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NEW COURSE PROPOSAL - FACULTY OF 

Subject_

INTERDISCIPLINARY 

STIJDTES - (RNR

STUDIES 301-3 - DIDACTIC ART OF 

From SENATE COMMITTEE ON UNDERGRADUATE STUDIES 

Date MARCH 15, 1973 

1• SENATE 

MOTION 1: "That Senate approve, as set forth in S.73-48, 

the new Faculty of Interdisciplinary Studies 

course proposal for General Studies 301-3 - 

Didactic Art of the 18th Century Revolutions." 

If the above motion passes, 

is

?

MOTION 2: "That Senate waive the normal two semester time 

lag requirement in order that General Studies 

301-3 may first be offered in the Fall semester 

73-3.,' 

From

SENATE COMMITTEE ON UNDERGRADUATE STUDIES 

To—

SENATE 

SiMON FRASER UNIVERSITY

S.73-48

MEMORANDUM

NEW COURSE PROPOSAL - FACULTY OF 

Subject INTERDISCIPLINARY STUDIES GENERAL ? 

Date FEBRUARY 28, 1973 

STUDIES 301-3 - DIDACTIC ART OF THE 

On the recommendation of the Faculty of Interdisciplinary 

Studies, the Senate Committee on Undergraduate Studies has approved, 

as set forth in SCUS 73-2, the new course proposal for General 

Studies 301-3 - Didactic Art of the 18th Century Revolutions, and 

recommends approval to Senate. 

In review of this course the original recommendation from 

the Faculty that the course carry 5 credits was considered by SCUS, 

with recommendation by it that the course carry 3 credits. This 

recommendation has been accepted by the Faculty Curriculum Committee. 

It is further recommended that the normal two semester time 

lag requirement be waived in order that this course may first be 

offered in the Fall semester 73-3. 

• .

SiMON FRASER UNIVERSITY $

Ct4f 732

MEMORANDUM

As amended Feb. 6, 1973

IS..... .........

.........

Mugridg ?

Chairman

From

..........................................

Senate

Cornrn

.itteeon

Interdisciplinary Studies

...

Undergraduate Studies.

Subjec

t... .. .....

...

.......... ....................................... ......... ..................... ......... .........

Date

................ Januar.y ... i.91.7.3.

.......................................

New Course Proposal: Didactic Art of the 18th Century Revolutions. (I. S. C. 73-2).

The above-named course proposal has been approved by the

Faculty of Interdisciplinary Studies Curriculum Committee and is forwarded

herewith to the Senate Committee on Undergraduate Studies for consideration.

. ?

4-.

Faculty of Interdisciplinary

Studies

NEW COURSE PROPOSAL

1. CALENDAR INFORMATION

program.C.__-J

SiJ-

Course

Number: 301

Title:

Didactic Art of the 18th

Century Revolutions.

Sub-title

The function

or Description:

of art in the social, industrial, and political revolutions of

18th Century Europe is examined in a detailed study of the work of five

18th Century artists: Watteau, Hogarth, Piranesi, David, and Goya.

Credit hours: 3

Vector Description:

Pre-Requisite(S)

G.S. 100, or G.S. 200 or permission of the instructor.

ENR0LI1ENT AND SCHEDULING

Estimated Enrolment: 40-50

Semester Offered (e.g. yearly, every Spring, twice

yearly, Fall and

Spring):

When will course first be offered?

Fall 1973.

JusTiricArloN

What is the detailed description of the course including

differentiation from lower level courses, from similar courses

in the same department, and from courses in other departments

in the University?

Watteau'S advocacy of the freedom of the fates, Hogarth'S social and political

satires, Piranesi'S revival of the glory of Rome, and David's use in his

propaganda of the first French revolution of Roman and Greek examples of

heroism and civic virtues. and finally Goya's invectives of personal and social

immorality in the Spanish revolution and in the Spanish society in general is

treated in considerable depth. These themes were introduced briefly in G.S. 100 -

Modern Art and its Mainsprings. 18th Century.

B. What is the range of topics that may be dealt with

the course?

