The work of these three international artists with distinct Catalan roots is explored on an individual basis within the wider framework of European art movements. In each case, we will study the acceptance and/or rejection of tradition, the interaction with French art and artists, and personal experience. We will also pay attention to the role of both outside stimuli (war, relationships) and inner forces (memory, imagination). The course will include guided tours of the Picasso Museum, the MNAC (Catalan National Museum of Art) and the Miró Foundation in Barcelona and visiting the Dalí Theater Museum in Figueres is highly recommended.
Attendance policy:
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
Learning outcomes:
By the end of the course students are able to:
apply basic art historical tools to describe and explain a painting
identify the most important facts in the lives of these three painters (Picasso, Dalí and Miró) and apply them to the analysis of their oeuvre
distinguish the key features and symbols that appear in the art works and interpret their meaning
describe the different periods in which their work is classified
compare the most important avant-garde movements of the late 19th century
Method of presentation:
Lectures, readings, class activities, field studies and student presentations.
Required work and form of assessment:
Midterm and Final Exams (60%): slide test and short essay questions on course content, two of them based on images of paintings that we analysed in greater depth in class.
Class Presentation (10%): Students must give the rest of the class a 10 to 15-minute presentation on a specific aspect of one of the three artists studied, individually of in groups of up to three. This normally consists of preliminary preparation for the student’s term paper. A clear PowerPoint will be required and other material is also encouraged (films clips, handouts etc.).
Term Paper (15%): Individually or in groups of up to three students choose a topic suitable for a research paper. The teacher will approve topics and aid students in locating valid sources (libraries, museums, etc). This paper has a minimum length of 2600 words (1 students), 3700 (2 students), 4300 (3 students).
Participation (15%): This includes attendance, participation in class discussions, the forwarding of pertinent questions, familiarity with the Reader texts and the submission of a 700-word field tripreport for one of the museum visits.
content:
Session 1: Introduction. How to look at paintings.
Session 2: Social and Cultural Frame. The Beginnings of Modern Art I: Neoclassicism, Romanticism and the Salon System, the Barbizon School.
Required Reading: Bolloch, Joëlle, ‘Painter, the Salon, and the Critics, 1848-1870’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Session 3: The Beginnings of Modern Art II: Impressionism, Postimpressionism, Symbolism and Art Nouveau.
Required Reading: Madeline, Laurence, ‘In the times of the impressionist exhibitions (1874-1886)’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Session 4: Picasso 1. Formal apprenticeship and early styles. The Barcelona years: the Four Cats. Blue Period. Rose Period.
Required Reading: Cowling, Elizabeth, Picasso. Style and Meaning, London: Phaidon Press, 2002, 33, 34, 59-69.
Session 5: Field trip to the Museu Nacional d’Art de Catalunya (MNAC) to investigate late 19th and early 20th century artistic traditions in situ.
Required Reading: Falgàs, Jordi, ‘Picasso’s fellows at the tavern: beyond Modernisme?’. In W.H. Robinson et al., Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí, New Haven & London: Cleveland Museum of Art / Yale University Press, 2007, 96-103.
Session 6: Picasso 2. Picasso and Cubism. Les Demoiselles d’Avignon. Analytical and Synthetic Cubism.
Required Reading: The Private Life of a Masterpiece: Les Demoiselles d’Avignon, Winnan, Judith (director), BBC, 2004. DVD
Session 7: Picasso 3. Return to order. Picasso and Surrealism. Guernica and the war period.
Required Reading: Gottlieb, Carla, ‘The Meaning of the Bull and Horse in Guernica’, Art Journal, 24:2 (Winter 1964), 106-112.
Session 8: Picasso 4: The re- interpretation of Old Masters from the past. The final years.
Required Reading: Esteban, Paloma, ‘The Great Series: the artist and the process of creation’. In Exhibition Catalogue, Picasso. Las Grandes Series, Madrid: Aldeasa / Museo Nacional Centro de Arte Reina Sofía, 2001, 539-543,545-547
Session 9: Field Study: Museu Picasso, Barcelona.
Required Reading: Golding, John, ‘Picasso and ceramics. London and New York’.
The Burlington Magazine, 1149: 140 (1998), 838-839.
Session 10: The Beginnings of Modern Art III. Avant-garde art: Fauvism, German Expressionism, Futurism.
