心的考察〉,《新史學》15, 2 (2004年6月),頁1-54。

Larry Shiner, The Invention of Art: A Cultural History (Chicago: University of Chicago Press, 2001), “Michelangelo and Shakespeare: Art on the Rise,” pp. 35-56.

10/8 北方藝術與政經情境
1. Margaret D. Carroll, Painting and Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and Their Contemporaries (Pennsylvania State University Press: Pennsylvania, 2008), Chapter 2, “Breaking Bonds: Marriage and Community in Bruegel’s Netherlandish Proverbs and Carnival and Lent,” (部分)pp. 28-34, 50-63.

2. Susan Merriam, Seventeenth-Century Flemish Garland Paintings : Still Life, Vision, and the Devotional Image (Farnham: Ashgate, 2012), Chapter 2, “Making and Breaking: the Garland Paintings and Iconoclasm,” pp. 45-79.(討論前半)

10/15 描述真實、再現虔誠:以荷蘭藝術為例
1. Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (Chicago: University of Chicago Press, 1983), Chapter 1, “Constantijn Huygens and The New World,” pp. 1-25.

2. David R. Smith, “Vermeer and Iconoclasm,” Zeitschrift für Kunstgeschichte
74. Bd., H. 2 (2011), pp. 193-216.

10/22 新古典主義與學院論述之發展
1. Paul Duro, “Academic Theory 1550-1800,” in A Companion to
Art Theory, eds. Paul Smith & Carolyn Wilde (Oxford: Blackwell Publishing, 2002), pp. 88-103.

2. William Ray, “Talking about Art: The French Royal Academy Salons and the Formation of the Discursive Citizen,” Eighteenth-Century Studies, Vol. 37, No. 4, Artistic Interactions (Summer, 2004), pp. 527-552 (頁數待確定)

10/29 政治,經濟與18世紀歐洲藝術
Matthew Craske, Art in Europe 1700-1830: A History of the Visual Arts in an Era of Unprecedented Urban Economic Growth (Oxford: Oxford University Press, 1997), Chapter1, “Beyond Useful and Agreeable Man,” pp. 23-49.

11/5 期中口頭報告

11/12 道德,審美與商業:洛可可與18世紀英國視覺文化
1. Patricia Crown, “British Rococo as Social and Political Style,” Eighteenth-Century Studies, 23: 3 (Spring, 1990), pp. 269-282.

2. Helen Clifford, East India Company at Home, 1757-1857, (London: University College London Press, 2018) Ch.2 “Chinese wallpaper: From Canton to country house,” pp.39- 51.(上半)

11/19 學院與前衛(avant-garde)的反抗
1. Paul Barlow, “Fear and Loathing of the Academic, or Just What Is It that Makes the Avant-Garde So Different, So Appealing?” in Art and the Academy in the Nineteenth Century, eds. Rafael Cardoso Denis & Colin Trodd (Manchester: Manchester University Press, 2000), pp. 15-32.

2. Andrew Carrington Shelton, “Art, Politics, and the Politics of Art: Ingres's ‘Saint Symphorien’ at the 1834 Salon,” The Art Bulletin, 83: 4 (Dec., 2001), pp. 711-739.

11/26 19世紀國家認同的建構與展演
1. John Ott, “How New York Stole the Luxury Art Market: Blockbuster Auctions and Bourgeois Identity in Gilded Age America,” Winterthur Portfolio, Vol. 42, No. 2/3 (Summer/Autumn 2008), pp. 133-158.(頁數待確認)

2. Janis A. Tomlinson, “State Galleries and the Formation of National Artistic Identity in Spain, England, and France 1814-1851,” in Art, Culture and National Identity in Fin-de Siècle Europe, eds. Michelle Facos and Sharon L. Hirsh, (Cambridge: Cambridge University Press, 2003), pp. 16-38.

12/3 博物館的興起與藝術史傳統
1. Carol Duncan, 王雅各譯,《文明化的儀式:公共美術館之內》,(台北:遠流,1998),第一、二章。
(Carol Duncan, Civilizing Rituals: Inside Public Art Museums (New York: Routledge, 1995), Chapter 1. &. 2.)

2. Paul Mattick, Jr. “Context,” in Critical Terms for Art History, eds. Robert S. Nelson and Riochard Shiff (Chicago: University of Chicago Press, 2003), pp. 110-127.

12/10 風景中的歷史與社會(專題討論)

Andrew Hemingway, Landscape Imagery and Urban Culture in Early Nineteenth Century Britain (Cambridge University Press, 1992), part of Chapter 8, “The Imagery of Seaside Resorts and Modern Leisure,” pp. 155-96, and the notes pp. 327-31.

12/17 為當代而作:寫實主義與社會情境
1. Daniel R. Guernsey, The Artist and the State, 1777-1855: The Politics of Universal History in British and French Painting (Aldershot: Ashgate, 2007),Chapter 4, “Rousseau’s Emile and Social Palingenesis in Gustave Courbet’s The Painter’s Studio, 1855,” pp. 191-221

2. Linda Nochlin,刁筱華譯,《寫實主義》, (台北:遠流,1998),〈「唯當代者方可入畫」:寫實主義與對「時代性」的強調〉,頁127-214。
(Linda Nochlin, Realism (London: Penguin, 1971), “Il faut être de son temps: Realism and the Demand for Contemporaneity,” pp. 103-178.)

12/22 印象主義中的現代性與都市文化 (補12/31調整放假)
1. André Dombrowski, “History, Memory, and Instantaneity in Edgar Degas's "Place de la Concorde," The Art Bulletin, Vol. 93, No. 2 (June 2011), pp. 195-219

2. Karen L. Carter, “The Spectatorship of the "Affiche Illustrée" and the Modern City of Paris, 1880-1900,”Journal of Design History, Vol. 25, No. 1 (2012), pp. 11-31

12/24 期末口頭報告 I

2019/1/7 期末口頭報告 II &課程結語
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