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.
Take me to the Fall Time Schedule
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 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 examination. This course, with History of Art 102, is meant to provide a foundation in the history of western art
and will be useful to students taking higher level courses in the department. Cost:2
WL:4 (Thomas)
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Times, Location, and Availability
108/CAAS 108. Introduction
to African Art. (4). (HU).
This course offers a general introduction to the arts of African
cultures south of the Sahara desert. It reviews the history of
African art from about 10,000 B.C. through the twentieth century.
The survey is based on a carefully selected corpus comprising
prehistoric rock paintings and engravings, old and recent sculptures
in terracotta, metal, wood, and ivory; and textile and bodily
arts. While it adopts an historical approach, it will also explore
some prevailing themes in African art, such as African approaches
to representation and the social function and meaning of art.
Last, it will highlight a number of significant cultural transformations that resulted from contact between African peoples and western
societies. Scheduled lectures will be supplemented with written
and reading assignments, videofilms, tours of African art exhibitions
in museums and private collections in the Detroit area. Cost:2
WL:4 (Quarcoopome)
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Times, Location, and Availability
112/Art 112. History
of Photography. (4). (HU).
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. Cost:2
WL:4 (Kusnerz)
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Times, Location, and Availability
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, 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.
(Kapetan)
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Times, Location, and Availability
194. First Year Seminar.
(3). (HU).
Section 001 – From Monk to Courtesan: The Portrayal of Extraordinary
Men and Beautiful Women in Japanese Painting and Prints.
What is involved in the creation of a striking likeness of a monk
in Japan? Of an alluring image of a courtesan? How have artists
responded to the challenge of portraying a revered Zen master, a celebrated beauty, an exiled emperor, a ruthless warrior? Follow the trajectory of ten centuries of Japanese portrait-making, from the earliest attempts to preserve the physical remains of deceased
monks to the latest in the fashionable portrayal of women. Explore the issues involved in achieving or eschewing physiognomic accuracy
and along the way learn to distinguish stylistic conventions for
aristocrats and warriors, urban intellectuals and entertainers, courtesans and female impersonators, monks and nuns. Course requirements
include weekly readings and short written assignments, brief quizzes
and class participation, and a final paper. Cost:3
WL:4 (Sharf)
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Times, Location, and Availability
211/WS 211. Gender and Popular Culture. (4). (HU).
"Popular culture" is a complex social system, and this
course concentrates on its visual manifestations in various media.
We focus on women as signs or emblems, as producers, and as consumers, of "popular culture", with attention also to the representation
of masculinity and of race/ethnicity. Mainstream and marginal, appropriated and subverting, reflective and formative, the "popularity"
of certain cultures often places them outside an academic framework, but this course seeks to alter that exclusion. After a brief thematic
introduction, we focus on contemporary American culture, examining
such examples as advertising; Ken and Barbie dolls; parental roles
in film and television; romance in fiction or films like Pretty
Woman and Waiting to Exhale; the "buddy"
system in action movies and Thelma and Louise; women
in music, including Madonna. Student participation will include
several short papers, a research paper, a final exam, and regular
discussion in classes. Cost:2
WL:2 (Simons)
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Times, Location, and Availability
214/CAAS 214. Introduction
to African-American Art. (3). (Excl).
This course surveys the visual arts of African descendants residing
in the United States. Beginning approximately in the mid-eighteenth
century, and continuing until the present, the lectures and discussions
will cover important topics, issues, and art productions within the context of African-American cultural history. Subject-matter, style and technique, training and patronage, content and meaning
will be examined as a means of identifying and comprehending the
social, cultural, political, and economic milieu of the African-American vis-à-vis mainstream Euro-American society. Course
topics are Domestic and Folk Arts and Architecture (19th Century), Fine Arts, Painting and Sculpture (19th Century), From the New
Negro Movement to the Cold War Era (20th Century), Civil Rights
Movement and Black Nationalism (20th Century), and Postmodernism
and the Construction of Identity (20th Century). Within each topic, one or more specific themes will be examined such as the diaspora
of Africa in 19th-century folk/popular art forms, the abolitionist
as patron, the muralist tradition, Black aesthetics, and the ancestral
legacy of African art. Students will be expected to be familiar
with the course text and requisite images in preparation for exams.
Exams cover slide identification and one brief essay. Course requisite: three exams. Cost:1
(Patton)
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Times, Location, and Availability
221/Class. Arch. 221.
Introduction to Greek Archaeology. (4). (HU).
See Classical Archaeology 221.
(Pedley)
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Times, Location, and Availability
250/MARC 250. Italian
Renaissance Art, I. (4). (HU).
Section 001 – The Art of Florence and Northern Italy, 1300-1490.
