Courses in History of Art (Division 392)

Open to All Undergraduates; Not Open to Graduate Students

History of Art 101, 102, and 103, while covering different areas, are all considered equivalent introductions to the History of Art. These three introductory survey courses consider not only art objects as aesthetic experiences but also the interaction which exists between the artist and society. The lecture and discussion sections explore various historical, social, religious, and intellectual phenomena which are reflected in the style and content of works of art. Attention is also given to the creative act and to the problems of vision and perception which both the artist and his public must face. The three courses are numbered sequentially but they do not form a sequence. Although it would be logical to move from History of Art 101 to History of Art 102, either History of Art 101 or 102 as well as History of Art 103 serve as a satisfactory introduction to the history of art. 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. Most of the upper division courses in history of art require one of these three introductory courses as a prerequisite. 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. Photographic material is available for study in the Fine Arts Study Room in the Modern Languages Building. Examinations usually include short essays and slides which are to be identified, compared, and discussed.

101. Near Eastern and European Art from the Stone Age to the End of the Middle Ages. (4). (HU).

This course is designed to develop a comprehensive knowledge of the major monuments and periods of art historical analysis. The arts of architecture, sculpture, and painting along with significant minor arts are included. This course along with History of Art 102 provides a basic foundation for subsequent study in the field. Subject matter includes the history of art as a humanistic discipline plus analysis of works of art. Lectures concentrate on major monuments from and artistic developments in Egyptian, Near Eastern, Greek, Roman, Early Christian, Byzantine, Romanesque, and Gothic art. Discussion sections will include frequent visits to the galleries and storerooms of the Kelsey Museum of Archaeology and the Museum of Art. Readings include a general survey text plus appropriate paperbacks. (Bornstein)

102. Western Art from the End of the Middle Ages to the Present. No credit granted to those who have completed 150. (4). (HU).

A chronological history of major achievements in painting, sculpture, and architecture from the Renaissance through the nineteenth century, the course will attempt both to define the uniqueness of great creative personalities (how, through the manipulation of the materials of their art forms, they gave special expression to their deepest feelings) and to place these artists within wider art-historical/cultural contexts (with their ever-changing conceptions of "man's" relationship to the physical and spiritual worlds). The weekly discussion section will reinforce the lectures and explore special topics (iconography, connoisseurship, theory, etc.) while encouraging intellectual and emotional involvement with the works of art. Various study materials, textbooks, suggested additional readings, photographs, will be made available, and grading will be based on two hour examinations, participation in discussion sections, and the final examination. Except for commitment, there are no prerequisites, although a student might well elect History of Art 101 (Ancient through Medieval Art) prior to the present course. (Whitman)

103. Arts of Asia. (4). (HU).

This course traces the development of art and architecture in India, Southeast Asia, China and Japan from prehistoric origins to the modern era. Particular emphasis is placed upon the role of Asian religions in the development and content of Asian art, and the interaction of the various cultures. Use will be made of the permanent collection of Oriental art in the University Museum of Art. Three lectures per week and one section meeting to discuss the material presented in lectures. Midterm and final examinations, and several short written assignments are required. (French)

221(321)/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).

See Classical Archaeology 221. (Pedley)

223/Class. Arch. 223. Introduction to the Art and Archaeology of the Ancient Near East. (3). (HU).

Survey of the art and archaeology of ancient Mesopotamia and Iran. The course will focus on art as a reflection of the societies that produced it. Specific attention will be paid to concepts of aesthetics, iconography, narrative patterns, and programmes of piety and politics as these are revealed in temple and palace architecture, sculpture, wall painting and seals. It is strongly recommended that a student have taken at least one art history or archaeology course prior to this. Periodically the class will meet for workshop sessions in the Kelsey Museum of Archaeology instead of convening for the normal slide-lecture format. During these sessions students will have the opportunity to examine and discuss material in the collections of the Museum. Grade evaluation will be based on a midterm, a final, and a research paper (on an object in the collections of the Kelsey Museum). Readings will be assigned from the texts available for purchase Frankfort, The Art and Architecture of the Ancient Orient (4th ed., 1970); Hallo and Simpson, The Ancient Near East: A History (1971) and Lloyd, The Archaeology of Mesopotamia (1978) - and from books and articles on reserve in the Fine Arts Library of Tappan Hall. (Root)

236/Film Video 236/Eng. Hums. 236. The Art of the Film. (4). (HU). A fee is assessed to help defray the costs of film rentals.

