Undergraduate Degree




DD2007 The Art and Architecture of the 'Long Century' 1789 - 1914

[Studio Contact Hours: 39 hours; Pre-requisites: NIL; Academic Unit: 3.0]




Academic Unit


3 AU

Course Description


Learning Objective

The aim of this course is to provide students with an appreciation of the art and architecture of ‘the long century’, within a strong socio-political and historical context. The course will focus on Europe and the United States of America, and will cross reference with literature, music, photography and other relevant disciplines. Overall, the aim is to develop an understanding of the origins of Modernism within a changing world.


This course charts the evolution of painting, sculpture and architecture (select examples will be taken taken from Britain, USA, France, Spain, Italy and Germany) from the era of the French and American Revolutions to the end of the First World War and the advent of the Jazz Age. It demonstrates how art, architecture, criticism and consumption changed in this time, and suggests reasons for why this happened. The course observes too, the changing role of the artist, the critic, and the viewer. Masterpieces of painting, sculpture, architecture and criticism will be selected from the following ‘isms’ for closer examination: Neo-Classicism, Romanticism, Realism, Impressionism, Aestheticism, Post-Impressionism, Expressionism, Cubism, Art Nouveau, Futurism, Vorticism and Dada. The shift of Modernism from Paris to New York, and its dramatic arrival in the Armory Show, takes the student through to the final lectures which investigate how art was used to memorialize the first global conflict, to ‘invent’ memory for future generations, and to catalyze the process of convalescence. In essence, this course places major movements in art and architecture within a wider context of historical, political and social change, in which adaptation and survival were interdependent.

Course Outline




Pre-Revolutionary Europe: Fragonard (The Swing), Wright of Derby (Experiment on a Bird in the Air Pump).


Neo-Classicism and Revolutions: David (The Oath of the Horatii, Death of Socrates & Marat), Jefferson (Monticello).


Romanticism: Delacroix (Liberty Guiding the People), Gericault (Raft of the Medusa), Turner (The Fighting Temeraire).


Realism: Courbet (Stonebreakers), Millet (The Gleaners), Academic Painting, Cabanal (The Birth of Venus).


Manet (Dejeuner Sur l’Herbe, Olympia & The Bar at the Folies Bergere), the Salon des Refusees & Hausmann’s Paris.


Impressionism / Photography: Monet (Impression Sunrise), Renoir (La Moulin de la Galette), Degas (The Young Ballet Dancer & Absinthe). Muybridge, Daguerre and Nadar.


Aestheticism: Whistler (The Falling Rocket & Battersea Bridge), Paxton (The Crystal Palace). Japanese Prints (Hokusai, Hiroshige & Utamaro).


Post-Impressionism: Gauguin (Where do we come from?), Cezanne (Mt. St. Victoire), Van Gogh (Starry Night), Seurat (La Grande Jatte)


Cubism – Analytical and Synthetic Picasso, (Les Desmoiselles D’Avignon, The Guitar Player), Art Nouveau (Tiffany, Mucha, Gaudi)


Kandinsky (Abstract Painting, 1912), Munch (The Scream), Kirchner (Die Brucke).


The Armory Show in New York


Futurism: Balla (Dynamism), Sant Elia (New City), Vorticiam: Lewis (Plan of War), Epstein (The Rock Drill).


Evaluation and Revision

Learning Outcome

On successful completion of this course, students will have acquired a knowledge and understanding of the basic art and architecture movements associated with the 19th century. They will be aware of changing priorities in relation to collecting and exhibiting, and have a heightened awareness of the relationship between art, politics and social conscience. The student will also track the development of art criticism and be aware of the evolving role of the viewer. They will have developed their skills in analysis and interpretation of art and architecture, have a heightened awareness of word/image associations, and have developed an ability to participate in intellectual critique.

Student Assessment

  1. Class Participation: 15%

  2. Continuous Assessment: 85%

Continuous assessment components may include:

  • Conference Presentation

  • Essay Writings

  • Mid-Term Exam


  1. Recommended Reading

  • Blake, N, Fer, B. et al. Modernity and Modernism Open University Press. 1993.

  • Bowness, A. Modern European Art Thames & Hudson. 1972

  • Bucholtz, L et al (eds). Art: A World History Abrams. 2007.

  • Cole, B. Art of the Western World: From Ancient Greece to Post Modernism Simon & Schuster. 1991.

  • Frascina, F & Harris,.J. Art in Modern Culture Open University Press. 1972.

  • Golby, J. M. Culture and Society in Britain 1850 - 1890 Oxford University Press. 1986.

  • Harrison, C & P. Wood, Art in Theory, 1815 – 1900 Blackwell. 1992.

  • Harrison, C. & P. Wood, Art in Theory: 1900 - 1990 Blackwell. 1992.

  • Frampton, K. Modern Architecture Thames and Hudson. 1992.

  • Kleiner, F. et al. Gardner’s Art Through the Ages Wadsworth. 2000.

  • Peters Corbett, D. The World in Paint: Modern Art and Visuality, 1848-1914 (The

  • Pennsylvania State University Press, 2004).

  • Petra ten-Doesschate Chu, Nineteenth-Century European Art Prentice Hall. 2011.

  • Prideaux, T. The World of Whistler 1834 - 1903 Time-Life Publications. 1981.

  • Schneider, P. The World of Manet - 1832 - 1883 Time-Life Publications. 1972.