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 western art history from prehistoric times to approximately 1400 AD. Architecture, sculpture, painting, and significant minor arts are included. Along with History of Art 102, the course provides a basic foundation for subsequent study in the field. Lectures concentrate on the art and architecture of Egypt, the Ancient Near East, Greece, Rome, Early Christianity, Byzantium, and Romanesque and Gothic Europe. Recitation sections will include frequent visits to the galleries and storerooms of the Kelsey Museum of Archaeology and the Museum of Art. A general survey textbook and appropriate paperbacks will be required reading, and there will be two short (4 pp.) written assignments in addition to a midterm and final. (Gazda)
102. Western Art from the End of the Middle Ages to the Present. No credit granted to those who have completed 150. (4). (HU).
The purpose of this course is to present a survey of major developments in Western art from the Renaissance to the present day. Works of architecture, painting, and sculpture will be studied within the context of technical, formal, and expressive characteristics and their relationship to cultural change. The presentation in the three weekly lectures will be chronological, beginning with Italian and Northern European art of the fourteenth and fifteenth centuries. Weekly discussion sections will be devoted to basic characteristics of the visual arts, to the nature of painting, sculpture, architecture, and printmaking, and to special topics related to but not identical with the lecture material. Readings will include a general historical text. Short papers, a midterm and final examination will be required. No previous course work is necessary. (Smith)
103. Arts of Asia. (4). (HU).
This course, designed to provide an introduction to the religious and secular architecture, sculpture and painting of India and the Far East, will be divided into two approximately equal halves, the first of which will consider the evolution of Buddhist architecture and sculpture in India, Southeast Asia, China, and Japan, as this can be seen to reflect changes and developments in Buddhist doctrines and devotional practices. The temple architecture and sculpture of the second great Asian religion, Hinduism, will then be considered and contrasted with the Muslim mosques, mausolea, and palace architecture introduced into India by the Mughal conquerors. During the second half of the course attention will shift to the secular painting of the Far East – primarily the figural and landscape scrolls of China and the decorative screens of Japan – and ultimately to the arts of the Japanese garden and tea ceremony. (Kane)
200. Approaches to Art. (4). (HU).
The course will consider the creation of art from many perspectives. We will investigate the uses of art, the techniques of art, the expressive and stylistic characteristics of art, and the varied role of the artist. Some attention will be given to theories about the nature of art and about the nature of our perception of art. The course structure will be thematic rather than that of an historical sequence. The presentation will be a mixture of lecture and discussion. (Kirkpatrick)
221(321)/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).
See Classical Archaeology 221. (Pedley)
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)
341. The Gothic Age. Hist. of Art 101 or permission of instructor. (3). (HU).
This course is a survey of the art of Europe in the later Middle Ages (1150 to 1500). Students will examine major works of sculpture, stained glass, manuscript illumination, tapestry, fresco and panel painting, and the art of the goldsmith. The goal of the course is to explore the rapid evolution of the Gothic style culminating in the International Style of the fourteenth and fifteenth centuries, and to chart the intellectual history of the period through iconographic developments in late medieval art. Requirements include a midterm and a final. (Isaacson)
384. Figure Painting in China, Japan, and India. (3). (HU).
Although this course constitutes the first in a departmental sequence - the second part of which, H.A. 385 (Landscape Painting in China and Japan), will be offered in Winter term – either course may be elected independently. The present course, which will survey figure painting in China, Japan, and India, will include a consideration of Chinese and Japanese handscrolls and hanging scrolls, Japanese prints and screen paintings, Indian miniatures, etc., and will contrast subject matter, painting formats and materials, stylistic and narrative techniques, etc., among the three cultures involved as well as historical developments within each culture. Although H.A. 103 (Arts of Asia) or some other course in the history or culture of Asia may be desirable as a prerequisite, neither is obligatory. The student requirements will be a final examination and a term paper of approximately ten pages, with two short quizzes replacing the midterm examination. (Kane)
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 AD 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. The course is to be composed of lectures illustrated with slides, along with occasional discussions. (Isaacson)
395. Senior Proseminar. History of Art concentrators. (3). (HU).
Sufficient material now exists in English to make possible an undergraduate course in the art of Vermeer, his antecedents, his contemporaries, his environment, and his belated impact on subsequent Western art and culture. Excellent reproductions permit a close analysis of his technical procedures, actually involving a greater abstraction of optical vision than was once supposed, as well as a discussion of his stylistic development, over which no two art historians quite agree. While everyone now concurs that meanings lurk behind his cool surfaces, the exact nature of the message is wonderfully immersed in controversy, a statement that also covers the productions of other Dutch genre painters. All of this provides a rich and fascinating area of study. Discussion will be encouraged, readings will be assigned, short papers will sensitize the eye, and individual projects will allow independent study. (Whitman)
437/Class. Arch. 437. Egyptian Art and Archaeology. (3). (HU).