Required Reading: Noyes Platt, Susan, ‘Modernism, Formalism, and Politics: the “Cubism and Abstract Art” Exhibition of 1936 at the Museum of Modern Art’, Art Journal, 4: 47 (1998), 284-295.
Session 11: Class presentations I.
Session 12: Midterm exam
Session 13: The Beginning of Modern Art IV. Dadaism and Surrealism.
Required Reading: Harrison, Charles and Wood, Paul (eds), Art in Theory 1900-2000. An Anthology of Changing Ideas, Oxford: Blackwell, 2003, 250-257, 456-463.
Session 14: Dalí 1. The early years from Figueres to the Residencia de Estudiantes in Madrid. The influence of Lorca.
Required Reading: Gibson, Ian, ‘Salvador Dalí: the Catalan background’. In M. Raeburn (ed.), Salvador Dalí: the Early Years, London: South Bank Centre-Hayward Gallery, 1994, 49-64.
Session 15: Dalí 2. Surrealism. Dalí- Buñuel: Un chien andalou. The influence of Sigmund Freud. Film viewing: “Un chien andalou”, 1929.
Required Reading: King, Elliott H., Dalí, Surrealism and Cinema, Harpenden: Kamera Books, 2007, 17-27;
Fanés, Fèlix, Salvador Dalí. The Construction of the Image 1925-1930, Yale University Press: New Haven & London, 2007, 60-75.
Session 16: Dalí 3. The Paranoiac- Critical Method. Double image paintings.
Case Study: the Metamorphosis of Narcissus.
Required Reading: Lomas, David, ‘The Metamorphosis of Narcissus. Dalí’s Self- Analysis’. In D. Ades, F. Bradly (eds), Salvador Dalí. A Mythology, London: Tate Publishing, 1998, 79-100.
Session 17: Dalí 4. Fame in United States. The return to tradition: Nuclear Mysticism.
Required Reading: Gibson, Ian, The Shameful Life of Salvador Dalí, London: Faber and Faber, 1997, 448-473.
Session 18: Miró 1. Childhood, youth and Period of Details.
Required Reading: Llorens, T., Miró: Earth, Madrid: Museo Thyssen-Bornemisza, 2008, 29-41.
Session 19: Class presentations II.
Session 20: Miró 2. Surrealism. Inspiration through the masters of the past. The assassination of painting.
Required Reading: Umland, Anna, ‘Miró the Assassin’. In Exhibition Catalogue, Joan Miró. Painting and Anti-Painting 1927-1937, New York: MoMA, 2008, 1-15.
Session 21: Miró 3. The impact of war: the Savage paintings, the Constellations.
Required Reading: Hammond, Paul, Constellation of Miró, Breton, City Light Books: San Francisco, 29-61.
Session 22: Class presentations III.
Session 23: Field Study: Fundació Miró, Barcelona.
Required Reading: Watkins, Nicholas, ‘Joan Miró. London, Whitechapel Art Gallery’. The Burlington Magazine, 1033:131 (1989), 313-314.
Session 24: Picasso, Dalí, Miró, a comparative perspective.
Final exam
Required readings:
Bolloch, Joëlle, ‘Painter, the Salon, and the Critics, 1848-1870’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Cowling, Elizabeth, Picasso. Style and Meaning, London: Phaidon Press, 2002, 33, 34, 59-69. Esteban, Paloma, ‘The Great Series: the artist and the process of creation’. In Exhibition Catalogue, Picasso. Las Grandes Series, Madrid: Aldeasa / Museo Nacional Centro de Arte Reina Sofía, 2001, 539-543,545-547
Falgàs, Jordi, ‘Picasso’s fellows at the tavern: beyond Modernisme?’. In W.H. Robinson et al., Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí, New Haven & London: Cleveland Museum of Art / Yale University Press, 2007, 96-103.
Fanés, Fèlix, Salvador Dalí. The Construction of the Image 1925-1930, Yale University Press: New Haven & London, 2007, 60-75.
Gibson, Ian, ‘Salvador Dalí: the Catalan background’. In M. Raeburn (ed.), Salvador Dalí: the Early Years, London: South Bank Centre-Hayward Gallery, 1994, 49-64.
Gibson, Ian, The Shameful Life of Salvador Dalí, London: Faber and Faber, 1997, 448-473. Golding, John, ‘Picasso and ceramics. London and New York’. The Burlington Magazine, 1149: 140 (1998), 838-839.
