Open to All Undergraduates; Not Open to Graduate Students.
History of Art 101, 102, and 103, while covering different areas, are all considered equivalent introductions to the History of Art. These three introductory survey courses consider not only art objects as aesthetic experiences but also the interaction which exists between the artist and society. The lecture and discussion sections explore various historical, social, religious, and intellectual phenomena which are reflected in the style and content of works of art. Attention is also given to the creative act and to the problems of vision and perception which both the artist and his public must face. The three courses are numbered sequentially but they do not form a sequence. Although it would be logical to move from History of Art 101 to History of Art 102, either History of Art 101 or 102 as well as History of Art 103 serve as a satisfactory introduction to the history of art. 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. Most of the upper division courses in history of art require one of these three introductory courses as a prerequisite. 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. Photographic material is available for study in the Fine Arts Study Room in the Modern Languages Building. Examinations usually include short essays and slides which are to be identified, compared, and discussed.
102. Western Art from the End of the Middle Ages to the Present. No credit granted to those who have completed 150. (4). (HU).
A survey of the major monuments of European and American art from the Renaissance to the present. The course will emphasize individual achievements – the work of Michelangelo, Rembrandt, Goya, Manet, Picasso, etc. – but will place those achievements in the broader context of Western cultural history. Readings, the study of prints and photographs, and weekly discussion sections will provide the student with an understanding of the evolution of styles, the themes and symbols of Western art, and the problems of creation and perception encountered by both the artist and the viewer of art. Formal requirements include two short papers, a midterm, and a final. There is no prerequisite. History of Art 102 forms a sequence with 101 (The History of Western Art to the End of the Middle Ages) and 103 (The History of Asian Art) and is a prerequisite for concentration. (Olds)
222(322)/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).
This course serves as an introduction to Roman art and archaeology from the foundation of the city of Rome through the fall of the Roman Empire. Emphasis will be placed upon important Roman contributions to the history of art and architecture, including portraiture and other forms of sculpture, vaulted and domed concrete architecture, and other feats of engineering such as underwater construction. The course will also introduce students to the materials and methods of archaeological excavation through lectures and discussions focused on particular Roman sites. Weekly discussion sessions will make frequent use of original Roman artifacts (works of art as well as objects of daily life) in the collections of the Kelsey Museum of Archaeology. These might include examples of pottery, mosaic, painting, marble sculpture and architectural decoration, textiles and glass. There are no prerequisites for the course. Requirements consist of one or two short written assignments (about 3 pp.), a midterm and a final exam. (Gazda)
260. European Painting and Sculpture of the Seventeenth Century. Hist. of Art 102 or permission of instructor. (3). (HU).
After an opening review of 16th-century artistic and ideological developments, the course considers the revolutionary achievements of Annibale Carracci and Caravaggio, who together are shown to have established the premises of the three major trends in 17th-century art: Baroque Classicism; the "Ecstatic" Baroque; Baroque Realism. Each of these sub-categories is then discussed in turn, following a lecture format and a complete syllabus, with examples drawn from the painting and sculpture of Italy, France, Spain, Flanders and Holland, and with attention given to the historical/cultural circumstances under which the works were produced. Simultaneously, the uniqueness of such major masters as Guido Reni, Poussin, Guercino, Rubens, Bernini, Velazquez, Martinez Montanes, Georges de La Tour, Vermeer, and Rembrandt will be revealed. It is hoped that a spectacle of astounding creative richness will emerge. But the course will end with an attempt to demonstrate that for all this apparent diversity, there is an underlying philosophical unity to 17th-century art, and it is also to this point that the textbook (John R. Martin, Baroque, NY, 1977, Harper and Row Icon paperback) addresses itself. Beyond the text, there will be a minimal amount of required reading, considerably more suggested reading, and continual study of the visual material in conjunction with the lecture notes. Students will be evaluated on the bases of the midterm and final examinations and a short paper. (Bissell)
272. Arts of the Twentieth Century. Hist. of Art 101 or 102; or permission of instructor. (4). (HU).
In lecture, a survey of the major movements and personalities of 20th century Western painting and sculpture. Some attention will also be given to the arts of architecture and cinema. Weekly discussion sections will focus on individual aspects or concepts of the course material to develop individual skills in approaching 20th century visual art and related ideas including socio-political and philosophical issues. There will be two examinations, a midterm and a final. In addition, there will be a 10-15 page paper or project requirement. The required text is Arnason, History of Modern Art. Students are also strongly urged to purchase Chipp, Theories of Modern Art. The course is ideally suited as a sequel to Western art survey courses (either 101 or 102) and provides an excellent foundation for further specialized study in the visual arts of the 20th century. All major "isms" from Fauvism to Conceptualism and New Realism will be examined. A program of films associated with Cubism, Dada, Expressionism and Surrealism (5-10 films) is planned. (Miesel)
