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

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

Fine Arts A will be given in 1958.

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.

SvLLAsus. Medieval, Renaissance and Mannerist Art with special reference to Italy (1300-1600).

Students are required to submit written work.

Вooкs. 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:

Fry,

R.—Vision and Design. (Chatto &

Windus.)

Pater,

W.—The Renaissance: Studies in Art and Poetry.

(Macmillan, 1922.)

•Burckhardt,

J.—The Civilization of the Renaissance in Italy.

(Phaidon.) Robb, D. M.

,

and Garrison, J. J. Art

in the Western World.

^(Harper.)

*Read,

1.—The Meaning of Art.

(Pelican.)

•Gombrich, E.

Н.

—

The Story of Art. (Phaidon.)

Fry,

R.-Last Lectures.

^(С.U.Р.) Berenson,

B.—Aesthetics and History.

(b) Prescribed text-books:

*Castiglione,

B.—The Courtier.

(Everyman, No. 807.)

*Vasari,

G.-Lives of the Most Eminent Painters, Sculptors, and Architects.

( Everyman, Nos. 784-787.)

*Cellini,

B. Autobiography.

(Everyman, No. 51.)

Alberti, L. B —Ten

Books of Architecture.

(ed. Rykwert, J., Tiranti, 1955.) Seltman,

C. Approach to Greek Art.

(Studio Publications.)

Richter, G. M.

A.—The Sculpture and Sculptors of the Greeks.

(Yale Univ.

Press.)

*Pevsner,

N.—An Outline of European Architecture.

(Pelican.)

*Holt, E.

G.—Literary Sources of Art History.

(Princeton Univ. Press, 1947.) Goldwater, R. J., and Treves,

M. Artists on Art.

(Pantheon Books.) Panofsky,

E.Abot

^Suger

on the Abbey Church of S. Denis.

(Princeton,

1946.)

Morey, C.

R.—Mediaeval Art.

(Norton, 1942.)

*Berenson,

B.—The Italian Painters of the Renaissance.

(Oxford, 1940 and Phaidon, 1953.)

Clark,

K.—Landscape into Art.

(Murray.)

*W6!ffјin,

H.—Classic Art.

(Phaidon.)

W61ff1in,

H. Principles of Art History.

(Holt.)

Richter

(ед.)—Selections from the Notebooks of Leonardo

Vinci.

(World's Classics.)

Propyläen—

Кunstgeschichte. (Selected Volumes.)

Michel,

A.—

Histoire

de

l'Art depuis les

premiers temps

chrétiens

jusqu'd

nos jours. (Paris, Colin, 1905-1929.) •

Symonds, J.

A.—The Renaissance in Italy: Fine Arts.

(Murray.) Pijoan, J.—History

of Art.

(Trans., R. L. Roys, Batsford, 1927-28, 3 vols.) Dennis,

O. Byzantine Mosaic Decoration. (Kegan

Paul.)

Morey, C.

R.—Early Christian Art.

(Princeton, 1942.)

Lethaby, W.

R.—Medieval Art.

(rev. T. D. Rice, Nelson, 1949.) Panofsky,

E.—Gothic Architecture and Scholasticism.

Summerson, J. Heavenly

Mansions.

(Cresset Press, 1949.) Mii1е,

E.—Religious Art.

(Abridged.) (Routledge

&

Kegan Paul.) links,

R.—Carolingian Art.

(Sidgwick & Jackson, 1935.)

van Marle,

R.—The Development of the Italian Schools of Painting,

23 vols.

(N. Nijhoff, The Hague, 1923.)

Venturi,

A. Short History of Italian Art.

(Trans. E. Hutton, Macmillan.) Venturi,

A.—Storia

dell'arte

italiana.

(Milan, Hoepli.)

Venturi,

L: Italian Painting, the Creators of the Renaissance.

(Skira.) von Martin,

A.—Sociology of the Renaissance.

(Kegan Paul.) Friedlaender, M. J.—Landscape,

Portrait, Still Life.

(Cassirer.) Machiavelli,

N.—The Florentine History.

(Everyman, No. 376.)

The Little Flowers of St. Francis. (Everyman,

No. 485.) Landucci, L.—A

Florentine Diary.

(Trans, A. D. Jervis, Dent.) Leonardo da

Vinci—Notebooks,

2 vols. (Ed. McCurdy.)

Berenson,

B.—The Study and Criticism of Italian Art,

3 vols. (Bell, 1920-1927.

Antal, F.—The

Social Background of Florentine Painting.

(Kegan Paul, 1948.

Meiss, M.

L.—Painting in Florence and Siena after the Black Death.

