GLOBAL IMPRESSIONISMS - MCGILL UNIVERSITY
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Fall 2020
Dr. Elizabeth Doe Stone, Course Lecturer
ARTH 420 (CRN 17748): Selected Topics in Art and Architecture
Mondays, 11:35 am – 2:25 pm*
*note: class will be broken down into shorter segments with asynchronous participation options
3 Credits
GLOBAL IMPRESSIONISMS
Kuroda Seiki, Withered Field (Grez), c. 1891
COURSE DESCRIPTION
This undergraduate seminar will focus on the development and afterlife of Impressionist and
Post-Impressionist painting in the late nineteenth-century. Focusing on both specific
aesthetic practices and the social and cultural conditions that surrounded them, we will
consider topics such as urban redevelopment, technical artistic processes, the creation of
transnational artist colonies, and the effect of new art exhibition venues. Our investigation of
these and other themes will be grounded in close attention to particular works of art as we
revisit Impressionism’s central place in the history of art and new methods through which to
examine its global impact and reception. Assignments will ask students to think critically
about the stylistic translation of Impressionism through its global dissemination both in the
nineteenth century and beyond. While this course aims to familiarize students with the
critical texts, artists, and movements that shaped the development of Impressionism, it also
aims to interrogate “Impressionism” as a stable or singularly definable term. What are its
geographical bounds? Who does it include? Who does it leave out? What is its relationship to
local histories and national schools?
COURSE REQUIREMENTS
This course will use a hybrid model, offering both synchronous and asynchronous
discussion modalities. Each class will be broken down into three components: read/prepare,
watch/listen, and respond.
1Before class: READ assigned article or book chapter (PDFs available via myCourses).
PREPARE: You will serve as the assigned discussion leader for a specific week of class. In
this role, you will be responsible for moderating online and/or Zoom discussions and
providing a brief framework before class begins to orient us to the day’s reading (this may
include additional contextual background, a PowerPoint of key images or passages, or a list
of questions for the group as we prepare for discussion).
During class: Complete visual analysis of the week’s “anchor image,” WATCH/LISTEN to
assigned video (recorded lecture by Dr. Stone, podcast episode, exhibition video, guest
lecture, etc.), RESPOND to discussion prompts or participate in group discussion. For
those who can participate via Zoom during class time, you can expect roughly 45-60 minutes
of synchronous discussion.
You will always have the option to participate asynchronously on myCourses in lieu of
scheduled Zoom meetings and it is still expected that these discussion boards will be a place
for rigorous and productive exchange.
The remote learning context presents new challenges for all involved, and I acknowledge the
challenges that you may be experiencing due to the pandemic. I will do your best to provide
a supportive learning environment and foster opportunities for meaningful engagement
throughout the semester. There are a number of resources available to support your
academic success: see Student-specific Guidelines for Remote Teaching and Learning and
Remote Learning Resources. I plan to record our synchronous Zoom discussions for
students who aren’t able to attend in real time. You will be notified through a ‘pop-up’ box
in Zoom if a lecture or portion of a class is being recorded. By remaining in sessions that are
recorded, you agree to the recording, and you understand that your image, voice, and name
may be disclosed to classmates. You also understand that recordings will be made available
in myCourses to students registered in the course.
Required Course Materials
All required readings will be available via Course Reservess, myCourses, or sent to you via
email. To participate in synchronous discussions via Zoom, you will need access to a
computer with wifi, a webcam, and a microphone. Note: Instructor-generated course
materials (e.g., handouts, notes, summaries, exam questions) are protected by law and may
not be copied or distributed in any form or in any medium without explicit permission of the
instructor.
Your final grade will be assessed as follows:
(25%) Participation in online discussion forum and/or synchronous discussion via Zoom
(15%) Short response paper
(25%) Virtual exhibition
(35%) Final research paper
Further explanation of each assignment will be made available in advance of the due date.
Students must complete all assignments and exams in order to pass the course. Late
2submission will be penalized one letter grade for each day they are late unless an extension
has been granted by the instructor. Assignments should be submitted via myCourses. FAQs for
students using myCourses: Assignments.
Note: Due to the extraordinary circumstances of this semester, the content and/or
evaluation scheme in this course is subject to change.
Week 1 (Sept. 7): What is Impressionism?
READ
• Richard Shiff, “Defining ‘Impressionism’ and the ‘Impression,’” in Art in Modern Culture: An
Anthology of Critical Texts, ed. Francis Frascina and Jonathan Harris (Harper Collins, 1992),
pp. 181-188.
• Alexis Clark and Frances Fowle, “Introduction: “What Is Impressionism?” In Globalizing
Impressionism: Reception, Translation, and Transnationalism, edited by Alexis Clark and Frances
Fowle. New Haven: Yale University Press, 2020.