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. Cost:2
WL:4 (Campbell)
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Times, Location, and Availability
260. European Painting
and Sculpture of the Seventeenth Century. (4). (HU).
This course explores the vital, many-faceted visual culture of
seventeenth-century Europe with particular focus on the pictorial
and plastic arts. Lectures will consider the extraordinary achievements
of such well-known figures as Caravaggio, the Carracci, Artemisia
Gentileschi, Bernini, Velázquez, Poussin, Rubens, Van Dyck, Rembrandt, and Vermeer, as well as a range of other visually interesting
but less familiar works by their contemporaries. We will be looking
not only at painting and sculpture, but also at drawings, prints, maps, and book illustrations, in order glimpse the many ways in
which the visual arts came to be used and valued in the seventeenth
century. Lectures and weekly readings are designed to situate
art within discussions of scientific inquiry, religious practices, politics, cultural encounter, social and economic life. Requirements
include informed participation in discussion sections, a midterm
quiz, a final examination, and a short paper. Cost:2
WL:2 (Brusati)
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Times, Location, and Availability
271. Origins of Modernism:
Art and Culture in Nineteenth-Century France. (4).
(HU).
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. Cost:2
(Lay)
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Times, Location, and Availability
292. Introduction to
Japanese Art and Culture. No credit granted to those
who have completed or are enrolled in Hist. of Art 495. (3). (HU).
This course will take an interdisciplinary approach to selected
topics in the history of Japanese culture. The class will examine the introduction of Buddhism to Japan through the architecture, painting, and sculpture of the 7th-century monastery Horyuji.
We will discuss life in the imperial court at its height, as represented
by the Illustrated Tale of Genji. One segment will concentrate
on the arts of the Tea ceremony, and another on the urban life
of 18th-century Edo (Tokyo) as reflected in its literature and woodblock prints. The course will conclude with the treatment
of tradition in the graphic arts and architecture of recent decades.
Two exams and two short essays will be required. No prerequisites;
first- and second-year students are especially welcome. (Reynolds)
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Times, Location, and Availability
375. Art of the 60's.
(3). (Excl).
The 1960's were a time of immense cultural ferment and change.
Society moved out of the post-World War II period of recovery
into a time of testing norms and values in many areas of society, including the arts. This course explores a cross section of the
lively arts scene, especially that in the United States and Europe, in which artists challenged established modes of representation
and expression, and struggled to invent new forms that would - they believed – be part of a re-energized and more humane world.
Among the topics covered will be art that pushed ever further
issues of Modernism (including Minimalism, Op, soak-stain), art that intersected with popular media (including Pop art and the
beginnings of video art), art based on investigation of the expressive
uses of new technology (including Experiments in Art and Technology), art criticizing and/or questioning society (including the beginnings
of feminist art, public mural art, happenings, Ed Kienholtz), and art that attempted to point to universal values (among others, Yves Klein, land art). Assigned readings will introduce the ways
in which artists, critics, and theorists have viewed the period
from within the decade to more recent writings. Students will
participate in testing some computer-based resources in development.
There will be two hour exams, a final exam, and a term project/paper.
Cost:2 WL:2
(Kirkpatrick)
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Times, Location, and Availability
393. Junior Proseminar.
Concentration in history of art. (3). (Excl).
Section 001 – Russian Avant-Garde. The Junior Proseminar
is being offered jointly with History of Art 394.006, a seminar
on the Russian Avant-Garde (please see course description, below).
Students will be required to attend all History of Art 394.006
seminars and to complete the required weekly readings. In addition, by means of supplementary readings, students will be guided in
a research project of their own devising relating to the Russian
Avant-Garde. Through timely completion of a research proposal, a bibliography, a rough draft and a final paper, students will
master the skills and methods that are required in order to write
a 15-20 page research paper. The proseminar will introduce students
to the kinds of materials essential to the production of original
art-historical research: primary sources, secondary (art-historical)
literature, and theoretical and methodological texts. WL:1
(Gough)
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Times, Location, and Availability
394. Special Topics.
(3). (Excl). May be elected for credit more than
once.