The many different definitions in the 18th Century of Truth, Feeling, Morality,

Nature and Reason in art. The 18th Century revolution of art. The French

Revolution. The Spanish Revolution. Neoclassicism and Romanticism. A

new interpretation of Watteau.

•!rqIuiipS

2.

C.

How does this course fit the goals of the program? 

n/a

D.

How does this course affect degree requirements? 

general elective 

E. What are the calendar changes necessary to reflect the addition 

of this course? 

calendar addition. 

1-.0

F.

What course, if any, is being dropped from the calendar if 

this course is approved? 

none 

C.

What is the nature of student demand for this course? 

Students have indicated broad interest in Fine Arts. This course 

would be a partial fulfillment of that demand. 

H. Other reasons for introducing the course. 

n /a 

'ft

-400 

^

4.

BUDGETARY AND SPACE FACTORS

Which faculty will be available to teach this course?

A. J. Grants

What are the special space and/or equipment requirements

for this course?

$OO for production of slides from book illustrations

2 screens and 2 slide projectors.

Opaque projector.

Stereo tape recorder.

C.

Any other budgetary implications of mounting this course: 

Approval: 

Dean of Division: 

Senate: ? 

t?44')

w ao

Dean R.C. Brown

Faculty of Interdisciplinary Studies

Comments on proposal for the course The Didactic Art of the 18th Century Revolution

The course deals with some of the greatest 18th century painters who saw

art as having the function of a political instrument - the function of teaching

or inspiring the masses to acquire what

they (the artists) thought were desir-

able civic or social values. Each of the five artists examined in this course

(Watteau, d. 1721; Hogarth, d. 1764; Pirariesi, d. 1778: David, d. 1825; Goya,

d. 1828) is an important one in the sense that each has a unique claim to

artistic greatness. Each of the five men lived and worked in adistinct space-

time: Watteau in Paris of early 18th century, Hogarth in London of the first

hall of that century, Piranesi in 18th century Rome, David in late 18th and

early 19th century Paris, and Goya in late 18th and early 19th century Madrid.

Moreover, each of them was intimately connected with one of the many 18th

century revolutions, and this fact provides (or is meant to provide) a unity

to the proposed course.

Watteau is not usually thought of as a revolutionary or didactic; yet he can be

seen as having achieved, single-handedly, two revolutions in art. One, he can

be seen as the originator of the notion of painting as "inner-space fiction" -

depiction of psychological relations, and thus he is the first of the truly

individual (''original", "unique") painters. Two, Watteau almost single-

handedly destroyed the notion of painting as a propaganda tool for the divine

rights of kings doctrine which evolved during the reign of Louis XIV and

Madame de Maintenon, and showed how painting can be used to depict subtle

human relations and flights of imagination by painting "fates" -_gatherings of

ordinary middle-class people to celebrate love and art.

Hogarth too was concerned with an artistic revolution - he fought theorectical

battles with Alexander Pope and with Lord Burlington, for example. He

thought of himself not as a painter but as a literary artist who instead of

pen used his brush and burin; but he also thought of himself as a moralist

whose task was to reform the lower class Englishman whose life was

affected by the Industrial Revolution. He taught, for example, that the

lower-class Londoner ought not to drink gin, and that he ought to drink beer.

Piranesi originated two art movements: Neo-classicism, with its

emphasis on the past glory of Rome, and Romanticism, with its emphasis

on man's mind imprisoned by his own emotions. Piranesi's views of Rome

and his Carc-eri are both aspects of "inner-science fiction", which were taken

as models by English and French Neo-classicists and Romantics alike in

",.W e

painting, literature, and in architecture.

... 2

jopage 2

David, the Jacobin statesman who along with Marat and Robespierre staged

the Terror, was in his painting a propagandist for the Revolution, and its

pageant-master. It w

as he w ho developed

the idea of the "fates" as festivals

of indoctrination of civic virtues, where a politido-moral lesson was taught

kich was derived from Greco-Roman models.

