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 surveys Western painting, sculpture, and architecture from the Ancient Near East to the close of the Middle Ages in Europe (about 1400). The course has two aspects: the delineation and characterization of the major artistic traditions (a guide to the history of art) and an examination of how buildings and works of art can be approached through their materials and techniques, style, subject matter, and cultural contexts (the methods of the history of art). The obligatory discussion sections, held once each week, are based principally on original materials in the Kelsey Museum of Archaeology and the Museum of Art. Grades will be based on two short papers, a midterm and a final, and participation in discussion sections. This course and History of Art 102 provide a foundation for subsequent study in Western and Near Eastern art. The Department suggests, but does not require, that students who intend to major in the history of art take 101 before 102. (Allen)
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 19th 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 prior to the present course. (Whitman)
103. Arts of Asia. (4). (HU).
Is there properly a unified art of Asia? Against the backdrop of this question the course will survey the arts of Asia with special emphasis on India, China and Japan, but also touching on Central Asia and Southeast Asia. After surveying the earliest cultures in the three major areas, Buddhist art will be discussed from its rise in India, where it reveals both native Indian ideals and the influence of Greek Hellenism, to its spread further east. Finally, the course will study the non-Buddhist, more properly indigenous aspects of each major area: Hinduism in India and the more secular traditions of China and Japan. Special emphasis in the Far East will be placed on the art of painting. There will be regular weekly assignments for the discussion sections, a midterm and a final exam. (Edwards)
112/Art 112. History of Photography. (2). (HU).
A survey of the history of photography tracing its technical and aesthetic development related to the arts and the social context in which it evolved. (Baird)
221/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).
See Classical Archaeology 221 for description. (Pedley)
236/Film Video 236/RC Hums. 236. The Art of the Film. (4). (HU). A fee is assessed to help defray the costs of film rentals.
See RC Humanities 236 for description. (Cohen)
260. European Painting and Sculpture of the Seventeenth Century. Hist. of Art 102 or permission of instructor. (3). (HU).
After an opening review of 16th-century artistic and ideological developments, the course considers the revolutionary achievements of Annibale Carracci and Caravaggio, who together are shown to have established the premises of the three major trends in 17th-century art: Baroque Classicism; the "Ecstatic" Baroque; Baroque Realism. Each of these sub-categories is then discussed in turn, following a lecture format and a complete syllabus, with examples drawn from the painting and sculpture of Italy, France and Spain, Flanders and Holland, and with attention given to the historical/cultural circumstances under which the works were produced. Simultaneously, the uniqueness of such major masters as Guido Reni, Poussin, Guercino, Rubens, Bernini, Velazquez, Martinez Montanes, Georges de La Tour, Vermeer, and Rembrandt will be revealed. It is hoped that a spectacle of astounding creative richness will emerge. But the course will end with an attempt to demonstrate that for all this apparent diversity, there is an underlying philosophical unity to 17th-century art, and it is also to this point that the textbook (John R. Martin, Baroque, N.Y., 1977, Harper and Row Icon paperback) addresses itself. Beyond the text, there will be a minimal amount of required reading, considerably more suggested reading, and continual study of the visual material in conjunction with the lecture notes. Students will be evaluated on the bases of the midterm and final examinations and a short paper. (Bissell)
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, Gauguin 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 of major historical, social, and intellectual currents within the paintings of the time. Some of the main themes are: the relationship between tradition and innovation in approaches to form and content; the relationship between 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 forms 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 periods consist of slide-lectures. Two examinations and a paper are required. (Isaacson, Faberman)
374. Picasso and Modern Art. Hist. of Art 102 or 272; or permission of instructor. (3). (HU).
Lectures will review the entire career of Picasso with special emphasis upon the development (with Braque) of Cubism. Picasso's influence upon, but also response to, all the major movements of modern art – Symbolism, Fauvism, Futurism, Expressionism, Constructivism, Surrealism, etc. – will be examined also. Two (2) papers, 8-10 pages in length, will give students an opportunity to investigate specialized aspects of Picasso's work. There will be two examinations: a midterm and a final. Required texts: Barr, Picasso, 50 Years of His Art (MOMA), and Barr, Cubism and Abstract Art (MOMA). Both are available in paperback. There will also be a selection of about 10 important books on related subjects placed on reserve for study. (Miesel)
391. Survey of Japanese Painting. Hist. of Art 103 or permission of instructor. (3). (HU).
The course will cover the major trends in Japanese painting from the seventh to the twentieth century. Subjects will include Buddhist art, narrative picture scrolls, monochrome ink landscapes, golden screens, and genre painting. Since two other graduate series courses in Japanese painting are offered (H.A. 598 and 599), this course is geared to the undergraduate with only H.A. 103 a desirable prerequisite. It is a lecture course, grades to be based on midterm and final examinations. (French)
Open to Upperclass Students and Graduate Students
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.
