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 hour exams and a final. History of Art 102 forms a sequence with 101 (The History of Asian Art) and is a prerequisite for concentration. (Collier)
151. Art and Ideas East and West. (3). (HU).
In this course, a comparative study is made of eastern and western cultural forms, ideas and values as these are reflected in examples of painting, sculpture and architecture as well as in poetry, music and other forms of creative expression. This course also compares western and eastern attitudes toward significant cultural themes such as time, nature, death, God, love and action. (Spink)
212/Architecture 212. Understanding Architecture. Not open to students enrolled in Architecture. (3). (HU).
The College of Architecture and Urban Planning presents Architecture 212/History of Art 212 – open to all and limited to an enrollment of 350 only by room size. Prof. Kingsbury Marzolf and several other faculty members from the College will participate and collaborate in presenting: (1) ways of looking at, and experiencing architecture and urban space – past and present; (2) our response to space, form, color and texture; (3) how various societies have interpreted their culture in buildings; (4) how these buildings have been and are constructed; and (5) contemporary architectural concerns. Three student projects plus an hour exam are required. The following books are required: J. M. Fitch, American Building: The Historical Forces that Shaped It; and Charles Jencks, Modern Movements in Architecture. (K. Marzolf)
222(322)/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).
See Classical Archaeology 222. (Fant)
250. Italian Renaissance Art. Hist. of Art 101 or permission of instructor. (3). (HU).
A survey of Renaissance painting and sculpture in Florence and Rome. The course begins with an in-depth discussion of Masaccio's frescoes in the Brancacci Chapel, a case study of some of the technical, thematic/expressive, and stylistic concerns of the Italian Renaissance and of their ideological and artistic sources (including Giotto and Ghiberti). Following a printed course syllabus, the lectures will then emphasize in turn such major masters as Donatello, Piero della Francesca, Verrocchio, and Botticelli, and the great triumvirate of Leonardo da Vinci, Raphael, and Michelangelo, with the ends of revealing the maturation of Renaissance attitudes, the shift from Early Renaissance to High Renaissance modes of thinking and creating, and, always, the individual personalities and special gifts of each artist. There will be a limited amount of required reading (text: F. Hartt, History of Italian Renaissance Art, Prentice-Hall/Abrams, latest ed.), considerably more suggested reading, and continual emphasis upon study of the visual material. Grading will be based upon the midterm and final exams and, perhaps, a short interpretive paper.
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 be given to the arts of the poster, photography, the cinema and architecture. 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 ideas. (Kirkpatrick)
305/MARC 323. The Themes and Symbols of Western Art. (3). (HU).
This lecture course will explore the origins and development of the major themes of Western art, including Greek and Roman myths, the Old Testament, the Life and Passion of Christ, the Lives of the Saints, the Apocalypse, and the legends of Alexander and Arthur as well as other ancient and medieval heroes and heroines. It will also serve as an introduction to the role of symbolism, allegory, and metaphor in Western Art. The course will deal primarily with ancient and medieval art. Students will read selections from original texts. The course is designed not only for Art History majors but for students of literature and history as well. There will be one final. Three writing projects are required, divided into six papers (5-6 pages long), which will introduce the student to iconographical research in both secondary and original sources. Students will deal not only with well-documented works of art, but also with originals (in local museums) which have never been researched before. (Bornstein)
Open to Upperclass Students and Graduate Students
408. Ancient Art of the Americas. History of Art 101, 102, or 103; or permission of the instructor. (3). (HU).
The course will survey the arts of the principal cultures in North, Central and South America from their earliest manifestations up to the late 15th century. Special emphasis will be put on the major cultures of Peru, Mexico, and the Southeastern and Southwestern portions of North America. Architecture, architectural sculpture and painting are themes which will be included as well as a more in-depth discussion of stone sculpture, ceramics, metal work and textiles. The course is not part of a departmental sequence and its methods of instruction will be primarily lectures along with visits to the Museum of Art, and possibly the Museum of Anthropology. Student evaluation will be based upon a midterm and a final examination and possibly a paper. While no special background is required, a familiarity with the cultures involved would be helpful. (Maurer)
422/Class. Arch. 422. Etruscan Art and Archaeology. Hist. of Art 221 or 222; or permission of instructor. (3). (HU).