Gottlieb, Carla, ‘The Meaning of the Bull and Horse in Guernica’, Art Journal, 24:2 (Winter 1964), 106-112.
Hammond, Paul, Constellation of Miró, Breton, City Light Books: San Francisco, 29-61.
Harrison, Charles and Wood, Paul (eds), Art in Theory 1900-2000. An Anthology of Changing Ideas, Oxford: Blackwell, 2003, 250-257, 456-463.
Llorens, T., Miró: Earth, Madrid: Museo Thyssen-Bornemisza, 2008, 29-41.
Lomas, David, ‘The Metamorphosis of Narcissus. Dalí’s Self-Analysis’. In D. Ades, F. Bradly (eds),
Salvador Dalí. A Mythology, London: Tate Publishing, 1998, 79-100.
Madeline, Laurence, ‘In the times of the impressionist exhibitions (1874-1886)’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Noyes Platt, Susan, ‘Modernism, Formalism, and Politics: the “Cubism and Abstract Art” Exhibition of 1936 at the Museum of Modern Art’, Art Journal, 4: 47 (1998), 284-295.
Umland, Anna, ‘Miró the Assassin’. In Exhibition Catalogue, Joan Miró. Painting and Anti-Painting 1927-1937, New York: MoMA, 2008, 1-15.
Watkins, Nicholas, ‘Joan Miró. London, Whitechapel Art Gallery’. The Burlington Magazine, 1033:131 (1989), 313-314.
Winnan, Judith (director), The Private Life of a Masterpiece: Les Demoiselles d’Avignon, BBC, 2004.
Recommended readings:
Art (General)
Acton, M., Learning to Look at Modern Art, London & New York: Routledge, 2004
Art of the 20th Century. 1900-1919. The Avant-garde Movements, Milan: Skira, 2006
Art of the 20th Century. 1920-1945. The Artistic Culture Between the Wars, Milan: Skira, 2006
Brettell, Richard R., Modern Art 1851-1929. Capitalism and Representation, Oxford: Oxford University Press, 1999
Gale, M., Dada and Surrealism, London: Phaidon Press, 1997
Harrison, C. & Wood, P., Art in Theory 1900-2000. An Anthology of Changing Ideas, Oxford: Blackwell Publishing, 2003
Hughes, R., The Shock of the New. Art and the Century of Change, London: Thames & Hudson, 1991
Rhodes, C., Primitivism and Modern Art, London: Thames & Hudson, 1994
Yenawine, Philip, How to look at modern art, New York: Harry N. Abrams, 1991
Picasso
Baldassari, Anne (ed.), Cubist Picasso, Paris: Flammarion, 2007
Baldassari, Anne (ed.), The Surrealist Picasso, Paris: Flammarion, 2005
Brown J. (ed.), Picasso and the Spanish Tradition, New Haven & London: Yale University Press, 1996
Rafart i Planas, Claustre, Picasso’s Las Meninas, Barcelona: Editorial Meteorα, 2001
Chip, H.B., Picasso’s Guernica. History, Transformations, Meaning, Thames & Hudson: London, 1989
Cowling, Elizabeth, Interpreting Matisse Picasso, London: Tate Publishing, 2002
Cowling, Elizabeth & Cox N., Picasso. Challenging the Past, National Gallery Company: London, 2009
Cowling, Elizabeth, Picasso. Style and Meaning, London: Phaidon Press, 2002
Fitzgerald, Michael C., Making Modernism. Picasso and the Creation of the Market for Twentieth-Century Art, Berkeley-Los Angeles-London: University of California Press, 1995
Flam, Jack, Matisse Picasso. The Story of Their Rivalry and Friendship, Cambridge MA: Icon Edition, 2003
Hilton, T., Picasso, London: Thames & Hudson, 1976
Krauss, R.E., The Picasso Papers, London: Thames & Hudson, 1998
Léal, B., Piot C. & Bernadac M-L, The Ultimate Picasso, New York: Harry N. Abrams, 2003
McCully, Marilyn (ed.), Picasso. The Early Years. 1892-1906. Washington: National Gallery of Art, 1997
McCully, Marilyn (ed.), A Picasso Anthology. Documents, Criticism, Reminiscences. Princeton: Princeton University Press, 1982
Ocaña María Teresa, Picasso and Els Quatre Gats, Barcelona: Lunwerg Editores, 1995
Ocaña, María Teresa (ed.), Picasso. War and Peace, Barcelona: Museu Picasso, 2004
Penrose, R., Picasso: his life and work, Berkeley & Los Angeles: University of California Press, 3rd edition, 1981
