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Fall '00 Course Guide

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Courses in History of Art (Division 392)

This page was created at 3:59 PM on Wed, Dec 13, 2000.

Fall Term, 2000 (September 6 December 22)

Open courses in History of Art

Wolverine Access Subject listing for HISTART

Take me to the Fall Term '00 Time Schedule for History of Art.

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History of Art 101, 102, 103 and 108, while covering different areas, are all considered equivalent introductions to the discipline of art history. These four introductory survey courses consider not only art objects as aesthetic experiences but also the interactions among art, the artist, and society. The lecture and discussion sections explore the connections between the style and content of works of art and the historical, social, religious, and intellectual phenomena of the time. Attention is also given to the creative act and to the problems of vision and perception which both the artist and his/her public must face.

Although it would be logical to move from History of Art 101 to History of Art 102, this is not required. One course in European/American art (101 or 102) and one course in Asian or African art (103 or 108) serve as a satisfactory introduction to the history of art for non-concentrators (concentrators should see the department's handbook for more information on requirements). 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.

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. Photographic material is available for study in the Image Study Gallery, G026 Tisch Hall. Examinations usually include short essays and slides which are to be identified, compared, and discussed.


Hist. Art 101. Near Eastern and European Art from the Stone Age to the End of the Middle Ages.

Section 001.

Instructor(s): Robert Maxwell (maxwell@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/101-001.html

This course offers an introduction to major monuments and periods of art from antiquity through the Middle Ages. Its purpose is not only to acquaint students with key works of Egyptian, Greek, Roman, Byzantine, Islamic, Romanesque and Gothic art and architecture, but also to help them develop a vocabulary for the description and analysis of works of art, and to provide them with a basic understanding of the methods and aims of art historical study. Lectures will be supplemented by weekly discussion sections on readings drawn from a general art historical survey and a course pack. Written work will consist of two short papers on objects in the Kelsey Museum and the Museum of Art; there will be a midterm and a final exam.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 108/AAS 108. Introduction to African Art.

Section 001.

Instructor(s): Dana Rush (danarush@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/108-001.html

This course is a one-term introductory survey of the arts of Africa. Sculpture, pottery, textiles, architecture, body adornment, and performance will be examined and discussed on the basis of aesthetic, religious, political, and social contexts. Although the main emphasis of the course will be on "traditional art," we will discuss many changes and continuities within African artistic traditions as evidenced in late twentieth-century African art. The course is arranged geographically from western through central to eastern and southern Africa, and will conclude across the Atlantic Ocean with a brief investigation of African visual traditions in the Caribbean and the Americas. Weekly discussion sections, movies and videos, and museum visits will complement the lecture.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 112/Art and Design 112. History of Photography.

Section 001.

Instructor(s): Carol Jacobsen

Prerequisites & Distribution: (4). (HU).

Credits: (4).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/112-001.html

This course will explore the history of photography in the 19th and 20th century through a comparative study of photographs, photographers, and theories about the nature of photography. The goal is to create an understanding of the themes and issues, concepts and contexts associated with photographic image-making from American and international perspectives. One intent is that at the end of the study the student should be aware of some of the diverse concerns in present day photography and be able to identify their origins and influences. The class should interest students from a wide range of disciplines. Class structure combines three hours of lecture sessions a week for general structured presentation of material, with one hour of discussion section that meets weekly for deeper study of the main theories about the nature of photography and its role in shaping our understanding of the world. Assignments will include readings from course texts and completion of some computer-based tasks using special programs developed for use with this program. Grades will be based on participation in discussion sections, three essays, and a final exam.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 113/Art and Design 113. Introduction to the Visual Arts.

Section 001.

Instructor(s): Michael Kapetan

Prerequisites & Distribution: This course is for non-art majors only. (3). (Excl).

Credits: (3; 2 in the half-term).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/113-001.html

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 such as painting, drawing, printmaking, photography, sculpture, architecture, graphics, and industrial design. Students will learn how artists use the language of form to communicate information, to express emotion, and to explore the world of nature and the world of the mind. Students will learn the basic techniques of the various media. Students will learn how the art of a time and place defines and expands the boundaries of that culture. Assigned readings and visits to museums and galleries will help students become critical consumers of the visual culture as they learn to see, appreciate, and assess art forms. Requirements include periodic quizzes, a final exam, and a term paper. Students will also make some ungraded drawings and paintings as analytical tools.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Hist. Art 194. First Year Seminar.

