Courses in History of Art (Division 392)

Open to All Undergraduates; Not Open to Graduate Students.

113/Art 113. Introduction to the Visual Arts. This course is for non art majors only. (2). (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:3 WL:4 (Kapetan)

394. Special Topics. (3). (Excl). May be elected for credit more than once.
Section 201 Spaces of Modernity: Mapping the Urban Body.
The principal focus of this course will be the phenomenon of urban space concentrating on several of the 'new' cities of the later nineteenth century Paris, London, and New York and its implications in the construction of a new 'urban body.' The course will explore the representation of such diverse issues as sexual and class identity, xenophobia, and urban access as they are manifest in the equally 'new' sciences of urban planning, sociology, medicine and psychiatry. By examining the construction of the urban body, the course will investigate, primarily through painting and photography, the implicit politics of control and gendered language of modernity. Cost:1 WL:4 (Campbell/Sinfield)

Section 202 Social/Sexual Contracts: French Art, 1745-1799. Rococo art of the last decades of the French Ancien Regime is associated with the sensual, the artificial, the private, and the feminine. Painters created fantasies spiced with wit and no clash of love and duty, e.g., the bathers and lovers created by Boucher and Fragonard. It is an era when women exerted some political power through roles in the private sphere as kings' mistresses and Salon hostesses. Then came the idea of Revolution and an effort to replace the frivolous Rococo with the Neoclassic style and exempla of masculine, public, heroic action as depicted in works by Jacques-Louis David. This course will study the visual arts of this period, bearing in mind how meaning (in society and the arts) is constructed by contracts. Contracts impose order on the relationships within the public and private spheres, between men and women (and between men and men) in examples such as marriage, le droit de seigneur, the monarchy, and government constitutions. Particular attention will be paid to how the meanings of art genres and forms as well as individual works of art are organized by gendered codes during an era when there is a shift from the concerns of patriarchy (Ancien Regime) towards concerns of fraternity (French Revolution). Short midterm, final, 7-10 pp. paper. Readings include: selections from Laclos' Les Liaisons dangereuses and Jean-Jacques Rousseau's Emile and On the Social Contract; Beaumarchais, The Marriage of Figaro; Lynn Hunt, The Family Romance of the French Revolution; Carole Pateman, The Sexual Contract. Film viewing: La Nuit de Varennes. Cost:1 WL:4 (Anderson)

Open to Upperclass Students and Graduate Students

458. Florentine Sculpture of the Renaissance. Hist. of Art l02 or 250; or permission of instructor. (3). (Excl).

Following a brief unit on innovative achievements in Italian Medieval sculpture, the course will trace in detail the history of Florentine sculpture from the sumptuous International Style through the genesis and evolution of Early Renaissance realism to the heroic vision of the High Renaissance. Lectures on a select number of masters (above all Ghiberti, Donatello, Luca della Robbia, Verrocchio, and Michelangelo) will consider the works as at once products of specific sociocultural contexts, as testimony to special creative genius, and as esthetic objects which by instructing and moving us can change us forever. The lectures, keyed to a syllabus, will be supplemented by required and optional reading (for which a bibliography and reserve books will be provided) and continual study of the visual material, all leading to evaluation by way of a midterm and a final examination, both of essay format. Cost:2 WL:4 (Bissell)

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