Survey and analysis of the most important trends in German art and architecture from the turn of the century to the beginning of the dictatorship of Nazis. All trends are presented within their respective historical context – special emphasis is put on the role of Berlin in this century of fascinating turns and famous artists. The following topics are discussed in class: Jugendstil, Expressionism, Dada, Neue Sachlichkeit, Sociocritical Realism, Bauhaus, Neues Bauen. Intellectual, political, and social aspects are included in the discussion, and federal structures and European influences are also taken into consideration.
Prerequisites:
None.
Learning outcomes:
Students will learn about and gain a basic understanding of art and art terms starting at the 20th century. Students will learn about various topics in the modern art and architecture world, as well as learning about various art and architecture movements and trends during modern times. By the end of the semester, it is expected that the participants will have acquired basic knowledge of all the topics discussed and a generally more mature artistic sensibility. Course participants should also have a much better perception of the phenomenon that is art, its history and its effects on society. The ultimate goal is to awaken new and sustained interest in the arts regardless of course of study or previous artistic knowledge.
Method of presentation:
Lectures, Slide and Video Presentations, Discussions, and Visits to Museums. “Pars pro toto”: Students will view different representative examples from every important period, sometimes accompanied by music. Topics such as style, composition and color will be discussed actively in class along with analysis of methods and meanings. Each participant is required to write two to three picture descriptions/analyses which are intended to encourage their individual interaction with and judgement of art. The images can be selected at will and this form of written criticism will also reappear on the midterm and final. Alternatively, personal statements may be written after museum visits about what was seen and/or overall impression. At the end of the semester, students will turn in an art project (topic and medium to be chosen at will) which will be presented to the class.
Required work and form of assessment:
Demonstrated learning through class participation, analysis of pictures (30%).
Mid-term (20%) and Final Papers (25%) are to be written with a critical eye and demonstrated understanding of art methods and the art scene.
The final art project should reflect the student as well as their understanding of art and art in Berlin. Students should be able to explain and defend their ideas and inspiration of the project (25%).
Class attendance is mandatory.
content:
Introduction; Federalism and Centers of Art in Germany; European Influences
Jugendstil: Intellectual and Artistic Change around 1900; Sezession, Artists’ Colonies
Jugendstil: Applied Arts and Design
Deutscher Werkbund: Reformatory Movement in Architecture up to 1914
German Expressionism: Precursors, Sources, Influences
Künstlergruppe Brücke
Künstlergruppe Der Blaue Reiter
Bauhaus: Concept, Structure, Faculty
Bauhaus: Workshops, Products: Students’ and Masterworks
Visit to Bauhaus-Archiv Berlin (optional)
Expressionist Architecture after World War I
Neues Bauen: Functionalism and Social Commitment in City Planning and Architecture
Neues Bauen: Architects; Individual Hands
Dada: Revolt during and after World War I
Dada: Main Places, Representatives, Techniques, Important Works
Neue Sachlichkeit: Art and Awareness of Life in the Twenties; “Verism”
Neue Sachlichkeit: Proletarian and “Magic” Realism
Visit to Neue Nationalgalerie, (optional)
“Berlin-Project”: Presentation and Discussion
Required readings:
Bauhaus-Archiv Berlin, ed. Experiment Bauhaus. Berlin: Kupfergraben, 1988.
Hüter, Karl-Heinz. Architektur in Berlin 1900-1933. Stuttgart: Kohlhammer, 1988.
Jähner, Horst. Künstlergruppe Brücke. Berlin: Henschelverlag 1996.
Joachimides, Christos. et al, eds. Deutsche Kunst im 20. Jahrhundert. Malerei und Plastik 1905-1985. München: Prestel, 1986.
Rubin, William. Dada. Stuttgart: Hatje, 1978.
Sembach, Klaus-Jürgen. Jugendstil. Köln: Taschen, 1996.
Zweite, Armin, ed. Der Blaue Reiter im Lenbachhaus München. München: Prestel, 1991.
Recommended readings:
Buderer, Hans-Jürgen; et Fath, Manfred. Neue Sachlichkeit. München: Prestel, 1996. Meyer, Raimund et al. Dada global. Zürich: Limat, 1994.
Early 20th Century German Art and Architecture: 1900-1933
Survey and analysis of the most important trends in German art and architecture from the turn of the century to the beginning of the dictatorship of Nazis. All trends are presented within their respective historical context – special emphasis is put on the role of Berlin in this century of fascinating turns and famous artists. The following topics are discussed in class: Jugendstil, Expressionism, Dada, Neue Sachlichkeit, Sociocritical Realism, Bauhaus, Neues Bauen. Intellectual, political, and social aspects are included in the discussion, and federal structures and European influences are also taken into consideration.
None.
Students will learn about and gain a basic understanding of art and art terms starting at the 20th century. Students will learn about various topics in the modern art and architecture world, as well as learning about various art and architecture movements and trends during modern times. By the end of the semester, it is expected that the participants will have acquired basic knowledge of all the topics discussed and a generally more mature artistic sensibility. Course participants should also have a much better perception of the phenomenon that is art, its history and its effects on society. The ultimate goal is to awaken new and sustained interest in the arts regardless of course of study or previous artistic knowledge.
Lectures, Slide and Video Presentations, Discussions, and Visits to Museums. “Pars pro toto”: Students will view different representative examples from every important period, sometimes accompanied by music. Topics such as style, composition and color will be discussed actively in class along with analysis of methods and meanings. Each participant is required to write two to three picture descriptions/analyses which are intended to encourage their individual interaction with and judgement of art. The images can be selected at will and this form of written criticism will also reappear on the midterm and final. Alternatively, personal statements may be written after museum visits about what was seen and/or overall impression. At the end of the semester, students will turn in an art project (topic and medium to be chosen at will) which will be presented to the class.
Demonstrated learning through class participation, analysis of pictures (30%).
Bauhaus-Archiv Berlin, ed. Experiment Bauhaus. Berlin: Kupfergraben, 1988.
Hüter, Karl-Heinz. Architektur in Berlin 1900-1933. Stuttgart: Kohlhammer, 1988.
Jähner, Horst. Künstlergruppe Brücke. Berlin: Henschelverlag 1996.
Joachimides, Christos. et al, eds. Deutsche Kunst im 20. Jahrhundert. Malerei und Plastik 1905-1985. München: Prestel, 1986.
Rubin, William. Dada. Stuttgart: Hatje, 1978.
Sembach, Klaus-Jürgen. Jugendstil. Köln: Taschen, 1996.
Zweite, Armin, ed. Der Blaue Reiter im Lenbachhaus München. München: Prestel, 1991.
Buderer, Hans-Jürgen; et Fath, Manfred. Neue Sachlichkeit. München: Prestel, 1996. Meyer, Raimund et al. Dada global. Zürich: Limat, 1994.