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| The academy and the salon |
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| The hierarchy of genres: from history painting to still-life |
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| Modern/modernity/modernism |
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| The contour, linear perspective, chiaroscuro, modelling |
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| Baudelaire’s theory of the eternal and the contingent in Monet |
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| The bourgeoisie and the proletariat |
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| Realism as a mode of modern art |
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| Realism and the present tense |
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| Realism’s “corruption” of the classical, neoclassical, and history painting |
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| Cézanne’s “solidification” of Impressionism |
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| Color theory: complementary colors and cool/warm colors |
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| Degas’s influences: ukiyo-e prints and chronophotography |
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| Facture: contour, stroke, rub, dot, passage |
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| Haussmannization and Paris in the 1870s |
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| The Impressionist exhibition and the Société Anonyme |
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| Impressionism and subjectivism |
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| Impressionist rejection of chiaroscuro |
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| Photographic Impressionism |
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| Seurat’s “Art is Harmony” in A Sunday Afternoon |
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| Analytical Cubism and the training of vision |
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compressed composition
projective grid
the pierced closed form
the recognizable detail
subjectivism over naturalism |
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| History of cinema in 30 seconds |
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| Humor and everyday life in Synthetic Cubism |
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| Material support vs. illusionistic image |
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| The materials of papier collé |
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| Primitivism and the politics of Demoiselles |
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| Synthetic Cubism and new ways of making art |
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| Synthetic Cubism and the relativity of meaning |
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| Fauvism and the 1905 exhibition at the Salon d’Automne |
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| German Expressionism vs. Fauvism |
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| Local and non-local color |
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| Mary Wigman and expressionist dance |
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| Matisse’s method: balancing strokes |
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| Matisse on color and expression |
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| Kirchner, Berlin, and prostitution |
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| Saturated and unsaturated color |
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