Richardson, John, A Life of Picasso vol.I 1881-1906, London: Pimlico, 1992
Richardson, John, A Life of Picasso vol.II 1907-1917, London: Pimlico, 1997
Richardson, John, A Life of Picasso vol.III 1917-1932, London: Jonathan Cape, 2007
Rubin, William S. (ed.), Picasso and Portraiture. Representation and Transformation, New York: Museum of Modern Art, 1996
Spies, W. (ed.), Picasso’s World of Children, Munich & New York: Prestel, 1996
Staller, Natasha, A Sum of Destructions. Picasso’s Cultures & the Creation of Cubism, New Haven & London: Yale University Press, 2001
Stein, Gertrude, Picasso, Madrid: Biblioteca La Esfera, 2002
Dalí
Ades, Dawn, Dalí, London: Thames & Hudson, 1995
Ades, Dawn (ed.), Dalí. The Centenary Retrospective, London: Thames & Hudson, 1994
Ades, Dawn (ed.), Dalí’s Optical Illusions, New Haven & London: Yale University Press, 2000
Ades, Dawn & Bradley F., Salvador Dalí: A Mythology, London: Tate Gallery Press, 1998
Castellar-Gassol, J., Dalí. A Perverse Life, Barcelona: Editions de 1984, 2002
Dalí, Salvador, The Secret Life of Salvador Dalí, Spain: Dasa Editions, 2000
Dalí, Salvador, Oui. The Paranoiac-Critical Revolution. Writings 1927-33, Robbert Descharnes (ed.) and Yvonne Shafir (trans.), Boston : Exact Exchange, 1998
Descharnes, R. & Néret, G., Dalí 1904-1989, Cologne: Borders Press, 1998
Dimensión Dalí. Laobsesión de un genio por la ciencia, Joan Ubeda, Susi Marquès and Eli Pons (dirs), Medipro, 2004. DVD
Elena Dimitrieva Diakonova. Gala, Silvia Munt (dir.), Manga Films S.L., 2003. DVD Exhibition catalogue, Dalí. Mass Culture. s.l.: Fundació La Caixa, 2004
Fanés, Fèlix, Salvador Dali. The Construction of the Image 1925-1930, New Haven & London: Yale University Press, 2007
Gale, M. (ed.), Dalí & Film, London: Tate Publishing, 2007
Gibson, Ian, The Shameful Life of Salvador Dalí, London: Faber & Faber, 1997
Jiménez-Frontin, J.L., Teatre Museu Dalí, Barcelona: Tusquets-Electra, 2004
King, Elliott H., Dalí, Surrealism and Cinema, Harpenden: Kamera Books, 2007
King, Elliott H., Salvador Dalí. The Late Works, New Haven & London: Yale University Press, 2010
Radford, R., Dalí, London: Phaidon, 1997
Raeburn, Michael (ed.), Salvador Dalí: the early years, London: South Bank Centre, 1994
Taylor, Michael R. (ed.), The Dalí Renaissance. New Perspectives on His Life and Art after 1940, New Haven & London: Yale University Press, 2008
Un chien andalou / Un perro andalus, Salvador Dalí and Luís Buñuel (dirs), 1929, Filmoteca Española / Iskra S.L., 2009. DVD
Miró
Dupin, Jacques, Miró, Paris: Flammarion, 2004
Fabre, G. (ed.), La dona, metamorfosi de la modernitat, Barcelona: Fundació Miró, 2005 (text also in English)
Gollonet, C. (ed.), Joan Miró: crossing the limits, Granada: Diputación de Granada, 2004
Llorens, T., Miró: Earth, Madrid: Museo Thyssen-Bornemisza, 2008
Malet, Rosa Maria (ed.), Fundación Miró Guidebook, Barcelona: Skira, 1999
Malet, Rosa Maria, Joan Miró. New York: Rizzoli, 2003
Mink, J., Joan Miró 1893-1983, Cologne: Taschen, 2006
Mestres del collage de Picasso a Rauschenberg, Barcelona: Fundació Miró, 2005 (text also in English) Penrose, Roland, Miró, London: Thames & Hudson, 1985
Permanyer, L., Miró. The Life of Passion, Barcelona: Editions de 1984, 2003
Rowell, Margit (ed.), Joan Miró. Selected Writings and Interviews, Cambridge MA: Da Capo Press, 1992
Umland, A. et al, Joan Miró: Painting & Anti-Painting 1927-37, New York: Museum of Modern Art, 2008
Von Wiese, S. & Matin S. (eds), Miró. Snail Woman Flower Star, Munich: Prestel, 2008
Notes:
This course is offered during the regular semester and in the summer. For summer sections, the course schedule is condensed, but the content, learning outcomes, and contact hours are the same.
