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所在平台: Coursera |
课程主页: https://www.coursera.org/learn/gender-art
课程评论：没有评论
课程名称：**性与艺术：艺术与性别** 课程概述：这门课程探讨绘画如何反映性别和性取向，并通过专家策展人和艺术史学家的引导，带领学习者进入性别视角下的艺术欣赏。课程内容包括： - 性别和性取向在艺术作品的创作和接受中的重要性 - 通过性别和性取向的理论提升对绘画的理解 - 理解与艺术史和博物馆学相关的性别理论关键术语 - 认识到“凝视”的运作方式及其与绘画的关系 - 探讨性别和性取向在艺术策展实践中的应用 - 将性别和性取向的理论与艺术和视觉文化的解读和展示相结合的能力 课程大纲： 1. **提耶波罗的克娄巴特拉**：探讨女性在艺术中的表现及“男性凝视”的传统，分析提耶波罗如何在《克娄巴特拉的宴会》中打破常规。 2. **敏感文化与“感性男性”**：研究汤玛斯·盖恩斯伯勒的《第四步兵团军官肖像》，探讨感性文化与男性气质的关系。 3. **盖恩斯伯勒与亨廷顿**：分析盖恩斯伯勒在亨廷顿画廊的五幅作品，探讨性别和性取向的界限。 4. **十八世纪法国宫廷绘画中的性别符号**：揭示法国画家的艺术作品中的性别和性暗示。 5. **东方主义、性别与展示 - 摩洛哥的绘画**：研究早期二十世纪在摩洛哥的英国和澳大利亚艺术家的作品，探讨殖民主义、东方主义与性别的关系。 6. **亨利·卢梭：挑战被动女性的神话**：分析卢梭如何在作品中呈现女性作为创造力的重要源泉。 7. **现代主义、性别与运动科学**：讨论十九至二十世纪科学进步如何影响男性与女性身体的表现。 8. **弗里达·卡洛与甘林·菲尔波特的奋斗**：通过弗里达的作品探讨她对艺术的渴望和个人表达。 9. **什么是女性的事务？土著艺术与梦想**：研究澳大利亚土著女性艺术家的作品，深入探讨女性在土著文化中的重要性。 本课程将开拓您对艺术与性别交叉领域的理解，提升您的艺术欣赏能力。
Name:Tiepolo’s Cleopatra
Description:We begin this MOOC by introducing you to some of the theories about gender and sexuality that we will be calling upon throughout this course. We will look at the tradition of the representation of women in art and the operation of the 'male gaze', which renders most female subjects passive in pictures. We will focus, in this unit, on an unusual exception to this tradition, Tiepolo's Banquet of Cleopatra at the National Gallery of Victoria, in which we see Cleopatra depicted as a powerful regent. How does Tiepolo break the rules in this painting, emphasising Cleopatra’s agency? How did Tiepolo’s facility with paint work to produce this gendered narrative? And who exactly was Cleopatra?
Name:The Culture of Sensibility and the ‘Man of Feeling’
Description:This week we examine in detail Thomas Gainsborough’s much loved Portrait of an officer of the Fourth Regiment of Foot, the portrait of Richard St George Mansergh-St George in the collection of the National Gallery of Victoria. Here we consider how Gainsborough produced his portrait of the young soldier through the ideals associated with the culture of sensibility, so much a part of late eighteenth century ruling class culture. How is the concept of the ‘man of feeling’ utilised in Gainsborough’s enigmatic portrait? What is the relevance of Gainsborough’s focus upon the soldier’s hound? What does the picture tell us about masculinity and the way the culture of sensibility was gendered in eighteenth century Britain?
Name:Gainsborough at the Huntington
Description:We consider five pictures by Thomas Gainsborough in week three of this course that are held in the collection of the Huntington Gallery in California, through an explication of how the artist represented his subjects in the context of the culture of sensibility. Beginning with Gainsborough’s painting of Karl Friedrich Abel, we consider how the artist produced his portrait of masculinity through references to music, science and the senses. We then move to Gainsborough’s pendant portraits of Lord and Lady Ligonier, and The Blue Boy, focussing upon boundaries of gender and sexuality, including debates around effeminacy and passion between the sexes. We conclude with the Huntington’s Cottage Door, considering how this staged scene calls the viewer to look with charity upon impoverished rural women and their children.