The last of the five artists and perhaps the greatest of them all - Goya -

recorded the atrocities of the Spanish Revolution, and in such a way that,

unlike in David's propaganda paintings, there are no heroes, and no preferred

political side, but only men and women whose nightmares are caused by

monstrous fictions that their own brain has produced. In these works - Disasters

of War - and in others such as the Capprichos and Disparates, and in the many

portraits of the Spanish royal imbeciles, Goya's vision is tinted by his theory

of Physiognomy, based on the work of the Swiss physiognomist Lavater. This

theory proceeds from the assumption that man's moral and character traits

manifest in his facial and bodily features which painting, among all other forms

of art, is best fit to symbolize. Goya saw as the highest form of painting that

Which is uscd for didactic_moral-PUTP0SeS "the proper study of mankind (for

Goya) is man".

The proposed course differs from G.S. 100, Modern Art and Its MainsprinS - the

18th Century, which was successfully offered in Fall 1972, in that the number of

painters studied is reduced from 50 (in G.S. 100) to five (in the proposed course):

the themes in B. S. 100 - Nature, truth, reason, imagination, feeling, sensuous

affect, and morality in art - in this new course will get a much more thorough

treatment. The new course, to put it brie

ly,

is a demanding study in depth

of what was introduced in G. S. 100.

Bibliography:

I. Watteau, Jean-Antoine (1684-1721).

"two

Helene

Adhemar, Watteau: sa vie - son oeuvre, Paris: Pierre Tisne,

1950 (1947).

Camesasca, Ettare, The Complete Paintin

s of Watteau, New York:

Abrams, 1968.

M. Cormack, The Drawings of Watteau, (London: Hamlyn, 1970.

K. T. Parker, The Drawings of Antoine Watteau, New York: Hacner, 1970

(London: 1931).

Helene Adhemar, Embarkation for Cythera, London: Parrish, 1947.

Pierre Schneider, The World of Watteau, New York: Time

Inc.,

1967.

Michael Levey, Rococo to Revolution, Praeger, 1966.

E. and J. de Goncourt, The Art of the XVIII Century, London: Phaidon, 1954

(Paris: 1860).

Duke, (Lady A.), French Painters of the XVITlih Century, London: 1899.

JO. E. Stat.lcy, Watteau and his School, London: 1902.

11.

Sacherell-Sitwell, A. Watteau, London: 1925.

12.

(Mussia) Eiscnstein, Watteau's Fetes Galantes, Berlin: 1930.

13.

Sir Echnond Head, FIa:dbook of Painting, London: 1854.

14.

Ed. and J. de Goncourt, "La Philosophie de Watteau", L'Artiste,

1856, II, pp. 127-129.

15.

Val. Miller, "The Borrowings of Watteau", Burl. Mag. 1927, II.

16.

W. Gibson, "On Watteau's Drau

htsmanship", Apollo, 1930, II, pp. 275-279.

17.

L. Aragon, "L'Ensigne de Gersaint", Les Lettres Francaises, 14 April 1945.

II. William 1-Iogarth (1697-1764).

Frederick Antal,

garth: and his place in European Art, London:

Routledge, 1962.

Ronald Paulson, Hogarth: his Life and Times 2 vols., New Haven: Yale

University Press, 1971.

Joseph Burne and Cohn Caldwell, Hogarth: The Complete Engravings,

Abrams, 1969.

Atstin Dobson, William Hogarth, London: Heinemann, 1907.

T. L. S. "Hogarth as a European" Vol. 3164, pp. 801-2, October 19, 1962.

continued

Bibliography - pager.

Geoffrey

Grigson, "Death of a Master", New Statesman, Vol. 64,

88,

July 1962.

George

Augustus Sala, William Ho

arth, Ward Lock Reprints 1970 Redwood

Press, London.

The World of Hogarth - Lichtenbergs Commentaries (tr. Innes and Herdan)

Boston: Houghton Mufflin, 1966.

III. Piranesi, Giovanni Batista (1720-1778).

Prima Parti di Arch itettura i Prospecti

, 1743.

Opere Vane, 1750.

Invenzioni Capriciosi di Carceri, c. 1745.

Antichita Romane dci Terupi della Republica e dei primi Imperatori,

1748-1750.

Racola di Vane Vedute di Roma si Autica che Moderna, 1750.

Horace Walpole, Anecdotes of Painting in England, 1762-71.