See Film and Video Studies 236. (Cohen)

271. European Painting of the Nineteenth Century. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).

This course concentrates upon the history of 19th century European painting. Greatest emphasis is given to French painting, but considerable attention is devoted to German, English, and Spanish painting of the first half of the century. Major artists discussed include Goya, Constable, Turner, Gericault, Delacroix, Courbet, Manet, Monet, Degas, Van Gogh, Gaugin, and Cezanne. The principal movements considered are Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, and Symbolism. The lectures seek, within a chronological context, to interweave issues of form and content and to identify reflections within the paintings of the major historical, social, and intellectual currents of the time. Some of the main themes are: the relationship between the artist and nature; and the relationship between the artist and the public. These themes are discussed within the general thesis that the 19th century witnessed dynamic forces of change released by the French Revolution and the urban and industrial revolutions. These forces helped to shape the paintings, and it is the examination of the changing shapes of painting and of conflicting attitudes towards the past and the present that are of special concern in the study of the artists. The class takes the form of slide-lectures. Two examinations and a paper are required. (Isaacson)

375. Art of the 60's. Hist. of Art 102 or 272; or permission of instructor. (3). (HU).

An investigation of developments in the visual fine arts during the 1960s to study the renewed probing by artists into the nature of art and its relationship and responsibility to life in general. This undergraduate course will focus on Western art during the period 1960-1969 and will survey the major movements (Pop, Op, Minimal, Color Field, etc.), media (painting, sculpture, graphics, photography, cinema, etc.), and individuals (Rauschenberg, Johns, Paolozzi, Kaprow, Morris, Haacke, Serra, etc.) to gain different perspectives on the art of this period. Readings will include assigned texts to suggest some of the related expressions in other art fields during the decade especially in the fields of literature, music, and drama. (Kirkpatrick)

386. Introduction to the Art and Architecture of the Islamic World. History of Art 101 or permission of instructor. (3). (HU).

An introduction to the arts of Islamic countries from about 650 A. D. onward, including architecture, painting, ceramics, metalwork, and textiles. The emphasis will lie not on dynasties and dates, but on the distinctive characteristics of these arts as they developed over more than eleven centuries in the lands between Spain and India. The course is designed to demonstrate the lines of development of Islamic art, its regional groupings, and its cultural background and context. Two short (3-5 page) papers based on the examination of objects in the University collections will be assigned, and there will be a final examination. The course is to be composed of lectures illustrated with slides, along with occasional discussions. Unpublished and newly discovered archaeological material will be included. (Allen)

395. Senior Proseminar. History of Art concentrators. (3). (HU).

This term's proseminar will discuss the theme of the "Gothic" in art by studying intensively one of the most varied and richest of the masterworks of religious art: Chartres Cathedral. Students will have opportunity to analyze its architecture, sculpture, stained glass, liturgical and devotional images, and its iconographic programs; they will also be able to examine various concepts and evaluations of Gothic art from the Renaissance to the twentieth century (Vasari, Ruskin, Victor Hugo, Henry Adams, Panofsky, Frankl). Individual projects will allow independent as well as directed study. (Forsyth)

Open to Upperclass Students and Graduate Students

406/Environ. Studies 406. Art and the Natural Environment. Permission of instructor. (3). (HU).

See Environmental Studies 406. (Huntington)

436/Class. Arch. 436. Hellenistic and Roman Architecture. Hist. of Art 101 or 330; or permission of instructor. (3). (HU).

See Classical Archaeology 436. (Humphrey)

439/Class. Arch. 439. Greek Vase Painting. (3). (HU).

