History of Art 101, 102, 103 and 108, 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 along with History of Art 103 and 108 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 of 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. (Gerstel)
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).
The purpose of this course is 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 with the aim of analyzing and interpreting their technical, formal, and expressive characteristics and their relationship to cultural change. The presentation in the three weekly lectures will be chronological, beginning with Italian and Northern European art of the fourteenth and fifteenth centuries. Weekly discussion sections will be devoted to basic characteristics of the visual arts, to the nature of painting, sculpture, architecture, and printmaking, and to topics related to but not identical with the lecture material; at least one section will be held in the University Museum of Art. Reading will include a general historical text and a paperback on characteristics of the visual arts. Two short papers and a midterm and final examination will be required. (No previous course work is necessary, but it is suggested that students with a strong interest in the visual arts might take History of Art 101, the survey of Ancient and Medieval Art, prior to the present course.) (Isaacson)
103. Arts of Asia. (4). (HU).
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, the major monuments of Japan, sculpture, painting, and the well-known prints of the "floating world" will be examined using both aesthetics and religious belief as determining factors in artistic expression. 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: the Art and Architecture series on Japan, China, and India. Cost:3 WL:1 (Mannikka)
108/CAAS 108. Introduction to African Art. (3). (Excl).
This is a general introduction to the arts of sub-Saharan Africa. It surveys some recent (19th and 20th century) art forms of the continent and concludes with a critical look at African art in Euro-American society. The approach is both historical and ethnographic, reviewing significant developments in art production while exploring some dominant themes in African art. A selective use of visual material – slides, films, art objects – help to illustrate the relationship between art production and environment. It also shows how art functions in the cycle of life in diverse African cultures ranging from decentralized to large complex polities. Texts: A Short History of African Art by Werner Gillon and African Art in the Cycle of Life by R.Sieber and R.Walker. The principle of continuous assessment will apply and will combine records of attendance at lectures and sessions, slide tests, and two short written assignments. (Quarcoopome)
112/Art 112. History of Photography. (3). (Excl).
This lecture course will explore the history of photography of the 19th and 20th centuries 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 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. The class should interest students from a wide range of disciplines. Students will supplement lecture and readings with multi-media computer-based "learning modules," and by participation in small discussions focused on special theoretical topics. Grades will be based on a term project, discussion participation, and two essay slide exams. (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 provides an introduction to the art and architecture of Florence during the fourteenth, fifteenth and early sixteenth centuries. Initial lectures treat the history and topography of the city. Next there is a series of lectures on fourteenth-century Florentine painting and sculpture, with particular attention being given to Giotto. Thereafter, lectures concentrate on painting, sculpture, and architecture during the fifteenth century. The course ends with a discussion of Michelangelo's works prior to the Sistine Ceiling. Students should have had History of Art 101 and/or 102. History of Art 250 in turn prepares students for more advanced courses on High Renaissance and/or Mannerist art. There will be a midterm and a final examination covering materials discussed in lectures and readings; students will also write a short term paper of approximately ten typewritten pages. The text for the course is F.Hartt's History of Italian Renaissance Art. [Cost:2] [WL:4] (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)
330/American Culture 330.
Art in America: 1492-1825. H.A. 102 or H.A. 101 or
History 160 or American Culture 201 or permission of instructor.
Section 001: From European Exploration Through the Federal Era (1492-1825). This lecture course will survey the visual arts, material culture, and built environment produced by diverse groups on the North American continent. We will examine the interaction of cultures; how old world art forms were adapted to the environmental, social, political, and ideological circumstances of the new world; and the creation of "national" images in the newly established United States. Background in art history or American history is recommended. Examinations and papers will require research on works in local museum collections. Cost:3 WL:2 (Zurier)
376. Dada and Surrealism. Hist. of Art 102, 272; or permission of instructor. (3). (Excl).
A survey of the crucial artistic and intellectual concepts developed by the Dadaists and Surrealists, this undergraduate lecture course will examine the problems explored by Dada, in the personalities of Duchamp, Arp, Schwitters, Ernst, the Berlin Dadaists, Picabia, Man Ray, Richter and others, and how their Dada work influenced the later art and ideas of this century. The growth of Surrealism and its relationship to new scientific and psychological thought will be approached through the art and concepts of such key artists as Arp, Miro, Ernst, Giacometti, Dali, Magritte, Masson and Tanguy and some of their followers. The focus will be on Dada and Surrealist work in painting, sculpture, happenings, environments, and film. Outside reading will include material on the Dada and Surrealist achievement in literature and the theatre. There will be a midterm exam, a final exam in two parts (one part slides and one part take-home essay), and a term project/paper. (Miesel)
383(485). The Art of Southeast Asia. Hist. of Art 103 or permission of instructor. (3). (Excl).
