17-2. FINE ARTS B - faculty of arts and board of studies in journalism

Mr. F. A. Philipp

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

No external enrolments are accepted in this subject.

Fine Arts В will be given every year.

Students who wish for good reasons to take this subject without having previously taken Fine Arts A must obtain the permission"of the lecturer in charge of the subject and must undertake

a

course of preliminary reading prescribed by the Department.

SYLLABUS

A study of the art of the Renaissance in Italy, with an introduction on Italian Medieval art. The tutorial class will be given mainly to the study of primary and written sources.

Students are required to submit written work.

BOOKS

Monographs and works of reference are not included here; sectional bibliographies will be issued through the year to supplement this basic list. Students are strongly recommended to acquire as much visual reference material as possible. Books which students will be permitted to take into the examination room are marked with a double asterisk: extracts from these books may also be used in the examination.

(a) Recommended for preliminary reading:

*Ovid—Metamorphoses. ( Pelican

or any other ed. ) Huizinga, J. .The

Waning of the Middle Ages. ( Pelican. )

Waddell, 11.—The

Wandering Scholars.

(Pelican.)

*Panofsky,

E.—Studies in Iconology

(the introductory chapter). (O.U.P., 1939;

Harper Torch Books, 1962. )

*Panofsky,

E.—Meaning in the Visual Arts (of

which the introductory chapter

only is

identical with the above) . ( Doubleday, 1955.)

Heer,

F.—The Medieval World, 1100-1350. ( Mentor. )

Wall,

B. Italian Art, Life and Landscape. (Elek. )

Murray, P. and

L.

^—

The Art of the Renaissance. (Thames

and Hudson.)

The New Cambridge Modern History,

vol. I. ( C.U.P. )

*Burckhardt,

J. The Civilization of the Renaissance in Italy.

(Phaidon.) (b ) Prescribed textbooks:

Primary sources

`*Holt, E. G.—A

Documentary History of

Art. 2 vols. (Doubleday, 1958.) This is

a

new edition of

Literary Sources of Art

History. (Princeton, 1947.)

* *Ghiberti—Commentarii.

* *Alberti—Ten

Books on Architecture. (

Tiranti, 1955. )

**Alberti—On

Painting.

(ed.,

J.

R. Spencer, 1956, Routledge.) (0.P.)

**Vasari,

G.

—

Lives of the most eminent painters, sculptors and architects.

( Everyman Nos. 784-7, reprinted 1962, or at least a selected edition such as that edited by Betty Burroughs, Allen & Unwin, 1960. )

**Maelehose, L. S. ( ed.

)—Vasari: "On Technique".

(Dover.)

**Leonardo—The

Paragone. (ed.

Richter, O.U.P. )

**Leonardo—Treatise

on Painting.

(Trans. and annotated

by A. P.

McMahon, Princeton, 1957 or any other edition.)

or IacCurdy—The

Notebooks of Leonardo

Vinci.

or

Richter,

J.

P.—The

Literary Works of Leonardo da Vinci.

**Michelangelo, a Self Portrait,

ed., R. C. Clements (Prentice-Hall) and/or

**Complete

Poems and Selected Letters of Michelangelo.

(Modern Library.) Michelangelo—Poetry. ( Any edition.)

**Michelangelo—Letters. (The best edition is that of E. H. Ramsden, Peter Owen, 1963.)

Secondary sources

*Panofsky,

E.

^—

Studies

ⁱⁿ

Iconology.

(Harper Torch Books, 1962. )

The Renaissance, Six Essays.

(Harper Torchbooks. )

Meiss,

M. Painting In Florence and Siena after the Black Death.

^(Harper Torchbooks. )

FACULTY OF ARTS HANDBOOK^.

* Wölf lin, Н.—Clássiс Art. ( Phaidon. )

*Dewald, E. T. Italian Painting, 1200-1600. ( Holt, Rinehart & Winston, 1961.)

*Gould, C.—An Introduction to Italian Renaissance Painting. (Phaidon.) White, J.—The Birth and Rebirth of Pictorial Space.

Pope-Hennessy, J. Italian Gothic Sculpture. ( Phaidon, 1958.) Pope-Hennessy, J. Italian Renaissance Sculpture. ( Phaidon, 1958.)

Pope-Hennessy, J.—Italian High Renaissance and Baroque Sculpture. 3 vols.

(Phaidon, 1963.)

Chastel, A.—Art et humanisme d Florence au temps de Laurent le Magnifique.

Panofsky, E.—Renaissance and Renascences in Western Art. (2 vols., Copen- hagen, 1960.)