WATCH
• James Johnson, “A New Look at Impressionism, Five Faces of Impressionism”
Week 2 (Sept 14): Revisiting the Surface: Impressionism and Materiality
READ
• Anthea Callen, “Tradition and Innovation” in The Art of Impressionism: Painting Technique and
the Making of Modernity, (New Haven and London: Yale University Press, 2000), pp. 1-14.
WATCH
• “Viscosity,” Art Terms in Action, MoMA
• “Palette Knife,” Art Terms in Action, MoMA
• Annette Manick, head, Paper Conservation, Museum of Fine Arts, Boston; Irene Konefal,
conservator, Museum of Fine Arts, Boston, “A New Look at Impressionism: Materials and
Techniques of the French Impressionists”
Week 3 (Sept 21): The Question of National Schools: Impressionism in the United States
READ
• Emily C. Burns, “Nothing but Daubs”: The Translation of Impressionism in the United
States. In Globalizing Impressionism: Reception, Translation, and Transnationalism, edited by Alexis
Clark and Frances Fowle. New Haven: Yale University Press, 2020.
WATCH
• Emily C. Burns, “Local Color in Art: Nationalism and Impressionism in the United States,
Australia, and France,” given at the American Studies Center, University of Warsaw
Week 4 (Sept 28): Australia’s Impressionist Landscapes
READ
• Sarah Thomas, “Creating a National Identity: Australia’s Impressionist Landscapes,” in
Australia’s Impressionists, Christopher Riopelle, ed. (New Haven: Yale University Press, 2017),
pp 43-50.
• Emma Kindred, “An Australian Incident”: Tom Roberts’s Impressionism and the Colonial
Project In Globalizing Impressionism: Reception, Translation, and Transnationalism, edited by Alexis
Clark and Frances Fowle. New Haven: Yale University Press, 2020.
3WATCH
• Peter Roberts- talks about Tom Roberts, his grandfather, National Gallery of Australia
Week 5 (Oct. 5): Nordic Light and Naturalism
READ
• Thor Mednick, “Danish Internationalism: Peder Severin Krøyer in Copenhagen and
Paris,” Nineteenth-Century Art Worldwide 10, no. 1 (Spring 2011): 71-89.
• Torsten Gunnarsson and Per Hedström, Impressionism and the North: Late 19th Century French
Avant-Garde Art and the Art of the Nordic Countries, 1870-1920 (Stockholm: Nationalmuseum,
2003), selected pages.
WATCH
• Guest lecture, Dr. Isabelle Gapp, “An Arctic Impressionism? Anna Boberg and the Lofoten
Islands”
Week 6 (Oct. 12): Impressionism in Canada
READ
• A.K. Prakash, Impressionism in Canada: A Journey of Rediscovery (Stuttgart, Arnoldsche Art
Publishers, 2015), selected pages.
• Katerina Atanassova, Tobi Bruce, Adam Gopnik, Anna Hudson, eds., Canada and
Impressionism: New Horizons, 1880-1930 (National Gallery of Canada, 2019), selected pages.
ASSIGNMENT DUE: Short response paper
Week 7 (Oct. 19): Realism, Impressionism, and Representation in Germany
READ
• Andre Dombrowski, “Wilhelm Leibl in Paris: international Realism during the Late Second
Empire” in American Artists in Munich: Artistic Migration and Cultural Exchange Processes, pp. 125-
152.
• Mitchell B. Frank, The Long History of Impressionism in Germany, In Globalizing
Impressionism: Reception, Translation, and Transnationalism, edited by Alexis Clark and Frances
Fowle. New Haven: Yale University Press, 2020.
Week 8 (Oct. 26): Global Impressionisms and World’s Fairs
READ
• Hélène Valance, “White City vs. La Ville lumière: Electrical Displays at the World's
Columbian Exposition, Chicago (1893)” In Hollis Clayson and André Dombrowski, eds. Is
Paris Still the Capital of the Nineteenth Century? Essays on Art and Modernity, 1850–1900 (London:
Routledge, 2016).
• Laura Moure Cecchini, Imitators of the Imitators?: World Impressionisms at the Venice
Biennale, 1895–1948 In Globalizing Impressionism: Reception, Translation, and
Transnationalism, edited by Alexis Clark and Frances Fowle. New Haven: Yale University
Press, 2020.
Week 9 (Nov 2): French Artists in Exile: The Role of Britain
READ
• The EY Exhibition: Impressionists in London, French Artists in Exile (1870–1904), Tate Britain,
London, selected pages.
4•Alexis Clark, exhibition review of “The EY Exhibition: Impressionists in London, French
Artists in Exile (1870–1904),” Nineteenth-Century Art Worldwide 17, no. 1 (Spring 2018).