Through slide lectures this course provides a survey of major trends in ancient Egyptian architecture, sculpture, painting, and minor arts. Within this chronologically structured overview, the course will emphasize the theme of portraiture in Egyptian art: its various social functions (political, cultic, funerary) and the canons of form and symbol which were developed in order to express these functions. Periodic workshop sessions in the Kelsey Museum of Archaeology will augment the classroom experience by providing first hand acquaintance with objects of art and artifacts of daily life. It is recommended that a student have some background in art history (either H.A. 101 or a higher level course in any area), or in ancient history. For students taking the course for this purpose, grades will be evaluated on the basis of a three-tiered program of writing assignments – each assignment graded on the second version (submitted after rewriting based on teacher's commentary on the first draft). Other students may opt to substitute a midterm and a final exam for two of the writing assignments. Required paperback texts: W.S. Smith, The Art and Architecture of Ancient Egypt, revised edition (Pelican 1981); W. Hallo & W.K. Simpson, The Ancient Near East: A History (Harcourt, Brace, Jovanovich 1971). A large collection of reserve books will be available in the Fine Arts Library. (Root)
440/Class. Arch. 440. Cities and Sanctuaries of Classical Greece. A course in archaeology or permission of instructor. (3). (HU).
See Classical Archaeology 440. (Herbert)
450. Early Renaissance Art in Italy. Hist. of Art 101 or 250; or permission of instructor. (3). (HU).
This course will trace the crucial stages of Florentine art from 1300 to 1600, with emphasis on the fresco cycles of Giotto, Masaccio, Piero della Francesca, Fra Filippo Lippi, and Ghirlandaio, and the sculptural achievements of Ghiberti, Donatello, Verrocchio, Michelangelo, and Giambologna. By considering techniques and styles, common ideologies and creative individuality, the course will seek to reveal the richness of this central tradition in the history of Western art. There will be a midterm and a final examination, and students will write a short research paper. (Bissell/Eisenberg)
452. Northern European Painting of the Fifteenth and Sixteenth Centuries. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).
A study of major artists and mediums (painting, sculpture, graphic arts, manuscript illustration) in Belgium, Holland, France, and Germany during the 15th and 16th centuries. The principal artists discussed will be Jan van Eyck, Van der Weyden, Bosch, Durer, and Brueghel. Key topics will be the waning of the Middle Ages and the emergence of the Renaissance, the nature of realism and symbolism in the work of art, relationships between Northern and Italian Renaissance art, and art and the Reformation.
491. Art of the Eastern Islamic World. (3). (HU).
This course will explore the history of Islamic art and architecture in the regions of Iraq, Iran, Central Asia, Afghanistan and India. The course will deal with the transition between the Sasanian and Islamic periods of Iraq and Iran and will survey the history of Islamic architecture in the various regions. Special attention will be paid to the influence of the Asian traditions of Chinese and Indian art upon the development of Islamic artistic taste. The Islamic expansion into India and the results of the Mongol invasion of the thirteenth century for the artistic evolution of the Near East will also be studied. Finally, the influence of Iran and Central Asia on the art of Moghul India will be analyzed.
492/Amer. Cult. 492. The White City: The Drama of Urban-Industrial America, the Columbian Exposition, Chicago 1893. (3). (HU).
