Modern paintings and the sense of place

Aims

This course aims to: 

• introduce you to key modern artists and works
   
• enable you to identify the styles of art discussed in the sessions
   
• equip you with terminology to compare and contrast examples of works discussed 
  on the course

Content

In this introductory course, we will discuss innovative works by ten artists who have each made significant contributions to the development of modern painting. Focusing mainly on the role of place, we will look closely at a small but varied selection of works in order to assess how and why certain locations have become synonymous with the history of modern art.

During the latter decades of the 19th century, and continuing into the 20th century, cities, the countryside and coastal areas have been some of the types of areas which have inspired painters to investigate new creative responses. As avant-garde artists experimented with colour and painting techniques, many eschewed using high illusion in their works. We will discuss how such painters were keen to find new ways to convey the experience of a place beyond mere description. So how might a painting still convey the specificity of a location even though it is not a true-to-life description?

Cities provided artistic training, opportunities to exhibit work and secure commissions and we will consider the role of the urban environment. However, some painters chose rural areas, and in some cases, isolated regions in which to work and we will look at some of the motivations for such a choice. We will discuss the role of imagination – the artist’s and our own – in the representation of a place. We will also investigate how preconceptions might affect both the production and reception of some depicted places. 

Presentation of the course

This course will be taught in a classroom setting using PowerPoint presentations to show students reproductions of artworks. The sessions will encourage student discussion.

Course sessions

1. Monet in Paris 
   During his early career, Claude Monet made paintings both in the centre of Paris and nearby suburbs. This session will consider the influence of the capital on Monet’s 
   Impressionist paintings.
    
2. Van Gogh in Arles 
   Why did Van Gogh travel to the south of France to paint? How does Arles help to shape his audacious experiments with colour? This session considers how Van Gogh’s previous encounters with Impressionism and Neo-Impressionism lead him to develop an idiosyncratic style of painting. 
    
3. Paul Gauguin in Brittany 
   What was the appeal of Brittany for 19th century artists and how did this manifest in Gauguin’s work? Seeking a simpler existence than that offered by the capital, we will discuss how Gauguin’s time spent in this rural region of France is nevertheless inextricably linked with Paris. 
    
4. Cézanne in Provence  
   While Cézanne was familiar with Paris and its art scene, he preferred to live and paint in Provence. This session considers how his paintings of the Provencal countryside change the direction of modern art. 
    
5. Derain in Collioure 
   We will discuss how the small fishing village of Collioure in the South of France is connected with the emergence of Fauvism – an exuberant style particularly associated with the use of non-naturalistic colour. How does Derain’s work capture the sense of this place?
    
6. Edvard Munch in Norway 
   Norwegian artist, Edvard Munch, was a cosmopolitan artist travelling to various cities in Europe including Berlin, Nice and Antwerp and in Paris he briefly studied at Léon Bonnat’s studio. But how does his Norwegian heritage affect his art?
    
7. Picasso in Paris 
   How might Paris appear to a young Spanish painter arriving in the French capital? Picasso arrived when he was just 19 and decided to settle there in 1904. What aspects of urban experience can be detected in his work during this early stage in his career?
    
8. Matisse in Nice  
   Matisse spent considerable time in Nice. How did the intense light and heat of the French Riviera affect his images of the figure in ornately decorated rooms? How did his images in Nice contribute to the development of a new pictorial language?
    
9. Frida Kahlo in Mexico 
   Kahlo’s life and art are inextricably linked with her Mexican heritage. In this session we will discuss her contributions to the development of modern art. What aspects of her work are particularly modern and how does it stand out against work in the Western European tradition?
    
10. Edward Hopper in New York  
    This presentation will discuss how Hopper draws on overlooked aspects of the city of New York. We will see how his representations of this city enable us to see it – and other places –   afresh. 

Learning outcomes

You are expected to gain from this series of classroom sessions a greater understanding of the subject and of the core issues and arguments central to the course. 

The learning outcomes for this course are:

• to recognise the styles of art discussed in the course sessions
   
• to compare and contrast examples of works discussed on the course
   
• to name key artists, styles and areas discussed in the course sessions

Required reading

Leroy, Louis ‘The Exhibition of the Impressionists’ (1874) in Ed. Harrison, Charles et al, Art in Theory 1815-1900, pp. 573-4 (Blackwell Publishers 1998)

This amusing article reveals the shock of modern painting to conservative critics during the 19th century.

Harrison, Charles, An Introduction to Art (Yale University 2010)

It is not compulsory to read this book in its entirety, but it is an excellent resource.

Typical week: Monday to Friday 

Courses run from Monday to Friday. For each week of study, you select a morning (Am) course and an afternoon (Pm) course. The maximum class size is 25 students.   

Courses are complemented by a series of daily plenary lectures, exploring new ideas in a wide range of disciplines. To add to your learning experience, we are also planning additional evening talks and events. 

Evaluation and Academic Credit  

If you are seeking to enhance your own study experience, or earn academic credit from your Cambridge Summer Programme studies at your home institution, you can submit written work for assessment for one or more of your courses.  

Essay questions are set and assessed against the University of Cambridge standard by your Course Director, a list of essay questions can be found in the Course Materials. Essays are submitted two weeks after the end of each course, so those studying for multiple weeks need to plan their time accordingly. There is an evaluation fee of £75 per essay. 

For more information about writing essays see Evaluation and Academic Credit. 

Certificate of attendance 

A certificate of attendance will be sent to you electronically after the programme.