Courses in History of Art (Division 392)

250/MARC 250. Italian Renaissance Art. Hist. of Art 101 or 102 or permission of instructor. (3). (HU).

This course provides an introduction to the art of Florence in the second half of the fifteenth century and the first half of the sixteenth. Early lectures will focus upon the principal artists working in Florence under the rule of Lorenzo the Magnificent, including Sandro Botticelli and Leonardo da Vinci. Subsequent lectures will discuss art in Florence during the Republic, focusing upon major commissions such as Michelangelo's David and Battle of Cascina and Leonardo's Battle of Anghiari; there will also be some discussion of Raphael's activity in Florence. A final series of lectures will treat the history of Florentine art from the restoration of the Medici in 1512 to the establishment of Cosimo I in 1537. Artists to be considered include Pontormo, Bronzino, and Michelangelo. Students should have had History of Art 101 and/or 102. History of Art 250 in turn prepares students for more advanced courses on Italian art. Students will be evaluated on the basis of a midterm and a final examination covering materials discussed in lectures and in readings. A recommended text is F. Hartt's History of Italian Renaissance Art. Cost:2 WL:4 (Smith)

394. Special Topics. (3). (Excl). May be elected for credit more than once.
Section 201 The Art and Archaeology of Ancient Nubia, Egypt's Rival in Africa.
Nubia has long stood in the shadow of ancient Egypt, its northern neighbor. Yet this cultural entity displayed state-building potential similar to that of Egypt and in one historical period conquered and ruled Egypt itself. In all periods, the material culture of Nubia remained distinctive, even with the integration of selected Egyptian motifs and architectural forms. Through illustrated lectures and discussions, the course will survey the art and archaeology of Nubia, from prehistoric times down to the Meroitic Period (ending AD 350). We will also explore Nubia's relationship with Egypt and with civilizations elsewhere in Africa. Student evaluation will be based on an examination and a term paper. There are no prerequisites for the course; however some background in art or ancient history is recommended. Cost:2 WL:1 (Richards)

Section 202 Women and Work in 19th and 20th Century French Art. The categories of "woman" and "work" raise questions about how "woman" is formed within a social or visual context and why "work" is associated with physical labor and paid production. This course will explore these categories from 19th century Realism to 20th century Social Realism primarily in French art and visual culture. The increasing depiction of shopgirls, domestics, laundresses and prostitutes from Manet to Degas suggests a canon of female labors. Despite the shifting legal status of French women and their entry into previously all-male societies, worksites and occupations, these continued to be represented as masculine. The course is concerned with the eroticization of the working woman, relationships between pleasure and labor, and work and family. Throughout, we will consider how these images construct ideas about sexual and social roles in an age of industrialization, urban expansion and colonial conquest. Evaluation will be based on class participation and two papers. (Shanahan)

Section 203 American Cultures in Conflict: The Arts and Crafts Movement, the American Renaissance, and a Nation in Transition. Emphasizing simplicity of form, integrity of materials, and the importance of craftsmanship, the Arts and Crafts movement has been seen as diametrically opposed to the elite neoclassical tendencies in the United States of the late nineteenth century designated the American Renaissance. As the two dominant aesthetic trends in American art between 1876 and 1917, what were the meanings and implications of this artistic and conceptual opposition for American culture? Was this opposition everything it seemed, or was there an inherent, unstated, or even unconscious complicity between the two movements to achieve ends of artistic and cultural unity? This course will concentrate on these and related questions, examining both movements against their contextual background as offspring of European artistic and social concerns and representatives of American identity and ambition. Special attention will be paid to local monuments and artifacts; the Law Quad and the Clements Library providing one example of this aesthetic opposition. Midterm, final exam, and 10-12 page paper required. Cost:2 WL:4 (Fodor)

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