Courses in History of Art (Division 392)

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.

Open to All Undergraduates; Not Open to Graduate Students.

101. Near Eastern and European Art from the Stone Age to the End of the Middle Ages. (4). (HU).

This course will discuss major monuments of Western painting, sculpture, and architecture within their historical context from the antique period to the end of the Middle Ages. The lectures will explore both the development and characterization of major artistic traditions through an analysis of style and iconography as well as an examination of materials, techniques and cultural contexts. Weekly discussion sections are designed to encourage student participation and the discussions will center around relevant objects in the Kelsey Museum of Art or carefully selected works which illustrate points of the class lecture. In addition to attending three class lectures and one discussion per week, students will be assigned reading from a general art history survey text.

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).

This course provides an introduction to key works of Western European and American art from the 14th through the 20th centuries. It will consider selected examples of architecture, sculpture and pictorial art in relation to their defining characteristics and to the historical and cultural circumstances surrounding their production and consumption. The three weekly lectures will be organized chronologically and thematically around such issues as concepts of art and artistic practice, uses of tradition, the changing roles and status of the artist, patterns of patronage, and the critical vocabulary of art history itself. Weekly discussion sections will give students the chance to explore these issues further and to develop their skills of visual analysis. Readings will include a general art historical survey text and a selection of short readings from primary sources and documents. Written work will consist of a short paper, a midterm and a final examination. No prior course work is required. Cost:2 WL:4 (Brusati)

103. Arts of Asia. (4). (HU).

An introduction to the cultures and arts of south and east Asia from earliest times to the modern period. Topics will be organized chronologically within geographical regions, but no attempt will be made to cover all of the arts from all times and places. Emphasis will be placed on the religious, social, political, and/or literary contexts of specific monuments or sites, individual artists, or media. No background is assumed or required. Three exams and one museum exercise will each be worth 25% of the final grade. Readings will either be in a course pack or on reserve in the undergraduate library. Three lecture and one discussion section per week. Cost:1 WL:1 (Brock)

112/Art 112. History of Photography. (3). (Excl).

This class will explore the history of photography of the 19th and 20th centuries through a comparative study of photographs which will lead to an understanding of the themes and issues, concepts and context associated with the 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 its origins and influences. This class should interest students from a wide range of disciplines who may find aspects of the study which relate to and reinforce their own specialism. The main teaching component of the course will be lectures supported by invited speakers, occasional visits to exhibitions, through presentation of films and frequent group discussion. The assessment will be two slide reviews, one term paper (or alternative project to be agreed with the instructor) and one short critical review of an arranged exhibition of photographs. REQUIRED TEXT: A WORLD HISTORY OF PHOTOGRAPHY, Rosenblum, Abbeville Press. An additional course pack will be available. Research books which provide other points of view and alternative historical perspectives on the history of photography will be on reserve in the School of Art. (Baird)

113/Art 113. Introduction to the Visual Arts. This course is for non art majors only. (3). (Excl).

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, 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. [Cost:2] [WL:4] (Kapetan)

221/Class. Arch. 221. Introduction to Greek Archaeology. (4). (HU).

See Class. Arch. 221. (Pedley)

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)

386. Introduction to the Art and Architecture of the Islamic World. History of Art 101 or permission of instructor. (3). (HU).

Introduces the arts of the Near East and North Africa from about 650 to the eighteenth century, including architecture, painting, ceramics, metalwork, and carpets. More than a chronological survey, the course focuses on a number of carefully chosen monuments and objects which are intended to illustrate the distinctive characteristics of Islamic art, its regional variations, and its craftsmanship. Connoisseurship is emphasized by dealing directly with some objects in the University collections on which two short papers (3-5 pages) will be assigned. There will be a midterm and a final examination. Cost:3 WL:2 (Tabbaa)

394. Special Topics. History of Art concentrators. (3). (Excl). May be elected for credit more than once.

ILLUMINATED HEBREW MANUSCRIPTS IN MEDIEVAL SPAIN. The seminar will explore the art of the Hebrew book in Sefarad (Spain and Portugal) in the fourteenth and fifteenth centuries: how manuscripts were written, decorated and bound, as well as the bibliography and methodology of Hebrew manuscript research. Illumination, illustration, iconography and micrography in the Hebrew Bible and haggadah will be discussed. Prerequisites: H.A. 101 or background in Jewish studies. Requirements: selected readings, independent reading to be discussed and study of manuscripts through facsimiles. A short class report, oral presentation of a manuscript, and a paper on the same subject. (Avrin)

Open to Upperclass Students and Graduate Students

405. Artists and Patrons. Hist. of Art 101 or permission of instructor. (3). (Excl). May be elected for credit more than once with permission of chairman.

