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. [Cost:3] (Thomas)
102. Western Art from the End of the Middle Ages to the Present. No credit granted to those who have completed 104 and 105, or 150. Two credits granted if only 104 or 105 has been completed. (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 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. (Genne)
103. Arts of Asia. (4). (HU).
This survey begins with an overview of archaeological remains in Asia, and then continues through South and Southeast Asia, introducing Hindu and Buddhist art and architecture, as well as Indian painting and Islamic art. Themes that emerge in this early segment continue to be developed in Chinese sculpture and painting, as Buddhist art is transformed into its Chinese incarnation and the secular art of ink and brush painting creates a new view of landscape. Finally, a journey through the major monuments of Japan reveals a sense of humor, a love of nature, and the simplicity which come to define Japanese aesthetics. Both shared and divergent traits within the arts of Asia will be explored and developed. The course comprises three lectures and one discussion section a week, grades are based on two hour exams, a short paper, and a final exam. There is no special background needed for the course. Required reading: Sherman Lee, A HISTORY OF FAR EASTERN ART; optional reading: the ART AND ARCHITECTURE series on Japan, China, and India. [Cost:3] [WL:4] (Mannikka)
112/Art 112. History of Photography. (3). (Excl).
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 Archaeology 221. (Herbert)
250/MARC 250. Italian Renaissance Art. Hist. of Art 101 or 102 or permission of instructor. (3). (HU).
The course will provide an introduction to the art and architecture of Florence during the fifteenth and early sixteenth centuries. Initial lectures will discuss the history and topography of the city. Thereafter, lectures will concentrate upon developments in painting, sculpture, and architecture in the fifteenth century, beginning with Brunelleschi, Donatello, and Masaccio, and ending with Botticelli and Leonardo. The course will end with a discussion of Michelangelo's works prior to the Sistine Ceiling. Students should have had History of Art 101 and/or 102 in prepartion for this class. History of Art 250 in turn will prepare students for more advanced classes in the department on High Renaissance and/or Mannerist art. There will be a midterm and a final examination covering materials discussed in lectures and readings. The text for the course is F. Hartt's survey of Italian Renaissance Art. [Cost:2] [WL:2] (Smith)
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. [Cost:2] [WL:2] (Isaacson)
374. Picasso and Modern Art. Hist. of Art 102 or 272; or permission of instructor. (3). (Excl).
This course will introduce students to the fundamental ideas of modern painting and sculpture as manifested in the work of the 20th century's most creative and versatile artist. Almost every formal and thematic aspect of modernism in the visual arts can be profitably studied in relation to Picasso's art. Furthermore, since Picasso's inspired academicism which was the 20th century heir to the "Grand Tradition" of Renaissance and Baroque art and since his artistic development from that point recapitulated the early history of Gauguin and Cezanne, a review of his early career provides students with an excellent background for understanding the revolutionary character of Picasso's (and Braque's) invention of Cubism. One cannot understand modern art unless one understands Cubism, an understanding which would include seminally a new concept of form, medium, and subject matter. Picasso's later career, 1920-1973, will be examined in the seminar as at least partially an exegenesis of Cubism. However, there is much that is new as well – Neoclassically inspired Surrealist images, welded iron work, ceramics and politically controversial themes and finally "Expressionist" works. The last, although initially discounted as the work of a failing octogenarian, have lately been re-evaluated as a significant anticipation of the most recent developments in contemporary art. An "old master" of modernism thus currently enjoys, thanks to the works of his very old age, a timeliness reserved these days usually for the young. There will be a midterm and a final. In addition a paper/project will be due at the end of the term. [Cost:2] [WL:4] (Miesel)
424/Class. Arch. 424. Archaeology of the Roman Provinces. Hist. of Art 221 or 222; or permission of instructor. (3). (Excl).
See Classical Archaeology 424. (Mattingly)
431/Class. Arch. 431. Principal Greek Archaeological Sites. A course in archaeology or permission of instructor. (3). (HU).
See Classical Archaeology 431.
437/Class. Arch. 437. Egyptian Art and Archaeology. (3). (HU).
Through slide lectures this course provides a survey of major trends in ancient Egyptian architecture, sculpture, painting, and minor arts. Within this chronologically structured overview, the course will emphasize the theme of portraiture in Egyptian art: its various social functions (political, cultic, funerary) and the canons of form and symbol which were developed in order to express these functions. Periodic workshop sessions in the Kelsey Museum of Archaeology will augment the classroom experience by providing first hand acquaintance with objects of art and artifacts of daily life. It is recommended that a student have some background in art history (either H.A. 101 or a higher level course in any area), or in ancient history. Students will take a midterm and a final exam and they will write a 10-page term paper. Required paperback texts: W. S. Smith, THE ART AND ARCHITECTURE OF ANCIENT EGYPT, revised edition (Pelican 1981); W. Hallo & W.K. Simpson, THE ANCIENT NEAR EAST: A HISTORY (Harcourt, Brace, Jovanovich 1971); plus a course pack. A large collection of reserve books will be available in the Fine Arts Library. [Cost:2] [WL:1] (Root)
439/Class. Arch. 439. Greek Vase Painting. (3). (HU).
