Über diesen Kurs
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Stufe „Anfänger“

Ca. 14 Stunden zum Abschließen

Englisch

Untertitel: Englisch, Griechisch, Spanisch, Französisch

100 % online

Beginnen Sie sofort und lernen Sie in Ihrem eigenen Tempo.

Flexible Fristen

Setzen Sie Fristen gemäß Ihrem Zeitplan zurück.

Stufe „Anfänger“

Ca. 14 Stunden zum Abschließen

Englisch

Untertitel: Englisch, Griechisch, Spanisch, Französisch

Lehrplan - Was Sie in diesem Kurs lernen werden

Woche
1
2 Stunden zum Abschließen

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?

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4 Videos (Gesamt 32 min), 5 Lektüren, 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 Lektüren
Course Overview10m
Start of Course Survey10m
Your Teaching Team10m
Week 1 Outline10m
Readings10m
1 praktische Übung
1. Painting, Agency and the Gaze - This quiz contributes 11% towards your final grade24m
Woche
2
1 Stunde zum Abschließen

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?

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3 Videos (Gesamt 26 min), 1 Lektüre, 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 Lektüre
Week 2 Outline10m
1 praktische Übung
2. The Culture of Sensibility and the ‘Man of Feeling’ - This quiz contributes 11% towards your final grade28m
Woche
3
2 Stunden zum Abschließen

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.

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4 Videos (Gesamt 39 min), 1 Lektüre, 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 Lektüre
Week 3 Outline10m
1 praktische Übung
3. Gainsborough at the Huntington - This quiz contributes 11% towards your final grade26m
Woche
4
2 Stunden zum Abschließen

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.

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3 Videos (Gesamt 37 min), 1 Lektüre, 1 Quiz
3 Videos
4:2 Madame de Pompadour: Controlling the Gaze6m
4:3 Fragonard: Sex and the Circulation of Popular Culture7m
1 Lektüre
Week 4 Outline10m
1 praktische Übung
4. Sexual Codes in Eighteenth Century French Courtly Painting - This quiz contributes 11% towards your final grade28m
4.6
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Top reviews from Sexing the Canvas: Art and Gender

von NMAug 24th 2017

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.

von JUApr 25th 2019

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.

Dozent

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Jeanette Hoorn

Professor
Culture and Communication

Über 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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