History of Modern Art I (Bachelor’s Degree)

Pre-requisites: The attendance at lectures and seminars is mandatory. No other specific requirements.

Course objectives: The goal of the course is to acquire students with the knowledge, capability and comprehension of reading and understanding the language of poetics of early modern art and of phenomena of historical avant-garde, their practical and theoretical elements and ideologies. The objective is also to master different approaches and methodical hypothesis necessary for understanding expressive languages and content ideas of modern arts.

Course description: The theoretical content of the course is focused on: Early European art, since the mid XIX century to the World War II (late Monet, impressionism, neo and postimpressionism, symbolism, secession, cubism, fauvism, expressionism) and the content concerning the fundamental fact issues and historical dilemmas in relation to the phenomenon of the so-called historical avant-garde, which are basically the series of movements developed and performed within European art between 1910 and 1930, including futurism, Russian avant-garde movements, Dadaism, surrealism, etc. The content is based upon the genesis of the concept of modern picture, that in history and art theory define forms and movements, as well as the certain opuses that have been established and operated in European art world from the mid XX century prior to World War II. This form of lecturing is conducted via various interpretative methods used for recent research achievements in exploring early modern art and historical avant-garde. The practical portion of the course will focus on applying theoretical and critical approaches using concrete materials, art pieces, and various texts.

Learning Outcomes: The course is designed to prepare students and make them capable of understanding the logics of the development process of modern art; for analysis and reading the modern picture; for understanding the basic concepts and ideas of art movements and trends in art of XX century, as well as to acquire students with knowledge to understand the practical, theoretical and ideological elements of avant-garde, and to apply the gained knowledge towards the analysis of theoretical texts and art pieces.

Literature/Reading:

• Richard R. Brettell, Modern Art 1851-1929, Oxford History of Art, 1999
• Ž.Diga, Kulturni život u Evropi na prelazu iz 19. u 20. vek, Clio, Beograd 2007.
• H. Rid, Istorija modernog slikarstva, Beograd 1979, 11-105
• N. Stangos (ed),Concepts of Modern Art, (revised and enlarged edition), Penguin books, 1990 (Fauvism, Expressionism, Cubism, Futurism, Dada and Surrealism, Suprematism, De Stijl, Constructivism)
• R. Podoli, Teorija avangardne umetnosti, Beograd, 1975 (41-78; 95-110; 125-132; 157-172) ILI P. Birger, Teorija avangarde, Beograd, 1998 (I, II i III poglavlje)
• A. Mitrović, Angažovano i lepo, Beograd 1983
• Fer, Batchelor,Wood, Realism, Rationalism, Surrealism, Art between the Wars, The Open University/Yale University, 1993, 250-332.
• Karl E. Šorske, Fin de Siecle u Beču, Politika i kultura, Beograd 1998
• Piter Gej, Vajmarska kultura, Beograd 1998.
• C.Rhodes, Primitivism in Modern Art, London 1997
• James H. Rubin, Impressionism, Phaidon, 1999, 7-219.
• Pjer Frankastel, Impresionizam, Beograd 2000, 9-114.
• T.J.Clark, The Painting of Modern Life, Princeton, 1984; 1999.
• Grupa autora, Postimpresionizam, Zagreb-Ljubljana 1979. (Van Gog, Gogen, Sezan, Sera)
• B. Denvir, Post-Impressionism, London 1992, 11-107
• E. Fry, Cubism, London 1966
• W.Dube, The Expressionists, London 1972
• S.Whitfield, Fauvism, London 1991; 1996.
• Bear, M. Karasu, DADA-istorija jedne subverzije, Sremski Karlovci-Novi Sad 1997 ILI M. Gale, Dada & Surrealism, Phaidon, London, 1997 (9-65; 83-114; 117-168; 181-212)
• M. Nado, Istorija nadrealizma, Beograd 1980 ILI M. Gale, Dada & Surrealism, Phaidon, London, 1997 (215-264)
• M. Dišan, Izbor tekstova, sveske 3, Muzej savremene umetnosti, Beograd 1984
• Dokumenti za razumevanje ruske avangarde, Geopoetika, Beograd 2003
• K. Grej, Ruski umetnički eksperiment, Beograd 1978
• S. Mijušković, Od samodovoljnosti do smrti slikarstva. Umetničke teorije i prakse ruske avangarde, Geopoetika, Beograd, 1998.