Please answer all of this question. A 1 page answer for each question is required (doubled-space, 12-pt font, Times New Roman). The topics for this class are attached in this document to help you answer question number 3.
- Present and explain the Dialectical Mind-Set
- What is realism in the XIXth Century? Explain it an make your own personal comment on the full extent of this concept. Bring the consequences of your consideration to present time.
- What are, according to your own judgement, the three most important challenges, questions, unsolved problems our contemporary culture has to deal with? How do they connect with topics examined in HUM313?
HUM313 – Art Study Guide
Art Bourgeois (early 1700s)
Author presented: Fragonnard
Works offered: The Swing, The Bathers
Moving away from Baroque?
Everyday life subject matter instead of saints, crowned heads or mythological deities …
Pastel colours instead of chiaroscuro and theatrical use of light
The lack of grandeur = Art without transcendence?
Neo-classicism (1750? – 1800 and beyond …)
Author presented: Jacques-Louis David
Works offered: The Three Horatii Triptic (After execution), The Death of Socrates, Venus and Mars, The Assassination of Marat, The Coronation of Josephine Bonaparte
Art of Precepts or Aesthetics out of theorists, gallerists, curators, marchands … but not artists
Expresses the ideals of Rational Control in Enlightenment, applied to the arts
Ready in 1750, had to wait 40 years for a great artist to adopt these precepts (and still be able to do something inspired and genuine)
Architectural framing of the spatial configuration, like Italian Quattrocento
Clean cut image after drawing
Aiming the grandeur of Baroque, but without the boasting thing of Baroque
Emotional reverberation under control
David, shifts in Aesthetics: announcing Romanticism (The Assassination of Marat, Napoleonic Era)
Romanticism (1790 – 1830 and beyond …)
Author presented: Theodore Guericault
Work offered: The Raft of the Medusa
The scholarly response to Neo-classicism
From Rational Control to Irrationality or carefully losing the grip of things
Back to certain Baroque elements (agonic subject matters, use of intense colour, theatrical use of light)
Another artist shocked by contradiction and hypocrisy in the French Revolution
Neo-classical vs. Romantic (1830 – 1870)
An academic dispute that will rule Western European Art for half a century
Dead-end
The role of Edgard Degas in the survival of Realist Art
The Realists (1820 – 1910)
Impressionists (1820 – 1850)
Author presented: Claude Monet
Works offered: The Umbrella, Water Lilies, House of Parliament by the River Thames (three versions), Giverny Garden (detail)
Trusting both perception and the chance of contacting reality again
The realism of perception: what meets the eye, objectivity through circumstances (multiple deliveries of the same subject-matter)
Expanding the palette of colours
The thick interrumpted brushstroke and the use of light and colour after Leonardo da Vinci
Sculpting three-dimensional objects in a two-dimensional support
Expressionists (1840 – 1870)
Author presented: Vincent Van Gogh
Works offered: Small flower vase (early Van Gogh), Large flower vase (shifting Van Gogh), Sunflowers, Self-portrait, Self-portrait after mutilation, Bedroom at Arles, Starry Night
Realists’ pilgrimage to Expressionism
Being objective with the artist’s emotional reverberation after subject matter
A certain degree of abstraction and, therefore, distortion (at least, compared to the realism of perception)
The troubled artist
Fauvists (1890 -1910)
Authors presented: Edvard Munch, Pablo Picasso, Umberto Boccioni, Kees van Dongen
Works offered: Munch’s The Scream (1893 version), The Green Room, Madonna; Picasso’s Arlequin (Pink Period); Boccioni’s Ugly Couple; van Dongen’s The Opera Singer
“Fauvism” or The Beastly Art
To radicalize Expressionism: to profoundly shake the observer, or the observer’s society
To accept distortion as an instrument for radicalizing Expressionism
To work in terms of sketches and thick brushstrokes
To reach the point of doubting what are you in front of
To scandalize: distortion of shape and colour, distortion of implied values
