Module Information
Module Identifier
AH30620
Module Title
HISTORY OF GRAPHIC ART2:SYNTAX+SYMBOLISM IN EURO PRINTMAKING
Academic Year
2008/2009
Co-ordinator
Semester
Semester 1
Course Delivery
| Delivery Type | Delivery length / details |
|---|---|
| Lecture | Lectures/Seminars 12 x 1.5 hours |
| Seminars / Tutorials |
Assessment
| Assessment Type | Assessment length / details | Proportion |
|---|---|---|
| Semester Assessment | Essay | 50% |
| Semester Exam | 2 Hours 2 hour exam | 50% |
Learning Outcomes
On completion of this module students should be able to:
- develop the ability to evaluate and categorise the different ways in which artists use print;
- recognise the qualities and marks that are specific to each process;
- identify syntax and distinguish between the various manners in which artists draw for process;
- demonstrate an understanding and sure handling of the technical terminology;
- explain the socio-historical and art historical contexts of the printmakers and their work.
Brief description
This 20 credit lecture and seminar module examines the relationship between image and process, the use of print as reproduction and the notion of `fine art' print. Prints are discussed against their social and historical context through the work of key exponents of the media. The course will concentrate on European and American printmaking
following a roughly chronological framework from the fifteenth to late- twentieth century. There will be opportunities to study original prints from the School of Art Collection and National Library of Wales.
following a roughly chronological framework from the fifteenth to late- twentieth century. There will be opportunities to study original prints from the School of Art Collection and National Library of Wales.
Content
1. Introduction. Course objectives and overview. The Nature of the Print: `Original' versus `Reproduction'. The importance of process for the artist. The Print as a Means of Mass Communication.
2. Medium, materials and techniques. Origins and historical outline [1]: The Relief Print - woodcut, letterpress, wood engraving, line block and the linocut. [2]: The Intaglio Print - engraving, etching, drypoint, aquatint and mezzotint. [3]: The Lithograph and The Screen Print.
3. The Development of Syntax and Impact of Early Printmaking: Mantegna and Marcantonio Raimondi in Italy, Dürer and his contemporaries in Germany.
4. Naturalism: Rembrandt and his contemporaries.
5. Inner Visions: Francisco Goya and William Blake.
6. Prints with a Point: William Hogarth.
7. The Landscape Observed and Transformed: Samuel Palmer and the Romantic landscape tradition in Britain 1870-1930.
8. The Limited Edition: James McNeill Whistler and the Fine Art Print.
9. Experiment and Expression: Printmaking on the Continent:France and the Lithograph, Germany and the Woodcut.
10. Avant Garde British Printmaking 1914-1960: Nash and Nevinson to Stanley Hayter and experimental printmaking at Atelier 17.
11. Hopper to Warhol: from Ash Can to the Pop Print.
12. Continuity and New Departures: David Hockney, traditions revived or discarded in the late 20th Century
2. Medium, materials and techniques. Origins and historical outline [1]: The Relief Print - woodcut, letterpress, wood engraving, line block and the linocut. [2]: The Intaglio Print - engraving, etching, drypoint, aquatint and mezzotint. [3]: The Lithograph and The Screen Print.
3. The Development of Syntax and Impact of Early Printmaking: Mantegna and Marcantonio Raimondi in Italy, Dürer and his contemporaries in Germany.
4. Naturalism: Rembrandt and his contemporaries.
5. Inner Visions: Francisco Goya and William Blake.
6. Prints with a Point: William Hogarth.
7. The Landscape Observed and Transformed: Samuel Palmer and the Romantic landscape tradition in Britain 1870-1930.
8. The Limited Edition: James McNeill Whistler and the Fine Art Print.
9. Experiment and Expression: Printmaking on the Continent:France and the Lithograph, Germany and the Woodcut.
10. Avant Garde British Printmaking 1914-1960: Nash and Nevinson to Stanley Hayter and experimental printmaking at Atelier 17.
11. Hopper to Warhol: from Ash Can to the Pop Print.
12. Continuity and New Departures: David Hockney, traditions revived or discarded in the late 20th Century
Reading List
Recommended TextAndrews, Malcolm The Search for the Picturesque Scolar Press, London Primo search Birmingham, Ann (1986) Landscape and Ideology: The English Rustic Tradition 1740-1860 Thames and Hudson Primo search Carey, F and A Griffiths (1978) Maent to Toulouse Lautrec: French Lithographs 1860-1900 British Museum Primo search Carey, Frances and Griffiths, Anthony (1990) Avant-Garde British Printmaking British Museum , London Primo search Carey, Frances and Griffiths, Antony (1984) The Print in Germany, the Age of Expressionism British Museum Primo search Castleman, Riva (1976) Prints of the Twentieth Century Thames and Hudson, London Primo search Gassier, Pierre (1983) Goya: A Witness of his Times Chartwell Books, New Jersey Primo search Gilmour, Pat (1978) The Mechanised Image - Twentieth Century Prints The Arts Council, London Primo search Hockney, David (1988) A Retrospective Tate Gallery, London Primo search Ivins, William M (1953) Prints and Visual Communications Cambridge (Mass.) USA Primo search Jeffrey, Ian (1984) The British Landscape 1920-1950 Thames and Hudson, London Primo search Johnson, Herbert (1983) Prints by William Blake and his Followers Cornell University, New York Primo search Lagerlof, Margaretha Rossholm (1990) Ideal Landscape: Caracci, Poussin and Claude Yale University Press Primo search Lloyd, Jill (1991) German Expressionism - Primitivism and Modernity Yale University Press Primo search Lochnan, Katherine (1984) The Etchings of James Mc Neill Whistler Yale, Ontario Primo search Mannocci, Lino (1988) The Etchings of Claude Lorrain Yale University Press, New Haven Primo search Murray, Peter (1971) Piranesi and the Grandeur of Ancient Rome Thames and Hudson, London Primo search O'Gorman, James (1988) Aspects of American Printmaking 1880-1950 Syracuse, USA Primo search Russel, Ronald (1979) A Guide to British Topographical Prints David and Charles, London Primo search Strauss, Walter L (1974) The Complete Engravings of Albrecht Durer (6 Volumes) Arabis Books, New York Primo search Tomlinson, Janis A (1989) Graphic Evolutions: Francisco Goya Columbia University Press, New York Primo search Walker, Barry (1988) Prints of the German Expressionists and their Circle Brooklyn Museum, New York Primo search White, Christopher (1969) Rembrandt as an Etcher: a study of the artist at work (2 vols) London Primo search Yorke, Malcolm (1988) The Spirit of Place Constable, London Primo search
Notes
This module is at CQFW Level 6