Section 001 Sex, Politics, and Visuality in Chinese Cinema.

Instructor(s): Qiang Ning (qning@umich.edu)

Prerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU).

First-Year Seminar

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/194-001.html

This course introduces and interprets Chinese cinema by focusing on three themes: "the color of sex, violence and revolution (Red Series);" "the symbol of women (Water Series);" and "the dream of a strong China (Modernity Series)." Varying methods of cinematic analysis will be introduced with case studies. The goal is to explore the issues of gender, politics, and visuality in Chinese films and society. Requirement: weekly readings, class participation, multiple writing assignments, and a final paper.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 4

Hist. Art 194. First Year Seminar.

Section 002 Show and Tell: Museums and their Meanings.

Instructor(s): J Alinder (jalinder@umich.edu)

Prerequisites & Distribution: Only first-year students, including those with sophomore standing, may pre-register for First-Year Seminars. All others need permission of instructor. (3). (HU).

First-Year Seminar

Credits: (3).

Course Homepage: https://coursetools.ummu.umich.edu/2000/fall/lsa/histart/194/002.nsf

This course will consider how modes of presentation in exhibitions and museums construct the objects and images on display. Museums and their exhibitions are not innocent conveyors of culture. Rather, as we will museums construct the objects and images on display. Museums and their exhibitions are not innocent conveyors of culture. Rather, as we will discuss in this course, they are strategic systems of representation that make meaning through architecture, labels, audio tours and gift shop merchandise. The course will begin with a brief history of the origins of museums in sixteenth-century cabinets of wonders and discuss a contemporary analogue, the Museum of Jurassic Technology in Los Angeles. We will then examine the division of museums into distinct types and the founding of Europe's major art museums during the late eighteenth and nineteenth centuries. We will also consider issues pertinent to twentieth-and twenty first-century museums including the display of photography, museums and controversy, exhibitions of traumatic history and museums as destinations. A significant portion of the term will be dedicated to the analysis of local museums including the Kelsey, Natural History and Art Museum (on the University campus). Through readings, writing assignments, an in-class midterm and a final project, students will learn how to critically analyze modes of exhibition and also will have the opportunity to refine other critical skills necessary for success in college-level courses.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Hist. Art 214/AAS 214. Introduction to African-American Art.

Section 001.

Instructor(s): J Francis

Prerequisites & Distribution: AAS 111. (3). (Excl).

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/214-001.html

This course will cover much of this century's history of African-American painting, sculpture, photography, and mixed media practices. Moving through the material chronologically, we will discuss a variety of stylistic strategies and the artists' staked-out positions regarding race, gender, sexuality, class, and nation. We will also consider audience reception, namely, audiences responses to the art and to the artists themselves.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Hist. Art 221/Class. Arch. 221. Introduction to Greek Archaeology.

Section 001.

Instructor(s): Nassos Papalexandrou (papalexa@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4; 3 in the half-term).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/221-001.html

See Classical Archaeology 221.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 4

Hist. Art 230/Amer. Cult. 230. Art and Life in 19th-Century America.

Section 001.

Instructor(s): Rebecca Zurier (rzurier@umich.edu)

Prerequisites & Distribution: (3). (HU).

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/230-001.html

This course asks what the study of art history and American history can tell us about each other through a survey of art, architecture, and material culture produced during the nineteenth century. This complex period saw the transformation of the United States from a rural to an industrial, urban nation; a Civil War that divided the country, Westward expansion that enlarged it, and waves of immigration and border movement that changed its population; the rise of a middle class; and the emergence of women into public and professional life. American artists and architects sought to rival their European contemporaries and eventually produced distinctive works that responded to national trends.

