FINE ARTS В - faculty of arts and board of studies in journalism

A course of two lectures per week, with tutorial classes, throughout the year.

Fine Arts В will be given in 1957.

Each one of the three Fine Arts subjects (A, В, C) may be taken as the first, second, or third subject of a major. Additional seminars will be provided for second and third year students, taking the course at a more advanced level.

SYia.nвus. A study of modern art in Europe, America and Australia, from the nineteenth century to the present day.

Students will be required to submit written work.

Boons. The following is a short list only. Further bibliographies will be supplied throughout the year.

Lecture notes, price 2/6, are available from the Fine Arts Department. They include a synopsis of the course and notes on the National Gallery of Victoria.

(a) Recommended for preliminary reading:

*Pevsner, N.—An Outline of European Architecture. (Pelican.)

*Richards, J.

M. An

Introduction to Мodеrn Architecture. (Pelican.) Bell, C.—Landmarks in Nineteenth Century Painting. (New York, 1927.)

*Gombrich, E. H—The Story of Art. (Phaidon.) Fry,

R.—Vision

and Design. (Pelican.) Fry,

R.—Last

Lectures. (С.U.P.)

Robb, D. M., and Garrison, J. J. Art in the Western World. (Harper.)

*Read,

1.—The

Meaning of Art. (Pelican.) (b) Prescribed text-books:

Morris,

W.—Writings.

(Nonesuch.)

Delacroix,

E.—The

Journals of Eugène Delacroix. (Phaidon, 1952.) Baudelaire, C. P.—L'Art Romantique. (Oeuvres Complètes, Vol. III.)

(Calmann-Levy.)

Rodin, A. Art. (Dodd, lead, 1928.)

Pissarro, C. J.—Letters to His Son Lucien. (Trans. L. Abel, Kegan Paul.) Cézanne,

P.—Letters,

ed. J. Rewald. (В. Cassirer, Oxford, 1946.) ^. van Gogh,

V.—Letters

to His Brother. (Houghton.)

Gauguin,

P.—Letters.

(Grasset, Paris, 1946.) •

Rewald, J.—History of Impressionism. (Museum of Modern Art, 1946.)

*Clark,

K.--Landscape

into Art. (Murray.) ^.

*Read, H. Art Now. (Faber.)

Read,

H.—The

Philosophy of Art. (1951.)

Painting and Sculpture in the Museum of Modern Art. (Museum of Modern Art, New York.)

Le Corbusier—Towards a New Architecture. (Payson & Clark.) Fry,

R.—Characteristics

of French Art. (Chatto & Windus, 1932.) Giedion,

S.—Space,

Time and Architecture. (Harvard Univ. Press.) Wilson,

1.—Old

Colonial Architecture in N.S.W. and Tasmania.

Herman,

M.—The

Early Australian Architects. (Angus and Robertson.) Smith, B.—Place, Taste and Tradition. (Ure Smith.) .

Cro11, R.

Н.—Smike

to Bulldog, Letters from Sir Arthur Streeton to Tom Roberts. (Ure Smith.)

Gauss, C. E. Aesthetic Theories of French Artists. (O.U.P., J. Hopkins Press, 1949.)

Propyläen—Kunstgeschichte (Selected Volumes).

Steegman,

J.—Consort

of Taste, 1830-1870. (Sidgwicic & Jackson.) Ironside,

R.—Pre-Raphaelite

Painters. (Phaidon.)

Escholier, R.—L'oeuvre et la Vie d'Eugene Delacroix. (Fleury.) Lassaigne, J. Daumier Paintings. (Heinemann.)

Lemann,

B.—

Daumier Lithographs. (Raynal & Hitchcock.) ^. Meier-Graefe—Modern

Art.

(Putnam, 1908.) .

Cooper, D.—Manet's Paintings. (Drummond.)

Venturi,

L.—Les Archives de l'Impressionisme.

(Durand-Ruel.)

For further bibliography on Impressionism see J. Rewald—History of Impres- sionism. (Museum of Modern Art.)

Venturi,

L.—Impressionism and Symbolism.

Rewald,

J—The Ordeal of Paul

^Cézanne. (Phoenix House.) Venturi,

L.—

Cézanne,

Son Art-Son Oeuvre.

(Rosenberg. Paris.) Rewald, J.—Gauguin. (Heinemann.)

Barr, A. E.

(ed.)—Picasso, Forty Years of His Art.

(Museum of Modern Art, 1939.)

Barr,

A.—Henri Matisse.

