First-Year Courses in History of ArtConsult the new Course Guide at: http://www.lsa.umich.edu/lsa/cg_subjectlist/0,2030,8,00.html?show=20&termArray=f_04_1510&cgtype=ug This page was created at 1:09 PM on Wed, May 5, 2004. Fall Academic Term, 2004 (September 7 - December 23)HISTART 101, 102, 103 and 108, while covering different areas, are all considered equivalent introductions to the discipline of art history. These four introductory survey courses consider not only art objects as aesthetic experiences but also the interactions among art, the artist, and society. The lecture and discussion sections explore the connections between the style and content of works of art and the historical, social, religious, and intellectual phenomena of the time. Attention is also given to the creative act and to the problems of vision and perception which both the artist and his/her public must face. Although it would be logical to move from HISTART 101 to HISTART 102, this is not required. One course in European/American art (HISTART 101 or 102) and one course in Asian or African art (HISTART 103 or 108) serve as a satisfactory introduction to the history of art for non-concentrators (concentrators should see the department's handbook for more information on requirements). The introductory courses are directed toward students interested in the general history of culture and are especially valuable cognates for students in the fields of history, philosophy, literature, and musicology as well as the creative arts. Course requirements and texts vary with individual instructors, but an effort is always made to introduce students to works of art in the collections of the university as well as in the museums of Detroit and Toledo. Photographic material is available for study in the Image Study Gallery, G026 Tisch Hall. Examinations usually include short essays and slides which are to be identified, compared, and discussed. HISTART 101. Art and Agency in a Pre-Modern World.
Section 001.Instructor(s): Thelma K Thomas (tkthomas@umich.edu)Prerequisites & Distribution: (4). (HU). May not be repeated for credit. Credits: (4). Course Homepage: No homepage submitted. This course offers an introduction to major monuments and periods of art from antiquity through the Middle Ages. Its purpose is not only to acquaint students with key works of Egyptian, Greek, Roman, Byzantine, Islamic, Romanesque and Gothic art and architecture, but also to help them develop a vocabulary for the description and analysis of works of art, and to provide them with a basic understanding of the methods and aims of art historical study. Lectures will be supplemented by weekly discussion sections on readings drawn from a general art historical survey and a course pack. Written work will consist of two short papers on objects in the Kelsey Museum and the Museum of Art; there will be a midterm and a final examination. This course, with HISTART 102, is meant to provide a foundation in the history of western art and will be useful to students taking higher-level courses in the department.
HISTART 108 / CAAS 108. Introduction to African Art.
Section 001.Instructor(s): David T DorisPrerequisites & Distribution: (4). (HU). May not be repeated for credit. Credits: (4). Course Homepage: No homepage submitted. Through the study of a select group of African and African Diaspora cultures, we will begin to investigate pivotal issues and narratives that lie behind the surfaces of some extraordinary objects and practices. African people have their own stories to tell about these things: stories of mythic power expressed as living form, stories of historical contact with other cultures, stories of struggle and redemption, stories of ordinary, everyday life. Our goal is to understand aspects of African cultures in the terms by which Africans understand them — to know African ideals and realities as they are shaped in word, sound, matter, and movement. Of course, we in "the West" also have had a decisive, often disturbing hand in the framing of African peoples, objects and stories. The coupled histories of colonialism and the slave trade, along with our inevitably distorted views and representations of what African people are and what they do, have affected Africa and its peoples to the core. When we look at and think critically about "African Art," then, we necessarily must look at and think critically about ourselves. Looking and listening closely, we will learn to see and to understand a wide range of African visual practices including architecture, textiles, body adornment, painting, graphic communication systems, photography, dance, ritual performance and, of course, sculpture — not only as these practices continue to unfold on the African continent, but also as they are transformed, and as they endure, in the African Diaspora.
HISTART 194. First Year Seminar.Section 001 — The Archbishop's Bones: Art, Architecture ,and Pilgrimage at Canterbury Cathedral.Instructor(s): Achim TimmermannPrerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU). May not be repeated for credit. First-Year Seminar Credits: (3). Course Homepage: No homepage submitted. On 29 December 1170, Thomas Becket, Archbishop of Canterbury, was murdered in his own cathedral. Fifty years later, Canterbury Cathedral had become one of the major centers of pilgrimage in western Christendom, drawing pilgrims — like those described in Chaucer's 'Canterbury Tales' — from all over Europe. The goal of the pilgrimage were Thomas Becket's mortal remains, kept within a series of golden shrines, and staged within the rich and luminous architecture of Canterbury's new choir, one of the first, and one of the important, Gothic structures in England. Our seminar will explore the extraordinary story of Becket's martyrdom, the posthumous veneration of his relics, but above all, the magnificent architecture and stained glass of Canterbury Cathedral. Our discussions will introduce you to the spatial lay-out, structure, function and imagery of a great Gothic church, and sharpen your skills of visual and architectural analysis. You will also learn how to read primary textual sources (such as contemporary accounts of Becket's murder), and secondary literature (for instance a scholarly article analyzing medieval imagery depicting Becket's murder). Course requirements: One short paper (visual analysis) of ca. 5 pages — 25 %. One paper (architectural analysis) of ca. 7-8 pages — 35 %. Class participation and discussion questions. In this seminar, class participation and an active engagement with the visual and textual material under discussion will be essential — 40%.