• Frances Fowle, British Impressionism and the Glasgow Boys. In Globalizing Impressionism:
Reception, Translation, and Transnationalism, edited by Alexis Clark and Frances Fowle. New
Haven: Yale University Press, 2020.
LISTEN
• “How has London Inspired French Artists?” Tate Britain
Week 10 (Nov. 9): Ottoman Aestheticism and Turkish Impressionism
READ
• Mary Roberts, “Osman Hamdi Bey and Ottoman Aestheticism,” In Hollis Clayson and
André Dombrowski, eds. Is Paris Still the Capital of the Nineteenth Century? Essays on Art and
Modernity, 1850–1900 (London: Routledge, 2016).
• Ahu Antmen, Nazmi Ziya Güran and Turkish Impressionism In Globalizing Impressionism:
Reception, Translation, and Transnationalism, edited by Alexis Clark and Frances Fowle. New
Haven: Yale University Press, 2020.
LISTEN
• “Ottomans, Orientalists, and 19th-Century Visual Culture,” with Mary Roberts, hosted by
Zeinab Azarbadegan
ASSIGNMENT DUE: Virtual exhibition
Week 11 (Nov. 16): Japanese Painters in Paris; Impressionism in Japan
READ
• Donald F. McCallum, Chapter 15, “Japanese Painters in Paris, 1880-1912,” in Foreign Artists
and Communities in Modern Paris, 1870-1915, Strangers in Paradise, pp. 227-238.
• Ting Chung, “Paris, Japan, and Modernity: A Vexed Ratio,” In Hollis Clayson and André
Dombrowski, eds. Is Paris Still the Capital of the Nineteenth Century? Essays on Art and Modernity,
1850–1900 (London: Routledge, 2016).
• Yukiko Kato, Tadamasa Hayashi’s Dream: The First Wave of Impressionism in Japan
In Globalizing Impressionism: Reception, Translation, and Transnationalism, edited by Alexis Clark
and Frances Fowle. New Haven: Yale University Press, 2020.
RESPOND
• “Attend” classmates’ exhibitions, respond to prompts on myCourses.
Week 12 (Nov. 23): Re-defining Impressionism: Brazil and Beyond
READ
• Ana Maria Tavares Cavalcanti, Shifting Conceptions of Impressionism in Brazil
In Globalizing Impressionism: Reception, Translation, and Transnationalism, edited by Alexis Clark
and Frances Fowle. New Haven: Yale University Press, 2020.
Week 13 (Nov. 30): Dealing Impressionism in South Africa
READ
• Morna O'Neill, Mediating Impressionism in South Africa In Globalizing Impressionism:
Reception, Translation, and Transnationalism, edited by Alexis Clark and Frances Fowle. New
Haven: Yale University Press, 2020.
5• Tamar Garb, “Revisiting the 1860s: Race and Place in Cape Town and Paris,” In Hollis
Clayson and André Dombrowski, eds. Is Paris Still the Capital of the Nineteenth Century? Essays
on Art and Modernity, 1850–1900 (London: Routledge, 2016).
Week 14 (Dec. 7): Conclusions, Is Paris Still the Capital of the Nineteenth Century?
READ
• In Hollis Clayson and André Dombrowski, eds. Is Paris Still the Capital of the Nineteenth
Century? Essays on Art and Modernity, 1850–1900 (London: Routledge, 2016)
• Alexis Clark and Frances Fowle, Afterword: Globalizing Impressionism: Reception,
Translation, and Transnationalism In Globalizing Impressionism: Reception, Translation, and
Transnationalism, edited by Alexis Clark and Frances Fowle. New Haven: Yale University
Press, 2020.
• Response to Questionnaire on Impressionism and the Social History of Art, edited by Alexis
Clark, H-France Salon 9, issue 14, #2 (2017).
• ASSIGNMENT DUE: Final research paper
Appendix: McGill Policy Statements
Language of Submission: In accord with McGill University’s Charter of Students’ Rights, students in
this course have the right to submit in English or in French any written work that is to be graded.
This does not apply to courses in which acquiring proficiency in a language is one of the objectives.”
Academic Integrity: McGill University values academic integrity. Therefore, all students must
understand the meaning and consequences of cheating, plagiarism and other academic offences
under the Code of Student Conduct and Disciplinary Procedures” (see McGill’s guide to academic
honesty for more information).
As the instructor of this course I endeavor to provide an inclusive learning environment. However,
if you experience barriers to learning in this course, do not hesitate to discuss them with me and the
Office for Students with Disabilities, 514-398-6009.
Land Acknowledgment: McGill University is on land which has long served as a site of meeting and
exchange amongst Indigenous peoples, including the Haudenosaunee and Anishinabeg nations. We
acknowledge and thank the diverse Indigenous people whose footsteps have marked this territory
on which peoples of the world now gather.
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