LATE IMPERIAL CHINA IN COMPARATIVE PERSPECTIVE. This course is designed to familiarize the student with a variety of approaches to interpreting relations between artists, clients and audience. A comparative framework is employed throughout the course so that students in Western or Asian art can benefit from exposure to related but distinct patronage institutions in two, highly literature cultures. Topics discussed include but are not limited to: royal patronage; the evolution of an open art market; the role of art collecting and criticism; tensions between courtly taste and alternative discourses; the encoding of social issues in terms of pictorial style. The first few weeks of the course will be devoted to reading and critical discussion of exemplary studies of art and society, principally by historians of European art such as Joseph Alsop, Michael Baxandall, T.J. Clark, Thomas Crow, E.H. Gombrich and others. Then a group of secondary studies on art history and social history will be read and critically discussed so as understand the rapid evolution of patronage institutions in Song China (10th - 13th centuries). Finally, by examining primary sources in translation, students will conduct original investigations of specific patronage institutions. No previous knowledge of Chinese art is necessary for the course. There will be a midterm dealing with questions of method in relation to specific works of art, an oral presentation and a final paper. Readings from a variety of sources will be placed on reserve and/or provided in course packs. (Powers)

421/Class. Arch. 421. Art and Archaeology of the Ancient Near East. One previous art history, anthropology, or classical archaeology course recommended. (3). (HU).

Survey of the art and archaeology of ancient Mesopotamia and Iran, focusing upon art as a reflection of the societies that produced it. Specific attention will be paid to concepts of aesthetics, iconography, narrative pattern, and programs of piety and politics - as these are revealed in sculpture and the art of seals. Periodically the class will meet at the Kelsey Museum of Archaeology instead of convening for the normal slide-lectures. During these sessions students will have the opportunity to examine and discuss actual artifacts and works of art. Grade evaluation will be based upon a midterm, a final examination, and a research paper of 8-10 typewritten pages (not including notes). The paper will be based upon investigation of an object in the collections of the Kelsey Museum. Readings will be assigned from texts available for purchase (Henri Frankfort, THE ART AND ARCHITECTURE OF THE ANCIENT ORIENT, 4th ed. 1970; R. Hallo and W.K. Simpson, THE ANCIENT NEAR EAST, 1971; and A.Leo Oppenheim, ANCIENT MESOPOTAMIA, rev.ed. 1977) as well as from books and articles on reserve in the Fine Arts Library of Tappan Hall. Cost:2 WL:4 (Root)

422/Class. Arch. 422. Etruscan Art and Archaeology. Hist. of Art 221 or 222; or permission of instructor. (3). (HU).

See Class. Arch. 422. (Mattingly)

441. Jewish Art: A Survey from Antiquity to the Present Day. (3). (Excl).

A survey in lecture format of Jewish art from Ancient Israel to Modern Israel. The concepts of tradition and assimilation in art made by and for Jews will be examined in the context of the arts of neighboring cultures of the Israelites in Antiquity and in the host countries in which Jews resided in the diaspora. Subjects covered: ANCIENT: The so-called Second Commandment and iconoclasm; the Tabernacle in the desert and the Temple in Jerusalem and their ritual objects; Jerusalem in the time of the monarchy and in the Second Temple period; Herod the Great's architecture; synagogue architecture, painting and mosaics of Israel and the diaspora in the Byzantine period, burial art (to modern). MEDIEVAL: Jewish art in Islamic countries, Spain, Germany and Italy; scribal arts and illuminated manuscripts; Hebrew micrography; symbolism; synagogue architecture. RENAISSANCE TO MODERN: Life cycle and the cycle of the Jewish year in ceremonial objects; seventeenth- and eighteenth-century manuscripts, Emancipation painters (19th century); late nineteenth- and twentieth-century Jewish art in Russia and the U.S.; art in Israel. Course requirements: Abba Eban's HERITAGE or Chaim Potok's WANDERINGS and selected readings. Midterm and final exams, short paper for undergraduates, longer paper for graduates. (Avrin)

451. High Renaissance Art in Italy. Hist. of Art 102 or 250; or permission of instructor. (3). (Excl).

The course will focus upon developments in painting (and to a lesser extent sculpture) in Florence and Rome CIRCA 1480 and CIRCA 1520. The works of Leonardo, Michelangelo, and Raphael will be studied in detail, but attention will also be given to other artists active at the time. Contemporary developments in Venice will NOT be discussed. There will be a midterm examination, a research paper, and a final examination. Cost:2 WL:4 (Smith)

494. Art of China. Hist. of Art 103 or permission of instructor. (3). (HU).

This course provides an introduction to the art of China from the Neolithic period to the Twentieth Century, with special emphasis on Bronze Age arts (bronze vessels and jades), recent archaeological discoveries, Buddhist sculpture, and figure and landscape painting. The approach is rather strictly chronological, and students are expected to learn something of the history, religion, geography, etc., of China as well as its art. The main requirements will be a final exam and a term paper of ten pages (for undergraduates) on a subject of the student's choice. Although History of Art 103 (Arts of Asia) is very desirable as a prerequisite, students with some other previous course work in the history, culture, or language of China may take this course without seeking permission of the instructor beforehand. However, students with no prior experience at all in the study of China may find this course too difficult, because of the unfamiliar names, terminology, and Buddhist iconography. Cost:1 WL:4 (Kane)

536/Class. Arch. 536. Hellenistic and Roman Sculpture. Hist. of Art 101 Class. Arch. 222 or permission of instructor. (3). (Excl).

