Art 304 Woman as Muse and Maker from Antiquity to the Present
D. Sadler T-TH 11:30-12:45 Dana 101
Office Hours M 3:30-5 or by apppointment Dana 109, ext. 6245
Required text: Whitney Chadwick, Women, Art, and Society (London: Thames and Hudson, Ltd., 2012)
Recommended: Reclaiming Female Agency Feminist Art History After PostModernism, Edited by Norma Broude and Mary D. Garrard (Berkeley: University of California Press, 2005)
This course will provide an introduction to the role of women as subjects, authors, and patrons of works of art. Not only were women the ambivalent object of portrayal from Eve to the Virgin, but also suspect when given a paintbrush or chisel of their own. In probing the history of women as muse, maker, and sponsor, readings and discussions will embrace a variety of art historical methodologies, including feminist theory, issues of agency, the gaze, gender, performance theory and viewer-response theory. Tracing the evolution of craft to fine art, from scriptorium to performance artist, from Hildegard to Judy Chicago to Shirin Neshat, we will study the variety of ways in which women have been perceived and have given voice to their own perceptions.
A seminar offers participants the opportunity for the highest level of discourse available in the classroom, if one engages to the fullest extent with the material of the course. What does this mean? Reading, mulling, commenting on the blog (donnasadlerasc.wordpress.com), and reflecting on your peers’ insights are symptoms of engagement… Attendance, both physical and mental, is required. If you miss more than 3 classes, your grade will be lowered 1/3rd of a letter grade for each subsequent absence. There will be one mid-term reflection paper on the readings and discussion that we have had up to that point. In addition, students will present journal articles to the class for which the presenter and her peers will formulate questions to be posted on the course blog. After the third week of class students will begin work on their seminar reports that will be the culminating event of this course. After these oral presentations, students will have the opportunity to incorporate suggestions made by classmates or the professor in the final paper version of these reports. Onward and upward.
The Goals of this course are:
• To examine the evolution of women both as artists and patrons of art: what societal forces hindered or helped women find their voices?
• To improve analytic skills and critical thinking in the field of art history
• To encourage, develop, and refine students’ ability to communicate effectively, both orally and in written form, about art history
• To encourage the poetic imagination in order to foster the desire to tell one’s own story
Your Grade will be comprised of the following elements:
• 10% Class Participation
• 10% Course Blog (donnasadler.asc.wordpress.com): Students will post comments and questions about readings (24 hours before the next class!), links to news items, web pages, and other grist for the mill
• 20% Midterm Narrative
• 30% Article Presentations
• 15% Seminar Report
• 15% Final Paper
Credit and Workload: Although 3 hours will be spent in class, an additional 5-7 hours will be spent out of class reading and preparing for class discussions, crafting your two article presentations for the class, posting questions, responses, and reflections on the course blog (a weekly imperative!), visiting both museums (High and Carlos) and galleries in pursuit of the woman artist, attending lectures at neighboring institutions, and finally researching and writing your seminar report and final paper.
Disability Services: If you have a disability that may have some impact on your work in this class and for which you may require accommodations, please see Kelly Deasy in the Office of Academic Advising and Student Disability Services to register for these services. Students that receive accommodation checklists, please meet with me to discuss the provisions of those accommodations as soon as possible.
Course Evaluations: Near the end of the semester you will be notified by e-mail and provided with a link to follow to complete course evaluations online outside of class. Your feedback is extremely valuable to me, the department, and the administration. With the help of your insightful comments, I will be able to improve the course the next time I teach it.
Academic Integrity: It is expected that all students will abide by the policies of the Honor Code. Students who violate these policies through plagiarism, collaboration on projects without permission, submitting the same work for multiple classes, and any other infractions outlined in the Honor Code will be asked to turn themselves in to the Honor Council. If you have any questions about academic integrity, please speak with me.
WEEK OF AUGUST 26: Art history and Feminism,
Reading: Chadwick, Preface and Introduction
Linda Nochlin, “Why Have there Been No Great Women Artists? from Women, Art, and Power, and Other Essays, 145 ff.
Lynda Nead, “Feminism, Art History, and Cultural Politics,” The New Art History, eds. A.L. Rees and F. Borzello (London: Camden Press, 1986), 120-124.
WEEK OF SEPTEMBER 2: Artists and Patrons emerge from their respective rocks….
Reading: Lisa Aronson, “African Women in the Visual Arts,” Signs, Vol. 16, no.3 (Spring, 1991): 550-574.
Thalia Gouma-Peterson and Patricia Mathews, “The Feminist Critique of Art History,” Art Bulletin 69, no. 3 (1987): 326-357.
WEEK OF SEPTEMBER 9: Women in Ancient Cultures? Greece and Rome? Egypt? Mesopotamia?
Reading: Judith Bettelheim, “Women in Masquerade and Performance,” African Arts, 31, no. 2, Special Issue: Women’s Masquerades in Africa and Diaspora, (Spring, 1998): 68-70; 93-94
Nancy Luomala, “Matrilineal Reinterpretation of Some Egyptian Sacred Cows,” in Feminism and Art History Questioning the Litany, ed. N. Broude and M.D. Garrard (New York: Harper & Row, 1982), 19-31.
