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 will discuss major monuments of Western painting, sculpture and architecture within their historical context from the antique period to the end of the Middle Ages. The lectures will explore both the development and characterization of major artistic traditions through an analysis of style and iconography as well as an examination of materials, techniques and cultural contexts. Weekly discussion sections are designed to encourage student participation and the discussions will center around relevant objects in the Kelsey Museum, Museum of Art, or carefully selected works which illustrate points of the class lecture. In addition to attending three class lectures and one discussion section per week, students will be assigned readings from a general art history survey text. (Neagley)
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 to the present day, 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 while encouraging intellectual and emotional involvement with the works of art. Throughout, the student will be introduced to the basic methodologies of the discipline. Various study materials (a full syllabus, textbook, suggested additional readings, photographs) will be made available, and grading will be based on examinations, participation in discussion sections, and on a short, non-research paper. Except for commitment, there are no prerequisites. (Bissell)
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 the sculpture of 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 art of the Japanese gardens and tea ceremony. (Kane)
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. There will be a midterm, a final and a term project/paper. (Kirkpatrick)
221/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).
See Classical Architecture 221. (Herbert)
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 R.C. Humanities 236. (Cohen)
250/MARC 250. Italian Renaissance Art. Hist. of Art 101 or 102 or permission of instructor. (3). (HU).
In order to vary the approach to a body of material encompassed in the introductory course (102), the lectures will be focused on a few central aspects of Florentine art, as follows: the history and topography of the city of Florence; the work of art viewed within its original architecture milieu; the fundamental contributions of Brunelleschi, Donatello, and Masaccio; the tradition of the "scientific realists"; the transformation from Early to High Renaissance style in the art of Leonardo da Vinci. The reading, an essential part of the course, will provide a wider context. The text for the course will be Frederick Hartt, History of Italian Renaissance Art, second edition, New York, 1979. The photographic materials provided in the study hall will also be considered a primary aspect of the "reading." The minimal obligation of the student will be the following: a midterm and a final examination. The material of the lectures and selected parts of the reading will be given equal emphasis in the examinations. Students who wish to achieve a grade of B+ or higher will be required to write an analytical essay due toward the end of the term. (Eisenberg)
260. European Painting and Sculpture of the Seventeenth Century. Hist. of Art 102 or permission of instructor. (3). (HU).
This course begins with a consideration of the artistic innovations of Annibale Carracci and Caravaggio as well as the religious and social developments which influenced their works. The works of the other Italian seventeenth century artists are briefly reviewed, and then attention focuses on Bernini as the great representative of the High Baroque in Rome. Pursuing the theme of Rome as a major artistic center, an attempt is made to show that Rome influenced the young Rubens who then diffused the art of the baroque throughout much of western Europe. As a contrast to Rubens' "dynamic baroque," the classical aspect of the baroque is examined through the work of Poussin who came to Rome as an émigré Frenchman. Then the class proceeds to Velazquez, a Spanish painter, a friend of Rubens and twice a visitor to Rome who was a prime representative of the "realistic baroque." From Velazquez there is an easy transition to such French artists as George de la Tour and Le Nain who in turn lead to the realistic traditions of northern Europe as exemplified by the Dutch artists Rembrandt and Vermeer with whom the course concludes. Thus, through a diffused point of view and a breakdown of baroque art into three sub-categories, the course considers the greatest artists of the seventeenth century initially in terms of their differences but ultimately by demonstrating the indivisibility of substance and spirit which underlies their apparent diversity. No special background is needed other than a sense that what happened or was produced in the past is still of importance and significance today. Required course reading includes one textbook, two paperbacks, and some suggested optional monographs. Considerable study of visual materials is required. Class format is lecture. Two examinations and a short paper. (Whitman)
305/MARC 323. The Themes and Symbols of Western Art. (3). (HU).
This lecture course will explore the origins and development of the major themes of Western Art, including Greek and Roman myths, the Old Testament, the Life and Passion of Christ, the Lives of the Saints, the Apocalypse, and the legends of Alexander and Arthur as well as other ancient and medieval heroes and heroines. It will also serve as an introduction to the role of symbolism, allegory and metaphor in Western Art. The course will deal primarily with the art of the ancient and medieval worlds. Students will read selections of original texts from these periods. The course is designed not only for History of Art majors but for students of literature and history as well. There will be a final examination and three short writing projects which will introduce students to iconographical research in both secondary and original sources. Students will deal both with well-documented works of art and with originals in nearby museums which have never been researched before. (Forsyth)
341. The Gothic Age. Hist. of Art 101 or permission of instructor. (3). (HU).
This course is a survey of the art of Western Europe in later Middle Ages (1150-1500). Students will examine major works of architecture, 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 from the experimental transitional period of the mid-twelfth century, to the classic High Gothic style of the early thirteenth century, the court style of Louis IX of France and Henry III of England and the rich and varied works of the late Gothic Period at the end of the Middle Ages. The course will concentrate on work produced in northern Europe (France, England and Germany) but developments in Italy and Spain will be considered. Style, iconographic themes, techniques and materials and developments in structure will be discussed within the context of secular and religious life of the Middle Ages. (Neagley)
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. Two 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)
392(488). Survey of Chinese Painting. Hist. of Art 103 or permission of instructor. (3). (HU).