439/Class. Arch. 439. Greek Vase Painting. (3). (HU).
See Classical Archaeology 439 for description. (Herbert)
444. Romanesque Art. Hist. of Art 101 or permission of instructor. (3). (HU).
This course explores the rise of the monumental arts in Western Europe, culminating in the 12th century Renaissance in France. Particular attention will be given to the development of the arts along the Pilgrimage Roads and to the great expressionist sculptures at Moissac, Vezelay and Autun. Course requirements: selected readings from material in the Fine Arts Library; a short paper for undergraduates; a longer paper for graduate students; midterm, and final. (Forsyth)
450. Early Renaissance Art in Italy. Hist. of Art 101 or 250; or permission of instructor. (3). (HU).
After introductory lectures on the history and topography of Florence and the technique of fresco painting, the principal material of the course is the evolution of Florentine mural cycles in the 15th century. Masaccio's revolutionary work in the Brancacci Chapel, the monastic cycle by Fra Angelico at San Marco, Piero della Francesca's perfect game of chess at Arezzo, and Ghirlandaio's mirrors of Florence and its citizenry at Santa Marial Novella and Santa Trinita are among the major artists and monuments approached. Narrative programs are discussed from various standpoints: the secular patronage of ecclesiastical art; the liturgical uses of mural art; the relationship of a mural program to its architectural milieu; the evolution of early Renaissance style within fresco painting from the 1420's to the 1480's. The reading provides a wider art-historical framework; the main text is Frederick Hartt's Italian Renaissance Art, Prentice-Hall/Abrams, New York, 1975. Prerequisite: History of Art 101 or 102 or 250, or permission. Obligations: a midterm and a final examination; a term paper. (Eisenberg)
468. Modern Sculpture. Hist. of Art 102 and either Hist. of Art 271 or 272; or permission of instructor. (3). (HU).
Through lectures and classroom discussions the origins and evolution of modern sculpture will be examined. Beginning with Rodin and ending with contemporary "dematerializations" of the object the major movements and personalities of 20th century sculpture will be surveyed. A general knowledge of the development of modern art is, of course, advantageous and a reading of some standard text for the period, e.g., Arnason's History of Modern Art or Hamilton's 19th and 20th Century Art before or during the first weeks of the course is recommended. There will be two examinations, a midterm and a final. There will also be a 10-15 page paper of a project requirement. The required text for the course is: Albert Elsen, Origins of Modern Sculpture, and strongly recommended is: J. Burnham, Beyond Modern Sculpture. Even though modern art has traditionally been identified with modern painting, it will be argued that not since the Renaissance has sculpture been so important to the visual arts. (Miesel)
476. Realism and Impressionism. Hist. of Art 102. (3). (HU).
History of Art 476 presents a survey of Realist and Impressionist painting in France from about 1848 to 1855. Among the major painters discussed will be Daumier, Courbet, Monet, Degas, Renoir, and Pisarro. Attention will be given to the emergence and formulation of new approaches to the form and content of painting during this period, the relationship of the new painting to tradition and to concurrent art movements. Also considered will be the relationship of painting to photography and to aspects of French society during the Second Empire and early Third Republic, including patterns of patronage and the role of art dealers and critics. The course is open to juniors, seniors, and graduate students. A background in the history of art since the Renaissance is required, and previous course work in either 19th or 20th century art is desired. Classes will be mainly in the form of lectures although there should be plenty of opportunity for class discussion as well. A paper and a final examination will be required. Students may be asked to buy one or two paperbacks: other readings will be assigned from books available on reserve in the Fine Arts and Undergraduate libraries; of these the principal text will be John Rewald's History of Impressionism. (Isaacson)