Through lectures, discussion, and visits to see original works of art in museums and libraries, along with readings in primary-source documents and recent critical interpretations, we will examine both developments in the fine arts and the impact of historical change on the material and popular culture of everyday life in America. Among the topics to be investigated are: the role of art in creating an image of America as "nature's nation"; machine-made art and machines as art; the West as viewed from the painter's easel, the photographer's lens, and the frontier homestead; the interaction of Native American artists, Anglo settlers, and the tourist trade; the creation of Civil War monuments; parlors and the ideology of the Victorian home; mass-produced images and the dissemination of art for middle-class taste; the brooding psychology in the Gilded-Age paintings of Eakins, Homer, and Cassatt.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 250/MEMS 250. Italian Renaissance Art, I.

Section 001 The Art of Florence and Northern Italy, 1300-1490.

Instructor(s): Thomas Willette

Prerequisites & Distribution: (4). (HU).

Credits: (4).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/250-001.html

How did the works of Giotto, Donatello, Masaccio, Mantegna, and Leonardo come to be regarded as so important in the history of western art? Why, even within the artists' lifetimes, was their art regarded as signaling a "rebirth" of painting and sculpture? To what extent was their legendary reputation seen to serve other social and political interests? This course aims at an understanding of early Renaissance art by seeing it in relation to broader transformations in the culture of the Italian city in the fourteenth and fifteenth centuries. The city will be viewed as the site of divergent uses of art by different communities and interests, who employed images for the expression of identity and status and as a strategic means of producing consensus or exploiting social division. Lectures and sections will be organized around the exploration of particular genres of visual media the altarpiece, mural painting, the multimedia chapel, portraiture, and monumental public sculpture. All of these forms are explored as modes of argument and as points of interaction among networks of clients, artists, social groups and institutions (guilds, family associations, courts, confraternities), and figures of authority (saints, mystics, Popes, rulers). From this multiplicity of uses and responses emerged highly varied conceptions of the nature of the image and the role of the artist, which in turn influenced artistic performance.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 271. Origins of Modernism: Nineteenth Century Visual Culture.

Section 001.

Instructor(s): Howard Lay (hglay@umich.edu)

Prerequisites & Distribution: (4). (HU).

Credits: (4).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/271-001.html

This course examines a series of remarkable episodes in modern French painting, from the establishment of an official, State-sponsored form of Classicism to the succession of movements Romanticism, Realism, Impressionism, and Neo-Impressionism that emerged in opposition to official art. The Nineteenth Century is the period during which modern art developed its characteristic strategies and behavioral patterns: an insistence on innovation, originality, and individuality; a contentious involvement with tradition; a critical relationship with both institutional and commercial culture; and a somewhat strained allegiance with radical politics and alternative subcultures. It is also the period that witnessed a thorough-going reassessment of visual representation, and a parallel concern with the possibilities and limitations of the medium of painting. The course is designed to encourage close readings of images (by David, Gericault, Manet, Degas, Seurat, Cezanne, et al.) within the parameters of their historical contexts and of recent critical debate.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 341. The Gothic Age.

Section 001 The Art of Medieval Paris.

Instructor(s): Elizabeth Sears (esears@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (HU).

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/341-001.html

During the 13th and 14th centuries, the city of Paris was pre-eminent in the arts. Parisian artisans, serving a broad urban clientele, created trend-setting works of art that exerted an influence in all parts of Europe. The first part of this course which offers a basic introduction to Gothic art and architecture will be devoted to reconstructing the medieval city and to becoming acquainted with surviving architectural monuments (e.g., The Cathedral of Notre-Dame, the Sainte-Chapelle). The second part will concern the making and marketing of precious objects in all media: illuminated manuscripts, ivories, works in gold, silver and enamel, tapestries. Issues of royal, aristocratic, and bourgeois patronage will frequently come to the fore.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 394. Special Topics.

Section 001 Visual Arts of Medicine.