See Classical Archaeology 439. (Herbert)
444. Romanesque Art. Hist. of Art 101 or permission of instructor. (3). (HU).
This course explores the rise of the monumental arts in Western Europe, culminating in the 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)
450. Early Renaissance Art in Italy. Hist. of Art 101 or 250; or permission of instructor. (3). (Excl).
THE SEXUALIZED BODY IN EARLY MODERN EUROPE. This section is jointly offered with Institute for the Humanities 411.002, for Fall Term, 1990. (P.Simons)
452. Northern European Art of the Fifteenth and Sixteenth Centuries. Hist. of Art 101 or 102; or permission of instructor. (3). (Excl).
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. [Cost:2] (Neagley)
454/MARC 454. Late Renaissance Art in Italy. Hist. of Art 102 or 250; or permission of instructor. (3). (Excl).
On this offering the course will focus upon Florentine painting during the sixteenth century. Early lectures will treat the classical style in Florence, discussing artists such as Fra Bartolommeo and Andrea del Sarto. Considerable attention will be given to the so-called "anti-classical style" of Pontormo and Rosso Fiorentino. The latter lectures will discuss Florentine Mannerism, emphasizing Bronzino, Salviati, and Vasari. At the conclusion of the course there will be some discussion of the Florentine "controriforma" and the emergence of the Baroque. There will be a midterm examination and a final examination. Students will also be required to write a short research paper. Texts for the course will be S.J. Freedberg's PAINTING IN ITALY 1500-1600, W. Friedlaenders' MANNERISM AND ANTI-MANNERISM, and J. Shearman's MANNERISM. Students intending to take this course should have had a good grounding in Italian Renaissance art (preferably via HA 250 and/or HA 451) and a declared interest in the materials. [Cost:2] [WL:2] (Smith)
462. Baroque Art in Italy. Hist. of Art 102 or 260 or permission of instructor. (3). (Excl).
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 cities of Rome and Bologna. The art – religious subject matter, history, mythology, portraits, landscapes, 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 (a sense of the actual flow of artistic activity). The course will observe essentially a lecture format, and evaluations will be based on two examinations and, for graduate students, a formal paper. 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. [Cost:1] [WL:3] (Bissell)
477. French Impressionism. Hist. of Art 102. (3). (Excl).
This course presents a survey of Impressionist painting in France form the early 1860s to the late work of Monet extending into the 20th century. Among the major painters discussed are Manet, Monet, Renoir, Pissarro, Cezanne, Morisot, and Degas. Attention will be given to the formation of a new style of painting in the 1860s in the work of Monet and the young Impressionists; to the new emphasis upon open air painting, working directly in nature; to the formation of the Impressionist group and its independent exhibitions in the 1870s and 1880s; to the transformations of Impressionism in the work of Monet, Pissarro, Renoir, and Cezanne in the 1880s; and to such late developments as the series paintings of Monet beginning in the 1890s. Also considered will be the relationship between painting and photography; the role of art critics, dealers, and patrons; the social and interpersonal dynamics of the Impressionist group; the entry of women artists into the avant-garde; the interplay between city and country and between work and leisure in Impressionist iconography. A background in the history of art since the Renaissance is required, and previous course work in 18th, 19th, or 20th century art is desired. Classes will be mainly in the form of lectures, although there will be 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 reading will be in the form of a course pack and assignments from books available on reserve. [Cost:2] [WL:2] (Isaacson)
483. Asian Architecture. Hist. of Art 103 or permission of instructor. (3). (Excl).
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)
581. Islamic Architecture to 1500. Hist. of Art 386 or 486; or permission of instructor. (3). (Excl).
This course deals with early (A.D. 700-1000) and medieval (1000-1500) Islamic architecture in the Middle East and North Africa. The first part of the course attempts to outline the legacy of the ancient world in early Islamic architecture as a way of explaining its continuities and departures from pre-existing traditions. This is followed by a detailed discussion of medieval Islamic architecture, emphasizing its common forms and themes and pointing out its regional diversity. Although the main focus remains religious architecture, the course also discusses palaces (e.g., Alhambra) and "public" architecture such as caravanserais and hospitals. The course attempts to depart from a purely chronological survey by dividing the epoch into long periods within which lectures follow a thematic presentation. By so doing, it is hoped that the student will get a general understanding of historical evolution and perhaps a deeper appreciation of certain problems in medieval Islamic architecture, including the creation of a sacred space, geometric planning, the dome, the garden, and the role of ornament. Requirements: Students are required to take a midterm and a final exam and to write a 10-page paper. The midterm and final will consist of slide comparisons and essay questions. [Cost:4] (Tabbaa)
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