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Art Goes America: American Collecting During the Gilded Age (1870-1914)

Informacje ogólne

Kod przedmiotu: 3105-AGA-SP
Kod Erasmus / ISCED: 03.6 Kod klasyfikacyjny przedmiotu składa się z trzech do pięciu cyfr, przy czym trzy pierwsze oznaczają klasyfikację dziedziny wg. Listy kodów dziedzin obowiązującej w programie Socrates/Erasmus, czwarta (dotąd na ogół 0) – ewentualne uszczegółowienie informacji o dyscyplinie, piąta – stopień zaawansowania przedmiotu ustalony na podstawie roku studiów, dla którego przedmiot jest przeznaczony. / (0222) Historia i archeologia Kod ISCED - Międzynarodowa Standardowa Klasyfikacja Kształcenia (International Standard Classification of Education) została opracowana przez UNESCO.
Nazwa przedmiotu: Art Goes America: American Collecting During the Gilded Age (1870-1914)
Jednostka: Instytut Historii Sztuki
Grupy: Specjalizacja
Punkty ECTS i inne: (brak) Podstawowe informacje o zasadach przyporządkowania punktów ECTS:
  • roczny wymiar godzinowy nakładu pracy studenta konieczny do osiągnięcia zakładanych efektów uczenia się dla danego etapu studiów wynosi 1500-1800 h, co odpowiada 60 ECTS;
  • tygodniowy wymiar godzinowy nakładu pracy studenta wynosi 45 h;
  • 1 punkt ECTS odpowiada 25-30 godzinom pracy studenta potrzebnej do osiągnięcia zakładanych efektów uczenia się;
  • tygodniowy nakład pracy studenta konieczny do osiągnięcia zakładanych efektów uczenia się pozwala uzyskać 1,5 ECTS;
  • nakład pracy potrzebny do zaliczenia przedmiotu, któremu przypisano 3 ECTS, stanowi 10% semestralnego obciążenia studenta.

zobacz reguły punktacji
Język prowadzenia: angielski
Rodzaj przedmiotu:

nieobowiązkowe

Skrócony opis:

The seminar examines the phenomenon of art collecting in the United States during the so-called Gilded Age between 1870 and 1914, which was marked by an unprecedented interest in European art, mostly the Old Masters, among the new American elites that had crystallised during the industrial boom of the late nineteenth century. Based on the analysis and contextualization of the activities of the most prominent American collectors of this time and their cooperation with European advisers and art dealers, the course offers an introduction into the modern history of art market and collecting and examines, how works of art become powerful agents in the process of formation of social identity.

Pełny opis:

The seminar examines the phenomenon of art collecting in the United States during the so-called Gilded Age between 1870 and 1914, which was marked by an unprecedented interest in European art, mostly the Old Masters, among the new American elites that had crystallised during the industrial boom of the late nineteenth century. The booming demand of American collectors for European art masterpieces had a major impact on both sides of the Atlantic: the European art market was transformed by the spending power of the nouveaux-riches American tycoons hungry to acquire cultural capital comparable to the European aristocracy, while the American cultural landscape was profoundly changed by the unprecedented influx of high-end art which enabled important museums – such as the Metropolitan Museum of Art in New York or the Museum of Fine Arts in Boston – to emerge in the United States. Based on the analysis and contextualization of the activities of the most prominent American collectors of this time and their cooperation with European advisers and art dealers, the course offers an introduction into the modern history of art market and collecting and examines, how works of art become powerful agents in the process of formation of social identity. The focus is on the collecting and selling practices of collectors such as Isabella Stewart Gardner, Henry Clay Frick, and John Pierpont Morgan, and art dealers such as Joseph Duveen and Colnaghi. On the one hand, through readings of seminal texts by Stephen Greenblatt, Pierre Bourdieu and Thorstein Veblen on self-fashioning, the social construction of taste and conspicuous consumption the course examines the social and cultural-historical contexts of taste formation. On the other hand, the investigation of the role of connoisseurship, photography and law in art trade enables a deeper understanding of the marketing strategies, as well as economic and legal aspects of dealing in art.