This course traces the development of Etruscan civilization through its art and architecture from its rise in the 7th century B.C. through its decline in the Hellenistic period (late 4th to the 1st century B.C.). The discussion of painting, sculpture, architecture and minor arts is organized by period and locale. For example, within each major area of development, such as the archaic 6th century, the art of Caere would be compared with that of Tarquinia in order to discern the distinctive characteristics of the art and architecture of each of these major Etruscan territories while also tracing influences of one area upon another. The evidence of the artifacts forms the basis for discussion of the socio-economic conditions, religious and burial practices, and historical events of Etruscan civilization. The course material will be presented primarily in slide illustrated lectures; whenever possible, Etruscan objects in the Kelsey Museum and the Detroit Institute of Arts will be used in class discussions and for written assignments. Student performance is evaluated in two examinations (midterm and final) which consist of slide attributions and essay questions, and two written assignments at least one of which focuses on the analysis of an Etruscan work of art at the Kelsey or in Detroit. Students enrolled for graduate credit must do a substantial research paper for the second written assignment. (Gazda)
433/Class. Arch. 433. Greek Sculpture. Hist. of Art 101 or permission of instructor. (3). (HU).
See Classical Archaeology 433. (Pedley)
436/Class. Arch. 436. Hellenistic and Roman Architecture. Hist. of Art 101 or 330; or permission of instructor. (3). (HU).
See Classical Archaeology 436. (Humphrey)
453. Venetian Painting. Hist. of Art 102 or permission of instructor. (3). (HU).
A survey of the history of North Italian and especially Venetian painting from the early 14th C. to the late 16th C., with major emphasis on the period 1450-1600 and such masters as Mantegna, Giovanni Bellini, Giorgione, Titian, Tintoretto, and Veronese. An attempt will be made to define the special qualities of the Venetian tradition, in part through contrast to Central Italian developments, while at the same time the creative uniqueness of each individual master will be revealed. The works will be viewed both with relation to the specific historical/cultural circumstances under which they were produced and with regard to their relevance to us today. There will be a minimal amount of required reading (text: Johannes Wilde, Venetian Art from Bellini to Titian, Oxford paperback, 1974), considerably more suggested reading, and continual emphasis upon study of the visual material. A syllabus and bibliography will be provided, and grading will be based primarily upon midterm and final exams. (Bissell)
465. Rembrandt and His Contemporaries. Hist. of Art 102 or permission of instructor. (3). (HU).
This course will explore the development and significance of the various aspects of Dutch painting in the seventeenth century. Particular attention will be given to the work of major masters such as Hals, Honthorst, Vermeer, Terborch, and Ruisdael while the career of Rembrandt will be pursued in all its depth and variety. Paintings will be considered in relationship to Dutch culture of that period as well as to the artistic traditions, local and international, from which they sprang. The teaching method will be lecture and some discussion combined with a course text and selected reading assignments. Student evaluation will be based on a midterm examination, the final examination, and a term paper. Some general knowledge of European art history will be assumed. (Whitman)
476. Realism and Impressionism. Hist. of Art 102. (3). (HU).
History of Art 476 presents a survey of Realist and Impressionist painting in France from about 1848 to 1855. Among the major painters discussed will be Daumier, Courbet, Monet, Degas, Renoir, and Pisarro. Attention will be given to the emergence and formulation of new approaches to the form and content of painting during this period, the relationship of the new painting to tradition and to other concurrent art movements. Also considered will be the relationship of painting to photography and to aspects of French society during the Second Empire and early Third Republic, including patterns of patronage and the role of art dealers and critics. The course is open to juniors, seniors, and graduate students. A background in the history of art since the Renaissance is required, and earlier course work in either nineteenth or twentieth-century art is desired. Classes will be mainly in the form of lectures although there should be plenty of opportunity for class discussion as well. A paper and a final examination will be required. Students will be asked to buy one paperback text, Linda Nochlin's Realism; other readings will be assigned from books available on reserve in the Fine Arts and Undergraduate libraries; of these the principal text will be John Rewald's History of Impressionism. During Winter, 1983, a special emphasis will be placed on Impressionist paintings in the 1870's. (Isaacson)
478. American Art: 1890 to 1940. Hist. of Art 102 or permission of instructor. (3). (HU).
This course will concentrate upon American painting and sculpture from 1890 to 1940 but students with special interests in architecture and photography will be encouraged to develop projects in those areas. Among the major artists to be studied will be: Eakins, Homer, Whistler, Demuth, Marin, Hartley, Dove, O'Keefe, Sheeler, Hopper, Davis and Man Ray. Such groups as "The Eight," "American Scene Painters" and "Social Realists" will also be examined. In addition, a few artists usually associated with European movements as well as certain European movements of great importance to the development of art in the United States will be reviewed; e.g., Duchamp, Picabia and Cubism, Dada and Surrealism. Student evaluation will be based on midterm and final exams and a 15-20 page research paper. (Miesel)
486. Art of the Central Islamic Lands from Muhammad to the Mongols (600-1258). Hist. of Art 386; or permission of instructor. (3). (HU).