An interdisciplinary study of the World's Columbian Exposition of 1893 as an expression of the America signaled by the cultural coming of age of Chicago, the capital of the Midwest. Emphasis will be placed on the visual arts and belles lettres as they reflected and informed the perceptions and aspirations of a newly unified nation caught up in the process of modernization. Responses of small-town visitors, utopianist visionaries, world-citizens, etc. will be compared. The Fair as ideal and as illusion will be examined with reference to twentieth century developments. Of all the world fairs none has been of greater significance to American artistic life than the Columbian Exposition held in Chicago in 1893. This great "White City" stood on the shores of Lake Michigan just long enough to fix a memory of aesthetic order and harmony that would inspire a communal dream of civic beauty. The aesthetic anarchy of the preceding years had rendered the dream a social necessity. For the architect, the painter, the sculptor, and the landscape gardener it was a rare moment and an extraordinary opportunity. The eyes of all artists were of one mind. The Exposition was the product of the new continental nation's growing pains, the metropolis of railroads, stockyards, and skyscrapers, of Poles, Germans, and Irishmen, and the civic omen of an industrial, imperial America. The course will be conducted in a lecture/discussion format. The course is designed for both advanced undergraduates and graduate students. Grading will be based on class discussion, tests, and papers on topics selected in consultation with the instructor. (Huntington)
495(389). Art of Japan. Hist. of Art 103 or permission of instructor. (3). (HU).
The architecture, sculpture, painting, and ceramics of Japan are considered from earliest times to the mid-nineteenth century, with emphasis on architecture and sculpture. Major topics are Shinto shrines, Buddhist temple complexes, Buddhist sculpture, Zen teahouses, and Japanese gardens. Also included are narrative picture scrolls, golden screen paintings, monochrome ink paintings, art inspired by Zen Buddhism, and the variety of ceramic wares. Knowledge of Japanese language and/or history is helpful; otherwise, students sometimes find difficult the mastery of unfamiliar names and terms. The course is of lecture type, with midterm and final examinations. No term paper, and no text required for purchase. (French)
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 exam. (Arnheim)
534/Class. Arch. 534. Ancient Painting. Hist. of Art 101 and either Hist. of Art 221 or 222; or permission of instructor. (3). (HU).
See Classical Archaeology 534.
542. Byzantine Art. Hist. of Art 101 or permission of instructor. (3). (HU).
This course will deal with masterworks of Byzantine art, from the beginnings of the Empire under Constantine the Great to the fall of Constantinople. The sumptuary arts of mosaic, manuscript illumination, ivory carving and metalwork will be examined as well as great architectural complexes such as Hagia Sophia and San Marco. Emphasis throughout will be on particular historical contexts which gave rise to Byzantium's three Golden Ages for the arts: Justinianic, Macedonian, and Palaeologan. Lectures, discussions and visits to the Rare Book Room will be supplemented by field trips for study of original works of art. Individual projects and papers, a midterm quiz and a final examination will provide opportunity for independent as well as directed study. Selected readings will be assigned from library materials. (Forsyth)
565. Baroque Architecture in Italy and Germany. Hist. of Art 555 or permission of instructor. (3). (HU).
After a short study of the seminal architecture of Alberti in Rimini, Florence, and Mantua, the course will focus on Rome as an urban center from the early 16th to the early 18th centuries. The city will be treated as an organism within which operated such great architects as Bramante, Raphael, Michelangelo, Vignola, Maderno, Bernini, Borromini, and Pietro da Cortona. Behind them is the patronage of the popes and cardinals of the papal court and such sponsorship will form an integral part of the lectures. In brief, the course will concern itself with the development of Rome as a visible expression of both the Renaissance and the Catholic Restoration. From Rome the focus will shift northward to Turin where the dukes of Savoy employed Guarini and Juvarra to create another civic organism which revealed in vivid architectural language their anointed right to autocratic rule. The course will conclude with the expansion into Germany and Austria of architectural forms originating in Italy but carried to new heights of religious and imperial expression in areas prosperous again after decades of war and invasion. Great architecture, especially in the early modern period, is inseparable from social forces and will be so treated, while at the same time every effort will be made to help the student appreciate the subtleties of the language of classical architecture. (Whitman)
574. Cubism. Hist. of Art 102 and 272; or permission of instructor. (3). (HU).
This course concentrates upon the period of the first twenty years of this century when Picasso and Braque, the founders of the Cubist movement, developed and elaborated their art. Innovative investigations of form and space, new approaches to an art of abstraction, sophisticated explorations of the relationships between art and reality are primary characteristics of this great artistic adventure. Related artists, e.g., Gris, Duchap, Mondrian, Malevich – and movements – e.g., Constructivism, De Stijl, Dada, and Surrealism - will also be discussed in relation to Cubism. Readings will be in one or two assigned paperbacks and in books on reserve. A term paper and final exam will be required. (Isaacson)
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