Objectives and competences
- The analysis of the problems of the origin of Modern Art and to deepen their knowledge about history of art creativeness in the 19th and 20th century.
- The analysis and interpretation of a broader context, which enabled the origins of Modern Art and its further develop.
- The analysis and intepretation of different –isms in the history of Modern Art.
- The analysis, intepretation and evaluation of works of art in mentioned period.
Content (Syllabus outline)
Most of the connoisseurs place the origins of Modern Art into the second half of the 19th century; they call our attention to the Impressionism, Postimpressionism and also to the photography. There are quite some art historians who explain the origins of Modern Art with Neoclassicism from the end of the 18th century. Neoclassicism in fact traced reductionism and enabled the development which led towards abstraction. The influence of Japanese woodcuts and other non-European cultures was important as well; it pointed out to the possibilities of diverse understanding of visual arts and to the fact, that the renaissance way of reading images and the Europo-centralism are not the only choise. The successful researching of Modern Art and of all its – isms is closely connected with understanding of its broader context. Historical circumstances, main philosophical tendencies, aesthetic theories, interest for popular and primitive art, psychoanalyses, quick technological development, tragedy of the World War I etc. thoroughly signed the artistic creativeness at the end of the 19th and at the beginning of the 20th century and changed also the status of the artist. The origins of Modern Art are connected mostly to the movements in West Europe. Our subject will also discuss the question, how the novelties were accepted outside the huge art centres, in today Slovenia as well.
Learning and teaching methods
- lectures with AV projections;
- seminar work:
- visiting exhibitions and other events with discussions;
- visiting main exhibitions and collections of Modern Art;
- mentor work;
- writing of seminar work and critics;
- researching the examples in groups;
- analysis of critical discourses.
Intended learning outcomes - knowledge and understanding
- The student will analyse and interpret the questions about origins of Modern Art.
- The student will analyse and interpret the broader context which enabled the birth of Modern Art.
- The student will differentiate various –isms in the history of Modern Art.
- The student will evaluate, analyse and interpret the works of art from mentioned period.
- The student will analyse and interpret the artistic, cultural and common events of the late 19th and early 20th century.
Intended learning outcomes - transferable/key skills and other attributes
Transferable/Key Skills and other attributes:
- The students are going to use the obtained knowledge efficiently in other subjects in the study program.
- Knowing the origins of Modern Art they will enable themselves to understand the art creativeness in latest periods.
- They will develop the abilities for practical work in institutions for researching and protecting cultural heritage, in galleries and museums with collections and exhibition programs and for activities in all other fields, which concern art and culture.
Readings
- Norbert Lynton, The Story of Modern Art, London 1989, tudi slov. prevod: Zgodba moderne umetnosti, Ljubljana 1994.
- Timothy J. Clark, Farewell to an idea : episodes from a history of modernism, New Haven – London 1999.
- Igor Zabel, Speculationes, Ljubljana 1997 (zbirka Minora).
- David Summers, Real Spaces: World Art History and the Rise of Western Modernism, London 2003.
- Tomaž Brejc, Realizem, impresionizem, postimpresionizem, Ljubljana 2006.
- Tomaž Brejc, Študije o slovenskem slikarstvu v 20. stoletju, Ljubljana 2010.
- Kenneth Frampton, Modern Architecture. A Critical History, London 1980.
- Marvin Trachtenberg, Isabelle Hyman, Architecture. From Prehistory to Postmodernity, New York 2002.
- Elizabeth Clegg, Art, Design and Architecture in Central Europe 1890–1920, London-New Haven 2006.
Drugo literaturo bo nosilec predpisal pri vsakem pojavu oziroma umetniku.
Prerequisits
No special prerequisites for inclusion in the subject.
Additional information on implementation and assessment - active cooperation at seminars and seminar practice
- seminar work and its presentation
- oral exam