Welcome to the Middle Ages
WEEK OF SEPTEMBER 16: Reading: Chadwick, chapter 1 and
Jeffrey F. Hamburger, “Art, Enclosure and the Cura Monialium: Prolegomena in the Guise of a Postscript,” Gesta, 31, no. 2, (1992): 108-134. Elina Gertsman, “Image as Word: Visual Openings, Ocular Readings,” Studies in Iconography 32 (2011): 51-80.
WEEK OF SEPTEMBER 23: Matilda and Hildegard of Bingen, Two models of female power
Reading: Beth L. Holman, “Exemplum and Imitatio: Countess Matilda and Lecrezia Pico della Mirandola at Polirone,” Art Bulletin 81, no. 4 (1999): 637-664. Richard K. Emmerson, “The Representation of Antichrist in Hildegard of Bingen’s Scivias: Image, Word, Commentary, and Visionary Experience,” Gesta 41, no. 2 (2002): 95-110
Reading: Chadwick, chapter 2
Midterm Narrative due on October 8, 2013
Week of September 30: The Renaissance arrives!
Gender and the devotional portrait
Reading: Chadwick, chapter 3
Andrea G. Pearson, “Personal Worship, Gender, and the Devotional Portrait Diptych,” Sixteenth Century Journal 31, no. 1 (2000): 99-122.
Patricia Simons, “Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture,” History Workshop 25 (1988): 4-30. Mary D. Garrard, “Here’s Looking at Me Sofonisba Anguissola and the Problem of the Woman Artist,” Reclaiming Female Agency Feminist Art History After PostModernism, ed. N. Broude and M.D. Garrard (Berkeley: University of California Press, 2005), 27-47.
Week of October 7: Renaissance Patronage
Reading: Carolyn Valone, “Women on the Quirinal Hill: Patronage in Rome 1560-1630,” Art Bulletin 76, no. 1 (1994): 129-146.
Rose Marie San Juan, “The Court Lady’s Dilemma: Isabella d’Este and Art Collecting in the Renaissance,” Oxford Art Journal 14, no. 1 (1991): 67-78.
Midterm Narrative due! Fall Break!
Week of October 14: Go for Baroque…
Reading: Chadwick, chapters 4 and 5
Diane Wolfthal, “’A Hue and a Cry:’ Medieval Rape Imagery and its Transformation,” Art Bulletin 75, no. 1 (1993): 39-64.
Week of October 21: Women Heroines from Antiquity, the Bible, and Mythology! What do Judith, Esther, Cleopatra, Lucretia, Portia, Aurora, and Clio have in common?
Reading: Babette Bohn, “The Antique Heroines of Elisabetta Sirani” and Mary D. Garrard, “Artemisia’s Hand,” Reclaiming Female Agency Feminist Art History After PostModernism, ed. N. Broude and M.D. Garrard, (Berkeley: University of California Press, 2005), 81-99 and 63-79, respectively.
Week of October 28: The Academy, Women, and the Happy Mother…
Reading: Chadwick, Chapters 6 and 7
Carol Duncan, “Happy Mothers and Other New Ideas in Eighteenth-Century French Art,” Feminism and Art History Questioning the Litany, ed. by N. Broude and M.D. Garrard (New York: Harper and Row, 1982), 201-219.
Mary D. Sheriff, “The Portrait of the Queen, Elisabeth Vigée-Lebrun’s Marie-Antoinette en chemise,” Reclaiming Female Agency Feminist Art History After PostModernism, ed. N. Broude and M.D. Garrard (Berkeley: University of California Press, 2005), 121-141.
Week of November 4: The Female Body! Reading: Chadwick, Chapter 10; Amelia Jones, The “Eternal Return”: Self-Portrait Photography as a Technology of Embodiment,” Signs 27, no. 4 (2002): 947-978; Eleanor Heartney, “Thinking through the Body: Women Artists and the Catholic Imagination,” Hypatia 18, no. 4 (Women, Art, and Aesthetics) (2003): 3-22.
Week of November 11: From the “Rhetoric of Pleasure” to Mass Consumption Reading: Chadwick, Chapters 8 and 9; Ruth E. Iskin, “Selling, Seduction, and Soliciting the Eye Manet’s Bar at the Folies-Bergère,”
Week of November 18: Cindy Sherman!
JOHNSON, KEN. “CINDY SHERMAN AND THE ANTI-SELF: AN INTERPRETATION OF HER IMAGERY,” ARTS MAGAZINE 62:3 (NOV., 1987): 47-53;
CINDY SHERMAN’S REWORKING OF RAPHAEL’S “FORNARINA” AND CARAVAGGIO’S “BACCHUS”
NOTES IN THE HISTORY OF ART, VOL. 28, NO. 3 (SPRING 2009), PP. 29-39
LOOK AT ME: SELF-PORTRAIT PHOTOGRAPHY AFTER CINDY SHERMAN
JENNIFER DALTON, NIKKI S. LEE, ANTHONY GOICOLEA, DAVID HENRY BROWN, JR.
PAJ: A JOURNAL OF PERFORMANCE AND ART, VOL. 22, NO. 3 (SEP., 2000), PP. 47-56
WEEK OF NOVEMBER 25: CINDY AND THANKSGIVING BREAK!
WEEK OF DECEMBER 2: SEMINAR REPORTS!!!!
ALL SEMINAR PAPERS ARE DUE FRIDAY THE
13TH AT 5 P.M. IN MY OFFICE!