The work of these three international artists with distinct Catalan roots is explored on an individual basis within the wider framework of European art movements. In each case, we will study the acceptance and/or rejection of tradition, the interaction with French art and artists, and personal experience. We will also pay attention to the role of both outside stimuli (war, relationships) and inner forces (memory, imagination). The course will include guided tours of the Picasso Museum, the MNAC (Catalan National Museum of Art) and the Miró Foundation in Barcelona and visiting the Dalí Theater Museum in Figueres is highly recommended.
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
By the end of the course students are able to:
Lectures, readings, class activities, field studies and student presentations.
Session 1: Introduction. How to look at paintings.
Session 2: Social and Cultural Frame. The Beginnings of Modern Art I: Neoclassicism, Romanticism and the Salon System, the Barbizon School.
Required Reading: Bolloch, Joëlle, ‘Painter, the Salon, and the Critics, 1848-1870’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Session 3: The Beginnings of Modern Art II: Impressionism, Postimpressionism, Symbolism and Art Nouveau.
Required Reading: Madeline, Laurence, ‘In the times of the impressionist exhibitions (1874-1886)’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Session 4: Picasso 1. Formal apprenticeship and early styles. The Barcelona years: the Four Cats. Blue Period. Rose Period.
Required Reading: Cowling, Elizabeth, Picasso. Style and Meaning, London: Phaidon Press, 2002, 33, 34, 59-69.
Session 5: Field trip to the Museu Nacional d’Art de Catalunya (MNAC) to investigate late 19th and early 20th century artistic traditions in situ.
Required Reading: Falgàs, Jordi, ‘Picasso’s fellows at the tavern: beyond Modernisme?’. In W.H. Robinson et al., Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí, New Haven & London: Cleveland Museum of Art / Yale University Press, 2007, 96-103.
Session 6: Picasso 2. Picasso and Cubism. Les Demoiselles d’Avignon. Analytical and Synthetic Cubism.
Required Reading: The Private Life of a Masterpiece: Les Demoiselles d’Avignon, Winnan, Judith (director), BBC, 2004. DVD
Session 7: Picasso 3. Return to order. Picasso and Surrealism. Guernica and the war period.
Required Reading: Gottlieb, Carla, ‘The Meaning of the Bull and Horse in Guernica’, Art Journal, 24:2 (Winter 1964), 106-112.
Session 8: Picasso 4: The re- interpretation of Old Masters from the past. The final years.
Required Reading: Esteban, Paloma, ‘The Great Series: the artist and the process of creation’. In Exhibition Catalogue, Picasso. Las Grandes Series, Madrid: Aldeasa / Museo Nacional Centro de Arte Reina Sofía, 2001, 539-543,545-547
Session 9: Field Study: Museu Picasso, Barcelona.
Required Reading: Golding, John, ‘Picasso and ceramics. London and New York’.
The Burlington Magazine, 1149: 140 (1998), 838-839.
Session 10: The Beginnings of Modern Art III. Avant-garde art: Fauvism, German Expressionism, Futurism.
Required Reading: Noyes Platt, Susan, ‘Modernism, Formalism, and Politics: the “Cubism and Abstract Art” Exhibition of 1936 at the Museum of Modern Art’, Art Journal, 4: 47 (1998), 284-295.
Session 11: Class presentations I.
Session 12: Midterm exam
Session 13: The Beginning of Modern Art IV. Dadaism and Surrealism.
Required Reading: Harrison, Charles and Wood, Paul (eds), Art in Theory 1900-2000. An Anthology of Changing Ideas, Oxford: Blackwell, 2003, 250-257, 456-463.
Session 14: Dalí 1. The early years from Figueres to the Residencia de Estudiantes in Madrid. The influence of Lorca.