The course offers a survey of Chinese painting from its beginning through the 18th century. The approach is chronological, and the works of individual artists are examined in relation to their time and their cultural milieu. A major change occurs in Chinese painting in the 13th century, when concern with representing the external world shifted to interest in presenting a personal interpretation of reality. Focus is on individual artists, their paintings, the theories of art they expounded, and the various school of art that developed. The class will meet three hours weekly for lectures, and there will be a midterm and a final examination. Prerequisite: HA 103 or permission of instructor.
Open to Upperclass Students and Graduate Students
421/Class. Arch. 421. Art and Archaeology of the Ancient Near East. One previous art history, anthropology, or classical archaeology course recommended. (3). (HU).
Survey of the art and archaeology of ancient Mesopotamia and Iran, focusing upon art as a reflection of the societies that produced it. Specific attention will be paid to concepts of aesthetics, iconography, narrative pattern, and programs of piety and politics – as these are revealed in sculpture and the art of seals Periodically the class will meet at the Kelsey Museum of Archaeology instead of convening for the normal slide-lectures. During these sessions students will have the opportunity to examine and discuss actual artifacts and works of art. Grade evaluation will be based upon a midterm, a final examination, and a research paper of 5-10 typewritten pages (not including notes). The paper will be based upon investigation of an object in the collections of the Kelsey Museum. Readings will be assigned from texts available for purchase (Henri Frankfort, The Art and Architecture of the Ancient Orient, 4th ed. 1970; R. Hallo and W.K. Simpson, The Ancient Near East, 1971; and A. Leo Oppenheim, Ancient Mesopotamia, rev. ed. 1977) as well as from books and articles on reserve in the Fine Arts Library of Tappan Hall. (Root)
466. French Art in the Age of Absolutism. Hist. of Art 102 or permission of instructor. (3). (HU).
This course attempts through lectures and readings to define the French tradition in painting and sculpture and to trace its emergence from Fouget's first contact with the Italian Renaissance until the formation of the Academy in the late 17th century. Following a survey of the fragmentary survivals of the School of Fontainebleau, the lecturer will deal in depth with such masters as Vouet, Claude, Poussin, and Lebrun as well as with the alternative art presented by Georges de la Tour and the Le Nain brothers. The textbook will be Blunt, Art, and Architecture in France 1500-1700. There will be an hour examination and a final and a term paper for graduate students. (Whitman)
467. Eighteenth-Century Painting in Europe. Hist. of Art 102 or permission of instructor. (3). (HU).
This course concentrates on the history of eighteenth century European painting. The greatest emphasis will be given to France but attention will be given to major artists in other countries as well, e.g., Canaletto, Tiepolo, and Piranesi in Italy. Major French artists to be considered are Watteau, Chardin, Boucher, Fragonard, Robert, Greuze, and David. The principle art movements touched will be Rococo, Neoclassicism, and early Romanticism. The basic organization of the course will be chronological; artists and historical issues will be treated as they emerge during the course of the century. The lectures will seek to interweave issues of form and content in the arts, to consider the characteristics and development of an artist's work, and to relate that work to the major historical, social, and intellectual currents of the time. Some of the main themes which will appear during the term are: the relationship between nature and artistic expression, reason and sentiment, style and taste, the relationship between art and patronage in light of the shifting fortunes of the French monarchy through the century and up to the Revolution, and changing attitudes towards nature and history. These themes will be discussed as they arise from the paintings that are studied and will be considered within the general framework of ideas about progress, science, technological advance, and the political and social role of the arts. Class hours will be in the form of slide-lectures. Reading will be in assigned paperbacks and in additional material on Undergraduate Library Reserve. Two examinations will be required. (Isaacson)
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 through 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 in architecture and in painting. Examples of sculpture and the decorative arts will, on occasion, be considered. Grades are to be based on a midterm test, a paper and a final examination or (with the instructor's permission) a final paper. (Huntington)
489. Islamic Art in Western Eyes. (3). (Excl).
Throughout the Middle Ages the more prosperous Islamic world outpaced Europe in the production and consumption of luxury goods ("minor arts"), which were imported to and imitated in the West. After the Renaissance the balance shifted and by the 19th century Islamic art and architecture were seen mainly as exotica. History of Art 489 will survey Western reactions to and uses of Islamic material culture from approximately 900 to 1900 A.D., concentrating on continuities in the relationship between the ways in which Western observers saw and understood Islamic art and the results of their contact with it. Two short papers and a term paper/presentation will be required. (Allen)
490/MARC 489. Art of Islam in the Mediterranean Region. (3). (HU).
This course will explore the evolution of the architecture, decorative arts and painting in the Islamic regions of the Mediterranean basin during the 7th to the 18th centuries. The background of Islamic art in the traditions of the Roman and Byzantine Empires will be discussed as well as the evolution of art and architecture in Islamic Syria, Turkey and Egypt. In addition, the spread of Islamic culture to Spain, North Africa and Southern Italy will be considered along with its relation to the artistic traditions of Christian Europe. One short paper and a term paper will be required . (Allen)
493(387). Art of India. Hist. of Art 103 or permission of instructor. (3). (HU).