Section 001 – MIMI-VUE. Students in this course will participate
in MIMI-VUE (Michigan Millennium Values of/for a University Education), a three-year collaborative project that is teaming undergraduate
researchers in partnership with many elements of the university
community to create a portrait of this institution and the values
it will carry into the 21st century. Course work will involve
required reading on the history of the university, participation
in group discussion and planning sessions, and working in one
or more of the research activities of the project (team-interviews
with current and former members of the University community concerning their experiences at Michigan, researching MIMI-VUE themes at the Bentley Historical Library, and helping plan the "Millennial
Web Days," which will electronically unite the U of M community
around the world on December 31, 1999 and January 1, 2000). Initial
class sessions will discuss the readings and prepare students
for each activity. Thereafter, students will work individually
or in teams. Grades will be based on quality of group participation
and project work. Cost:1
WL:4 (Kirkpatrick)
Section 002 – Crossing Erotic Boundaries: Representations of Lesbianism in Early Modern Western Europe. We will examine the varieties of representations of women who desired other women in Western Europe from the 15th-17th centuries. Focusing on England and Italy, with forays into France, Germany, Spain and Holland, we will read early modern texts (poems, drama, opera, mythology, prints, paintings, domestic artifacts, pornography, and medical writing), as well as contemporary theorizing about lesbianism. Charting continuities and discontinuities between early modern conceptions and twentieth century ones, we will investigate the extent to which a coherent history of lesbianism exists. Cost:2 WL:4 (Simons)
Section 003 – Art and Geometry: Circumscribing Patterns in Islamic Art. Within the Islamic world from Arabia to Spain and Indonesia, beginning in the year 1 hijri (622 C.E.) to the present, pattern-making has served a primary function in the organization of two- and three-dimensional space. The role of geometry in pattern-making is critical to an understanding of patterns as a form of spiritual and aesthetic expression. This course will explore aspects of geometry (in particular, properties of the circle) and the role of symmetry, asymmetry, and symmetry-breaking in Islamic arts and architecture. Students will be introduced to the foundations of Islam (Qur'an; Muhammad as Prophet), as well as to a basic understanding of symmetry as a tool for analysis and design. Attention will be paid to social aspects of pilgrimage and mosque architecture, as well as to aesthetic concerns of calligraphy and arabesque. Major monuments, illustrated through slides, include the Dome of the Rock in Jerusalem, the Alhambra, and the Taj Mahal. Class readings and discussion will focus on patterns in ceramics, stucco, metal, wood, and textiles, exploring architectural ornamentation and objects. Critical distinctions will be made between perception, analysis, and construction of patterns in an attempt to understand meanings of pattern-making for the maker. Students will engage in pattern-making activities, as well as visit local museum collections. A midterm exam and a final project are required. (Bier)
Section 004 – Archaeological Museum Practices. In this course students will explore the manifold missions of archaeological museums through assigned readings, discussions with museum professionals, hands-on experience, and written assignments. The Kelsey Museum of Archaeology will provide a home base for the course, and Kelsey Museum activities will provide many of our case studies of exhibitions, research on the collections within the museum and in the field, conservation and storage, public outreach and ethics. Cost:1 (Thomas)
Section 005 – African Religious Iconography. The art of Africa is known for its richly diverse visual vocabulary. Images of gods, ancestors and other spirit beings, and magical charms abound. While frequently the distribution of some of these forms may appear to be geographically circumscribed, they also reflect common themes and contextual associations. Research has determined that African religious philosophy both prescribes and informs the meanings and uses of many art works. The course aims at identifying and exploring some recurring themes in African iconography. It analyses visual forms used in religious worship, dwelling mainly on interpretation of imagery and context. It considers the specific social and political conditions under which images were produced and used to shed light on their total significance. Because images sometimes have multiple associations, and because meaning and interpretation can change over time and space, the course's approach will be both cross-cultural and historical. There are no prerequisites even though it would help if undergraduate participants have had one of the following courses: History of Art 108, 360, or 404. Interested graduate students may take History of Art 394 as an Independent Study. Participants will be required to do weekly intensive readings contained in a course pack (which will be available at Michigan Document Service on Church Street, off South University) and John Mbiti's Introduction to African Religion. Both reading materials are important. Students are required to attend all lectures and failure to do so can affect performance in the class. In addition to two in-class written examinations (midterm and final), each student will be required to write a 12-15 page paper. Those opting for Independent Study will produce a 20-25 page paper. Cost:2 WL:4 (Quarcoopome)
Section 006 – Russian Avant-Garde. The Russian Revolution
of October 1917 is one of the most important historical events
in the 20th-century but only since the end of the Cold War have
we been able to gain a fuller picture of the extraordinary artistic
developments that have taken place in Russia during this century.
This course will examine Russian avant-garde art both before and after the revolution (Neo-Primitivism, Cubo-futurism, Suprematism, the Jewish Renaissance, Unovis, Obmokhu, Constructivism, Productivism, Photographic Factography and Socialist Realism) so as to debate the controversial question of the relationship between avant-garde
art and radical politics. The artists Malevich, Tatlin, Rodchenko, Stepanova and El Lisitskii, and the filmmakers Vertov and Eisenstein, are among the chief characters in this seminar. Media-wise our
focus will be broad: we will consider not only painting, sculpture, photography and graphic design, but also film, opera, performance
art, and exhibition design. The class will be part-lecture, part-seminar.
