國立陽明大學 授課進度表管理系統

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課程代號 071336108215000 開課班級 亞際文化國際學位學程一
課程名稱(中) 近現代西方藝術史
課程名稱(英) History of Western Art, 1600-1900
教師姓名 黃桂瑩 
合班課號 82A0300  合班班級 視文所碩一、亞際文化國際學位學程一
上課地點 人社213會議室 上課時間 週一567
學  分  數 3 學分 授課方式 授課 3 小時, 實習 0 小時
課程類別 講授課程
教學目標 【教學目標】
本課程探討自文藝復興時期至19世紀晚期為止,西方藝術史中重要的議題與演變。除了順應時間軸發展考察藝術作品的圖像演變與風格流派,本課程亦著重歷史背景、社會文化、政治經濟等相關脈絡,探究藝術作品如何被創作、生產、接受、詮釋、挪用且承載不同意義。此外,藝術史的建構書寫以及相關藝術史學史的重要議題,以及近年來文化史、歷史學以及視覺文化研究的發展對於藝術史學科的影響與互動,也是本課程欲帶領同學進行深入認識的重點。藉此課程,學生將能對近現代西方藝術的發展有相當的掌握,深入瞭解藝術史的不同角度與取徑,並透過報告書寫,演練藝術史的圖像分析與歷史考察技巧。

【授課方式】
為切合西洋藝術史的主題並培養同學閱讀能力,本課程閱讀資料以英文學術著作為主,部分輔以中文譯本。每週均有指定閱讀範圍,同學需於課前閱讀完畢,於課前提出問題,並在課堂積極參與討論。

課程綱要 9/10 說明上課方式,評分標準, 課程導論

9/17 文藝復興:藝術與社會文化

9/24 中秋節放假

10/1 藝術家形象與傳記寫作

10/8 北方藝術與政經情境

10/15 寫實或描述?以荷蘭藝術為例

10/22 新古典主義與學院論述之發展政治

10/29 經濟與18世紀歐洲藝術

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

11/19 學院與前衛(avant-garde)的反抗

11/26 19世紀國家認同的建構與展演

12/3 博物館的興起與藝術史傳統

12/10 風景中的歷史與社會 專題討論

12/17 為當代而作:寫實主義與社會情境

12/22 印象主義中的現代性與都市文化 補12/31調整放假

12/24 期末口頭報告 I

2019/1/7 期末口頭報告 II &課程結語

考評方式 【評量方式】

1. 平時出席:10% (無故缺席三次以上,學期成績將以零分計算)
2. 課堂表現:30% (導讀,課堂參與,課前提問)
3. 期中口頭及書面報告:30%
(書面報告需3000字以上,不含註釋及參考書目。同主題可發展成期末報告。)
4. 期末口頭及書面報告:30%(書面報告需7000字以上,不含註釋及參考書目。)
課程用書/參考資料
※請遵守智慧財產權觀念,不得不法影印。
9/10 說明上課方式,評分標準,課程導論
閱讀範圍:
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
閱讀範圍:
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

另參考:
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
閱讀範圍:
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。

另參考:
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
閱讀範圍:
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
閱讀範圍:
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
閱讀範圍:
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
閱讀範圍:
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
閱讀範圍:
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
閱讀範圍:
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
閱讀範圍:
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
閱讀範圍:
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)

參考:
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
閱讀範圍:
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)
閱讀範圍:
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
(頁數待確認)

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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