History of Art 101, 102, and 103, while covering different areas, are all considered equivalent introductions to the History of art. These three introductory survey courses consider not only art objects as aesthetic experiences but also the interaction which exists between the artist and society. The lecture and discussion sections explore various historical, social, religious, and intellectual phenomena which are reflected in the style and content of works of art. Attention is also given to the creative act and to the problems of vision and perception which both the artist and his public must face. The three courses are numbered sequentially but they do not form a sequence. Although it would be logical to move from History of Art 101 to History of Art 102, either History of Art 101 or 102 as well as History of Art 103 serve as a satisfactory introduction to the history of art. Course requirements and texts vary with individual instructors, but an effort is always made to introduce students to works of art in the collections of the university as well as in the museums of Detroit and Toledo. Most of the upper division courses in history of art require one of these three introductory courses as a prerequisite. The introductory courses are directed toward students interested in the general history of culture and are especially valuable cognates for students in the fields of history, philosophy, literature, and musicology as well as the creative arts. Photographic material is available for study in the Fine Arts Study Room in the Modern Languages Building. Examinations usually include short essays and slides which are to be identified, compared, and discussed.
101. Near Eastern and European Art from the Stone Age to the End of the Middle Ages. (4). (HU).
This course is designed to develop a comprehensive knowledge of the major monuments and periods of art from antiquity through the late Middle Ages and to present the rudiments of art historical analysis. The arts of architecture, sculpture, and painting along with significant minor arts are included. This course along with History of Art 102 provides a basic foundation for subsequent study in the field. Subject matter includes the history of art as a humanistic discipline plus analysis of works or art. Lectures concentrate on major monuments from and artistic developments in Egyptian, Mesopotamian, Greek, Roman, Early Christian, Byzantine, Romanesque, and Gothic art. Discussion sections will include frequent visits to the galleries and storerooms of the Kelsey Museum of Archaeology and the Museum of Art. Readings include a general survey text plus appropriate paperbacks. (Root)
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 paper, midterm and final examination will be required. No previous course work is necessary. (Smith)
103. Arts of Asia. (4). (HU).
An introduction to the art of China, Japan, and India. The course will cover such topics as: major themes in the art of China, Japan and India; introduction to important materials and techniques; some kinds of groups and institutions fostering the production of art; an introduction to art criticism and aesthetic ideas in Asian countries; the historiography of Asian art; Western views of Asians and Asian art; research methods and materials. There will be no textbook but instead a course pack. Requirements include performance in section, a midterm, a final and three short papers. (Powers)
112/Art 112. History of Photography. (3). (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)
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. (Kapetan)
221/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).
See Classical Archaeology 221. (Herbert)
271. European Painting of the Nineteenth Century. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).
This course concentrates upon the history of 19th century European painting. Greatest emphasis is given to French painting, but considerable attention is devoted to German, English, and Spanish painting of the first half of the century. Major artists discussed include Goya, Constable, Turner, Gericault, Delacroix, Courbet, Manet, Monet, Degas, Van Gogh, Gaugin, and Cezanne. The principal movements considered are Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, and Symbolism. The lectures seek, within a chronological context, to interweave issues of form and content and to identify reflections 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 the artist and nature; and the relationship between the artist and the public. These themes are discussed with 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)
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 Romans 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. (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)
394. Special Topics. History of Art concentrators. (3). (HU). May be elected for credit more than once.
The course is intended to introduce students to the study of drawings. The focus will be on Italian drawings of the fifteenth and sixteenth century, but drawings of other periods will also be introduced from time to time. It is expected that students will have an opportunity to work with drawings in the Museum of Art. The course will also coincide with the presence at the Detroit Institute of Arts of a major exhibition of 100 Sixteenth-Century Tuscan Drawings from the Uffizi in Florence. There will be a paper or oral presentation and final examination. Students may want to buy the catalogue of the Detroit exhibition and/or N. Turner, FLORENTINE DRAWINGS OF THE SIXTEENTH CENTURY, London (British Museum Publications), 1986. (Smith)
Open to Upperclass Students and Graduate Students
424/Class. Arch. 424. Archaeology of the Roman Provinces. Hist. of Art 221 or 222; or permission of instructor. (3). (HU).
See Classical Archaeology 424. (Humphrey)
435/Class. Arch. 435. The Art and Archaeology of Asia Minor. Hist. of Art 101 or permission of instructor. (3). (HU).