Instructor(s): Pat Simons

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/394-001.html

When most of us look at an anatomical illustration, we think we are seeing an unmediated report of physical "truth", whereas the viscera and other parts of an actual body are not so neatly arranged. What even constitutes an "interior" of a body varies in different cultures. Different cultural systems have produced visual records of their "truths" about the body. Medicine increasingly relies on visual technologies like MRI and CT scans for diagnosis, but many cultures have long depended on the visual mapping of medical knowledge. This visual ordering in places like Assyria, Egypt, China, India, the Middle East, Europe, and North America has produced a vast array of material artifacts and practices, including acupuncture or bleeding charts, anatomical diagrams, illustrated textbooks, herbals, figurines of the female body used by patients whose modesty was protected through these surrogates, mummification, magic amulets, photographic records of "hysterics", art therapy techniques, advertisements for Prozac presenting metaphors for a "healthy mind", or the design of hospitals and asylums. In particular, the course will focus on ways in which social assumptions regarding gender and race have informed the visual reporting of medical "fact". The aim of this course is to better understand our own assumptions and visual practices by placing forms of medical knowledge in an historical and cross-cultural context. Thereby, we will learn not only more about medicine but also about the ways in which visual literacy both shapes the very formation of knowledge and assists in the dissemination and codification of a culturally specific sense of "the body". We will work closely with the themes and objects of a concurrent exhibition, Seeing is Healing? The Visual Arts of Medicine held at the UMMA. Classroom work and student projects will focus on using, and adding to, entries on an associated Web site.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 394. Special Topics.

Section 002 Displaying African Culture in the West. Meets with CAAS 358.002. Prerequisite: History of Art 108 or 360

Instructor(s): Dana Rush (danarush@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/394-002.html

The first part of this course will be a critical analysis of the history of the display of African art in the West from the "curiosity cabinets" of Europe to the contemporary exhibitions of African art in the United States. We will analyze pivotal shows of African art in the United States, and based on our conclusions we will curate a show of African art in the University of Michigan Museum of Art. The class will be responsible for devising a theme for the show; choosing the objects from the 300 + objects in storage; panels to accompany them; writing a gallery guide; and choosing other elements to include in the show such as enlarged photographs, music, and/or video to contextualize the objects. There will be no exams or research papers, but dedication to the show and cooperation with class members will be key. Prerequisite: HA 108, or permission of instructor. Register via override only.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, P/I

Hist. Art 394. Special Topics.

Section 003 Avant Garde Art.

Instructor(s): J. Alinder (jalinder@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: https://coursetools.ummu.umich.edu/2000/fall/lsa/histart/394/003.nsf

The term "avant-garde" is used to refer to a wide range of cultural production. You might use it to describe some cutting edge music or a far out poem. This course will consider the concept of "the avant-garde" specifically in relation to the visual arts and with an emphasis on grounding the term theoretically and historically. In addition to theoretical readings that will help us define the parameters of the avant-garde, we will closely examine art produced by movements that are often categorized as avant-garde including Russian Constructivisim, Dada, Surrealism, the Bauhaus, Pop and Performance. Through readings, writing assignments, an in-class midterm and a final project, we will focus on the relationship between art and politics, the avant-garde and modernism, artists' claims to reintegrate art and life, the role of aesthetics, and the neutralization of the avant-garde through its appropriation by advertising. The class will be held seminar style so students will be expected to be well-prepared, active participants at each meeting

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Hist. Art 394. Special Topics.

Section 004 The Art of China. Meets with Asian Studies 380.001

Instructor(s): Qiang Ning (qning@umich.edu)

Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/394-004.html

An introduction and analysis of Chinese art from the beginning to the modern era. Instead of giving a simple survey, this course is designed as a series of "talks," summarizing the development of Chinese art and highlighting crucial problems in studying this art. Monumental works and key artists are analyzed in Chinese political, religious, ritual, and artistic contexts. Special attention will be paid to the interplay between social changes and artistic changes. Requirements: Students who take the course must attend all the lectures and should read assigned materials before each class; one 5-page written assignment based on an analysis of original works of art is required. Examinations include a one-hour midterm and a two-hour final examination. The midterm exam will include identification and comparison of visual materials (slides). The final exam will include (1) identification and comparison of visual materials (slides) and (2) a one-hour prepared essay on a topic selected from a list compiled by the instructor.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 396. Honors Thesis.

Instructor(s):

Prerequisites & Distribution: Upperclass standing, and Hist. of Art 393. Open to students admitted to Honors in History of Art. (2). (Excl). (INDEPENDENT). May be repeated for a total of four credits.

Credits: (2).

Course Homepage: No Homepage Submitted.

Individual Honors research.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, P/I

Hist. Art 399. Independent Study.

Instructor(s):

Prerequisites & Distribution: Upperclass standing, and Permission of instructor. (1-3). (Excl). (INDEPENDENT). May be elected for credit more than once.