376. Dada and Surrealism. Hist. of Art 102 or 272; or permission of instructor. (3). (HU).
A survey of the crucial artistic and intellectual concepts developed by the Dadaists and Surrealists. This lecture course will examine the problems explored by Dada, in the personalities of Duchamp, Arp, Schwitters, Ernst and the Berlin Dadaists, and will briefly consider the influence of these artists on the later art of this century. The growth of Surrealism and its relationship to new scientific and psychological thought will be approached through the art and ideas of Arp, Miro, Ernst, Giacometti, Dali, Magritte, Tanguy and some of their "followers." The lectures will cover the Dada and Surrealist work in painting, sculpture, happenings, environments and film. All students will take a midterm and a final examination and do a project or a paper. Reading includes a general text as well as reading in two or three appropriate paperbacks. (Miesel)
387(487). Art of India. Hist. of Art 103 or permission of instructor. (3). (HU).
The Art of India is a course 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, Joseph Campbell's Oriental Mythology (vol. 2 of Masks of God), S.C. Welch's The Quest for Krishna will be used. The major course requirements are a midterm and a final paper (instead of a final exam). When possible the course will take advantage of nearby exhibitions. 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, or Asian Studies 111 all would provide a useful background for this course, although they are not essential to it. (Spink)
388(488). Art of China. Hist. of Art 103 or permission of instructor. (3). (HU).
This course provides an introduction to the art of China from the Neolithic period to the twentieth century, with special emphasis on Bronze Age arts (bronze vessels and jades), recent archaeological discoveries, Buddhist sculpture, and figure and landscape painting. The approach is rather strictly chronological, and the students are expected to learn something about the history, religion, geography, etc. of China as well as its art. There will be one or two papers (depending on the topic), and a final exam. Although History of Art 103 (Arts of Asia) is a desirable prerequisite, students with some previous course work in the history or culture of China, or those with a strong interest in the area, should be able to take this course without difficulty and need not seek the permission of the instructor beforehand. (Edwards)
Open to Upperclass Students and Graduate Students
437/Class. Arch. 437. Egyptian Art and Archaeology. (3). (HU).
This course offers a survey of the major trends in the sculpture, painting, and architecture of Pharaonic Egypt – from the Predynastic period to the conquest of the Nile Valley by Alexander the Great. Special themes will include the funerary portrait – stylistic modes, symbolism, and social significance. The third lecture hour each week will routinely involve a discussion format centering on art objects in the Kelsey Museum of Archaeology. Basis of evaluation : An original research paper, based on an unpublished sculpture in the Kelsey Museum, will be assigned in two stages. At each stage, suggestions and commentary will be offered so that the work can be rewritten before being assigned a final grade. Two one-hour quizzes will constitute the other part of the grade. Texts available for purchase : C. Aldred, Egypt to the End of the Old Kingdom; Boston Museum of Fine Arts, Ancient Egypt; R. Fazzini, Images for Eternity: Egyptian Art from Berkeley and Brooklyn; M.C. Root, Faces of Immortality (all in paperback). Additional texts on reserve. (Root)
450. Early Renaissance Art in Italy. Hist. of Art 101 or 250; or permission of instructor. (3). (HU).
After introductory lectures on the history and topography of Florence and the technique of fresco painting, the principal material of the course is evolution of Florentine mural cycles in the fifteenth century. Masaccio's revolutionary work in the Brancacci Chapel, the monastic cycle by Fra Angelico at San Marco, Piero della Francesca's perfect game of chess at Arezzo, and Ghirlandio's mirrors of Florence and its citizenry at Santa Maria Novella and Santa Trinita are among the major artists and monuments approached. Narrative programs are discussed from various standpoints: the secular patronage of ecclesiastical art; the liturgical uses of mural art; the relationship of a mural program to its architectural milieu; the evolution of early Renaissance style within fresco painting from the 1420's to the 1480's. The reading provides a wider art-historical framework; the main text is Frederick Hartt's Italian Renaissance Art, Prentice-Hall/Abrams, New York, 1975. Prerequisite: History of Art 101 or 102, or permission. Obligations: a midterm and a final examination; a term paper. (Eisenberg)
