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).
Section 001. The purpose of this course is to present a survey of major developments in Western art from the Renaissance to the present day. Works of architecture, painting, and sculpture will be studied within the context of technical, formal, and expressive characteristics and their relationship to cultural change. The presentation in the three weekly lectures will be chronological, beginning with Italian and Northern European art of the 14th and 15th centuries. Weekly discussion sections will be devoted to basic characteristics of the visual arts, to the nature of painting, sculpture, architecture, and printmaking, and to special topics related to but not identical with the lecture material. Readings will include a general historical text. Short papers, midterm and final examination will be required. No previous course work is necessary. (Huntington)
Section 013. This survey course will emphasize two broad problems: (1) The uniquely visual history of art, its distinct period, regional, and individual styles: (2) The function of art as a language with unique strengths and weaknesses, a language imbedded in and affected by political, religious, and social concerns. In short, art has its own history and is part of history. Consequently, students will develop two kinds of knowledge: (1) Visual familiarity with the styles (and favorite subjects) of major periods, countries, and artists; (2) An historical context or discourse for these styles and subjects, a sense of what they meant to their original audiences. Course requirements include readings, weekly discussion sections, close visual study of reproductions and some original works, two four page "formal analysis" papers, a midterm, and a final exam. History of Art 102 follows History of Art 101 sequentially, has no prerequisites, and is required for History of Art concentrators. (Baldwin)
222(322)/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).
See Classical Archaeology 222. (Albertson)
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)
385. Landscape Painting in China and Japan. (3). (HU).
The course will treat landscape painting of China and Japan from earliest times through the 19th century. The approach is chronological, and focus is on changing styles reflective of Chinese and Japanese historical periods. Comparisons between the art of the two countries are emphasized, as well as those characteristics unique to each nation. There will be a midterm and a final examination. (French)
Open to Upperclass Students and Graduate Students
407/Museum Practice 407. Introduction to Museum Philosophy and Practice. Hist. of Art 101 or 102 and permission of instructor. (3). (HU).
This course is designed to introduce students to the history, philosophy, and professional practices of art museums. The course will begin with a survey of the history of museums, and the philosophical ramifications resulting from the evolution of the private collection to the public museum. Current issues such as professional ethics, the impact of the commercial market on art museum acquisition policy, and the implications of current exhibition trends will be discussed. The functions of the museum – collecting, conservation, research, exhibiting, and interpreting, and their relationship to administrators, curators, educators, registrars, and support staff will be examined. There will be several short written assignments, an oral presentation, and a final examination. (Kujawski)
427/Class. Arch. 427. Pompeii: Its Life and Art. (3). (HU).
See Classical Archaeology 427. (Albertson)
434/Class. Arch. 434. Archaic Greek Art. Hist. of Art 101 or permission of instructor. (3). (HU).
See Classical Archaeology 434. (Pedley)
445(545)/MARC 445. Medieval Architecture. Hist. of Art 101 or permission of instructor. (3). (HU).
This course is designed to provide the student with a general knowledge of the evolution of European architecture between the 4th and 15th centuries A.D. The major focus of architectural design in this period was the church building, and the course will emphasize the structural, functional, and stylistic developments which led to one of the principal artistic achievements of Western history: the Medieval Cathedral. Attention will also be paid to the development of the castle, the town, and civic and domestic architecture in the Middle Ages. The monuments discussed in this course do not include all the significant achievements of the medieval architect, but they represent a cross-section of a rich and varied tradition, and an understanding of the styles technique, and practice of the monuments should allow the student to comprehend and appreciate any medieval structure in Europe. It also should enhance one's understanding of the architecture of America, much of which depends on principles rooted in the architecture of the Middle Ages. There will be a midterm and final examination. (Bornstein)
451. High Renaissance Art in Italy. Hist. of Art 102 or 250; or permission of instructor. (3). (HU).
The course will focus upon developments in painting (and to a lesser extent sculpture) in Florence and Rome between circa 1480 and circa 1520. The works of Leonardo, Michelangelo and Raphael will be studied in detail, but attention will also be given to other artists active at the time – such as Andrea del Sarto, Fra Bartolommeo, and Sebastiano del Piombo. Contemporary developments in Venice will not be discussed since there is a course that concentrates upon Venetian painting of the period. There will be a midterm examination, a research paper, and a final examination. (Smith)
462. Baroque Art in Italy. Hist. of Art 102 or 260 or permission of instructor. (3). (HU).
The course pretends to identify the most significant achievements in the development of Italian Baroque painting, from the late 16th century stirrings of a new way of seeing and working to the spectacular ceiling frescoes of the late 17th century. It focuses on such artists as Caravaggio, Annibale Carracci, Guido Reni, Guercino, and Pietro da Cortona, and upon the city of Rome. The art – religious subject matter, history, mythology, portraits, landscape, genre, still-life – will be studied for what it reveals of individual creative genius, of socio/political/religious aspirations, and of shared features which together might be said to constitute a concept of the Baroque. A balance will be sought between monographic accounts of major masters and a running narrative involving the interactions of these masters (i.e., a proposed reconstruction of the actual flow of artistic activity from year to year). The course will observe a lecture format, and students will be evaluated primarily on the basis of two examinations. A syllabus and bibliography will be provided. While the amount of assigned reading will be modest, considerable additional reading will be expected. Undergraduates with some history of art training should not hesitate to elect the course. (Bissell)
466. French Painting and Sculpture from the Renaissance to the Rococo. Hist. of Art 102 or permission of instructor. (3). (HU).