Required Reading: Gibson, Ian, ‘Salvador Dalí: the Catalan background’. In M. Raeburn (ed.), Salvador Dalí: the Early Years, London: South Bank Centre-Hayward Gallery, 1994, 49-64.
Session 15: Dalí 2. Surrealism. Dalí- Buñuel: Un chien andalou. The influence of Sigmund Freud. Film viewing: “Un chien andalou”, 1929.
Required Reading: King, Elliott H., Dalí, Surrealism and Cinema, Harpenden: Kamera Books, 2007, 17-27;
Fanés, Fèlix, Salvador Dalí. The Construction of the Image 1925-1930, Yale University Press: New Haven & London, 2007, 60-75.
Session 16: Dalí 3. The Paranoiac- Critical Method. Double image paintings.
Case Study: the Metamorphosis of Narcissus.
Required Reading: Lomas, David, ‘The Metamorphosis of Narcissus. Dalí’s Self- Analysis’. In D. Ades, F. Bradly (eds), Salvador Dalí. A Mythology, London: Tate Publishing, 1998, 79-100.
Session 17: Dalí 4. Fame in United States. The return to tradition: Nuclear Mysticism.
Required Reading: Gibson, Ian, The Shameful Life of Salvador Dalí, London: Faber and Faber, 1997, 448-473.
Session 18: Miró 1. Childhood, youth and Period of Details.
Required Reading: Llorens, T., Miró: Earth, Madrid: Museo Thyssen-Bornemisza, 2008, 29-41.
Session 19: Class presentations II.
Session 20: Miró 2. Surrealism. Inspiration through the masters of the past. The assassination of painting.
Required Reading: Umland, Anna, ‘Miró the Assassin’. In Exhibition Catalogue, Joan Miró. Painting and Anti-Painting 1927-1937, New York: MoMA, 2008, 1-15.
Session 21: Miró 3. The impact of war: the Savage paintings, the Constellations.
Required Reading: Hammond, Paul, Constellation of Miró, Breton, City Light Books: San Francisco, 29-61.
Session 22: Class presentations III.
Session 23: Field Study: Fundació Miró, Barcelona.
Required Reading: Watkins, Nicholas, ‘Joan Miró. London, Whitechapel Art Gallery’. The Burlington Magazine, 1033:131 (1989), 313-314.
Session 24: Picasso, Dalí, Miró, a comparative perspective.
Final exam
Bolloch, Joëlle, ‘Painter, the Salon, and the Critics, 1848-1870’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Cowling, Elizabeth, Picasso. Style and Meaning, London: Phaidon Press, 2002, 33, 34, 59-69. Esteban, Paloma, ‘The Great Series: the artist and the process of creation’. In Exhibition Catalogue, Picasso. Las Grandes Series, Madrid: Aldeasa / Museo Nacional Centro de Arte Reina Sofía, 2001, 539-543,545-547
Falgàs, Jordi, ‘Picasso’s fellows at the tavern: beyond Modernisme?’. In W.H. Robinson et al., Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí, New Haven & London: Cleveland Museum of Art / Yale University Press, 2007, 96-103.
Fanés, Fèlix, Salvador Dalí. The Construction of the Image 1925-1930, Yale University Press: New Haven & London, 2007, 60-75.
Gibson, Ian, ‘Salvador Dalí: the Catalan background’. In M. Raeburn (ed.), Salvador Dalí: the Early Years, London: South Bank Centre-Hayward Gallery, 1994, 49-64.
Gibson, Ian, The Shameful Life of Salvador Dalí, London: Faber and Faber, 1997, 448-473. Golding, John, ‘Picasso and ceramics. London and New York’. The Burlington Magazine, 1149: 140 (1998), 838-839.
Gottlieb, Carla, ‘The Meaning of the Bull and Horse in Guernica’, Art Journal, 24:2 (Winter 1964), 106-112.
Hammond, Paul, Constellation of Miró, Breton, City Light Books: San Francisco, 29-61.
Harrison, Charles and Wood, Paul (eds), Art in Theory 1900-2000. An Anthology of Changing Ideas, Oxford: Blackwell, 2003, 250-257, 456-463.
King, Elliott H., Dalí, Surrealism and Cinema, Harpenden: Kamera Books, 2007, 17-27.
Llorens, T., Miró: Earth, Madrid: Museo Thyssen-Bornemisza, 2008, 29-41.