Credits: (1-3).

Course Homepage: No Homepage Submitted.

Supervision of each student's work is assigned to an appropriate member of the staff.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: 5, P/I

Hist. Art 401/AAPTIS 401. The Art and Architecture of Armenia.

Section 001.

Instructor(s): Christina Maranci

Prerequisites & Distribution: Upperclass standing. (2). (Excl).

Credits: (2).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/401-001.html

See Arabic, Armenian, Persian, Turkish, and Islamic Studies 401.001.

Check Times, Location, and Availability Cost: No Data Given. Waitlist Code: No Data Given.

Hist. Art 415/WS 415. Studies in Gender and the Arts.

Section 001 Women and Gender in Roman Art and Cult: the Villa of the Mysteries At Pompeii.

Instructor(s): Elaine Gazda (gazda@umich.edu)

Prerequisites & Distribution: Upperclass standing, and one course in women's studies or history of art. (3). (HU). May be repeated for a total of nine credits.

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/415-001.html

This course will examine issues that relate to the social roles, religious practices and personal aspirations of the women of Roman Italy, especially those who lived in the multicultural region of the Bay of Naples. The famous painting cycle in the Villa of the Mysteries at Pompeii will serve as a point of departure for class discussions and research projects. The imagery of this cycle raises questions about the construction of gender in the realms of real life and mythology to be addressed by the class as well. This course will make extensive use of a special exhibition at the Kelsey Museum and the Museum of Art, "The Villa of the Mysteries in Pompeii: Ancient Ritual, Modern Muse," which will provide an opportunity to consider issues of concern to the women of antiquity in relation to those that concern women today. The catalog of the exhibition will serve as a textbook for the course. It will be supplemented by a course pack and reserve readings. Class presentations, a research project, and attendance at a weekend conference on the exhibition are required. There will be an optional final examination.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 433/Class. Arch. 433. Greek Sculpture.

Section 001.

Instructor(s): John Pedley (jpedley@umich.edu)

Prerequisites & Distribution: Upperclass standing, and Hist. of Art 101. (3). (HU).

Credits: (3; 2 in the half-term).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/433-001.html

See Classical Archaeology 433.001.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 440/Class. Arch. 440. Cities and Sanctuaries of Classical Greece.

Section 001 The Topography of Athens

Instructor(s): Nassos Papalexandrou (papalexa@umich.edu)

Prerequisites & Distribution: Upperclass standing, and a course in archaeology. (3). (HU).

Credits: (3; 2 in the half-term).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/440-001.html

See Classical Archaeology 440.001.

Check Times, Location, and Availability Cost: 1 Waitlist Code: 4

Hist. Art 442/Class. Arch. 442. Late Antique and Early Christian Art and Architecture.

Section 001.

Instructor(s): Amy Papalexandrou (apapalex@umich.edu)

Prerequisites & Distribution: Upperclass standing, and Hist. of Art 101 or 222. (3). (Excl).

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/442-001.html

Long considered a "degenerate" phase in the history of art and architecture, the complex and intriguing world of Late Antiquity is lately being analyzed in a new and refreshingly positive light. This course is designed to follow this direction, and to offer a comprehensive and in-depth look at the Mediterranean world at the "end" of Roman antiquity. "End" because the ancient world was far from dead; the Greco-Roman heritage was to live on for centuries, gradually mingling with the emerging Christian culture but never completely subsumed by it. It is a period of crisis and redefinition, of spectacular transformation within a cultural framework deeply indebted to its pagan past while simultaneously recast in the garb of Christianity. The slow decay of Rome and the founding and embellishment of Constantinople, Constantine's stunning new city on the Bosphorus, underscore this social and cultural upheaval as do the many other phenomena which will concern us. A few of the themes to be addressed include the emperor mystique; enlightened "barbarians"; the changing image of city and palace; the sacred image; monks and monasteries; life (and death) at the tomb; art and religion in a multicultural empire; the cult of relics; and pilgrimage. We will examine works of art as well as architecture, some of which will be familiar but others of which lie outside the canon of monuments normally discussed in survey courses, all in the hope of gaining a clearer understanding of this dynamic, if often overlooked, period from the third to the sixth century AD.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 463. Varieties of Dutch and Flemish Painting.