HISTART 194. First Year Seminar.Section 002 — Meets with CLCIV 120.002.Instructor(s):Prerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU). May not be repeated for credit. Course Homepage: No homepage submitted. No Description Provided. Contact the Department.
HISTART 221 / CLARCH 221. Introduction to Greek Archaeology.
Section 001 — IV.1.Instructor(s): Lisa C Nevett (lcnevett@umich.edu)Prerequisites & Distribution: (4). (HU). May not be repeated for credit. Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted.
HISTART 250 / MEMS 250. Italian Renaissance Art, I.
Section 001 — IV.3.Instructor(s): Megan L Holmes (holmesml@umich.edu)Prerequisites & Distribution: (4). (HU). May not be repeated for credit. Credits: (4). Course Homepage: No homepage submitted. How did the works of Giotto, Donatello, Brunelleschi, and Piero della Francesca come to be regarded as so important in the history of western art? Why, even within the artists' lifetimes, was their art regarded as signaling a "rebirth" of painting and sculpture? This course aims at an understanding of early Renaissance art by seeing it in relation to broader transformations in the culture of the Italian city-states in the fourteenth and fifteenth centuries. The city will be viewed as the site of divergent uses of art by different communities and interests. Images were employed in the expression of identity and status, as a strategic means of producing consensus or exploiting social division, and in an appeal for sacred mediation on behalf of the living and the dead. We will study different genres of visual representation (the altarpiece, mural painting, public sculpture) and the different social spaces where art was displayed (civic buildings, piazze, religious institutions, the domestic environment). Works of art will be considered as modes of argument and as points of interaction among networks of clients, artists, social groups and institutions (guilds, family associations, courts, confraternities), and figures of authority (popes, rulers, citizens, abbots and abbesses). From this multiplicity of uses and responses emerged highly varied conceptions of the nature of the image and the role of the artist, which, in turn, influenced artistic performance.
HISTART 271. Origins of Modernism: Art and Culture in Nineteenth Century France.
Section 001 — IV.4. Art & Culture in 19th Century France.Instructor(s): Howard G Lay (hglay@umich.edu)Prerequisites & Distribution: (4). (HU). May not be repeated for credit. Credits: (4). Course Homepage: No homepage submitted. This course examines a series of remarkable episodes in modern French painting, from the establishment of an official, State-sponsored form of Classicism to the succession of movements — Romanticism, Realism, Impressionism, and Neo-Impressionism — that emerged in opposition to official art. The Nineteenth Century is the period during which modern art developed its characteristic strategies and behavioral patterns: an insistence on innovation, originality, and individuality; a contentious involvement with tradition; a critical relationship with both institutional and commercial culture; and a somewhat strained allegiance with radical politics and alternative subcultures. It is also the period that witnessed a thorough-going reassessment of visual representation, and a parallel concern with the possibilities and limitations of the medium of painting. The course is designed to encourage close readings of images (by David, Gericault, Manet, Degas, Seurat, Cézanne, et al.) within the parameters of their historical contexts and of recent critical debate.
HISTART 292. Introduction to Japanese Art and Culture.
Section 001 — III.2,3.Instructor(s): Kevin CarrPrerequisites & Distribution: (3). (HU). May not be repeated for credit. No credit granted to those who have completed or are enrolled in HISTART 495. Credits: (3). Course Homepage: No homepage submitted. This lecture course takes an interdisciplinary approach to the history of Japanese visual culture, introducing the history of the art of the Japanese archipelago from ancient times through the present day. Although primarily a chronological examination of key artistic monuments, the class will also discuss issues such as the materiality of art, cultural exchange, the meaning of nature, and the relationships between artistic production and religion, class, and society. Two brief quizzes, three writing exercises, and a final exam will be required. All are welcome. The following book will be required: Mason, Penelope. History of Japanese Art. Abrams, 1993 (Reprint: Prentice Hall 2002)<$90;>. Readpak.
Consult the new Course Guide at: http://www.lsa.umich.edu/lsa/cg_subjectlist/0,2030,8,00.html?show=20&termArray=f_04_1510&cgtype=ug This page was created at 1:09 PM on Wed, May 5, 2004.
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