Wittkower, R.—Architectural Principles In the Age of Humanism. (Warburg and Courtauld Institutes, and reprint by Tiranti. )

Friedlander, W Mаnnеrism in Italian Painting. (Columbia U.P., 1957). Studies in Western Art, ed. Meiss, 1963, vols. 1 and 2. (Princeton.)

*Kristeller, P. O.—Renaissance Thought. 2 vols. (Harper Torch Books.) Berenson, B.-Italian Pictures of the Renaissańće. 4 vols. (Phaidon.) Schevill, F.—Medieval and Renaissance Florence. (Harper Torch Books.) EXAMINATION. Two 3-hour papers and a visual test to be taken earlier than the written papers.

Written work as prescribed by the Department.

17 3. FINE ARTS C

Professor J. T. Burke

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

This subject is not available for external tuition.

Fine Arts C will be given every year.

Students wishing to take this subject without having previously taken Fine

.

Arts A must obtain the permission of the lecturer in charge of the subject and must undertake a course of preliminary reading prescribed by the Fine Arts Department.

SYLLABUS

A study of European art ( 1714-20th century) with special reference to (a) English art in the 18th century, (b) Neo-Classicism, (c) certain aspects of the Modern Movement.

Students are required to submit written work.

Books

The following is a basic list only. Students are recommended to buy the books marked with an asterisk.

Note: A Modem Movement bibliography will be supplied in fist term.

(a) Recommended for preliminary reading:

*Kimball, Fiske—The Creation of the Rococo. ( New York, the Norton Library, 1964, 1st ed. 1943, Paperback.)

Wittkower, R.—Architectural Principles in the Age of Iwnanisin. (London,.

Alec Tiranti, 1952.) Especially Part IV, Section 7: "The Break-away from the Laws of Harmonic Proportion in Architecture".

*Kaufmann, Emil—Architecture in the Age of Reason. ( Cambridge, U.S.A.;

Harvard University Press, 1955.)

Novotny, Fritz—Painting and Sculpture in Europe 1780 to 1800. (The Pelican History of Art, 1960.)

*Hitchcock, H. R.—Architecture, Nineteenth and Twentieth Centuries. (Pelican History of Art, 1958.)

(b) Prescribed textbooks:

Primary Sources

Hogarth, William—The Analysis of Beauty.

(ed.

Joseph Burke, Oxford, 1955.) Reynolds, Sů Joshua-Discourses. (ed. R. Wark, California, Huntington Library,

1959.)

FINE ARTS

Burke, Edmund—A

Philosophical Enquiry into the Origin of our Ideas of the Sui ime and Beautiful. (ed.

J. T. Boulton, London, Routledge and Kegan Paul, 1958. )

Mason, Eudo

C. The Mind of Henry Fuseli: Selections from his writings.

( London, Routledge and Kegan Paul, 1951.)

Costello,

Jane—France and England, 1600-1750.

(Paperback series.)

Sources and Documents in the History of Art Series. ( New

Jersey, Prentice-Hall. )

On order in advance of publication.

Eitner,

Lorenz-Nee-Classicism and Romanticism. ( Paperback

series.) Sources

and Documents in the History of Art Series. (New

Jersey, Prentice-Hall.) On order in advance of publication.

Secondary Sources

Summerson,

John—Architecture in Britаiп, 1530-1830. (Penguin,

^Harmonds-

worth, 1963. Rev. ed., 1963.)

Kimball,

F.—Thе Creation of the Rococo,

1943. ( Norton, New York, 1964.) Clark,

K.—The Gothic Revival. (Constate e,

1928. Penguin, 1964.)

Honour,

H.—Chinoiserie: The Vision of Cathay.

^(London,J. Murray, 1961.) Hussey, Christopher-The

Picturesque: Studies in

Point of View. (Pitman,

London, 1927.)

Kaufmann,

E.—Architecture in the Age of Reason.

(Cambridge, U.S.A., Harvard U.P., 1955.)

Irwin, David—English

Neoclassical Art:

Studies

to Inspiration and Taste.

(London, Faber and Faber, 1966.)

Novotny,

F.—Painting and Sculpture

ⁱⁿ

Europe, 1780-1880. (Penguin,

Harmonds- worth, 1960.) (Pelican History of Art.)

Hitchcock, H.

Russell—Architecture, Nineteenth and Twentieth Centuries.

(Penguin, Harmondsworth, 1958.) (Pelican History of Art.) EXAMINATION

Two 3-hour papers and a visual examination. Written work as supplied by the Department.

