History of Modern and Contemporary Art

Teacher(s)

Pouillon Henry;

Language

French

Main themes

From the Renaissance to Contemporary Art
This course emphasizes thematic links to understand the three paradigms of classical, modern, and contemporary art, focusing on:

• Methodology and Lexical Hypotheses: Exploring concepts such as total art and the synthesis of the arts, contrasts between classical and modern, and modern versus contemporary, as framed by theorists like H. Zeeman.
• Art and Nature: Tracing connections from the Renaissance to realism, art and photography, Impressionism, Fauvism, and Land Art.
• Art and Space: Examining developments from the Renaissance to Baroque, Cubism and Futurism, Cézanne, abstraction, and Minimalism.
• Art and the Psyche: Delving into works by Goya and movements such as Romanticism, Expressionism, Surrealism, and Cobra.
• The Artist and Art: Studying transformations from the Renaissance to Velázquez, Romanticism, Dadaism, Fluxus, and Hacktivism.
• Art and Society: Investigating themes through Pop Art, Arte Povera, Beuys’ concept of social sculpture, conceptual art, multimedia, transmedia, and digital arts.

Learning outcomes

At the end of this learning unit, the student is able to :

Specific Learning Outcomes By the end of this course, students will be able to: Apply a structured methodological framework to analyze a work of art, Develop thematic comparisons that effectively distinguish between the successive periods of modern and contemporary art, Establish connections between the history of art and the history of architecture, focusing on both works and theoretical concepts. General Learning Outcomes In line with the program’s learning outcomes (LOs), this course contributes to the development and acquisition of the following LOs: LO4.2 Learn and experiment with the concepts and approaches of artistic disciplines. LO4.3 Learn and apply the content of artistic or scientific disciplines to enrich the architectural project. LO4.4 Learn and explain the environmental, social, and economic consequences of architectural choices. LO5.1 Communicate attentively and inclusively with the various stakeholders of the architectural project. LO6.1 Acquire knowledge of disciplinary methods in scientific research.  LO6.2 Adopt a critical attitude free from any preconceptions.

Content

From the Renaissance to Contemporary Art
This course emphasizes thematic links to understand the three paradigms of classical, modern, and
contemporary art, focusing on:
• Methodology and Lexical Hypotheses: Exploring concepts such as total art and the synthesis of the
arts, contrasts between classical and modern, and modern versus contemporary, as framed by
theorists like H. Zeeman.
• Art and Nature: Tracing connections from the Renaissance to realism, art and photography,
Impressionism, Fauvism, and Land Art.
• Art and Space: Examining developments from the Renaissance to Baroque, Cubism and Futurism,
Cézanne, abstraction, and Minimalism.
• Art and the Psyche: Delving into works by Goya and movements such as Romanticism,
Expressionism, Surrealism, and Cobra.
• The Artist and Art: Studying transformations from the Renaissance to Velázquez, Romanticism,
Dadaism, Fluxus, and Hacktivism.
• Art and Society: Investigating themes through Pop Art, Arte Povera, Beuys’ concept of social
sculpture, conceptual art, multimedia, transmedia, and digital arts

Teaching methods

Methodology Emphasis will be placed on aesthetic analysis skills through in-class exercises. Course Objectives At the end of the activity, the student will be able to: - apply a methodological framework to a work of art. - construct a thematic comparison that appropriately distinguishes between successive periods of modern art and contemporary art. - establish connections between art history and architectural history, both in terms of the works and their theoretical elements.

Evaluation methods

individual work submitted during the session (January)

Online resources

moodle

Bibliography

 DIDI-HUBERMAN (Georges), La ressemblance par contact. Archéologie, anachronisme et modernité
de l'empreinte, Editions de Minuit, Paris, 2008
 GRENIER (Catherine), La revanche des émotions. Essai sur l'art contemporain, dans coll. Fiction &
Compagnie, Seuil, s.l., 2008
 Harald Szeemann, dans coll. Les grands entretiens d'artpress, n°1, Imec, Paris, 2012
 HEINICH (Nathalie), Le paradigme de l'art contemporain. Structures d'une révolution artistique, dans
coll. Bibliothèque des sciences humaines, NRF, Gallimard, s.l., 2014
 LIESER (Wolf), Digital Art. Le monde de l'art numérique, Ullmann, Potsdam, 2010
 de MAISON ROUGE (Isabelle), L'Art contemporain, dans coll . Idées reçues, n°28, Le Cavalier Bleu,
Paris, 2002
 de MEREDIEU (Florence), Histoire matérielle et immatérielle de l'art moderne et contemporain, dans
coll. In Extenso, Larousse, s.l., 2008
 MILLET (Catherine), L'art contemporain, dans coll. Dominos, n°120, Flammarion, s.l., 1997
 Playtime. Videogame mythologies, catalogue de l'exposition (Maison d'Ailleurs, Yverdon-les-Bains,
11VII-9XII2012), Infolio, Gollion, 2012
 La recherche en art(s), ss. la dir. de DAUTREY (Jehanne), actes du séminaire (Collège international de
philosophie, Ministère de la culture et de la communication, XII2007-IX 2008), éditions mf, s.l., 2010

Faculty or entity

> LOCI