See Classical Archaeology 435. (Pedley)
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 twelfth 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)
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)
465. Rembrandt and His Contemporaries. Hist. of Art 102 or permission of instructor. (3). (HU).
This course will explore the development and significance of the various aspects of Dutch painting in the seventeenth century. Particular attention will be given to the work of major masters such as Hals, Honthorst, Vermeer, Terborch, and Ruisdael while the career of Rembrandt will be pursued in all its depth and variety. Paintings will be considered in relationship to Dutch culture of that period as well as to the artistic traditions, local and international, from which they sprang. The teaching method will be lecture and some discussion combined with a course text and selected reading assignments. Student evaluation will be based on a midterm examination, the final examination, and a short term paper. Some general knowledge of European art history will be assumed. (Whitman)
483. Asian Architecture. Hist. of Art 103 or permission of instructor. (3). (HU).
This course will be devoted to a 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 architectural types is separately traced, crossing national boundaries where appropriate. While History of Art 103 (Arts of Asia) is not strictly necessary as a prerequisite, this course or some other experience in the religions or cultures of Asia is recommended. A final exam and a term paper of approximately ten pages will constitute the main student requirements. (Kane)
485. The Art of Southeast Asia. Hist. of Art 103 or permission of instructor. (3). (HU).
This course will focus on the monuments of Southeast Asia: how the Borobudur, Angkor Wat, the temples of Pagan, and the monasteries of Thailand embody spiritual values and are at the same time the products of specific social and political environments. The stylistic changes in sculpture and architecture are also relevant: how an image differs from an earlier one and still, say, has "Cambodian" characteristics. There are two hour exams and a final. Recommended special background: art history courses and/or courses in Asian religions or culture. (Mannika)
493. 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 along with the basic text, which is Susan Huntington's ART OF ANCIENT INDIA. The major course requirements are two papers (5-10 pages) and a midterm 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)
514. Spanish Art: El Greco to Goya. Hist. of Art 102 or permission of instructor. (3). (HU).
Beginning with lectures that presume to formulate a notion of the spiritual bond between apparently dissimilar works of Spanish art, the course passes to in-depth analyses of selected major Spanish painters and sculptors from the late 16th C. to the early 19th C.: El Greco (the Italian- trained Greek working in Toledo), Ribalta, Martinez Montanes, Ribera, Velazquez, Zurbaran, Murillo, and Goya. The cultural/ historical situations, the creative uniqueness, and yet the essential "Spanishness" of each of these masters will be explored in a lecture format (supported by a syllabus) that proposes to strike a balance between objective and engaged approaches to the discipline. There will be a modest amount of required reading (for purchase: J. Brown, IMAGES AND IDEAS IN SEVENTEENTH-CENTURY SPAIN, Princeton PB), considerable optional reading (for which a bibliography and reserve books will be provided), and continual emphasis on study of the visual material, all leading to evaluation by way of midterm and final examinations. Undergraduate students with basic history of art training should not be intimidated by the "500" course number. (Bissell)
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 in the museum training program and in the Art School, will deal with developments in the last few centuries, emphasizing connoisseurship as much as history. The class will examine prints with museum curators, dealers, and collectors, 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 readings, 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)
534/Class. Arch. 534. Ancient Painting. Hist. of Art 101 and either Hist. of Art 221 or 222; or permission of instructor. (3). (HU).
Following a brief survey of the painting traditions of the Near East, Egypt, and Greece, the course will focus on monumental painting from Hellenistic through Roman Imperial times. Emphasis will be placed upon wall paintings, but mosaics and other two-dimensional arts will be studied when appropriate. Questions relating to the style, decorative and social function, physical and historical context, and the artistic and intellectual milieux of the paintings will be addressed both in lectures and in student reports. Midterm and final examinations will consist of slide attributions and essays. An oral report or paper will be required. (Gazda)
572. Expressionism in Twentieth-Century Art. Hist. of Art 102 and either Hist. of Art 271 or 272; or permission of instructor. (3). (HU).
Unlike Futurism or Surrealism, Expressionism was never a conscious grouping with a defined program. Indeed, the course does not attempt to define a "true" Expressionism but rather presents those artists usually associated with that ism as individual creators. However, the major focus of the course will be the artists connected with two German groups, the Bridge and the Blue Rider (Kirchner, Heckel, Schmidt- Rottluff ET AL. from the former; Kandinsky, Marc, Feininger, Klee, et al. from the latter). Other German and Central European artists will also be examined including Kollwitz, Barlach, Beckmann, Schiele and Kokoschka. A broader context for Expressionism will be established by first reviewing certain Post-Impressionist and Symbolist developments and the Art of Munch, Ensor, Hodler and Klimt and then, in the final weeks, by discussion of American Abstract Expressionism. The primary method of instruction is lecture but discussion is encouraged. There will be a midterm quiz, a final and a paper (15-20 pages). The text is: Dube, EXPRESSIONISM (Praeger) but there will be additional readings from books on Expressionism by Willett, Selz, Myers and Miesel. The course should be valuable not only for students of modern sculpture and painting but for German and Russian majors as well as for those interested in the relationship between art and society, politics, religion and even race. (Miesel)
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