History of Art 486 will survey the formation and development of Islamic art and architecture in Mesopotamia, Syria, Arabia, and Palestine from the rise of Islam in the seventh century A.D. to the fall of Baghdad to the Mongols in 1258. This is the geographical and chronological core of Islamic art, from which regional variations and later styles developed; it embraces the creation of original and distinctive forms, such as the arabesque and the stalactite vault. Ties with late Antique, Byzantine, and medieval European art will be explored. Slide lectures with occasional discussions will be complemented by sessions with objects in University collections. Two analytic papers (8-15 pp.) will be assigned, and there will be a final examination. (Allen)
488(479). Chinese Painting. Hist. of Art 103 or permission of instructor. (3). (HU).
The course offers a survey of Chinese painting from its beginning through the eighteenth century. The approach is chronological, and the works of individual artists are examined in relation to their time and as reflections of their cultural milieu. A major change occurs in Chinese painting in the thirteenth century, when concern with representing the external world shifted to interest in presenting a personal interpretation of reality. Focus is on individual artists, their paintings, the theories of art they expounded, and the various schools of art that developed. Midterm and final examinations. (French)
494(388). 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 students are expected to learn something of the history, religion, geography, etc., of China as well as its art. The main requirements will be a final exam and a term paper of ten pages (for undergraduates) on a subject of the student's choice. Two informal review quizzes will replace the midterm exam. Although History of Art 103 (Arts of Asia) is very desirable as a prerequisite, students with some other previous course work in the history, culture, or language of China may take this course without seeking permission of the instructor beforehand. However, students with no prior experience at all in the study of China may find this course too difficult, because of the unfamiliar names, terminology, and Buddhist iconography. (Kane)
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)
555. Renaissance Architecture in Italy. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).
A survey of Italian buildings from Brunelleschi to Palladio, this course endeavors to explain the formal nature of Renaissance, classical architecture and to relate it to the historical background of the city-state and the papacy. The theory and practice of Alberti, Bramante, and Michelangelo are explored in some detail. Lectures and discussion are supplemented by a textbook and varied shorter reading assignments. Evaluation of students is based on an hour examination, an analytical paper, and the final examination in addition to class participation. Graduate students will write a term paper. (Whitman)
563/Architecture 563. Visionary Architecture. Permission of instructor. (3). (HU).
This course begins with an historical review of the work of prominent visionary architects – Villard de Honnecourt, Leonardo da Vinci, Piranesi, Boullee, Ledoux. Visionary architecture as defined by unbuilt projects, research, competitions, etc. Utopias of the Renaissance and XIXth Century – the influence of Cubism, Futurism, Expressionism, and Constructivism on Visionary Architecture in the XXth Century and visionary projects for buildings and cities in the future. Lecture. Required reading list provided, term paper required. (Malcolmson)
579. Aesthetics of Film. Hist. of Art 102, 236, or 272; or permission of instructor. (3). (HU).
This course will explore the nature of film as a visual language by concentrating on three types of film art: animated films, experimental films and the new documentary. Focus will be divided between considering general principles of film as art (perception, film time and film space, composition, sound-sight relationships, et al.) and considering the individual applications of these general principles which results in a personal cinema style. This course, by focusing on film as a visual art, is intended to complement, extend and enrich other university courses which approach the film as literature, history, social document and/or theatrical drama. (Kirkpatrick)
595. Japanese Ink Painting of the Eighteenth and Nineteenth Centuries. Hist. of Art 103. (3). (HU).
Japanese painting falls roughly into two categories: an essentially linear style influenced by the brush techniques and manners of Chinese art, and a basically decorative style expressed largely through shapes and colors reflective of a native sensibility. It is the art affected by China that is the focus of this course. Some knowledge of Chinese painting styles is therefore essential, as well as familiarity with Japanese ink painting of the fifteenth and sixteenth centuries when Japanese first looked to China for models of ink landscape. In contrast to the earlier period, ink paintings of the eighteenth and nineteenth centuries (called bunjinga or nanga) take on more Japanese characteristics, resulting in a unique and beautiful hybrid style. Major masterpieces of the ink genre will be studied, as well as original works available in the University of Michigan Museum of Art. Midterm and final exams plus one term paper are required. (French)
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