This course will follow the stylistic and iconographic developments in public and private sculpture from the late 4th century B.C. to the 4th century A.D. The theories underlying the reconstruction of these developments will be examined, and there will be discussions of new approaches to these problems. Lectures will consist mainly of slide presentations, although original sculptures will be examined whenever possible. There will be one midterm and a final examination. A research paper of approximately fifteen pages or a lecture is required for graduate students. Undergraduates may choose between a research paper and TWO short essays as their writing requirement. In general, the instructor emphasizes a critical approach to secondary sources on Hellenistic and Roman sculpture and encourages students to develop skills of analysis, both textual and visual. It is recommended that students have some previous exposure to Greek and Roman civilization. Foreign languages are not required for undergraduates, but it is expected that graduate students will read assignments in German, French, and/or Italian and will use foreign language sources in their research. Cost:2 WL:4 (Gazda)

562. Baroque Sculpture in Italy and Spain. Hist. of Art 102 or permission of instructor. (3). (Excl).

Beginning with introductory lectures on 16th-century sculptural traditions and on the stirrings of a new way of seeing and working, the course will pass to an intensive investigation of the art of Gianlorenzo Bernini. Bernini's sculpture will be studied both for what it reveals of the master's artistic genius and of the changing socio/political/religious climate in Papal Rome. The influence of Bernini's vision and the alternative to the Berninian manner i.e., Baroque Classicism will then be discussed. This will be followed by a unit on the extraordinary sculpture of 17th-century Spain. The course ends with suggestions as to the constants - i.e., the peculiarly Baroque features within so much diversity. The course will observe a lecture format and students will be evaluated on the bases of two examinations. A syllabus and a bibliography of reserve books will be provided. While the amount of assigned reading will be modest (text: Howard Hibbard, BERNINI, Pelican PB), considerable additional reading will be recommended. In spite of the fact that the course bears a "500" number, undergraduates with history of art training should not hesitate to elect it. (Bissell)

571. Post-Impressionism. Hist. of Art 102 or permission of instructor. (3). (Excl).

Post-Impressionism deals primarily with the art of the last two decades of the nineteenth century, the period in which the foundations of modern art were firmly established. Special emphasis will be placed upon French art during the 1880s. The major artists discussed will be Seurat, van Gogh, and Gauguin, with attention given, as well, to Cezanne, Redon, Toulouse-Lautrec, Bonnard, Vuillard, Munch, and others. The major movements and tendencies considered are Symbolism, Neo-Impressionism, the Nabis, and later Impressionism. Lectures will concentrate on the development within each artist's career, with problems of form and content, and with the general theme of anti-naturalism that pervades the period. The presentation will be mainly in the form of lectures, although a certain amount of class discussion will be encouraged throughout. Reading will be drawn from books on library reserve, principally from John Rewald's POST-IMPRESSIONISM, and from selected paperbacks. Although the study of this short period of time is fairly intensive, it is a course that may be taken by anyone who has had at least some introductory work in the history of art. Students will have two exams and a short paper. Cost:2 WL:2 (Isaacson)

572. Expressionism in Twentieth-Century Art. Hist. of Art 102 and either Hist. of Art 271 or 272; or permission of instructor. (3). (Excl).

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; Kadinsky, 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, Holder 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 concentrators as well as for those interested in the relationship between art and society, politics, religion and even race. (Miesel)

578. American Art: 1940 to the Present. Hist. of Art 102, 272, 478; or permission of instructor. (3). (Excl).

This course will examine the varied paths taken by art in the United States since 1940 and the ways in which art in this country during these years reflected or reacted against aspects of the society around it. We will compare art created in the United States with that created elsewhere, especially in Europe. We will consider the sources and practices of "figurative" art, abstract art, nonobjective art, conceptual art, performance art. We will explore art created with traditional materials and art made with the substance and techniques of new technology. We will look at art conceived with differing goals aesthetic expression, political statement, psychological communication, philosophical musing. Readings will be assigned from a course pack and other texts. Class period will be a mixture of lecture and discussion. The class will be divided into teams, each of which will do a group project, and, in addition, there will be two focused individual projects. (Kirkpatrick)

599. Japanese Painting of the Edo Period. Hist. of Art 103, 390, or 495. (3). (Excl).

CLASSICAL TRADITIONS. During the Edo period (1600-1868), Japan's doors to the world closed to a much greater degree than in previous centuries. Strict rule by the Tokugawa family brought about an unprecedented era of peace and prosperity, enjoyed particularly by the townsmen of Japan's major cities. While the economic power of the imperial family and hereditary aristocracy declined, their traditional arts and literature were eventually revitalized in the hands of the newly literate, newly rich lower classes. This course will examine the transformation of classical themes, styles, and formats in the hands of the Edo-period painters and designers active primarily in the city of Kyoto. Special attention will be given to Tosa and Sumiyoshi painters; the painting of Iwasa Matabei and Tawaraya Sotatsu and the latter's followers; and the rise of the Kyoto publishing industry. Students will participate in class discussion, prepare several written exercises, and write a final research paper. Open only to graduate students who have had a previous course in Japanese art. Cost:1 (Brock)


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