Course requirements: weekly readings, two papers, and a short
class presentation. Cost:2
WL:1 (Gough)
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Times, Location, and Availability
Open to Juniors, Seniors, and Graduate Students. Sophomores by special permission.
405. Artists and Patrons.
Hist. of Art 101. (3). (HU). May be elected for credit
more than once with permission of chair.
Section 001 – China in Comparative Perspective. This course
is designed to help students see a work of art in the context
of human issues such as debates over the distribution of wealth, social privileges, or personal autonomy. In order to do this, the course trains students to investigate why a particular artifact
looks the way it does: who made it? who acquired it? where was
it displayed and for what purpose? who decided what was acceptable
and who, if anyone, challenged established styles of production?
Specific topics include: royal patronage; monastic patronage; the evolution of an open art market; the impact of art collecting
and criticism on artistic style; competition between the court
and alternative markets; the evolution of an art "world"; the use of painting as a site for social and political debate.
In short, the course provides training in the use of art for the
study of social history. While the focus of class discussion will
be the varied history of art production in China, numerous readings
in European art history will provide a comparative perspective.
No previous knowledge of Chinese history is necessary. There will
be a midterm quiz and a final paper. In addition, students will
periodically type short responses to study questions supplied
for assigned readings. There is no textbook. Readings will be
placed on reserve and/or provided in course packs. (Powers)
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Times, Location, and Availability
431/Class. Arch. 431. Principal Greek Archaeological Sites. A course in archaeology. (3). (Excl).
See Classical Archaeology
431.
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Times, Location, and Availability
448. Medieval Manuscript
Illumination. Hist. of Art 101. (3). (HU).
This course offers an introduction to an art form highly developed
in the Middle Ages: the richly illuminated hand-written book.
Beginning with the invention of the codex in late antiquity and ending with the advent of the printed book in the early modern
era, the course will treat significant moments in the history
of the manuscript. Masterworks ranging from the Lindisfarne
Gospels to the Tres Riches Heures will be studied
as products of particular historical circumstances. Topics include the process of making a manuscript, the changing status of scribes
and illuminators, the evolving roles of patrons, types of books
and their functions, and forms of decoration. Visits to the Rare
Book Room will be arranged to look at original manuscripts and facsimiles. There will be a midterm and final, a shorter and a
longer paper or project. (Sears)
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Times, Location, and Availability
453. Venetian Painting.
Hist. of Art 102. (3). (Excl).
Following introductory remarks on the history of Venice and on the character of that extraordinary city, renowned as La Serenissima
and the Queen of the Adriatic, the course will survey North Italian
and especially Venetian painting from the early 14th C. to the
late 16th C. – that is, as it evolves from the first stirrings
of a personal idiom, through the florid International Style to
Early Renaissance realism and High Renaissance idealism, and finally
to a Counter-Renaissance statement of great emotional fervor.
The period 1450-1600, including such masters as Mantegna, Carpaccio, Giovanni Bellini, Giorgione, Titian, Tintoretto, and Veronese, will be featured. At once attempting to define the special qualities
of the Venetian tradition, with its painterly and poetic sensitivities, and the creative uniqueness of some of its leading exponents, the lectures will approach the works of art both with respect
to the sociocultural contexts in which they were born and to their
relevance to us today. Students will be evaluated by way of midterm
and final examinations of essay type. Cost:1
WL:4 (Bissell)
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Times, Location, and Availability
493. Art of India. Hist.
of Art 103. (3). (Excl). Laboratory fee ($15) required.
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 a
short paper, a midterm, and a final paper in lieu of a final exam.
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 Asian Studies 111 all would provide a useful background for this course, although they are not essential to it. (Spink)
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Times, Location, and Availability
562. Baroque Sculpture
in Italy and Spain. Hist. of Art 102. (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 – that of Baroque Classicism – will then be discussed.
This will be followed by a unit on the extraordinary sculpture
of 17th-century Spain. The course will end with suggestions as
to the constants – that is, the peculiarly Baroque features -
within so much astonishing diversity. Students will be evaluated
by way of midterm and final examinations of essay type. Cost:1
WL:4 (Bissell)
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Times, Location, and Availability
591. Japanese Architecture.
Hist. of Art 103 or 495. (3). (Excl).
This course will examine Japanese architecture and gardens in the context of political and social change from prehistoric pit-dwellings
to the mid-19th century. Topics will include the design of early
court capitals as a concrete manifestation of the emergence of the Imperial institution, the impact of the tea aesthetic and classical court revival on elite residential architecture and gardens of the 17th century, and ways in which farmhouse designs
were adapted to accommodate various climates and different economic
and social functions. (Reynolds)
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Times, Location, and Availability
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