19th Century Art 58.211/201
Art History Seminar in 19th Century 58.490/201
Dr. Marie Frank


19th century art image

Syllabus of Lectures


COURSE DESCRIPTION: A study of 19th Century European painting, sculpture, and architecture including the art of Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Symbolism and Art Nouveau.

Art History Seminar: Study of particular artist, style or selected art historical problem in 19th Century Art.

ORGANIZATION: Although class discussion is strongly encouraged, this is primarily a lecture course based upon the visual content of works of art presented by way of projected slides. Attendance is highly recommended for every class meeting. Students are responsible for the content of all lectures and assigned reading materials.

CLASS COMPORTMENT: Since this a professional presentation at the university level, you are not permitted to eat or drink during class lectures and discussion. Disabled students must see me on the first day of class to accommodate their individual needs.

OFFICE HOURS: Monday-Wednesday 4:00-6:00 p.m., Friday 12:00-1:00 p.m. or by appointment. My office is in Coburn Hall, Room 201

-R. Rosenblum & H. W. Janson, 19th Century Art. New York: Harry N. Abrams, Inc., 1994.
-E. Holt, From the Classicists to the Impressionists. A Documentary History of Art, Vol. III. New York: Anchor Books, 1990.

-E. Holt, The Triumph of Art for the Public. New York: Anchor Books, 1979.
-W. Friedlander, David to Delacroix. Harvard University Press, 1972.
-L. Nochlin, Realism and Tradition in Art 1848-1900, Sources & Documents in the History of Art Series. Englewood Cliffs, N.J. Prentice Hall, 1966.
-L. Nochlin, Realism. Baltimore: Penguin Books, 1972.
-W. Vaughan, German Romantic Painting. New Haven & London: Yale UP, 1980.
-W. Vaughan, Romantic Art. London, New York, 1978.
-P. Pool, Impressionism. New York: Praeger Books, 1972.
-T. Hilton, The Pre-Raphaelites. London, New York, 1990.
-E. Lucie-Smith, Symbolist Art. New York: Praeger Books, 1993.

For further bibliography, see attached reserve book and article lists. These materials with their respective call numbers are placed on the Reserve Section of the O'Leary Library, South Campus.

ATTENDANCE: Class attendance is required. Exams are based on class lectures and discussion of visual and historical material.

EXAMINATIONS: In addition to a Final Examination to be announced, there will be two 50-minute examinations on February 28 and March 31 respectively. Tests are based on material covered in class and on the required readings. See Schedule of Lectures below. Examinations missed without prior permission from the instructor or a written excuse for valid medical or other emergency obtained from the Dean of Students of Lowell University cannot be made up.

RESEARCH PAPER: 19th Century Art - A paper of 10 pages due on April 23. Students enrolled in the Art History Seminar will write a 15 page paper.

VISUAL AND WRITTEN ASSIGNMENT: In order to familiarize yourself with the connection between art history and film, you will complete the Art History and Film Report after seeing the digitized video. Part of the digitized videos will be seen in class and other times you will be responsible for viewing the assigned video on your own. At all times your are responsible for viewing the digitized videos for the course. After careful study of the aesthetic principles of art history and film, you will write one page commentary for each digitized video. See Art History and Film Report - Instruction Format.

WRITTEN ASSIGNMENT: All assignments are due a week after viewing the video. All late papers will be penalized or not accepted constituting course failure. Each commentary should be approximately of one page long (250 words per page), double-spaced and typed. The written assignment will be graded on form as well as content so that spelling, punctuation, grammar, and syntax are to be considered with some care. Make sure that you keep a copy of every written assignment.

GUIDELINES FOR WRITTEN ASSIGNMENT: All written material presented for evaluation should follow these guidelines.

Content: You must have an introduction, stating the purpose of your paper, a development explaining thesis of your project and a conclusion, a summary of your findings. Always include information that you have learned from the lectures or the assigned readings. If sources are consulted (books and articles) make sure they date post 1975 with the exception of encyclopedias. You must credit the sources you use in a footnote or endnote. Although you may read survey texts, such as those of Janson, Hartt, or Gardner; however, these do not count among the acceptable sources for research for this art history course at the 300 level. You may consult The Encyclopedia of World Art and The Oxford Companion to Art and other pertinent encyclopedia of science and technology at the Reserve Section of the O'Leary Library/South Campus; however; these do not count among the acceptable sources. The Art Index (an annual index of periodical literature on art) is very helpful source for books and articles in art history. In addition, you may be assisted by internet and websites information; however, be aware of always recording and listing the source of your citation with name of the author, title of the article and date. Downloading information from the internet without proper citation constitutes plagiarism Bibliographical references must be included to demonstrate the sources you have consulted. Illustrations should follow the bibliography. In your paper define the limits of the topic you are considering, clarify the issues surrounding the topic with respect to the relationship between art and culture, comment on the scholarly problems involved, and offer some original incite into the topic. Be sure to see and read critically. You will find little agreement among various authors.

Format: The computerized typing must be as follow: accepted fonts Arial, New York, Geneva, Courier, Palatino, Times, Times Roman and Bookman; only 12 points in character. A computerized page contains approximately 200 to 250 words, less than this is not acceptable. Papers written in any other format is not acceptable. All pages must be numbered.

ORAL PRESENTATION: On TBA notify me of your oral presentation assignment topic. The presentations are scheduled for TBA. During the course further information and guidelines will be given regarding the structure of the oral format. Honors students are encouraged to participate in this learning activity.

NOTE ON PLAGIARISM: Be careful never to copy directly or directly adapt from another author without crediting the source. General sources must be listed in a bibliography; any direct quotation or paraphrase must be footnoted. Any unacknowledged copying will receive and F for the course.