Literatura:

Bourdieu, Pierre, Distinction: A Social Critique of the Judgment of Taste, London: Routledge & Kegan Paul, 1986

Catterson, Lynn (ed.), Dealing Art on Both Sides of the Atlantic, 1860-1940, Leiden: Brill, 2017

Dekkers, Dieuwertje, ‘“Where Are the Dutchmen?” Promoting the Hague School in America, 1875-1900’, Simiolus: Netherlands Quarterly for the History of Art, Vol. 24, No. 1 (1996), pp 54-73

Finocchio, Ross, ‘Saving Face: Henry Clay Frick's Pursuit of Holbein Portraits’, The Burlington Magazine, Vol. 150, No. 1259 (2008), pp. 91-97

Gennari-Santori, Flaminia, ‘An Art Collector and his Friends: John Pierpont Morgan and the Globalization of Medieval Art.’, Journal of the History of Collections, Vol. 27, No. 3 (November 2015), pp. 401–411, https://doi.org/10.1093/jhc/fhu039

Greenblatt, Stephen, Renaissance Self-fashioning: From More to Shakespeare, Chicago: University of Chicago Press, 1980

Hall, Nicholas H. J. (ed.), Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi, New York: Colnaghi, 1992

Holler, Manfred J., and Barbara Klose-Ullmann, ‘Art Goes America’, Journal of Economic Issues, Vol. 44, No. 1 (2010), pp. 89-112

Howard, Jeremy, ‘The One That Didn’t Get Away: New Light on the Sale of Holbein’s „Duchess of Milan”’, Journal of the History of Collections, 2020, https://doi.org/10.1093/jhc/fhaa060

Orcutt, Kimberly, ‘Buy American? The Debate over the Art Tariff’, American Art, Vol. 16, No. 3 (2002), pp. 82-91

Pomian, Krzysztof, Women in the Golden Age of American Art Collecting, Rosella Mamoli Zorzi (ed.), Before Peggy Guggenheim: American Women Art Collectors, Venezia: Marsilio, 2001, pp. 31-46

Quodbach, Esmée (ed.), Holland’s Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals, University Park: Pennsylvania University Press 2014

Quodbach, Esmée, ‘“The Last of the American Versailles”: The Widener Collection at Lynnewood Hall’, Simiolus: Netherlands Quarterly for the History of Art, Vol. 29, No. 1/2 (2002), pp. 42-96

Reist, Inge (ed.), A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America, University Park: Pennsylvania University Press 2015

Reist, Inge (ed.), British Models of Art Collecting and the American Response. Reflections Across the Pond, Farnham: Ashgate, 2014

Rubin, Patricia, ‘Portrait of a Lady: Isabella Stewart Gardner, Bernard Berenson, and the Market for Renaissance Art in America’, Apollo, Vol. 152 (2000), pp. 37-44

Secrest, Meryle, Duveen: A Life in Art, New York: Knopf 2005

Veblen, Thorstein, The Theory of the Leisure Class, New York: Dover Publications Inc., 2015

Efekty uczenia się:

The graduate is able to argue using the views of various researchers of art history and history of culture, and has the ability to draw conclusions (K_U07).

The graduate is able to critically analyse texts within the field of art theory and new media, sociology and philosophy of culture (K_U05).

The graduate has basic knowledge of the connections of art history with other fields of science, such as history, philosophy, anthropology, study of culture, religion and literature (K_W16).

The graduate has knowledge of past and contemporary cultural institutions and is oriented in cultural life (K_W06).

Metody i kryteria oceniania:

"Presentation, written paper and active participation".

Przedmiot nie jest oferowany w żadnym z aktualnych cykli dydaktycznych.
Opisy przedmiotów w USOS i USOSweb są chronione prawem autorskim.
Właścicielem praw autorskich jest Uniwersytet Warszawski.
Krakowskie Przedmieście 26/28
00-927 Warszawa
tel: +48 22 55 20 000 https://uw.edu.pl/
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