Lomas, David, ‘The Metamorphosis of Narcissus. Dalí’s Self-Analysis’. In D. Ades, F. Bradly (eds),
Salvador Dalí. A Mythology, London: Tate Publishing, 1998, 79-100.
Madeline, Laurence, ‘In the times of the impressionist exhibitions (1874-1886)’, trans. by Fabrice Troupenat and Steve Taviner, Paris: Musée d’Orsay, 2002.
Noyes Platt, Susan, ‘Modernism, Formalism, and Politics: the “Cubism and Abstract Art” Exhibition of 1936 at the Museum of Modern Art’, Art Journal, 4: 47 (1998), 284-295.
Umland, Anna, ‘Miró the Assassin’. In Exhibition Catalogue, Joan Miró. Painting and Anti-Painting 1927-1937, New York: MoMA, 2008, 1-15.
Watkins, Nicholas, ‘Joan Miró. London, Whitechapel Art Gallery’. The Burlington Magazine, 1033:131 (1989), 313-314.
Winnan, Judith (director), The Private Life of a Masterpiece: Les Demoiselles d’Avignon, BBC, 2004.
Art (General)
Acton, M., Learning to Look at Modern Art, London & New York: Routledge, 2004
Art of the 20th Century. 1900-1919. The Avant-garde Movements, Milan: Skira, 2006
Art of the 20th Century. 1920-1945. The Artistic Culture Between the Wars, Milan: Skira, 2006
Brettell, Richard R., Modern Art 1851-1929. Capitalism and Representation, Oxford: Oxford University Press, 1999
Gale, M., Dada and Surrealism, London: Phaidon Press, 1997
Harrison, C. & Wood, P., Art in Theory 1900-2000. An Anthology of Changing Ideas, Oxford: Blackwell Publishing, 2003
Hughes, R., The Shock of the New. Art and the Century of Change, London: Thames & Hudson, 1991
Rhodes, C., Primitivism and Modern Art, London: Thames & Hudson, 1994
Yenawine, Philip, How to look at modern art, New York: Harry N. Abrams, 1991
Picasso
Baldassari, Anne (ed.), Cubist Picasso, Paris: Flammarion, 2007
Baldassari, Anne (ed.), The Surrealist Picasso, Paris: Flammarion, 2005
Brown J. (ed.), Picasso and the Spanish Tradition, New Haven & London: Yale University Press, 1996
Rafart i Planas, Claustre, Picasso’s Las Meninas, Barcelona: Editorial Meteorα, 2001
Chip, H.B., Picasso’s Guernica. History, Transformations, Meaning, Thames & Hudson: London, 1989
Cowling, Elizabeth, Interpreting Matisse Picasso, London: Tate Publishing, 2002
Cowling, Elizabeth & Cox N., Picasso. Challenging the Past, National Gallery Company: London, 2009
Cowling, Elizabeth, Picasso. Style and Meaning, London: Phaidon Press, 2002
Fitzgerald, Michael C., Making Modernism. Picasso and the Creation of the Market for Twentieth-Century Art, Berkeley-Los Angeles-London: University of California Press, 1995
Flam, Jack, Matisse Picasso. The Story of Their Rivalry and Friendship, Cambridge MA: Icon Edition, 2003
Hilton, T., Picasso, London: Thames & Hudson, 1976
Krauss, R.E., The Picasso Papers, London: Thames & Hudson, 1998
Léal, B., Piot C. & Bernadac M-L, The Ultimate Picasso, New York: Harry N. Abrams, 2003
McCully, Marilyn (ed.), Picasso. The Early Years. 1892-1906. Washington: National Gallery of Art, 1997
McCully, Marilyn (ed.), A Picasso Anthology. Documents, Criticism, Reminiscences. Princeton: Princeton University Press, 1982
Ocaña María Teresa, Picasso and Els Quatre Gats, Barcelona: Lunwerg Editores, 1995
Ocaña, María Teresa (ed.), Picasso. War and Peace, Barcelona: Museu Picasso, 2004
Penrose, R., Picasso: his life and work, Berkeley & Los Angeles: University of California Press, 3rd edition, 1981
Richardson, John, A Life of Picasso vol.I 1881-1906, London: Pimlico, 1992
Richardson, John, A Life of Picasso vol.II 1907-1917, London: Pimlico, 1997
Richardson, John, A Life of Picasso vol.III 1917-1932, London: Jonathan Cape, 2007