(Prince- ton Univ. Press, 1951.)

Witticower,

R. Architectural Principles in the Age of Humanism.

^(Warburg- Courtauld.)

Blunt,

A. Artistic Theory in Italy, 1450-1600.

(O.U.P., 1940.)

de Tolnay,

C.—Michel

ngеlо,

Vols.

I-III.

(Princeton Univ. Press, 1945-49.) Pevsner,

N. Academies of Art.

(C.U.P., 1940.)

Pevsner,

N.—The Architecture of Mannerism,

article

in The Mint,

1945.

Becherucci,

L.—Manieristi Toscani.

(Instituto d'Arti Grafiche.) Panofsky,

E.—Studies in Iconology.

(O.U.P., 1939.)

Seznec,

J.—The Survival of the Ancient Gods. (Bollinger

Series.)

Voss, H. G.

A. Die Malerei der Spätrenaissance in Rom

und

Floreng.

(1920.) Hauser,

A.—Social History of Art.

Nore.

Students taking Fine Arts A 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.

FINE ARTS

B

A course of two lectures per week, with one tutorial class, 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.

SYLLABUS. 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.

Воокs. 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. 1.—An

Introduction to Modern Architecture.

(Pelican.) Bell,

C.—Landmarks in Nineteenth

Century

Painting.

(New York, 1927.)

*Gombrich, E.

1.—The Story of Art.

(Phaidon.) Fry,

R.—Vision

and

Design.

(Pelican.) Fry, R.—Last

Lectures.

(C.U.P.)

Robb, D. M., and Garrison, J. J.—Art

in the Western World.

^(Harper.)

*Read,

H. .The Meaning of Art.

(Pelican.) (b) Prescribed text-bookš : Morris, W.—Writings. (Nonesuch.)

Delacroix,

E.—The Journals of Eugčпe

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. (B.

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, 1.—Art

Now.

(Faber.)

Read,

1.—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,

H.—Old Colonial Architecture

N.S.W. and

^Tasmania.

Herman,

1.—The Early Australian Architects.

(Angus and Robertson.) Smith,

B.—

lасе, 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.)

Рго

p

läеп—Kunstgeschichte (Selected

Volumes).

Steegman,

J.—Consort of Taste, 1830-1870. (Sidgwick &

^Jackson.) Ironside,

R.—Pre-Raphaelite Painters. (Phaidon.)

Escholier,

R.—L'oeuvre et is Vie

d'Eugène Delacroix. (Fleury.) Lassaigne, J. Daumier

Paintings.

(Heinemann.)

Lemann, B. Daumier

Lithographs.

(Raynal & Hitchcock.) Meier-Graefe—Modern Art. ( Putnam. 1908.)

Cooper,

D.—Мanet'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,

3.—The Ordeal of Paul

Cézaпnе. (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 Sculpture.

Klee, 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.) Summеrson, 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.—Geп ius and the Mobocracy.

(Duell, Sloan & Pearce.) Giedion,

S. Frank Lloyd Wright.

Zevi, В.—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.—Reflections 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.

Nora. 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.

Eхпмтхл ох. Two 3-hour papers.

FINE ARTS C

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

Fine Arts C will be given in 1959 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.

SYLLABUS. 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.

Bоокs. 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:

•Gombrich, E.

H.—The Story of Art.

(Phaidon.)

Robb, D. M., and Garrison, J. J. Art

in the Western World.

(Harper.) 91

*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 Adam, 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.—Rassеlas.

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 Masters 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.) Propyläen—Kunst.oeschichte (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 Berniпi. (Phaidon, 1955.)

Lorenzetti, G.—La Pittura Italiana dcl 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-1 Quatri Libri dell' Architeeturп.

Vitruvius Britannicus. (Campbell, a.o., 1715.) Kent, W.—The Designs of Inigo Janes, 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, M.—The Work of William Kent. (Country Life.) Lees-Milne, 3.—The Age of Adam. (Ratsford, 1947.) Summerson, J. Nash. (Allen & Unwin.)

Summerson, J.—Sir John Soaпe. (Art and Technics, 1951.) Fry, R., et al.—Georgian Art in England. (Studio.)

Jourdain, M. English Interior Decoration. (Batsford.)

Siren, 0.—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 Lite,

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. John Constable's Clouds. (Routledge & Kegan Paul.) Binyon, L. English Watercolours. (Black, 1933.)

Smith,

J.

T. Notlekens and His Times. (Turnstile, 1949.)

Noтн. 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.

Dalam dokumen faculty of arts and board of studies in journalism (Halaman 90-95)