Section 001 Pictorial Art and Visual Culture in the Dutch Republic.

Instructor(s): Celeste Brusati (cbrusati@umich.edu)

Prerequisites & Distribution: Upperclass standing, and Hist. of Art 102 and 260. (3). (Excl).

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/463-001.html

This course deals with the pictorial art and visual culture of the Netherlands during the seventeenth century. We will be looking primarily at painting, but also at drawings and prints, to examine the diversity and types of images produced, and to situate them within their historical and cultural circumstances. The course will give special emphasis to the illusionistic and descriptive artistry for which Dutch and Flemish artists were justly famous. It will explore the character and meanings of this art's celebrated naturalism, and will consider the social, political, and ideological functions of pictures, the status of art and artists, and the conditions of artistic production and consumption in the Dutch Republic.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 473. Twentieth-Century Architecture.

Section 001 Meets with Architecture 543.001.

Instructor(s): Anatole Senkevitch (senkanat@umich.edu)

Prerequisites & Distribution: Upperclass standing, and Hist. of Art 102. (3). (Excl).

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/473-001.html

The course offers a critical examination of the transformations in architectural theory and practice from the late 19th through the 20th century, with emphasis on elucidating the leading struggles for definition, meaning, and form in the architecture of this period. Also considered is the link between theory and practice; the relationship between conceptual and aesthetic as well as technical factors; and the cultural, economic, social, and political context out of which they evolved.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 1

Hist. Art 481/Class. Arch. 481. Art of Ancient Iran.

Section 001.

Instructor(s): Margaret Root (mcroot@umich.edu)

Prerequisites & Distribution: Upperclass standing, and Hist. of Art 101. (3). (Excl).

Upper-Level Writing

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/481-001.html

This course explores the visual arts of ancient Iran from late prehistoric times to the Islamic conquest. It offers students a broad overview of Iranian cultural heritage emphasizing major trends in art and architecture, tied closely to exploration of some of the most spectacular and intriguing sites of antiquity including Susa, Persepolis, and Bishapur. The course pays special attention to studies of seals, luxury vessels, and programs of palace sculpture and rock relief. Using these categories of art production, we will analyze what they can tell us about social, spiritual, economic, and political messages of the visual environment of Iran across successive eras. While the material has a great intrinsic integrity and importance, it is also useful for students of, e.g., Greek and Roman studies or Islamic studies as a backdrop for comparative purposes on a variety of agendas (e.g., problems in the art and archaeology of empire).

This is a slide-lecture course which also features in-class group work and discussion around actual artifacts. An optional but highly recommended class trip to Chicago's famed Oriental Institute (which excavated Persepolis in the 1930s) is planned. Course requirements: one brief (2 pp. max., double-spaced) descriptive paper on an artifact, one 2 pp. project proposal for term paper, one term paper (12-15 pp.), two in-class quizzes, attendance and participation in class discussion of weekly class readings.

Check Times, Location, and Availability Cost: 2 Waitlist Code: 4

Hist. Art 514. Spanish Art: El Greco to Goya.

Section 001.

Instructor(s): Ward Bissell (bissellw@umich.edu)

Prerequisites & Distribution: Upperclass standing, and Hist. of Art 102. (3). (Excl).

Credits: (3).

Course Homepage: http://www.umich.edu/~hartspc/histart/F2000/514-001.html

Beginning with lectures that 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 from the late 16th to the early 19th C. Religious imagery, genre, still life, portraits, mythology, and landscapes by such masters as El Greco, Ribalta, Ribera, Velázquez, Zurbaran, Murillo, and Goya will be featured. Along the way we will confront and attempt to explain extraordinary expressive extremes, from the explosively passionate to the dream-like, from the brutal to the graceful, from the chaste to the decorative, from realism to idealism. The cultural/historical situations, the creative uniqueness, and yet the essential "Spanishness" of each of these artists will be explored. The text (J. Brown, The Golden Age of Painting in Spain, 1991) will be supplemented by other readings, and students will be evaluated on the bases of midterm and final exams of essay type.

Check Times, Location, and Availability Cost: 4 Waitlist Code: 4

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