Name:Sexual Codes in Eighteenth Century French Courtly Painting
Description:This week Jennifer Milam, Professor of Art History at the University of Sydney, reveals the sexual codes and symbols of art in eighteenth century French painting. Professor Milam uncovers the erotic references imbedded in the courtly art of François Boucher and Jean-Honoré Fragonard. Two pastoral paintings by François Boucher form the centrepiece of this discussion of the playful and provocative representation of gender in the Ancien Régime. In addition, Professor Milam provides an in depth account of how these codes operated in some famous prints and drawings of the period.
Name:Orientalism, Gender and Display - Painting in Morocco
Description:This week Dr Caroline Wallace and I present a study of two artists working in Morocco in the early twentieth century; the British Royal Academy painter John Lavery and the Australian modernist Hilda Rix Nicholas. They examine how these artists used orientalist conventions to represent a European point of view of life in Morocco. In this unit we consider how colonialism, orientalism and gender relate to each other, impacting upon academic and modernist art in a variety of ways that are not immediately apparent. We discuss how orientalist art is gendered, investigating why Rix Nicholas’ practice has been described as counter-orientalist.
Name:Henri Rousseau: Challenging the Myth of the Passive Woman
Description:This week Professor Barbara Creed explores the way Henri Rousseau challenged the myth of the passive woman and relocates women as a vital source of creativity and mystery in art. In The Dream woman is represented as the new Eve living in harmony with nature in a jungle paradise, while in The Sleeping Gypsy woman is on an inner journey into the realms of the unconscious. Professor Creed explores the spiritual dimensions of this painting and offers a new and exciting interpretation of its historical significance.
Name:Henri Matisse, Paul Cezanne and Max Dupain - Modernism, Gender and the Science of Movement
Description:Scientific advances in the nineteenth and early twentieth century created new ideas about male and female bodies. In a unique reading of Henri Matisse's Dance and Paul Cezanne's The Bather, we consider how Darwinian theory and science impacted upon the work of these French modernists and how modernism itself undercut erotic codes in art. Dr Isobel Crombie, Senior Curator of Photography at the National Gallery of Victoria, interprets the representation of gender in the work of the Australian photographer Max Dupain as an expression of the twentieth century movement of vitalism.
Name:Frida Kahlo, Glyn Philpot and the Struggle to Paint
Description:This week we begin by looking at Frida Kahlo’s Fulang-Chang and I as well as her Self-Portrait with Cropped Hair Canvas. These lectures on Frida Kahlo's pictures at MOMA finish with a discussion between myself and Redmond Barry Distinguished Professor Barbara Creed in which we consider WJT Mitchell 's famous question 'what do pictures want? This is followed by a video on Glyn Philpot’s Oedipus presented by Dr Ted Gott, Senior Curator of International Art at the National Gallery of Victoria.
Name:What is Women’s Business? Indigenous Art and the Dreaming
Description:National Gallery of Victoria Senior Curator of Indigenous Art, Judith Ryan, takes us deep into the Dreaming of the Australian Indigenous tradition. She examines in detail the making of two masterpieces by women artists from the Australian outback; Emily Kam Kngwarray's Big Yam Dreaming and Martumili artists’ Ngayartu Kujarra. In this unit we look at these iconic works in the context of ‘women's business’ and the gendered stories of indigenous Australia.
What do paintings tell us about sex? How is art gendered? In this course we will study some of the world’s most beloved pictures guided by expert curators and art historians who step outside of the square, bringing a gendered reading to the masterpieces contained in the magnificent collections that we have been lucky enough to bring to the Coursera platform. In this course you will learn how: * Gender and sexuality is an integral part of the production and reception of works of art * To increase your understanding of paintings through theories of gender and sexuality * To understand key terms from gender-related theories of art history and museology * To recognise the operation of what is termed ‘the gaze’ and how it works in relation to paintings * Ideas about gender and sexuality can productively be employed in theorising art curatorial practices * To take the initiative in relating theoretical ideas about gender and sexuality to the reading and display of art and visual cultures. View the MOOC promotional video here: http://tinyurl.com/hm7qbl3