HONOURS DEGREE N. SCHOOL OF FINE ARTS

( For possible combinations with this school see p. 251)

1. The course for the degree with honours in the School of Fine Arts com- prises the following subjects:

1. Fine Arts A 2. Fine Arts $ 3. Fine Arts C 4. Fine Arts D

5. (a) Ancient History (hens) or European History A (hus); or (b) English Part I (bons) (see note 1); or

( e) First part of an approved honours sub-major.

6. (a) Honours History C or Honours History E or Honours I-Iistory В;

or

( b ) English Literature Part II; or

7.

Aesthetics.

Note 1

Students who take one of the subjects listed in 5 (a) in the first year must take one of those listed in 6 (a) in the second year. Students who take the subject in

5 (b) in the first year must take the subject in 6 (b) in the second year, and cor- respondingly for any other approved honours sub-major.

Note 2

Candidates for the degree with honours must also take

either

(a) Three additional subjects, including at least Part I of a foreign language provided it is not already part of an honours sub-major being taken under 5 and 6 above; or

Third Year:

Fourth Year:

FACULTY OF ARTS HANDBOOK

(b) two additional subjects only, if both these subjects are foreign languagges or Parts I and II of a foreign language (assuming in both cases that the honours sub-major is not taken in a foreign language).

Students who have completed the First Year must be approved by the Faculty of Arts as candidates for the degree with honours before entering the Second Year of the honours school. The professor of Fine Arts will normally recommend such approval for candidates who have gained first or second class honours in Fine Arts A and in their Grade I honours subjects.

2. The subjects of the course should be taken in the following order:

First Year: (a) Fine Arts A (hes).

(b) Ancient History ( hens) or European History A (hoes) or English Part I ( hens) or first part of an approved honours sub-major.

Year: (a) Fine Arts В (hens) or Fine Arts C (hofs).

* (b) Honours History C or Honours History E or Honours History В or English Literature Part II or second part - of an approved honours sub-major.

(a) Fine Arts C ( hofs ) or Fine Arts В (hofs).

( b ) Aesthetics.

(a) Fine Arts D.

(b) Thesis.

The final examination in the School of Fine Arts will be divided into two parts:

Part I will consist of one 3-hour paper in Aesthetics and the examination prescribed for the third year Fine Arts honours subject (Fine Arts В or Fine Arts C, whichever is given that year) as set out below.

Part II will consist of a thesis on an approved subject, together with one 3-hour paper in each of the following:

(1) Classical Art or Italian Renaissance Art, or the subject read in Fine Arts C, whichever subject has not been examined in Part I.

(2) Fine Arts D.

17-1. FINE ARTS A

As for the ordinary degree, with a special study on the iconography and stylistic.

sources of Rembrandt's religious paintings.

Tutorial guidance will be offered (two hours per week).

EXAMINATION

Three 3-hour papers and a visual examination.

Students qualifying in these examinations may be required to take an additional oral examination.

17-2. FINE ARTS В

As for the ordinary degree. Students must attend a two-hour weekly seminar, and ( during one or two terms) an additional course of lectures ( one hour per week) on a subject complementary to their main course; these will be arranged during the.

year.

Italian

Some knowledge of the Italian language would be of great assistance to students of Fine Arts В.

EXAMINATION

Three 3-hour papers and a visual examination, two papers as for the ordinary degree but at a higher standard, the third paper on the additional honours work.

• This subject will be examined at the end of second year. The result will be taken into consideration at the Final Honours examination.

Second

PANE А1тs

17-3. FINE ARTS C As for the ordinary degree.

An additional weekly seminar throughout the year, and an additional weekly lecture during one or two terms, in which some special aspects of the course will be studied.

EXAMINATION

Three 3-hour papers and a visual examination, two papers as for the ordinary degree but at a higher standard. The third will be devoted to the honours lectures and seminar work.

17-4. FINE ARTS D

A seminar for Final Year students throughout the year.

SYLLABUS

A study of the history and method of art history and art criticism.

THESIS

A thesis from 9,000-12,000 words in length, on a topic which must be approved by the beginning of the third term of the third year, must be submitted by the first day of the third term of the fourth year.

MASTER OF ARТS 18-4. N. SCHOOL OF FINE ARTS

Candidates are required to prepare a thesis on an approved subject. They will work under the supervision of a member of the Fine Arts department, to whom they must report regularly on the progress of their work.

They may also be required to attend seminars or lectures bearing on their subject.

An entry form for examination for higher degrees must be submitted to the Registrar.

Three copies of each thesis (quarto, typewritten, double-spaced) should be submitted, one of which will be deposited in the University Library. The attention of candidates is drawn to the recommendations of the Professorial Board on the format of theses (regulation 4.6, in the University Calendar).

Dalam dokumen faculty of arts and board of studies in journalism (Halaman 79-84)