This module aims to de-mystify Christian art, and to introduce students to the characteristics and functions of religious imagery in the medieval and early modern periods. They will become familiar with issues like iconoclasm, miracle-working images, and the importance of art in death and commemoration. While the focus is very much on Christian art, some comparisons will be drawn with Judaic and Islamic doctrines on images and representation. The module will encourage an awareness of the religious dimension to much western art, but also ask students to think critically about the frequent conflicts between art and belief.
Module Outline
This module has been designed to introduce students to the critical evaluation of visual and documentary evidence through a discussion of works of art that have been revealed or are polemically considered to be fakes. Taking a thematic approach, the module will consider cases from the medieval to the contemporary across different media. The following questions will be addressed: What is authenticity? When did the notion of forgery emerge? What is the difference between copy, replica, and forgery? Is restoration a sort of forgery? Is there a science to reveal forgeries? What is the relationship between fake and mass culture? Two important 20th-century films will provide further points for study. The module will be team-taught and will also introduce students to the range and presentation methods of the members of the department.
Syllabus
Introduction: Restoration or Replication?
Reproduction, Revival, Forgery
Technical Analysis: An Anti-Forgery?
Archives of Forgeries
The Forger as Artist?
The Architectural Simulacrum
Appropriation, Authorship, Copyright
The Real/Fake Debate
Forgery and Connoisseurship
Assessment:
Essay (1500 words; 100%; to be submitted by the end of the term)
Bibliography
Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction (London: Penguin, 2008).
Lynn Catterson, Finding, Fixing, Faking, Making: Supplying Sculpture in ‘400 Florence (Todi: Ediart, 2014).
Leah R. Clark, “Transient Possessions: Circulation, Replication, and Transmission of Gems and Jewels in Quattrocento Italy,” in Journal of Early Modern History 15 (2011):185–221.
Bruce Cole and Ulrich Middledorf: “Masaccio, Lippi, or Hugford?,” in Burlington Magazine 113 (1971):500–507.
Thomas Da Costa Kaufmann, “Antiquarianism, the History of Objects, and the History of Art before Winckelmann,” in Journal of the History of Ideas 62 (2001):523–41.
Jonathon Keats, Forged: Why Fakes Are the Great Art of Our Age (Oxford: Oxford University Press, 2013).
Joris Kila and Marc Balcells, eds., Cultural Property Crime (Leiden and Boston: Brill, 2014).
Thierry Lenain, Art Forgery: The History of a Modern Obsession (London: Reaktion Books, 2011).
Tomas Loch, “The Changing Meaning of Copies: Citations and Use of Plaster Casts in Art from the Renaissance to the Beginning of the 20th Century,” in Copia e invención (Valladolid: Museo Nacional de Escultura, 2013):107–39.
Ken Perenyi, Caveat Emptor: The Secret Life of an American Art Forger (New York: Pegasus, 2012).
David A. Scott, Art: Authenticity, Restoration, Forgery (Los Angeles: Cotsen Institute of Archeology Press, 2016).
Walter Stephens, “When Noah Ruled the Etruscans: Annius of Viterbo and his Forged Antiquities,” in MLN 119 (2004):201–23.
This module intends to provide students with a basic knowledge of the ways in which architecture (as design, planning, and ideology) became one of the delegated fields in which a social, political, or cultural idea of the future could be articulated and implemented from the age of Industrial Revolution to the present day. The module will show how the ideas of theorists and visionaries ended up influencing the form of the everyday built environment around the world. The course will start by exploring the way that rapid urbanisation and industrialisation led many to seek alternative ways of living, whether by looking towards an idealised often-rural past. The module will cover many of the most influential and radical urban theorists of the last 200 years, and will show how their ideas informed the creation of new communities around the globe. It will end by asking how useful Utopian ideas are for solving the many challenges that face urban populations today.