GEC 1320-0

Brief

本課程聚焦西洋藝術史上不同時期有關自然環境和人造環境的各種視覺再現。本課程強調「風景」並不只是靜態、詩歌般的繪 畫主題，更是人類與其居住環境互動下的各種動態觀看經驗呈現。例如十八世紀的風景畫常見牧羊人與牧羊女現身其中，他們 可能反映了當時鄉村經濟的現實面。印象派的藝術又是一例，尤其巴黎在當時經歷了大規模的都市改造，促成了這些繪畫裡的嶄 新市容。由此，本課程期望帶領同學深入理解西洋風景繪畫，並刺激同學思考人與環境之間歷來綿長而多變的關係。

Description

THIS COURSE IS CONDUCTED　in ENGLISH. THIS COURSE DOES *NOT ACCEPT AI-GENERATED PAPERS and COURSE EVALUATIONS. 藝術經典：西洋風景名畫賞析 Classics in Art: Appreciation of Western Landscape Paintings 每週課綱Syllabus (Sep-Dec 2023) Week 1 Course Introduction Week 2 and Week 3 Landscape of Symbols Medieval is religious. Animal, plants, and forests were painted down not because they are beautiful, but because they carry message from God. Skill-wise, the objects were painted without proper perspectives or forth-shortening. This makes Medieval representation of landscape a symbolic, rather than a scientific or aesthetic existence. We will go through Medieval drawings and paintings to find out how. Key Text: Ch1 Screening- Bosch: the Garden of Dreams.影片欣賞《波希失樂園》，2017 Week 4 and Week 6 Landscape of Facts (Week 5 National Holiday of Double Tenth Day: no class) In the works by Hubert and Jan Van Eyck, minutely depicted backgrounds not only serve as evidence of what buildings existed where, but also have artistic value. For instance, who commissioned the artwork and why he/she appreciated it, and how such a clear and detailed visual style became dominant in the fifteenth and sixteenth century. We will see that landscape, though located in the background, denotes more than a backdrop to its painter and owner. Meanwhile, the seventeenth-century Dutch artists paid much attention to the exact forms of the land. That is to say, although no Alps and no Roman Campagna in the neighborhood, the Netherlandish artists still have polders, windmills and low and distant horizons to paint. In this session we will discover how Dutch art portrays a frank, straightforward vision of so-called home landscape. Key Text: Ch2 Event- drawing on-plein-air; with raincheck. 搭配戶外寫生活動，遇雨調整。 Week 7 and Week 8 Landscape of Fantasy While the Flemish artists show precision in reproducing their viewing experiences, the Florentine artists declare total control over the painted space. In this session we will go through artists like Mantegna, Da Vinci, Giorgione to find out how they ‘chart’ space and landscape. We will also learn more about Mannerist artists. Key Text: Ch3 Week 9 and Week 10 Ideal Landscape N. Poussin produced several paintings highlighting the yarning for Arcadia. The balanced compositions and color schemes he adopted make his painting a canon in landscape art. We will scrutinize the canvas and try to figure out what visual ‘formula’ he left the world with. While Poussin shows an elegant vision of the countryside, C. Lorrain makes it a splendid one. He used silver for sunlight and depicted the plain as more hilly, thus creating a landscape vision with more geographic features in it. These features made Lorrain’s paintings the origin of the “Picturesque” theory. In this session we will learn more about Lorrain’s paintings and their influence on the future generations. Key Text: Ch4 Week 11 and Week 12 The Natural Vision The nineteenth century witnesses several great developments in landscape painting, and Romanticism is the first. Romantic philosophy has two ways to look at Nature. First, it embraces Nature as a whole. Second, it analyzes Nature and breaks her down into different categories, such as geology, botanic studies, and Physiognomy. Romantic landscape paintings, too, shares these attitudes toward Nature. On one hand, we see paintings reveal awe to Nature; on the other hand, we can also see paintings dedicated to geological or botanic details. In this session we will survey both. During the second half of the nineteenth century, another important development appeared on the stage: Realism. G. Courbet and E. Manet emphasize that artists should confront their real life and draw subject matter out of it. This way, Realist landscape painting is no longer a vision of the past or the ideal, but an honest and candid representation of here and now. We will investigate what social conditions cradle such a development. Key Text: Ch5 Week 13-Mid term exam (The exam takes places in week 13 so that more artistic periods are taught before the exam, allowing wider range of questions to be asked in the exam, thus avoiding questions that are too detailed.) Week 14 and Week 15 The Northern Lights In this session we will study the artists well-known to the Chinese-speaking world and Asia, such as J.M.W. Turner and Van Gogh. We will look into the social and cultural backgrounds in which their artworks were produced and evaluated. We will try to clarify what what merit was 'born' with the artworks in their contemporary society and what artistic merit was constructed posthumously. We will conclude that the nineteenth century was indeed a great century for landscape painting. Key Text: Ch6 12/26 Week 16 End-of-term adjustment (tentative schedule: work on your term paper/presentation) (For week 17 and week 18, there will be no course to attend. However, students should use the time to finish/catch up reading each assigned chapters to gain deeper knowledge of the topic of each week. Students should also go for at least one Western-art exhibition held in a museum in Taiwan. For example: the displays at Chimei Museum in Tainan.) *Class Rules: No mobile phone and laptop in class unless you are checking references or taking notes under the lecturer's consent. No food or drink in class (tap water OK). No animals or pets (excluding service dogs; must have proof). No audio/video recording of the course. *GRADE: Attendance 10%, In-class participation and discussion (you are encouraged to address your idea when invited) 20%, Mid-term examination 45%, Term paper/presentation 25%. (THIS COURSE DOES *NOT ACCEPT AI-GENERATED PAPERS/PRESENTATIONS) *The questions for the mid-term exam are based on the content of the weekly lectures and each assigned chapters. The questions are multiple selections and/or essay questions. The exam is open book exam. All the books and papers that students bring to the exam should be hard-copy, such as textbooks, general books, notebooks, note sheets and hand- outs. If you download the textbook and type your notes in your mobile phones, laptops or tablets; you may use them in the exam only when all the connecting signals are completely switched off. Please allow thorough inspection of the signals of your digital devices for the fairness of the exam. Students who do not comply with this will be asked to leave the exam and result in mark 0 for their exam. *The date of the mid-term exam is final and no make-up exam is held. *About the 10% Attendance (For taking leaves or issues regarding roll calling, please contact the teaching assistant rather than the teacher) Roll calling: maximum 14 times this semester 14 or 13 or 12 times present: you get 10% 10 and 11 times present: you get 7% 9 and 8 times present: you get 5 % 7 times present: you get 3 % *Absence of 7 times or more: fail the course *What do *not count as absence: bereavement leave and serious epidemic/pandemic (but students must present proper proof)

Timetable

Scores

Average GPA 3.52

Std. Deviation 0.53

Remarks

【108(含)前入學生視為核心向度三】本課程為16週課程

Restrictions

Compulsory

Elective

Cross Discipline

First Specialization

Second Specialization