660:001 / Spring 2007 / Tues 4:30-7:10 / Krug Hall 253 / George Mason
6 March: I have posted guidelines for the final papers and
portfolios, including grading criteria for the papers. You will find
them on the main course page.
21 Feb: On the schedule page, I've added a link to another essay (by Marjorie Perloff) on Loy's "Anglo-Mongrels."
Also, two essays on Sanchez, which will be on electronic reserve as soon as they are processed.
16 Feb: Revised schedule posted, in response to the snow day. Please check your e-mail for comments on the changes.
12 Feb: Just starting Braque, and I'm out of time. I'll
put this up, unfinished, so you can get started - and will try to
finish tonight. You can easily explore Braque on your own, however.
Here are some images and short commentaries on painters who
part of Stein's circle, or were influential in her work.
Start with Cezanne: http://www.artchive.com/artchive/C/cezanne.html
Look at how Cezanne, in all but his earliest work, flattens
the pictorial space, to make representation more a matter of geometry,
color, and composition than of illusion. He uses the whole surface of
the canvas more or less equally.
Go next to Picasso: http://www.artchive.com/artchive/P/picasso_protocubism.html
and the beginnings of Cubism. Braque and Picasso took from Cezanne the
idea of form simplifying toward a state of geometry. Early Cubist work
(what this web site calls "proto-Cubism") is exemplified by paintings
like "Pitcher and Bowls," "Fruit in a Vase," and "Woman with a
By 1910-11, Picasso & Braque had pushed Analytical Cubism
to the very edge of representation. A painting in the Guggenheim
collection, "The Poet," is offered as an example of that edge. Text on
their site is quite good, as well. <http://www.guggenheimcollection.org/site/artist_work_md_126_17.html>
A side note: Art historians rarely acknowledge any political
content to these works, treating the newsprint as abstract blocks of
color, pattern, or, at best, general references to the café
scenes in which newspapers were read. But the newsprint often remains
legible, and their status as texts cannot be deleted from the works'
meaning. Patricial Leighton's "Picasso's Collages and the Threat of
War, 1912-1913" reads from those texts the anarchist and Symbolist
milieu that "helped form Picasso's view of himself as an artist in
society, his ideas about spontaneity and the inspiration of the artist,
and about the virtues of 'unsophisitcated' primitive art." The
article appeared in The Art
Bulletin 67, no. 4 (December 1985).