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

Course keywords: 風景，城市景觀，鄉村，再現，工業，Landscape, Cityscape, Countryside, Representation, Industry 2024 Fall TA: 藝術經典：西洋風景名畫賞析 (本課程不接受加簽) Classics in Art: Appreciation of Western Landscape Paintings THIS COURSE IS CONDUCTED in ENGLISH. THIS COURSE DOES *NOT ACCEPT AI-GENERATED PAPERS and COURSE EVALUATIONS. No EXTRA SELECTION for this course. 每週課綱Syllabus 9/2 Week 1 Course Introduction 9/9, 9/16 Week 2 and Week 3 Landscape of Symbols; Key Text: Ch1 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. Screening- Bosch: the Garden of Dreams.影片欣賞《波希失樂園》，2017 9/23, 9/30 Week 4 and Week 5 Landscape of Facts; Key Text: Ch2 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. 10/7, 10/14 Week 6 and Week 7 Landscape of Fantasy Key Text: Ch3 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. Screening- Beowulf 《貝武夫 : 北海的詛咒》2007 10/21, 11/4 Week 8 and Week 10 Ideal Landscape; Key Text: Ch4 N. Poussin produced several paintings highlighting the yearning 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. *10/28 Week 9 Event- drawing on-plein-air; with rain check. 戶外寫生活動，遇雨調 整。 11/11, 11/18 Week 11 and Week 12 The Natural Vision; Key Text: Ch5 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. 11/25 Week 13-Examination (The exam takes places in week 13 so that more artistic periods are taught before the exam, allowing a wider range of questions to be asked in the exam.) 12/2, 12/9 Week 14 and Week 15 The Northern Lights; Key Text: Ch6 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 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. (Announcement of guidelines of the term paper/presentation should be in week 15.) 12/16 Week 16 End-of-term adjustment *Class Rules: 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. Please let the lecturer know before you take photos of the screen. *GRADE: Attendance 10% #, In-class participation (no late arrival or early departure when attending each week’s lecture, focus on the course: should not browse on the internet or read your own materials) & in-class discussion (you are encouraged to address your idea when invited) 20%, Mid-term examination 40% (cheating and missing out the exam will result in mark 0; there is no make-up exam), Term paper/presentation 30%. (THIS COURSE DOES *NOT ACCEPT AI-GENERATED PAPERS/PRESENTATIONS) #About the 10% Attendance Roll calling: in total, there are around 14 times this semester. 14 or 13 or 12 times present: you get 10% 10 or 11 times present: you get 7% 9 or 8 times present: you get 5 % 7 or 6 times present: you get 3 % *You will fail the course if you cannot reach 6 times of attendance. *What do not count as absence (but must present proper proof): Bereavement leave Epidemic prevention and epidemic sickness leave (taking a leave because of a cold will *still count as absence.) *For taking a leave: contact TA

Timetable

Remarks

【108(含)前入學生視為核心向度三】

Restrictions

Compulsory

Elective

Cross Discipline

First Specialization

Second Specialization