Courses in History of Art (Division 392)

Open to All Undergraduates; Not Open to Graduate Students.

105. Western Art from the End of the Middle Ages to the Present II. No credit granted to those who have completed Hist. of Art 102 or 150. (HU).

During Spring and Summer Half Terms, History of Art 102 will be offered in two sections: History of Art 104 in the Spring Half Term and History of Art 105 in the Summer Half Term. It is expected that students electing HA 105 will have completed HA 104 or its equivalent. History of Art 105 is a chronological history of major achievements in Western painting, sculpture, and architecture in the 18th, 19th, and 20th centuries. The course will attempt both to define the uniqueness of great creative personalities and to place these artists within wider art-historical/cultural contexts. 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. There will be a required textbook. Various other study materials (suggested additional readings, study photographs) will be made available, and grading will be based on examinations, participation in discussion sections, and on a short, non-research paper. Prerequisites: HA 104 or permission of instructor.

113/Art 113. Introduction to the Visual Arts. (HU).

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 (painting, drawing, printmaking, photography, architecture, film/video, computer graphics, decorative arts, and design) and will explore not only the materials and techniques used to produce works of visual art but will also consider "how art works" and how works of art relate to the cultural and historic periods in which they are produced. Students will learn how artists use formal elements (line, texture, color, composition, etc.) to communicate information and to express emotion. While emphasis will be on learning how to look at and evaluate works of art, students will also be introduced to major cultural and historical epochs in the history of art as well as to artists whose works represent the "high points" of these epochs. Assigned readings and visits to museums and galleries will help students to expand their own abilities to see, to appreciate, and to assess visual arts. Requirements include a midterm and a final examination and two short analytic papers in which students will be asked to examine and evaluate selected works of art on The University of Michigan campus. (Kapetan)

Open to Upperclass Students and Graduate Students

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

Jewish art history is both an art history of a distinct entity and an art history of diverse civilizations, cultures, and societies. The study of Jewish art history demands the simultaneous study of the art history of Western Asia, the Hellenistic and Roman worlds, the Parthian and Sasanian empires and the Islamic and Christian cultures, for Jewish art history refracts at every turn the involvement of Jews over a 3000 year period within multiple cultures and societies. This Jewish artistic involvement, it will be shown, is like a many-colored thread intricately interwoven into the design of the total non-Jewish fabric. Something as distinctly Jewish as the Temple of Solomon turns out to be an intricate part of Western Asian art; the art and architecture of the synagogue is not SUI GENERIS, but grows out of Greco-Roman art, and the art of medieval Hebrew manuscripts is inseparably linked to the art in medieval Christian and Islamic manuscripts. The art of the Jews, unlike the art of many other groups, developed and evolved primarily in multiple cultures, societies, and civilizations, and, consequently, bears the stylistic imprimatur of this long and varied multi-cultural experience. Although the styles and decorations in the art of the Jews are generally rooted in and adapted from the contemporary non-Jewish society, the iconography invariably expresses diverse Jewish religious experiences, theologies, and liturgical practices. Thus the art of the Jews in medieval Christian Spain differs both stylistically and iconographically from the art of the Jews in medieval Christian Germany. Similarly, the art of the Jews in medieval Muslim Spain differs from that of the Jews in medieval Muslim Egypt. This course will discuss such misunderstood topics as ethnic definition of art, the problem of the image and its taboo in Judaism (as well as in Christianity and Islam) and such current theories as the supposed Jewish origins of Christian art. Methodologically this course will embrace a stylistic analysis of works of art. In addition, it will focus on how art is an intricate part of the social, political, and economic forces that shaped it. (Avrin)

580. Twentieth-Century Masters. Hist. of Art 102, 272, or permission of instructor. (HU).

The course this term (Summer Half-Term, 1989) will feature the works of Pablo Picasso and Marcel Duchamp. The careers of both artists will be systematically reviewed in some detail but special attention will be given to, respectively, Picasso's role in the development of Cubism and so-called formalist modernism and Duchamp's role in the development of Dada modes of anti-formalist, "anti-art" approaches. Those wishing to take the course should have had H.A. 102 or 272 or their equivalent. There will be a midterm and a final examination plus a 12-15 page research paper or project. Assigned texts: Barr, PICASSO: 50 YEARS OF HIS ART; Bailly, DUCHAMP. Suggested texts: Barr, CUBISM AND ABSTRACT ART; Rubin, DADA, SURREALISM, AND THEIR HERITAGE. (Miesel)

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