482. Buddhist Art. (3). (HU).
This course will present a detailed chronological survey of the Buddhist architecture, sculpture, and painting of India, Southeast Asia, Tibet, China, and Japan, with particular emphasis on the development of these arts in response to the evolution of Buddhist doctrine and changes in devotional practices. Students should therefore bring to the course an interest in Buddhism as a religion, as well as some prior knowledge of the history and culture of the countries involved. The main requirements will be a final examination and a term paper of ten to twenty pages in length on a subject of the student's choice. (Kane)
485. The Art of Southeast Asia. Hist. of Art 103 or permission of instructor. (3). (HU).
Primarily the art of Indonesia, Cambodia, Thailand, and Burma, from about the beginning of our era to the nineteenth century. The meaning of the great Hindu and Buddhist temples and monuments like Angkor Wat and Borobudur; the ways Southeast Asian art has developed; the nature of national characteristics. Lecture and discussion. Two short papers; hour exam; final. (Woodward)
499/Amer. Cult. 499/College Honors 499. The Arts in American Life. Seniors concentrating in American Culture, seniors in any Honors curriculum, or graduate students with permission of instructor. (3). (HU). May be elected for credit more than once with permission of instructor.
See American Culture 499. (Coles)
513. Comparative Psychology of the Arts. Permission of instructor. (3). (HU).
Intended to explore cross-connections between the fine arts, performing arts, architecture, music, and literature, this is a discussion course for about 40 students – graduate and a few upper-class undergraduates – with a good theoretical or practical background in at least one of the above areas. Discussion will be based on writings by artists, art theorists, psychologists, philosophers, such as Langer, Freud, Roger Fry, Mondrian, Auerbach. Application forms, to be handed in by December 15, will be available at Department offices. A term paper in the student's preferred area will be required for credit. (Arnheim)
514. Spanish Art: El Greco to Goya. Hist. of Art 102 or permission of instructor. (3). (HU).
Beginning with lectures that presume to formulate a notion of the spiritual bond between apparently dissimilar works of Spanish art, the course passes to in-depth analyses of selected major Spanish painters and sculptors from the late 16th c. to the early 19th c.: El Greco (the Italian-trained Greek working in Toledo), Ribalta, Martinez Montanes, Ribera, Velazquez, Zurbaran, Cano, Murillo and Goya. The cultural/historical situations, the creative uniqueness, and yet the essential "Spanishness" of each of these masters will be explored in a lecture format (supported by a syllabus) that proposes to strike a balance between objective and engaged approaches to the discipline. There will be a modest amount of required reading (for purchase: J. Brown, Images and Ideas in Seventeenth-Century Spanish Painting, paperback, Princeton, NJ, 1978), considerable optional reading (for which a bibliography and reserve books will be provided), and continual emphasis on study of the visual material, all leading to evaluation by way of midterm and final examinations. Undergraduate students with some basic training in the history of art should by no means be intimidated by the "500" course number. (Bissell)
531/Class. Arch. 531. Aegean Art and Archaeology. Hist. of Art 221 or 222; or permission of instructor. (3). (HU).
See Classical Archaeology 531. (Pedley)
566. French Architecture from the Renaissance to the Revolution. Hist. of Art 102 or permission of instructor. (3). (HU).
Essentially the course will study the evolution of a distinctively French classical architecture from its tentative beginnings around 1500 to its full flowering in the mid-1600s and the elaboration of that tradition in the early 1700s. Equal attention will be given to stylistic, historical, and social factors in the genesis of architectural monuments. The development of Paris as an urban entity will receive much attention. Some knowledge of the language of classical architecture will be helpful. The course will be conducted through lectures, some discussion, and selected readings. Students will be evaluated by means of an hour examination, a term paper of moderate length, and a final exam as well as by their participation in the course. (Whitman)
580. Twentieth-Century Masters. Hist. of Art 102, 272, or permission of instructor. (3). (HU).
The art of the American abstractionist, Frank Stella, will be traced from its beginnings in New York in the late 1950's to the present. It will be examined in relation to developments in American painting and art criticism during this period and, given its great stylistic and conceptual range, within the broader perspectives of the history of abstraction. In the attempt to characterize and evaluate Stella's achievements, attention will also be given to his emergence during the 1970's as a major print maker, a critical development that will be acknowledged in a retrospective of the artist's prints at the University of Michigan Museum of Art in Fall 1982. Readings for the course will be drawn entirely from articles and exhibition catalogues. There will be a midterm, final, and two required papers. (Axsom)
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