This course will focus on the great monuments of Southeast Asia such as the Borobudar in Java and Angkor Wat in Cambodia. Astronomy, philosophy, and religion provided the conceptual building blocks which structured form and meaning into these massive temples in sandstone and brick. The function of the temples, their role in education, society, and politics, and the reasons for their demise or decline will be examined. By the end of the course one should also be able to distinguish national sculptural styles and the iconographic traits that define the major Buddhist and Brahmanical gods. There is one hour exam, two papers, and a final. Recommended special background: art history courses and/or courses in Asian religion or culture. Cost:3 (Mannikka)
404/CAAS 404. The Art of
Africa. (3). (Excl).
Ancestors, Spirits and Divination. The course will survey art and architecture which represent traditional spiritual beliefs, concepts and practices, primarily in West and Central Africa. Art, dating from the fifth to the late twentieth centuries, of various media and type such as wood sculpture and furniture and textiles will be examined in regards to placement, presentation, and use such as shrines, masquerades and rituals. The course will examine the role and status of the artist, the relevance of art and aesthetics, and the influence of Islam and Christianity on art within the context of spirituality in specific ethnic communities. Two exams and one term paper are required. The course will be presented in a lecture format, however, class discussions are expected. Therefore, there will be assigned readings from publications in the university library system and on reserve in the fine arts library. A course syllabus will include lecture topics, bibliography, a glossary and checklist of represented works. (Patton)
415/Women's Studies 415.
Studies in Gender and the Arts. One course in Women's
Studies or History of Art. (3). (Excl). May be repeated for a
total of nine credits.
Section 001: Gender and Painting in Early Modern Europe. Many of the values and attitudes we hold today about art and artists have their roots in European art history of the fifteenth, sixteenth and seventeenth centuries. During this time painting came to enjoy a newly privileged place among the arts. This critical change in the status of the pictorial arts involved, among other momentous shifts, a re-positioning of the sexes in the discourse, the imagery and the production of pictures. This course explores some of the ways that ideologies of art and gender intersect within the history of early modern European painting and the critical discourse it produced. Its main focus will be on analysing how specific types of images – such as the nude, figurations of sexuality and art-making, images of parenthood, family and domesticity – both reflect and shape cultural attitudes toward gender and art. We will also consider men and women as makers and consumers of art, changing notions of creativity and the ways in which pictorial production came to be stratified along gender lines. Classes will combine lecture and discussion of weekly readings and topics. Two short papers, a midterm and final examination will serve as basis for grading. Although there is no formal prerequisite, some familiarity with European painting of this period is recommended. (Brusati)
434/Class. Arch. 434. Archaic Greek Art. Hist. of Art 101 or permission of instructor. (3). (Excl).
See Classical Archaeology 434. (Pedley)
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, funnerary) 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] (Russmann)
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)
453. Venetian Painting. Hist. of Art 102 or permission of instructor. (3). (Excl).
A survey of the history of North Italian and especially Venetian painting from the early 14th C. to the late 16th C., with major emphasis on the period 1450-1600 and such masters as Mantegna, Carpaccio, Giovanni Bellini, Giorgione, Titian, Tintoretto, and Veronese. An attempt will be made to define the special qualities of the Venetian tradition, in part through contrast to Central Italian developments, while at the same time the creative uniqueness of each individual master will be revealed. The works will be viewed both with relation to the specific historical/cultural circumstances under which they were produced and with regard to their relevance to us today. There will be a modest amount of required readings (text: Johannes Wilde, Venetian Art from Bellini to Titian, Oxford PB). Considerable optional reading, and continual emphasis upon study of the visual material. A syllabus and bibliography will be provided, and grading will be based primarily upon midterm and final examinations. Cost:1 WL:4 (Bissell)