Horace Walpole, Letters, Yale University Press, Vol. 1, 1937.

William Beckford, Travel Diaries, ed. Chapman, Cambridge, 1938.

Thomas de Quincy, Confessions of an English Opium Eater.

10.

Edmund Burke, Inquiry irto the Origin of Our Ideas of the Sublime and

Beautiful, ed. J. T. Boulton, London: Routledge, 1958.

IV. David, Jacques-Louis (1748-1825).

David Lloyd Dowd, Pageant-Master of the Republic: Jacques-Louis David and

the French Revolution. Lincoln Nebraska

K. T. Parker, The Cult of Antiquity and the French Revolutionaries,

Chicago University Press, 1937.

M. W. Brown, The Painting of the French Revolution, New York: Critics

Group, 1938.

H.R. Yorke, France in 1802, London: Heinemann, 1906.

Diary and Letters of Gouverneur Morris, New York: 1885.

R.R. Palmer, Twelve Who Ruled, Princeton: University Press, 1947.

S.B. Dunn, The National Festivals in the French Revolution 1794-1797

(unpubi. Ph. D. Thesis Cornell Univ. 1939).

? -

continued

Bibliography - page 3.

1.46,0

8. H. Dupre, "Some French Revolutionary Propaganda Techniques",

The Historian, II, Spring 1940.

9. 3. W. Simpson, "Town

Planning in the French Revolution" in his Essays

and Memorials, London: Architectural Press, 1923.

.10. Frederick Antal, "Reflections on Classicism and Romanticism: David's

Classicism . . . ", Burl. Mag., LXVI, April 1935.

11. M.

Heine, "The Blood of the Martyr: . Documents", Nerve I, December 1937.

12.

Scheyer, "French Drawings of the Great Revolution and the Napoleonic

Era", Art Quarterly IV, Summer 1941.

13.

Edgar Wind, "The Sources of David's Horaces" Warbc and Courtauld

Inst. J. IV, April-July 1940-1,

pp.

187-204.

14.

Edgar Wind, "A Last Article on David by Reynolds" Warburg and Court:auld

Inst. J.

VI, 1943.

15.

G. de l3atz, "History, Truth, and Art", Art Quarterly, VIII, Autumn 1945.

16.

K. Berger, "Courbet in His Century", Gazzette des Beaux-Arts ser. 6, XXIV,

July 1943, (pp. 19-40).

17.

K. Berger, "Beginnings of Modern Art: David and the Development of

Gericault's",

Gazz.

des Beaux-Arts, ser. 6, V, XXX July 1946 pp. 41-62.

V. Francisco de Goya (1746-1828).

L. Ragghianti, Prado Madrid, Simon and Schuster, New York, 1968.

Andre Mairaux, The Voices of Silence, Doubleday, 1931.

D. Rich, The Art of Goya, The Art Inst. of Chicago, 1941..

Lewis, The World of Goya, Classeson N. Potter, New York, 1968.

5. X. de

Salas, Goya, London: Blandfard P., 1962.

F. Chabrun, Goya, Thames and Hudson, 1965.

F. Schmid, The Technique of Goya, The Art Inst. of Chicago 1941.

8.. Jose Lopez-Rey, Goya's Caprichos; Beauty, Reason and Charicature,

Princeton University Press, 1953, 2 vols.

Jose Lopez-Rey, A Cycle of Goya's Drawings, London: Faber and Faber, 1961.

10.

Andre Mairaux, Saturn: An Essay on Gova, Nev.

11. Enrique La Fuente Ferrari, Goya, His Complete Etchin

s, Aguatints, and

Lithograph!, tr. Raymond Rudorff, New York: Abrams, (?).

12.

Bernard L. Myers, Goya Middlesex: Hamlyn House, 1968.

13.

Elisabeth du Gue Trapier, Goya and His Sitters, New York: Hispanic So c.

of America, 1964.

14.

D. Klingender, Goya and the Democratic Tradition, New York:

Schoecken, 1968.

15.

Alclous Huxley, Complete Etchings of Goya,

Art, Goya and His Times,

Malcolm Solomon, Masters of Etching - Go

a, London: Studio, 1924.

'ft