See Classical Archaeology 439. (Herbert)

448. Medieval Manuscript Illumination. Hist. of Art 101 or permission of instructor. (3). (HU).

The art of the illuminated book from its beginnings in Hiberno-Saxon lands to its flowering in the High Middle Ages. Special attention will be given to masterworks such as the Book of Kells and the "Golden Books" of the Carolingian and Ottonian eras which will be studied in facsimile form. Individual projects and papers, which may rely upon the facsimiles housed in the Rare Book Room, will provide opportunity for independent as well as directed study. Readings will be assigned in library materials. A midterm quiz and a final exam. (Forsyth)

469. Neoclassic and Romantic Painting. Hist. of Art 102 or permission of instructor. (3). (HU).

This course is strongly recommended both for concentrators in art history and for concentrators in English, French, and German. It focuses on the masters of neoclassic and romantic painting in England, Germany, and France from approximately 1750 to 1850. Among the painters studied in detail are David, Delacroix, Ingres, Blake, Turner, Constable, Funge, Friedrich, and the Spaniard Goya. Groups such as the Nazarenes and the pre-Raphaelites are also studied. Artistic issues such as the emergence of "modernism"; the development of the disciplines of aesthetics, art criticism, and art history; and the growth of the notion of art for art's sake are examined and analyzed. Two texts are assigned: Brion, Art of the Romantic Era and Levy, Rococo to Revolution. If available, Honour's Neo-Classicism is also required. About 100 pages of additional reading is assigned. There is a one-hour examination as well as a final. A paper (fifteen to twenty pages in length) is required. Paper topics are chosen on an individual basis and are intended to accommodate personal interests and needs. (Miesel)

474. American Art to 1913. Hist. of Art 102 or permission of instructor. (3). (HU).

A study of the major chronological divisions of Anglo-American art from the first settlements of the 17th century down to the closing of the frontier in 1890: the Colonial period, starting with the late medieval forms inherited from provincial England and closing by the eve of the Revolution with a colonies-wide adaptation of classical forms; the Federal period, during which the arts were dominated by radically new demands that accompanied political independence; the Romantic period, from 1820 to 1860, throughout which the arts were being nationalized and democratized; the Post Civil War period, in which the loss of a unifying idealism opened the way in the arts both for aesthetic anarchy and for strong personal statement. Emphasis will be on artistic systems as they are manifested both on architecture and in painting. Examples of sculpture and the decorative arts will, on occasion, be taken into account. Grades are to be based on a midterm test, a paper and a final examination or a final paper. (Huntington)

510/Psych. 406/Art 510. Perception and Expression in Visual Form. (3). (HU).

This lecture course offers a survey of the principles of shape and color by which artists and designers create works of painting, graphics, sculpture, and architecture. Principles are derived from the psychological elements of visual perception concerning the two-dimensional properties of shape, the aspects of three-dimensional objects, and the representation of space in the pictorial plane. A survey of the properties of color leads to principles of color composition. The emphasis throughout the course is on the direct expression of visual patterns derived from their dynamic properties and generating spontaneous symbolism. Color slides from the visual arts, architecture, and applied design illustrate the theoretical demonstrations. Prof. Arnheim's Art and Visual Perception serves to complement the principal aspects of the course. Grades will be based on a final examination. (Arnheim)

547. Late Medieval Painting in Italy. Hist. of Art 101 and 341, or permission of instructor. (3). (HU).

The intention of this lecture course is to trace the roots of Italian painting in the later twelfth and thirteenth centuries and to characterize the work of the first great individual masters in Western painting: Cimabue, Duccio, Giotto, Simone Martini, and the Lorenzetti brothers. A history of Tuscany and an analysis of the techniques of fresco and tempera painting will serve as prologue to the discussion of stylistic traditions. It is imperative that students have had as background a history of ancient and medieval art. The obligations of the students will be the following: a midterm examination, an analytical paper on an original work of painting within the scope of the course, and a final examination. Required texts: B. Cole, Giotto and Florentine Painting, 1280-1375, Harper and Row, New York, 1976; J. Stubblebine, Giotto: The Arena Chapel Frescoes, W. W. Norton, New York, 1969. (Eisenberg)

562. Baroque Sculpture in Italy and Spain. Hist. of Art 102 or permission of instructor. (3). (HU).

Beginning with introductory lectures on the nature of sculpture as an art form, on 16th century sculptural traditions, and on the stirrings of a new way of seeing and working, the course will pass to an intensive investigation of the art of Gianlorenzo Bernini. Bernini's sculpture will be studied both for what it reveals of the master's artistic genius and of the changing socio/political/religious climate in Papal Rome. The influence of Bernini's vision and the alternative to the Berninian manner i.e., Baroque Classicism - will then be discussed. This will be followed by a unit on the extraordinary sculpture of 17th century Spain, and the course will end with suggestions as to the constants the peculiarly Baroque features within so much diversity. The course will observe a lecture format and students will be evaluated on the basis of two examinations. A syllabus and a bibliography of reserve books will be provided. While the amount of assigned reading will be modest (text: Howard Hibbard, Bernini, Pelican paperback), considerable additional reading will be recommended. In spite of the fact that the course bears a "500" number, undergraduates with history of art training should not hesitate to elect it. (Bissell)

572. Expressionism in Twentieth-Century Art. Hist. of Art 102 and either Hist. of Art 271 or 272; or permission of instructor. (3). (HU).