467. Eighteenth-Century Painting in Europe. Hist. of Art 102 or permission of instructor. (3). (HU).
This course concentrates on the history of eighteenth century European painting. The greatest emphasis will be given to France but attention will be directed to major artists in other countries as well, e.g., Canaletto and Piranesi in Italy and Hogarth in England. Major French artists to be considered are Watteau, Chardin, Boucher, Fragonard, Greuze, and David up to the time of the French Revolution. The basic organization of the course will be chronological; artists and historical issues will be treated as they emerge during the course of the century. The lectures will seek to interweave issues of form and content in the arts, to consider the characteristics and development of an artist's work, and to relate that work to the major historical, social and intellectual currents of the time. Class hours will be in the form of slide-lectures. Reading will be in assigned paperbacks and additional material on reserve. A midterm, paper, and final exam will be required. (Isaacson)
468. Modern Sculpture. Hist. of Art 102 and either Hist. of Art 271 or 272; or permission of instructor. (3). (Excl).
Through lectures and classroom discussions the origins and evolution of modern sculpture will be examined. Beginning with Rodin and ending with contemporary "dematerializations" of the object the major movements and personalities of 20th-century sculpture will be surveyed. A general knowledge of the development of modern art is, of course, advantageous and a reading of some standard text for the period, e.g., Arnason's History of Modern Art or Hamilton's 19th and 20th Century Art before or during the first weeks of the course is recommended. There will be two examinations, a midterm, and a final. There will also be a 10-15 page paper of a project requirement. The required text for the course is: Herbert Read's Concise History of Modern Sculpture, and strongly recommended is: J.Burnham, Beyond Modern Sculpture Even thought modern art has traditionally been identified with modern painting, it will be argued that not since the Renaissance has sculpture been so important to the visual arts. Cost:2 WL:2 (Miesel)
471. Investigations of Recent Art. Hist.
of Art 272 or permission of instructor. (3). (Excl).
Contemporary African American Art. This course will survey contemporary art by African Americans residing in the United States. Various media and modes of presentation will include site-specific installations, performance art, video, as well as painting, sculpture, photography and graphics. The course will explore several topics prevalent in art of the past twenty years such as "autobiography," "representation of race and gender," "afrocentrism and the ancestral legacy," "myth and history," and "discourse on society and culture," Younger and emerging artists will be presented as well as mid-career and master artists. Two exams and a term paper are required. The course will be presented in lecture-discussion format. Readings will be assigned in preparation for class discussion and exams, from texts on reserve in the fine arts library. (Patton)
490/MARC 489. Art of Islam in the Mediterranean Region. Hist. of Art 386 or 486; or permission of instructor. (3). (Excl).
The recent exhibitions and conferences celebrating the year 1492 have explored and problematized the links of the Islamic world with the West in the Mediterranean basin. Islamic art, whether produced by the Fatimids of Egypt, the Moors of Spain, or the Ottomans of Turkey has, as a result, been once again insinuated into the discourse of European arts in the late Medieval and early Renaissance periods. What were the artistic items of exchange? Why these and not others? How were they adapted in order to fit into an entirely new context? These are just a few of the many fascinating questions that stand at the core of this course. We will approach them by first discussing the development of western Islamic art from its Roman and Byzantine sources and its subsequent spread to North Africa and southern Europe. Next, we will explore earlier periods of East-West exchange in Spain, Sicily, and the Crusader Kingdoms of the Levant. 1492, which marks both Columbus' discovery of the New World and the end of the Kingdom of Granada, will be shown as a pivotal year for the rise of Christian Europe, the gradual decline of the Islamic world, and the increasing separation of the two regions until the much later encounter of the Colonial period. Requirements: Two short papers and a term paper. (Tabbaa)
493. Art of India. Hist. of Art 103 or permission of instructor. (3). (HU).
This course is 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. The major course requirements are two papers (5-10 pages) and a final 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). (Excl).
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 century to the early 19th century: El Greco (the Italian-trained Greek working in Toledo), Ribalta, Martinez Montanes, Ribera, Velaquez, 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), 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 training in the history of art should not be intimidated by the "500" course number. Cost:1 WL:4 (Bissell)
520/Museum Practice 520. Fundamentals of Museum Practice. Junior standing, and permission of instructor. (3). (Excl).
See Museum Practice 520. (Hennessey)
592. Gupta and Early Medieval Art in India. Hist. of Art 103 or permission of instructor. (3). (Excl).
This course will concentrate on Hindu and Buddhist architecture, sculpture, and painting created in India during the period between the 4th century AD and the 11th century AD. Special attention will be given to early rock-cut and structural temples, and to the religious, political, and economic factors associated with their development. Cave sites such as Ajanta, Ellora, Badami, Mamallapuram, and Elephanta will be studied in particular detail, as will the famous temples and sculptures made by the Guptas and their feudatories. There will be one midterm exam, two brief papers, and one long paper in lieu of a final examination. (Spink)
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