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What does harrison claim about formalism and the

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What does Harrison claim about formalism and the aesthetic significance of the art of the French Impressionists, for critics and audiences of the nineteenth century and for critics, historians, and other viewers today? You may choose to focus your analysis on one or more artists.
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How does Harrison write, why does he write, for whom does he write, and how does his argument and approach appear to you today? What are his preferred figures of speech, rhetorical modes of address, and practices of bibliographic reference? How effectively does he speak to you? Please make use of specific quotations from the chapter by Harrison as well as from the additional readings in Art in Theory and on Moodle. April 11 Tamar Garb, Chapter 3. Gender and Representation, MAM, pp. 219-89. Introduction, MAM, pp. 219-30. [Jacqueline Rose, “Femininity and Its Discontents” (1983), M.] [John Berger, Ways of Seeing (1972), MC TV series, M.] [Lawrence Alloway and Carol Osborne, Reviews of Rozsika and Griselda Pollock, Old Mistresses: Women, Art, and Ideology (1982-83), M.] Renoir’s La Loge, MAM, pp. 223-30. [Laura Mulvey, “Visual Pleasure and Narrative Cinema” (1975), M.] Renoir at the Theatre: Looking at La Loge ,” Courtauld Gallery exhibition (2008), text and videos, M. [Tamar Garb, “Renoir and the Natural Woman” (1985), M.] April 13 Artists, MAM, pp. 230-56. The Status of Women Artists, MAM, p. 231. [Tamar Garb, “Revising the Revisionists: The Formation of the Union des Femmes Peintres et Sculpteurs” (1989), M.] Questions of Quality, MAM, pp. 232-33. Modern Representations of the Artist, MAM, pp. 231-41. Marie Bashkirtseff, Journal Entries (1877-82), AIT, pp. 765-69. [Leader Scott, “Women at Work: Their Functions in Art” (1884), AIT, pp. 769- 72.] [Anonymous, “Woman, and her Chance as an Artist” (1888), AIT, pp. 772-73.] [George Moore, “Sex in Art” (1893), AIT, pp. 773-76.] [Octave Uzanne, “Women Artists and Bluestockings” (1894), AIT, pp. 777-81.] Eva Gonzalès, MAM, pp. 242-46. Charles Baudelaire, “The Painter of Modern Life” (1859-63), AIT, pp. 501-05. April 18 Berthe Morisot, MAM, pp. 246-56. Berthe Morisot, Letter to her Sister Edma (1884), AIT, p. 941. April 20 Painting as a Woman, MAM, pp. 256-76. The Opera as a Site of Modernity, MAM, pp. 257-62. Mary Cassatt, MAM, pp. 262-67. Mary Cassatt and Bertha Palmer, Correspondence (1892), AIT, pp. 928-30. Images of Motherhood, MAM, pp. 267-70.
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April 25 Modernity and the Domestic Sphere, MAM, pp. 270-76. Griselda Pollock, “Modernity and the Spaces of Femininity” (1988), M. [ Roland Barthes, “The Death of the Author” (1967), M.] The Historical Viewer, MAM, pp. 276-89. [Courbet, Origin of the World (1866), M.] Various authors on Berthe Morisot (1874-86), AIT, pp. 572, 575, 591, 593, 598, 774-76, 851-52, 963-64. Charles Blanc, On Color and Line (1867), AIT, p. 619. April 27 Final Review May 2 Three-to-four-page paper (12-point font, double-spaced) analyzing some of the repeated elements of theme and rhetoric in Chapter 3 of Modernity and Modernism, Gender and Representation by Tamar Garb, due by 12:30 p.m. on Tuesday, May 2, in Mr. Levine’s mail box in the office of Art, Archaeology, and Cities, Thomas 235, or under his office door, Thomas 232 (25%).
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