Giedion-Welcker,

C.—Contemporary Sculptúre.

- Kleе, P.—On

Modern

Art. ` (Faber.)

Goldwater, R.

J. Primitivism in Modern Painting.

(1939.) Berkman, A.—Art

and Space.

(Social Sciences.)

Clark,

K.—The Gothic Revival.

(Constable.) Summersón,

J. Heavenly Mansions.

(Cresset.)

Hitchcock, H.

R.—Early Victorian Architecture in Britain.

Pevsner,

N. Pioneers of the Modern Movement.

^(Faber.)

Mumford,

L.—The Culture of Cities.

(Harcourt Brace.) . Gropius,

W.—The New Architecture and the Bauhaus.

(1935.)

Wright, F. L.—Genius

and the Mobocracy.

(Duell, Sloan & Pearce.) Giedion,

S: Frank Lloyd Wright.

Zevi,

B.—Organic Architecture.

Moore,

W.—Story of Australian Art, 2

vols. (Angus & Robertson.).

Burke,

J.—Russell Drysdale, A Biographical and Critical Essay.

(Ure Smith.) Hoff, U.—Re}lections

on the Heidelberg School.

(Meanjin, Vol. X, No. 2.) Ellis, M.

H. Francis Greenway.

(Angus and Robertson.)

Boyd,

R.-Australia's Home.

(1952.)

Philipp, F.

A.—Review of Australia's Home.

(Meanjin, Vol. XI, No. 1.) Penton,

B.—William Dobell.

(Ure Smith.)

Hoff, U.

(ed.)—Masterpieces of the National Gallery of Victoria.

(Cheshire.) Smith,

B. European Vision and the South Pacific.

(Journal of the Warburg

and Courtauld Institutes, Vol. 13, 1950.) Adam,

L. Primitive Art.

(Pelican.)

Elkin, A. P., and Berndt, R. and

C.-Art in Arnhem Land.

(Cheshire.) Baudelaire, C.

P.—

Curiosités

Esthetiques.

(Oeuvres Complètes, Vol. II.)

( Calmann-Levy.)

For a, study of the Modern Movement the publications of the New York City Museum of Modern Art and the series

Documents of Modern Art

(Witten- born Schultz) will be most valuable.

NOTE. Students taking Fine Arts B as a second or third year subject will be directed to undertake more specialized study within the range of the syllabus.

ExАМІNлTIox. Two 3-hour papers.

FINE ARTS C

A course of two lectures per week, with tutorial classes, throughout the year.

Fine Arts C will be given in 1956 in combination with a general survey of the main developments between the Renaissance and the modern period.

Each one of the three Fine Arts subjects (A, B, C) may be taken as the first, second or third subject of a major. Additional seminars will be provided for second and third year students, taking the course at a more advanced level.

SvLLАims. A study of seventeenth and eighteenth century art, with special emphasis on a comparative study of the art, music and literature of eighteenth century England, in relation to the social and intellectual background.

Students are required to submit written work.

Booxs. The following is a short list only. Further bibliographies will be supplied throughout the year.

Lecture notes, price 2/6, are available from the Fine Arts Department. They include a synopsis of the course and notes on the National Gallery of Victoria.

(а) Recommended for preliminary reading :

*Gombrich, E. H.—The Story of Art. (Phaidon.)

Robb, D. M., and Garrison, J. J. Art in the Western World. (Harper.)

*Pevsner, N. An Outline of European Architecture. (Pelican.)

*Fry, R.—Vision and Design. (Pelican.)

Steegman, J.—The Rule of Taste. (Macmillan.) (b) Prescribed text-books:

Adam—Works in Architecture of Robert and James Adana, 1773, Preface.

Burckhardt, J.—Rubens. (Phaidon.) Borenius, T.—Rembrandt. (Phaidon.) Bellori, G. P.—Vie de Nicolas Poussin.

*Holt, E. G.—Literary Sources of Art History. (Princeton, 1947.) Friedlaender, M.. J.—Landscape, Portrait, Still Life.

Goldwater, R. J., and Treves, M. Artist on Art. (Pantheon.)

*Redgrave, S. and

R. —A

Century of British Painters. (Phaidon, 1947.) Reynolds, J.-Discourses. (Preferably R. Fry's edition.)

Burke, E. Essay on the Sublime and Beautiful. ^..

Walpole, H. Anecdotes of Painting. (Selected chapters, vol. 3, 1798-1822.) Gilchrist, A.—Life of William Blake. (Everyman.)

