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 approaches the work of art within an historical context and the history of art as a humanistic discipline. The chronological range is from antiquity to the late medieval period, with emphasis on the continuity and interaction of the Classical and Judaeo-Christian traditions. Myths and images which potently survive down to the present day have their roots in the historical periods studied in this course. Architecture, sculpture, painting, and the applied arts are analyzed from the standpoints of technique, style, and cultural expression. The discussion sections are based principally on original materials in the Kelsey Museum of Archaeology and the Museum of Art. The approaches to ancient architecture in Athens and Rome, and to the Gothic cathedrals in Chartres, Paris, and Amiens should provide a useful orientation for eventual travel in Europe. A general survey of the history of art is the primary text and supplementary readings are proposed from major works of literature of the various periods studied. This course and History of Art 102 provide a foundation for subsequent study in Western art. Students who intend to concentrate in the history of art are strongly urged to take 101 before 102. (Eisenberg)
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 their historical periods with the aim of analyzing and interpreting their 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 topics related to but not identical with the lecture material; at least one section will be held in the University Museum of Art. Reading will include a general historical text and a paperback on characteristics of the visual arts. Two short papers and a midterm and final examination will be required. (No previous course work is necessary, but it is suggested that students with a strong interest in the visual arts might take History of Art 101, the survey of Ancient and Medieval Art, prior to the present course.) (Isaacson)
103. Arts of Asia. (4). (HU).
A survey history of the major developments of Asian art from ancient times to the modern world. The major focus will be on the arts of India, China, and Japan with a secondary emphasis on the artistic traditions of Southeast Asia, Korea, and Himalayan region. The critical role played by religious beliefs and cultural practices on the development of Asian arts will be considered. Sculpture, painting, and architecture will be the primary media to be discussed. There will be three lectures per week and one section meeting to further discuss the lecture topics. Midterm and final examinations along with several short papers will be required. (Berry)
113/Art 113. Introduction to the Visual Arts. (3). (HU).
Visual arts are a part of the human experience in all cultures and all time periods. The ability to appreciate, to understand, and to assess the quality of visual art can enrich a person's life and broaden one's thinking. This course will introduce students having no formal art or art historical background to the major forms of visual expression through human history from the Stone Age to the present. We will examine works of art in various media (painting, drawing, printmaking, photography, architecture, film/video, computer graphics, decorative arts, and design) and will explore not only the materials and techniques used to produce works of visual art but will also consider "how art works" and how works of art relate to the cultural and historic periods in which they are produced. Students will learn how artists use formal elements (line, texture, color, composition, etc.) to communicate information and to express emotion. While emphasis will be on learning how to look at and evaluate works of art, students will also be introduced to major cultural and historical epochs in the history of art as well as to artists whose works represent the "high points" of these epochs. This class meets twice a week for a 1-1/2 hour lecture. Assigned readings and visits to museums and galleries will help students to expand their own abilities to see, to appreciate, and to assess visual arts. Requirements include a midterm and a final examination and two short analytic papers in which students will be asked to examine and evaluate selected works of art on The University of Michigan campus. (Jackson)
221/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).
See Classical Archaeology 221. (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. (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, 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.
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)
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)
386. Introduction to the Art and Architecture of the Islamic World. History of Art 101 or permission of instructor. (3). (HU).
History of Art 386 is intended to introduce 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 pages) 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)
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
412. Architecture of the Renaissance. Hist. of Art 102. (3). (HU).
Essentially a survey of the major monuments of Renaissance architecture, approximately six weeks will be devoted to the Italian scene with attention given to such architects as Brunelleschi, Alberti, Bramante, Michelangelo, Vignola, and Palladio. The diffusion of the Italian idiom will then be traced in Spain, France, and England during the sixteenth century. Some indication will be given of the carrying of the style to the New World (Mexico), and the course will conclude with the imperial mosques of Istanbul and their creator, Sinan. The course will pursue two major goals; the reintroduction of the classical language of architecture into such building types as churches, palaces, and administrative centers and the ways in which this shift in architectural language constituted a complex response to the political, economic, and cultural upheavals of this pivotal historical period. In addition to the format of lectures interspersed with some discussion there will be a variety of reading assignments and one paper of an analytical nature. There will be the usual hour examination and final. Some photographs of the material covered will be available for study in the Fine Arts Print Study Gallery in the Modern Language Building. (Whitman)
433/Class. Arch. 433. Greek Sculpture. Hist. of Art 101 or permission of instructor. (3). (HU).
See Classical Archaeology 433. (Pedley)
437/Class. Arch. 437. Egyptian Art and Archaeology. (3). (HU).
See Classical Archaeology 437. (Herbert)
452. Northern European Art of the Fifteenth and Sixteenth Centuries. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).