Cubism (1910 – 1920)
Author presented: Pablo Picasso
Works offered: Damsel with Mandolin, Les demoiselles d’Avignon, Guitar Nº1, Still life on piano
A formal reaction to the chaos in Fauvism
A formal, yet abstract, reaction to the chaos in Fauvism
Cubism: how to simultaneously see all six faces of a cube, in one single act of sight
Perception as steered by a very rational purpose
De-constructing representation, to the lost of representation (again, like in Fauvism)
Surrealism (1920 – 1930)
Author presented: Salvador Dalí
Works offered: Last Supper, The Persistence of Time (melting clocks), Temptations of St. Anthony, Child looking at the Birth of the New Geopolitical Man
A new formal reaction to the chaos of late Cubist experience
The logic of dreams as the rule of aesthetics
The emergence of the Unconscious in the Visual Arts
The incredible experience of making the Unconscious visible
The limits for understanding the Unconscious: representation made impossible to discern
Abstract Art (1940 – 1950)
Authors presented: Mark Rothko, Jackson Pollock, Varied authors (related to technologically created abstraction)
Works offered: Hommage to Matisse (Rothko), One: Number 31 (Pollock), etc …
Art that quits both the element of representation and the element of expressive potential
Non-representational art: art hostile to the presence of both reality and artist
Abstract Art as embodiment of Nihilism
Positive aspects of Abstract Art: sheer form, colour and texture delectation
Pop Art
Authors presented: Andy Warhol, Roy Lichtenstein
Works presented: Campbell Soup Can, Marilyn Monroe Silkscreening, Mao Zedong, Dinner for 59 cents (Warhol); Blonde Girl, Takka Takka (Lichtenstein)
The courage of retrieving both representation and expressive potential in art
The uncomfortable mirror of consumerism
The usual disrespect for Pop Art
The unusual insights of Pop Art
Weak Art
Authors presented: Bansky, Weiden & Kennedy/London for Honda Corp., Marco Evaristti, U2
Works offered: Girl with pearl earring/ADT (Bansky), Honda Civic Adv 2006 W&K/L), Blenders (Evaristti), Window in the Skies (U2)
The Contemporary Scenario after having questioned the chances Art has of representing real and conveying emotion
The Role of Design in contemporary consumerism, planned and perceived obsolescence
Social denunciation in Street Art
The potential banalization of the beauty experience
Cosmos
Art as merchandise and the dilemmas out of it
Ephemeral Art
Installations as a conspicuous statement
Installations as a way of involving the observer’s interaction
Unexpected places to find art at its highest potential
A response to Late Freud’s “Culture Discredited” belief
TOPICS:
Age of Revolutions
Revolutions were not carried on against Feudal Medieval Monarchies
A Modern Conflict: Enlightenment produced the Later forms of Absolutism the Revolutions tried to depose, in the name of Enlightened ideas on Society and Politics …
French and American Revolutions
Romanticism
Romanticism and Nature
Romantic reaction against the Industrial Revolution and its consequences
The view on Nature: another Modern Conflict: Renaissance vs. Enlightenment, Contact vs. Control
Nature as source of inspiration (Art & Religion) and purification (feelings and emotions retrieved)
Early Romanticism as balance between reason and emotions, and Late Romanticism as irrationalism
Wordsworth vs. Whitman
The individual in Romanticism
The artist against its society
The Romantic Hero
Exaltation and doom of the individual in Late Romanticism
The Dialetical Mindset
Hegel, Logic and Metaphysics, two-steps and three-steps Dialectics
History as endless, self-legitimated negative process
The contrast between Traditional Metaphysics and the Dialectical Mindset
Historicism, the epochal horizon
The futility of good and evil in History according to the Dialectical Mindset
States as the real subjects in History according to the Dialectical Mindset
Realpolitik, to prevail at whatever the cost
War
Nature as Irrational
Marx as a third rank Hegelianism
Darwin as deeply affected by Hegelianism
Beyond Dialectics
The impulse against the Idealism of the Dialectical Mindset
Realism in the 1800’s
The four alternatives
Pessimism:
- Schopenhauer