Unlike Futurism or Surrealism, Expressionism was never a conscious grouping with a defined program. Indeed, the course does not attempt to define a "true" Expressionism but rather presents those artists usually associated with that ism as individual creators. However, the major focus of the course will be the artists connected with two German groups, the Bridge and the Blue Rider (Kirchner, Heckel, Schmidt-Rottluff et al. from the former; Kandinsky, Marc, Feininger, Klee, et al. from the latter). Other German and Central European artists will also be examined including Kollwitz, Barlach, Beckmann, Schiele and Kokoschka. A broader context for Expressionism will be established by first reviewing certain Post-Impressionist and Symbolist developments and the Art of Munch, Ensor, Hodler and Klimt and then, in the final weeks, by discussion of American Abstract Expressionism. The primary method of instruction is lecture but discussion is encouraged. There will be a mid-semester quiz, a final and a paper (15-20 pages). The text is: Dube, Expressionism (Praeger) but there will be additional readings from books on Expressionism by Willett, Selz, Myers and Miesel. The course should be valuable not only for students of modern sculpture and painting but for German and Russian majors as well as for those interested in the relationship between art and society, politics, religion and even race. (Miesel)

575. Mass Media and the Visual Arts. Hist. of Art 102 and 272. (3). (HU).

An investigation of the interrelationship between 20th century mass media and the visual arts. This course will consider the interaction in (1) technology, (2) style, (3) message and content between the mass media (including advertising, photojournalism, television, and cinema) and the visual arts (including painting, printmaking, sculpture, photography, cinematography, TV tape, happenings, environments, process art, concept art, 'The Art Game'). (Kirkpatrick)

589. Rajput Painting. Hist. of Art 103 or permission of instructor. (3). (HU).

A study of the important schools of Rajput painting from the 15th through the 18th centuries. Concentration on stylistic origins and distinctions between the principal painting schools in Rajasthan and North India, and on the development of Mughal painting in the 16th and 17th centuries. Interpretation of the religious, iconographical, literary, and political components which constitute this cultural background. Attention will also be given to establishing criteria for judging the quality of individual works. Prerequisite: HA 103 or 285 or permission of the instructor. This advanced course is designed for upperclassmen and graduate students, and is of special interest to those concentrating in the field of Asian art. No required text. Students will be evaluated by means of short papers and/or one examination. (Spink)

597. Chinese Painting: Yüan to the Present. Hist. of Art 388 or 488; or permission of instructor. (3). (HU).

This is not a survey, but rather a course which, using a general historical framework, will explore the nature of painting in the Yüan, Ming, and Ch'ing dynasties by a closer study of selected aspects. There will be some lecturing but emphasis will be on class discussion growing out of regular reading assignments and examination of visual materials (photographs and, when possible, original works of art). A general understanding of the history of Chinese painting is assumed. Topics discussed will depend to a degree on class interest but will be determined within the context of both style and meaning during the period as a whole. Since this was a time when the contributions of individual artists - the scholar-painter-calligrapher-poet became of paramount importance, the individuality of great masters will be stressed. Students will be examined on the recognition of individual styles. One major paper will be required. (Edwards)

598. Japanese Painting to 1600. Hist. of Art 103, 389, or 390. (3). (HU).

Japanese painting from its beginnings in the 7th century through the 16th century. Early painting through the 12th century is mostly Buddhist religious art. The 13th century saw the development of the great secular narrative handscrolls. Fourteenth and fifteenth century art is largely monochrome ink painting, much of it inspired by Zen Buddhism, and in the 16th century the art of golden screen painting reached its full development. The course comprises the first half of a sequence; Japanese painting 17th century to the present is given the second term. A knowledge of Japanese history and language helps but is not required. Three lectures per week, midterm and final exams, and one paper required. (French)

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