This course will concentrate on Flemish painting of the fifteenth and early sixteenth centuries. The lectures and readings will examine the development of northern panel painting in the first quarter of the fifteenth century and then focus on the work of the great masters including Jan van Eyck, Robert Campin, Roger van der Weyden, Hugo van der Goes, Dirk Bouts, Hans Memling, Gerard David and Hieronymus Bosch. The course will explore themes and styles within the religious, cultural and historical context of the period. Readings will be assigned from the text by James Snyder, NORTHERN RENAISSANCE ART, (New York, 1985). Students in the course are required to write one short paper (based on a relevant museum work from the UM Art Museum, the DIA, or the Cleveland or Toledo Art Museums); a midterm and final examination. (Neagley)
462. Baroque Art in Italy. Hist. of Art 102 or 260 or permission of instructor. (3). (HU).
The course pretends to identify the most significant achievements in the development of Italian Baroque PAINTING, from the late 16th century stirrings of a new way of seeing and working to the spectacular ceiling frescoes of the late 17th century. It focuses on such artists as Caravaggio, Annibale Carracci, Guido Reni, Guercino, and Pietro da Cortona, and upon the city of Rome. The art – religious subject matter, history, mythology, portraits, landscape, genre, still-life – will be studied for what it reveals of individual creative genius, of socio/political/religious aspirations, and of shared features which together might be said to constitute a concept of the Baroque. A balance will be sought between monographic accounts of major masters and a running narrative involving the interactions of these masters (i.e., a proposed reconstruction of the actual flow of artistic activity from year to year). The course will observe a lecture format, and students will be evaluated primarily on the basis of two examinations. A syllabus and bibliography will be provided. While the amount of assigned reading will be modest, considerable additional reading will be expected. Undergraduates with some history of art training should not hesitate to elect the course. (Bissell)
467. Eighteenth-Century Painting in Europe. Hist. of Art 102 or permission of instructor. (3). (HU).
The special stress of this course will be on the art of the French and English aristocracies between 1700 and 1799. We will ask why the tastes and interests of these classes engendered a remarkable variety of painting styles and types, including the realism of Chardin, the refined decorative manner of Boucher, Fragonard, and Gainsborough, the heroic classicism of David and Reynolds, along with the rise of landscape painting. The painting of Tiepolo in Venice and Goya's early work in Spain will also be covered. One paper on an individual work of art plus two exams. Lecture with discussion. (Crow)
475. Studies in Eighteenth-Century Anglo-American Art. (3). (HU).
Studies in selected areas of architecture, painting and the decorative arts from the late 17th century through the early 19th century. The process of assimilation in America of English prototypes and equations between artistic expression and social structure will be emphasized throughout the course. Examples would be: the transition from medieval to classical design in the New England dwelling, church and state house, the adaptation of the Palladian country palace to the Virginia plantation, the modification of Chippendale forms to taste and crafts workshop in sophisticated Philadelphia and provincial Connecticut, the Bostonian Copley's "democratization" of the "aristocratic" English portrait, the impact of independence, after 1776, on the decorative arts, the Jeffersonian vs. the Patrician concept of the roles of painting and architecture in the new nation. Classes will be conducted in a lecture format which allows for some discussion. Grades will be based on midterm, final exams and a paper. Background in art history or American history recommended but not required. (Huntington)
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 1885. 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 midterm and 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; 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)
486. Art of the Central Islamic Lands from Muhammad to the Mongols (600-1258). Hist. of Art 386; or permission of instructor. (3). (HU).
History of Art 486 will survey the formation and development of Islamic art and architecture in Mesopotamia, Syria, Arabia, and Palestine from the rise of Islam in the 7th century A.D. to the fall of Baghdad to the Mongols in 1258. This is the geographical and chronological core of Islamic art, from which regional variations and later styles developed; it embraces the creation of original and distinctive forms, such as the arabesque and the stalactite vault. Ties with late Antique, Byzantine, and medieval European art will be explored. Slide lectures with occasional discussions will be complemented by sessions with objects in University collections. Two analytic papers (5-15 pp.) will be assigned, and there will be a final examination. (Allen)
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 short papers and reports on prints in nearby collections. Because so much work will be done with actual prints, the enrollment will be limited. (Spink)
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: History of Art 103 or permission of the instructor. This 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 one examination. (Spink)
591. Japanese Architecture. Hist. of Art 103 or 495, or permission of instructor (3). (Excl).
This course is a survey of Japanese architecture from its earliest origins until modern times. A considerable portion of class time will be spent following the development of the main structures and temple plans of Japanese Buddhist architecture. The variety of Shinto shrine architecture, residential buildings, tea rooms, rural dwellings, and modern trends will form secondary themes. Styles of garden architecture will also be treated. The aesthetics implied by the varied forms of Japanese architecture will be discussed. Students with a background in Asian architecture, Japanese cultural history, and Japanese language will be at an advantage. There will be a midterm and a final test. A research paper will also be required. (Berry)
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