Inside Hegel but taking sides with the individual
History as Blind Arbitrary Will, Realism is Pessimism
Real and Ideal, Culture as Placebo for “The Ugly Truth”
- Realpolitik
The intended cause of WWI after five hundred years of Western European World Supremacy
Social Darwinism
Optimism:
- The Realists
The aesthetic response to the Dialectical Mindset, trusting perception
The full cycle of Impressionism and Expressionism
- The Social Realism
Romantic Literature’s depiction of Western European Society in the 1800’s
The early Civil Rights heroes, trusting individual action
The Social and Political Unrest in the 1800’s
Congress of Vienna as a major setback for the Age of Revolutions
Pessimism: parallelism with Absolutism in the 1600’s
Social Engineering and the building of Utopias
Nietzsche at the eve of the 1900’s
Nietzsche’s Dramatic Atheism vs. Today’s Comfortable Atheism
“God is dead … and his blood still stains our blades”
A desperate attempt of making Schopenhauer’s Placebo to become real
Super-human & Will to Power
The three stages of Will to Power: Reality, Art and Day-dreaming
Dialectical Mindset and Beyond Dialectics in the 1900’s
Freud
Early Freud and Late Freud
The empirical, MD-cure seeking inspired, young Freud
Hypnosis and Hysteria, The Discovery of the Unconscious
The unconscious aspect of the life of the Psyche
The true nature of Desire, Psychoanalysis and Dream Analysis
The Healthy Psyche: to be able to love and to work
The theorist, pessimistic, old Freud
Adopting Schopenhauer as philosophical mainframe
Sex as the power of History in the individual, Pansexualism
Id as a dangerous trick of a cursed nature,
Super-ego as the man-made contention dam,
Ego as the “poor thing”
No chance for a healthy Psyche if Ego is a buffer between two incompatible massive forces
Id as the dialectic aspect of real, Id prevails: no Super-ego will ever beat it
WWI, the living proof of Freud’s suspicions, Culture Discredited
Terror Icons and their message
After Early Freud’s legacy …
Adler
On aggression, the energy after desire, desire and its object as the measure of the energy deployed
Violence is neither the only, nor the necessary destiny of human action
There’re no scapegoats
Jung
Recurrent dreams in the individual, and also in society
Recurrent dreams, and recurrent contents: Archetypes
There’s a shared human condition
The most relevant element shared: the religious element in human condition
Existentialism
The Post-WWI scenario: Realpolitik and Freud’s pessimism proven
The Rejection of Idealisms, The Need to Address the Concrete Individual’s Condition
Literature (and Drama) as the preferred format for discussing and transmitting ideas
The Quest for Meaning after the Absurdity of Existence
The very fabric of human condition is the conversation we create as we strive for meaning after our best efforts (The Sunset Limited)
Atheist Existentialism, Sartre
Absurd: there’s no meaning in existence
God doesn’t exist, nobody considered this world’s existence, the world is mute
Geworfenheit: we’re basically thrown into existence, we weren’t asked
Freedom is our chance of rising above absurd, our choices create the determinations the world doesn’t provide us to interact with it
Freedom finishes its work after our final choice, before death, after which there’s nothingness
Human condition is futile
Theist Existentialism, Marcel (Camus)
Absurd: whatever is not incompatible with our shared human condition (Camus)
Geworfenheit: I don’t fear being thrown into existence, as long there’s a Pitcher (Marcel)
Subsidizing Contingency
The value experience: subjective and objective
Our progressive transcending of contingency: family, community, society (national and global), culture, history, science, Nature, God
The question for real
To treasure what makes our lives to make sense
Present Time
Possible meaning for Post-modern, what’s beyond Post-modern?
The open challenges our time faces and their connection throughout debates and conflicts in HUM212 and HUM313
Power
Social and Political Surveillance
Technology
Zombies
Manipulation of the individual
Civil Rights
Discrimination
Equality
Environmental Concerns
Sustainability
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