482. Buddhist Art. (3). (HU).
This course will present a detailed survey of the Buddhist architecture, sculpture, and painting of India, Southeast Asia, Tibet, China, and Japan, with particular emphasis on the development of these arts in response to the evolution of Buddhist doctrine and changes in devotional practices. Students should therefore bring to the course an interest in Buddhism as a religion, as well as some prior knowledge of the history and culture of the countries involved. The main requirements will be a final exam and a term paper on a subject of the student's choice. (Kane)
483. Asian Architecture. Hist. of Art 103 or permission of instructor. (3). (HU).
This course will be devoted to an intensive survey of all of the most significant religious and secular architectural monuments of India, Southeast Asia, China, and Japan – viewed in the context of their religious and social functions and analyzed according to their plans, materials, structural techniques, exterior and interior decoration, environmental settings, and stylistic evolution. The material is divided into two main categories, comprising the religious and the secular, within each of which the development of the various major architectural types is separately traced, crossing national boundaries where appropriate. Buddhist stupas, pagodas, and monastic residences, Shinto shrines, Hindu temples, Muslim mosques and mausolea, as well as Indian forts, Chinese and Japanese palaces and villas, and Japanese teahouses constitute the main architectural types discussed, together with examples of city planning in India and the Far East and of landscape architecture, such as the gardens of Kashmir, Soochow, and Kyoto. While History of Art 103 (Art of Asia) is not necessary as a prerequisite, this course or some other experience in the religions and cultures of Asia is strongly recommended. A final exam and a term paper will constitute the main student requirements. (Kane)
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)
562. Baroque Sculpture in Italy and Spain. Hist. of Art 102 or permission of instructor. (3). (HU).
Beginning with introductory lectures 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. The course ends with suggestions as to the constants – i.e., the peculiarly Baroque features – within so much diversity. The course will observe a lecture format and students will be evaluated on the bases of two examinations and, for graduate students, a research paper. 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 PB), 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)
580. Twentieth-Century Masters. Hist. of Art 102, 272, or permission of instructor. (3). (HU).
In Fall 1985, this course will explore the Eastern European contribution to Twentieth Century art by examining the life, work, and ideas of some major artists who matured in an Eastern European country and then emigrated West. Our main artists will be Constantin Brancusi (Rumania: sculptor), Frantisek Kupka (Czechoslovakia: painter), Elie Nadelman (Poland: sculptor), Lazslo Moholy-Nagy (Hungary: painter, sculptor, photographer, and designer of graphics, theater sets, exhibits, and industrial products), Victor Vasarely (Hungary: painter), and Christo (Bulgaria: sculptor). Assigned readings and some introductory lectures will provide the basis for class discussion. Depending on enrollment, individual students or small research teams of students will present oral reports on special topics to the class. In addition, each student will write a research term paper and will take a final slide-essay exam. (Kirkpatrick)
582. History of Architecture in Islamic Countries. Hist. of Art 101 or permission of instructor. (3). (HU).
This course will examine the architecture of Islamic countries from about 650 A.D. onwards surveying major Islamic sites and monuments in Spain, North Africa, Egypt, the Near East, Persia, Afghanistan, and India. Emphasis will lie on the distinctive regional architectural characteristics as they developed over the span of a thousand years and the ways in which the broader cultural background and historical context influenced this artistic evolution. The course will be composed of lectures illustrated with slides, assigned readings and discussions, and will include analytical papers and a final examination. (Allen)
596. Chinese Painting: Han through Sung. Hist. of Art 103 or 488; or permission of instructor. (3). (HU).
The course will deal with the "formative" period of Chinese painting from the late Chou (4th century B.C.) and Han through the high sophistication of the Sung period, until around the middle of the 13th century. Broadly speaking, this involves the development of an increasing sense of "physical realism" both in an approach to the human figure and the wider scene of the landscape itself. Careful attention will be paid to the analysis of form, with the purpose of understanding the meaning of those forms and the degree to which they reveal the meaning of Chinese civilization during this time. When their works survive, contributions of individual artists will be stressed. Since it is an advanced course, for which some prior knowledge is required, students should not expect a systematic survey. Discussion will be emphasized and the degree to which a given aspect (or aspects) of the period is explored will depend a great deal on student interest and need. A major paper, serving as a focus for those interests, will be required. (Edwards)
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