105. Western Art from the End of the Middle Ages to the Present II. Hist. of Art 104 or permission of instructor. No credit granted to those who have completed Hist. of Art 102 or 150. (2). (HU).
A chronological history of major achievements in painting, sculpture, and architecture from the 17th C. To the present, this course proposes both to reveal the uniqueness of great creative personalities (how, through a manipulation of the materials of their art forms, they give expression to their deepest feelings) and to place these masters within specific art-historical and social contexts (each with its own aspirations and ideologies, its own conceptions of the physical and spiritual worlds). Weekly discussion sections will reinforce the lectures and explore special topics while encouraging intellectual and emotional involvement with the works of arts. Throughout the student will be introduced to basic methodologies of the discipline. A textbook and set of illustrations will be supplemented by a syllabus and posted photographs, and grading will be based upon two examinations and participation in discussion sections. Except for commitment, there are no prerequisites. (Bissell)
479. Nineteenth-Century Masters. Hist. of Art 102, or 271, or permission of instructor. (3). (Excl).
ANGELS AND FALLEN WOMEN: "THE WOMAN QUESTION" IN BRITISH ART. Even before the reign of Victoria made women's activities visible in the public sphere, British men and women were obsessed with issues which centered on gender roles. Painting, sculpture and decorative arts reflected and participated in the discourse surrounding these issues. Clearly, there was a dialogue between art and the ideology it expressed. This course will critically examine the role art played in constructing identities for women, as well as the ways it reflected the terms of the discourse. Some of the concerns of the class will include: the construction of a female identity through the "high" arts and art of popular culture; the changing ideal of femininity throughout the century, variations from the ideal and the cost of non-conformity to it; the state of education and employment for women in the arts; art as a form of political activism; the role played by gender in the separate spheres of "high" art and "low" art. Because written work dealing with the "woman question", its language and phrasing, forms the other half of the equation with art objects, it is essential to read original source documents. In addition, we will read twentieth century critical evaluations and re-evaluations of the period, its art and literature. There will not be a text, reading and looking assignments will be from a course pack and from books on reserve. There will be four short (2-4 pages) papers written in response to issues growing out of reading assignments, and a final essay. (Wickre)
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