Rubin, William S. (ed.), Picasso and Portraiture. Representation and Transformation, New York: Museum of Modern Art, 1996
Spies, W. (ed.), Picasso’s World of Children, Munich & New York: Prestel, 1996
Staller, Natasha, A Sum of Destructions. Picasso’s Cultures & the Creation of Cubism, New Haven & London: Yale University Press, 2001
Stein, Gertrude, Picasso, Madrid: Biblioteca La Esfera, 2002
Dalí
Ades, Dawn, Dalí, London: Thames & Hudson, 1995
Ades, Dawn (ed.), Dalí. The Centenary Retrospective, London: Thames & Hudson, 1994
Ades, Dawn (ed.), Dalí’s Optical Illusions, New Haven & London: Yale University Press, 2000
Ades, Dawn & Bradley F., Salvador Dalí: A Mythology, London: Tate Gallery Press, 1998
Castellar-Gassol, J., Dalí. A Perverse Life, Barcelona: Editions de 1984, 2002
Dalí, Salvador, The Secret Life of Salvador Dalí, Spain: Dasa Editions, 2000
Dalí, Salvador, Oui. The Paranoiac-Critical Revolution. Writings 1927-33, Robbert Descharnes (ed.) and Yvonne Shafir (trans.), Boston : Exact Exchange, 1998
Descharnes, R. & Néret, G., Dalí 1904-1989, Cologne: Borders Press, 1998
Dimensión Dalí. Laobsesión de un genio por la ciencia, Joan Ubeda, Susi Marquès and Eli Pons (dirs), Medipro, 2004. DVD
Elena Dimitrieva Diakonova. Gala, Silvia Munt (dir.), Manga Films S.L., 2003. DVD Exhibition catalogue, Dalí. Mass Culture. s.l.: Fundació La Caixa, 2004
Fanés, Fèlix, Salvador Dali. The Construction of the Image 1925-1930, New Haven & London: Yale University Press, 2007
Gale, M. (ed.), Dalí & Film, London: Tate Publishing, 2007
Gibson, Ian, The Shameful Life of Salvador Dalí, London: Faber & Faber, 1997
Jiménez-Frontin, J.L., Teatre Museu Dalí, Barcelona: Tusquets-Electra, 2004
King, Elliott H., Dalí, Surrealism and Cinema, Harpenden: Kamera Books, 2007
King, Elliott H., Salvador Dalí. The Late Works, New Haven & London: Yale University Press, 2010
Radford, R., Dalí, London: Phaidon, 1997
Raeburn, Michael (ed.), Salvador Dalí: the early years, London: South Bank Centre, 1994
Taylor, Michael R. (ed.), The Dalí Renaissance. New Perspectives on His Life and Art after 1940, New Haven & London: Yale University Press, 2008
Un chien andalou / Un perro andalus, Salvador Dalí and Luís Buñuel (dirs), 1929, Filmoteca Española / Iskra S.L., 2009. DVD
Miró
Dupin, Jacques, Miró, Paris: Flammarion, 2004
Fabre, G. (ed.), La dona, metamorfosi de la modernitat, Barcelona: Fundació Miró, 2005 (text also in English)
Gollonet, C. (ed.), Joan Miró: crossing the limits, Granada: Diputación de Granada, 2004
Llorens, T., Miró: Earth, Madrid: Museo Thyssen-Bornemisza, 2008
Malet, Rosa Maria (ed.), Fundación Miró Guidebook, Barcelona: Skira, 1999
Malet, Rosa Maria, Joan Miró. New York: Rizzoli, 2003
Mink, J., Joan Miró 1893-1983, Cologne: Taschen, 2006
Mestres del collage de Picasso a Rauschenberg, Barcelona: Fundació Miró, 2005 (text also in English) Penrose, Roland, Miró, London: Thames & Hudson, 1985
Permanyer, L., Miró. The Life of Passion, Barcelona: Editions de 1984, 2003
Rowell, Margit (ed.), Joan Miró. Selected Writings and Interviews, Cambridge MA: Da Capo Press, 1992
Umland, A. et al, Joan Miró: Painting & Anti-Painting 1927-37, New York: Museum of Modern Art, 2008
Von Wiese, S. & Matin S. (eds), Miró. Snail Woman Flower Star, Munich: Prestel, 2008
This course is offered during the regular semester and in the summer. For summer sections, the course schedule is condensed, but the content, learning outcomes, and contact hours are the same.