HANDOUTS: A series of xeroxed materials will be given out throughout the course in order to help you with your reading and writing assignments.

EVALUATION: The final exam will count 25% of your final semester grade. The paper will also count 25% of your final semester grade. And the two quizzes with the mid-term examination will count 50% of your final semester grade.

MUSEUM VISITS: Students are individually responsible for visiting the Boston Museum of Fine Arts, the Isabella Stewart Gardner Museum (both in Boston), the Fogg Art Museum (Cambridge), the Worcester Art Museum (Worcester), Whistler House Museum (Lowell), the Philips Academy Museum (Andover), and the Curry Museum.

OPTIONAL MUSEUM VISITS: Probably during the semester the Art History Club will sponsor some field trips to the Boston Museums. Also, there will be schedules of one or two trips to New York City, Worcester and, New Haven and Hartford, CT., and Washington, D.C. in order to visit some major exhibitions or museums. You will be encouraged to attend, but not penalized for not participating in these trips.

(N.B. Subject to change with a week of prior notice)

February 3: QUIZ.
It consists of identifying visual material presented in class or included In your texts. You will be required to identify the name of the artist (if known), the title of the art work, the style, and give an approximate date of the work.
February 28: EXAM I.
March 31: EXAM II.
April 6:
Notify me of your paper topic.
April 23:

(N.B. Subject to change with a week of prior notice)

Jan 22 - Introduction; Scope of course: Historical background.

Jan 24-29 - History Painting, France
J. L. DAVID. R. Rosenblum, 19th Century Art, 14-50; E. Holt, From the Classicists to the Impressionists. A Documentary History of Art. Vol. III, 1-14.
Recommended (See Reserve Book List).
W. Friedlander, David to Delacroix, 1-35; E. Holt, The Triumph of Art for the Public, 16-29; Fritz Novotny, Painting and Sculpture in Europe: 1780-1880; E. Wind, article - See Bibliography.

Jan 31 - Painting in Spain and England: The Neoclassic Romantic Dilemma
Rosenblum, 50-67; Holt, 53-55
Recommended: Kenneth Clark, Romantic Rebellion, 19-44; 45-95.

Feb 3-5 - Painting in France after David: Landscape Painting
Rosenblum, 74-82.
Recommended: Friedlander, 36-66; M. Brion, Romantic Art.

Feb 3 - QUIZ

Feb 7 - The Nazarenes: Romantic Meditations in Germany & England
Rosenblum 82-89; Holt, 55-101.
Recommended: William Vaughan, German Romantic Painting. 163-191, 41-119; Holt, Triumph, 173-178, 179-197.

Feb 10-12 -
Sculpture: England to Germany; Canova, Thorvaldsen
Rosenblum (part by Janson) 90-111; Holt, 21-32.
Recommended: Holt, Triumph, 30-38.


Feb 18-19 - Painting: Gericault, Delacroix, Ingres
Rosenblum, 114-150; Holt, 34-38, 150-171;
Recommended: Holt, Triumph, 206-210; G. P. Mras, article; Friedlander, 67-136; Kenneth Clark, 97-145, 177-220.

Feb 21 - Romantic Visionaries and Romantic Naturalism, Turner vs. Constable
Rosenblum, 150-161; Holt, 113-129.
Recommended: Kenneth Clark, 223-283; M. Brion, Art of the Romantic Era, 70-84.

Feb 24-26 - From History Painting to Biedereier and Other Direction
Rosenblum, 161-190.

Feb 28 - EXAM I

March 3 - Sculpture: Scandinavia and Other Countries
Rosenblum/Janson, 191-214.

March 5-7 - The Romantic Theory of Sculpture
Janson, 214-215.

March 10-14 - Painting: The 1848 Revolution; Millet, Courbet
Rosenblum, 218-245; Holt, 345-357;
Recommended: Holt, Triumph, 489-495; L. Nochlin, 11-14, 33-60; T. J. Clark, The Absolute Bourgeois. Artists & Politics in France 1848-1851; Idem, Image of the People, G. Courbet. 1848-1851.

March 14 - New Social Realities: The Pre-Raphaelite Brotherhood
Rosenblum, 245-278.
Recommended: T. Hilton, The Pre-Raphaelites; Nochlin, 109-141.

March 14-24 - SPRING RECESS

March 24-26 - France: The 1860s
Rosenblum, 278-305; Holt, 366-371, 381-384.
Recommended: Nochlin, 60-82.

March 28 - Sculpture: France to Austria
Janson, 306-323.
Recommended: F. Novotny, Painting and Sculpture in Europe: 1780-1880.

March 31 - EXAM II

April 2-4 - Painting: Impressionism
Rosenblum, 326-357; Holt, 327-345.
Recommended: F. Novotny, Article in Readings in Art History.

April 7-11 - The 1870s: Histories, Portraits, Landscapes
Rosenblum, 357-384.
Recommended: Phoebe Pool, Impressionism.

April 14-16 - Painting: Paul Cezanne
Rosenblum, 384-394; Holt, 521-529.
Recommended: Clement Greenberg, Article/Readings

April 18-23 - Neo-Impressionism: Seurat, Van Gogh
Rosenblum, 394-406; Holt, 468-482.


April 25-30 - Symbolism: Ensor To Gaugin
Rosenblum, 416-463; Holt, 483-490, 499-507.
Recommended: E. Lucie-Smith, Symbolists; J. Rewalt, Post Impressionism.

May 2-7 - Sculpture: The Fin De Siecle
Janson, 454-505; Holt, 404-414.
Recommended: R. Schmutzler, Art Nouveau; A. Elsen, article/readings.