The Art of India is a course designed for students with little knowledge of Indian art. It deals with architecture, sculpture, and painting, most of the monuments being closely connected with the Hindu and Buddhist religions and (to a lesser degree) the Islamic faith. A good portion of the required reading is intended to provide a background in the mythology and history of these religions; books such as H. Zimmer's Myths and Symbols in Indian Art, Wendy O. Flaherty's Hindu Myths, William Archer's The Loves of Krishna, and W. Spink's Krishna Mandala will be used. The major course requirements are two papers (5-10 pages) and a final examination. By and large the course is a lecture course, and the coverage chronological, although more attention will be given to certain topics than to others, so that certain parts of India's long tradition can be understood in some depth. History of Art 103, 151, 454 or Asia 111 all would provide a useful background for this course, although they are not essential to it. (Spink)
494(388). Art of China. Hist. of Art 103 or permission of instructor. (3). (HU).
This course provides an introduction to the art of China from the Neolithic period to the twentieth century, with special emphasis on Bronze Age arts (bronze vessels and jades), recent archaeological discoveries, Buddhist sculpture, and figure and landscape painting. The approach is rather strictly chronological, and students are expected to learn something of the history, religion, geography, etc., of China as well as its art. The main requirements will be a final exam and a term paper of ten pages (for undergraduates) on a subject of the student's choice. Although History of Art 103 (Arts of Asia) is very desirable as a prerequisite, students with some other previous course work in the history, culture, or language of China may take this course without seeking permission of the instructor beforehand. However, students with no prior experience at all in the study of China may find this course too difficult, because of the unfamiliar names, terminology, and Buddhist iconography. (Kane)
525. Graphic Arts from 1660 to the Present. Hist. of Art 102 and permission of instructor. (3). (HU).
This course, designed primarily for graduate students in the history of art and in the museum training program, will deal with developments in the last few centuries, emphasizing connoisseurship as much as history. The class will meet with curators and examine prints in the collections of nearby museums, will be shown the fundamentals of lithography, etching, and other processes, will be introduced to the problems and techniques of conservation, and to aspects of collecting. Assignments will consist of one short and one long paper, at least one of which will be related to a class report. Because so much work will be done with actual prints, the enrollment will be limited. (Spink)
536/Class. Arch. 536. Hellenistic and Roman Sculpture. Hist. of Art 101 Class. Arch. 222 or permission of instructor. (3). (HU).
This course will follow the stylistic and iconographic developments in public and private sculpture from the late 4th century B.C. to the 4th century A.D. The theories underlying the reconstruction of these developments will be examined, and there will be discussions of new approaches to these problems. Lectures will consist mainly of slide presentations, although original sculptures will be examined whenever possible. The collections of the Kelsey Museum, the Toledo Museum of Art and the Detroit Institute of Arts will be emphasized. There will be one midterm and one final examination consisting of slide attributions and essay questions. A research paper of approximately fifteen pages and a short essay on a single sculpture are required for graduate students. Undergraduates may choose between a research paper and two short essays as their writing requirement. In general, the instructor emphasizes a critical approach to secondary sources on Hellenistic and Roman sculpture and encourages students to develop skills of analysis, both textual and visual. It is recommended that students have some previous exposure to Greek and Roman civilization. Foreign languages are not required for undergraduates, but it is expected that graduate students will read assignments in German, French and/or Italian and will use foreign language sources in their research. (Gazda)
539/Class. Arch. 539. Greek Architecture. Hist. of Art 101 and 330; or permission of instructor. (3). (HU).
See Classical Architecture 539.
571. Post-Impressionism. Hist. of Art 102 and 271; or permission of instructor. (3). (HU).
Post-Impressionism deals primarily with the art of the last two decades of the nineteenth century, the period in which the foundations of modern art were firmly established. Special emphasis will be placed upon French art during the 1880s. The major artists discussed will be Seurat, van Gogh, Gauguin, and Cezanne, with attention given, as well, to Redon, Toulouse-Lautrec, Bonnard, Vuillard, Munch, and others. The major movements and tendencies considered are Symbolism, Neo-Impressionism, the Nabis, and later Impressionism. Lectures will concentrate on the development within each artist's career, with problems of form and content, and with the general theme of anti-naturalism that pervades the period. The presentation will be mainly in the form of lectures, although a certain amount of class discussion will be encouraged throughout. Reading will be drawn from books on library reserve, principally from John Rewald's Post-Impressionism, and from selected paperbacks. Although the study of this short period of time is fairly intensive, it is a course that may be taken by anyone who has had at least some introductory work in the history of art. Students will have two exams and a short paper. (Isaacson)
598. Japanese Painting to 1600. Hist. of Art 103, 390, or 495. (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 secular narrative handscrolls. The 14th and 15th 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 from the 17th century to the present is given a 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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