Saxl, F., and Wittkower, R. British Art and the Mediterranean. (O.U.P.,

.

1948.)

Johnson, S.—Rasselas.

• Hogarth, W--The Analysis of Beauty. (ed. Burke, J., O.U.P.)

Blunt, A. Art and Architecture in France, 1500-1700. (Pelican History of Art.)

Waterhouse, E. K.—Painting in Britain, 1530-1790. (Pelican History of Art.) Summerson, J. Architecture in Britain, 1530-1830. (Pelican History of Art.)

Boswell, J.—The Life of Samuel Johnson.

Gay, J.—The Beggar's Opera.

Blake, William—Literary Works. (Nonesuch.)

Hofstede de Groot,

C. —A

catalogue raisonné of the work of the most eminent Dutch painters of the 17th century. (Macmillan, 1907-27.)

Bode, von W.—Great Мasters of Dutch and Flemish Painting.

Rosenberg, J.—Rembrandt. (1948.) . Slive, S—Rembrandt and his Critics. (Nijhoff, 1954.)

Dupont, J. From Caravaggio to Vermeer. (Skira, 1951.) Propylaen—Kunstgeschichte ( Selected Volumes) .

Fokker, T. H.—Roman Baroque Art. (O.U.P., 1938.)

Waterhouse, E. R.—Baroque Painting in Rome. (Macmillan, 1937.).

Kimball, F.—La Création du style Louis XIV.

Wittkower, R.—Lorenzi Bernin. (Phaidon, 1955.)

Lorenzetti, G.—La Pittura Italiana del Settecento. (1948.)

Mahon, D. Studies in Seicento art and theory. (Studies of the Warburg Institute, Vol. 16, 1947.)

Pevsner, N.—Academies of Art. (C.U.P., 1940.)

Allen, B. S.—Tides in English Taste, 1600-1800. (Harvard Univ. Press.) Hussey, C.—The Picturesque. (London, 1927.)

England and the Mediterranean Tradition, ed. by the Warburg and Courtauld Institutes. (O.U.P., 1945.)

Palladio—I Quatri Libri dell' Architectura.

Vitruvius Britannicus. (Campbell, a.o., 1715.)

Kent, W--The Designs of Inigo Jones, 1727. .

Chambers, W.—Civil Architecture, 1759. (Lockwood.) Tipping, H. A. English Homes, Vols. 3-6. (Country Life.)

Hussey, C. English Country Houses—Early Georgian. (Country Life.) Summerson, J.—Georgian London. (Pleiades, 1945.)

Summerson, J.—Heavenly Mansions. (Cresset, 1949.) Clark, K.—The Gothic Revival. (Constable.)

Jourdain, 1.—The Work of William Kent. (Country Life.) Lees-u Itae, J.—The Age of Adam. (Ratsford, 1947.)

Sttmmerson,

J. Nash.

(Allen & Unwin.)

Summerson,

J. Sir John So

апе

.

(Art and Technics, 1951.) Fry, R.,

et al.—Georgian Art in England.

^(Studio.)

Jourdain,

M.—English Interior Decoration.

(Batsford.) Siren,

O.—Gardens of China.

(Ronald.)

Siren,

0.-China and the Gardens of Europe.

^(Ronald.)

Ison,

W.—The Georgian Buildings of Bath from 1700-1830.

^(Faber.) Edwards, R., and Jourdain,

M.—Georgian Cabinet Makers.

(Country Life#

1946.)

Whitley, W.

T.—Artists and their Friends in England, 1770-1799.

(2 vols., Medici Society, 1939.)

Dobson,

A.—

Hogarth. (The folio edition.)

Beckett, R.

D.—William Hogarth.

(Routledge & Kegan Paul.) Waterhouse,

E. Reynolds.

(London, 1941.) (Kegan Paul.) Armstrong,

W.—

Gainsborough.

(The

folio edition.) '(Heinemann.) Whitley, W.

T.—

Gainsborough. (London, 1915.) (Smith, Elder & Co.) Badt,

K.—.!

^ihn

Constable's Clouds.

(Routledge & Kegan Paul.) Binyon,

L. English Watercolours.

(Black, 1933.)

Smith, J.

T. Nollekens and lis Times.

(Turnstile, 1949.)

NOTE. Students taking Fine Arts C as a second or third year subject will be directed to undertake more specialized study within the range of the syllabus.

EXAMINATION. Two 3-hour papers.

In document faculty of arts and board of studies in journalism (Page 88-91)