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
Sexing the Canvas: Art and Gender
Offered By
The University of Melbourne
Syllabus - What you will learn from this course
Week
12 hours to complete
Tiepolo’s Cleopatra
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?
4 videos (Total 32 min), 5 readings, 1 quiz
4 videos
1:1 Tiepolo’s Cleopatra: Agency in Paint6m
1:2 Cleopatra: Female Pharaoh and Ruler of a Cosmopolitan World16m
1:3 Ways of Seeing: The Power of the Gaze6m
5 readings
Course Overview10m
Start of Course Survey10m
Your Teaching Team10m
Week 1 Outline10m
Readings10m
1 practice exercise
1. Painting, Agency and the Gaze - This quiz contributes 11% towards your final grade24m
Week
21 hour to complete
The Culture of Sensibility and the ‘Man of Feeling’
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?
3 videos (Total 26 min), 1 reading, 1 quiz
3 videos
2:2 Painting Sensibility: Gainsborough's Officer of the Fourth Regiment of Foot9m
2:3 Gainsborough's Man of Feeling: animals, soldiers and chivalry10m
1 reading
Week 2 Outline10m
1 practice exercise
2. The Culture of Sensibility and the ‘Man of Feeling’ - This quiz contributes 11% towards your final grade28m
Week
32 hours to complete
Gainsborough at the Huntington
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.
4 videos (Total 39 min), 1 reading, 1 quiz
4 videos
3:2 The Ligoniers: The Tensions of Gender in Paint12m
3:3 The Blue Boy: Effeminacy and the Culture of Sensibility8m
3:4 Gainsborough’s Cottage Door: Charity and Sensibility11m
1 reading
Week 3 Outline10m
1 practice exercise
3. Gainsborough at the Huntington - This quiz contributes 11% towards your final grade26m
Week
42 hours to complete
Sexual Codes in Eighteenth Century French Courtly Painting
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.
3 videos (Total 37 min), 1 reading, 1 quiz
3 videos
4:2 Madame de Pompadour: Controlling the Gaze6m
4:3 Fragonard: Sex and the Circulation of Popular Culture7m
1 reading
Week 4 Outline10m
1 practice exercise
4. Sexual Codes in Eighteenth Century French Courtly Painting - This quiz contributes 11% towards your final grade28m
Week
51 hour to complete
Orientalism, Gender and Display - Painting in Morocco
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.
3 videos (Total 35 min), 1 reading, 1 quiz
3 videos
5:2 Wives and Models: Hazel Lavery and the politics of display 7m
5:3 Women in Public Space: Hilda Rix Nicholas in Morocco17m
1 reading
Week 5 Outline10m
1 practice exercise
5. Orientalism, Gender and Display - This quiz contributes 11% towards your final grade26m
Week
61 hour to complete
Henri Rousseau: Challenging the Myth of the Passive Woman
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.
2 videos (Total 33 min), 1 reading, 1 quiz
2 videos
6:2 Dreaming with Animals: Rousseau’s Sleeping Gypsy 17m
1 reading
Week 6 Outline10m
1 practice exercise
6. Henri Rousseau - This quiz contributes 11% towards your final grade28m
Week
72 hours to complete
Henri Matisse, Paul Cezanne and Max Dupain - Modernism, Gender and the Science of Movement
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.
3 videos (Total 28 min), 1 reading, 1 quiz
3 videos
7:2 Cezanne’s Bather: Masculinity and Movement9m
7:3 The Sunbaker: Australian Men on the Beach 11m
1 reading
Week 7 Outline10m
1 practice exercise
7. Modernism, gender and the science of movement - This quiz contributes 11% to your final grade38m
Week
82 hours to complete
Frida Kahlo, Glyn Philpot and the Struggle to Paint
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.
3 videos (Total 38 min), 1 reading, 1 quiz
3 videos
8:2 Queering the Canvas: Frida Kahlo’s retablo 15m
8:3 Myth and Sexuality: Glyn Philpot’s Oedipus 11m
1 reading
Week 8 Outline10m
1 practice exercise
8. Sexuality and dissonance - This quiz contributes 11% to your final grade26m
Week
92 hours to complete
What is Women’s Business? Indigenous Art and the Dreaming
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.
3 videos (Total 37 min), 2 readings, 1 quiz
3 videos
9:2 Big Yam Dreaming: Emily Kam Kngwarreye’s masterpiece9m
9:3 Owning the Dreaming: Women’s stories 14m
2 readings
Week 9 Outline10m
Congratulations!10m
1 practice exercise
9. What is Women’s Business? - This quiz contributes 12% to your final grade36m
4.6
56 ReviewsTop Reviews
Very interesting course. Gives you insights on how gender played an important role in the arts. Also how to differentiate and read work on sexuality and gender.
Thank you so much for allowing me the privilege to be a part of this learning experience. I t's the first thing I do, while having my morning tea.
Instructor
Jeanette Hoorn
ProfessorCulture and Communication
About The University of Melbourne
The University of Melbourne is an internationally recognised research intensive University with a strong tradition of excellence in teaching, research, and community engagement. Established in 1853, it is Australia's second oldest University.
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