This course attempts through lectures and readings to define the French tradition in painting and sculpture and to trace its emergence from Fouquet's first contact with the Italian Renaissance until the formation of the Academy in the late 17th century. Following a survey of the fragmentary survivals of the School of Fontainebleau, the lecturer will deal in depth with such masters as Vouet, Claude, Poussin, and Lebrun as well as with the alternative art presented by Georges de La Tour and the Le Nain brothers. The textbook will be Blunt, Art and Architecture in France 1500-1700. There will be an hour examination and a final and a term paper for graduate students. (Whitman)
468. Modern Sculpture. Hist. of Art 102 and either Hist. of Art 271 or 272; or permission of instructor. (3). (HU).
Through lectures and classroom discussions the origins and evolution of modern sculpture will be examined. Beginning with Rodin and ending with contemporary "dematerializations" of the object the major movements and personalities of 20th century sculpture will be surveyed. A general knowledge of the development of modern art is, of course, advantageous and a reading of some standard text for the period, e.g., Arnason's History of Modern Art or Hamilton's 19th and 20th Century Art before or during the first weeks of the course is recommended. There will be two examinations, a midterm and a final. There will also be a 10-15 page paper of a project requirement. The required text for the course is: Albert Elsen, Origins of Modern Sculpture, and strongly recommended is: J. Burnham, Beyond Modern Sculture. Even though modern art has traditionally been identified with modern painting, it will be argued that not since the Renaissance has sculpture been so important to the visual arts. (Miesel)
483(283). Asian Architecture. Hist. of Art 103 or permission of instructor. (3). (HU).
This course will be devoted to an intensive survey of all of the most significant religious and secular architectural monuments of India, Southeast Asia, China, and Japan – viewed in the context of their religious and social functions and analyzed according to their plans, materials, structural techniques, exterior and interior decoration, environmental settings, and stylistic evolution. The material is divided into two main categories, comprising the religious and the secular, within each of which the development of the various major architectural types is separately traced, crossing national boundaries where appropriate. Buddhist stupas, pagodas, and monastic residences, Shinto shrines, Hindu temples, Muslim mosques and mausolea, as well as Indian forts, Chinese and Japanese palaces and villas, and Japanese teahouses constitute the main architectural types discussed, together with examples of city planning in India and the Far East and of landscape architecture, such as the gardens of Kashmir, Soochow, and Kyoto. While History of Art 103 (Art of Asia) is not necessary as a prerequisite, this course or some other experience in the religions and cultures of Asia is strongly recommended. A final exam and a term paper will constitute the main student requirements. (Kane)
493(387). 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 (Volume 2 of Masks of God), S.C. Welch's The Art of Mughal India, William Archer's The Loves of Krishna, and W. Spink's The Quest for Krishna will be used. The major course requirements are a midterm examination 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, 454 or Asia 111 all would provide a useful background for this course, although they are not essential to it. (Spink)
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 some 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 5, will be available at Department offices. A term paper in the student's preferred area will be required for credit. (Arnheim)
524. Graphic Arts from 1400 to 1660. Hist. of Art 101 and 341; or Hist. of Art 452; or permission of instructor. (3). (HU).
Open only to students who have taken History of Art 101-102, this course will (1) give a survey of early printmaking techniques from woodcut to engraving to etching; (2) provide monographic coverage of the major printmakers (Schongauer, Durer, Lucas van Leyden, Goltzius, Rembrandt, et al.), (3) show how prints relate to other media both within the oeuvres of individual artists like Durer and Rembrandt and more generally; (4) demonstrate the proclivity in graphic art for popular images, scientific information, and religious propaganda, prints being the only art form addressed to all classes of society and cheap enough to be afforded by all. Though the focus will be on Northern works, Italian masters will figure prominently as well. Course requirements include one 10 page paper, one midterm, and a final exam. (Baldwin)
536/Class. Arch. 536. Hellenistic and Roman Sculpture Hist. of Art 101 or 330; or permission of instructor. (3). (HU).
This course will follow the stylistic and iconographic developments in public and private sculpture from the late 4th century B.C. to the 4th century A.D. The theories underlying the reconstruction of these developments will be examined, and there will be discussions of new approaches to these problems. Lectures will consist mainly of slide presentations, although original sculptures will be examined whenever possible. The collections of the Kelsey Museum, the Toledo Museum of Art and the Detroit Institute of Arts will be emphasized. There will be one midterm and a final examination consisting of slide attributions and essay questions. A research paper of approximately fifteen pages and a short essay on a single sculpture are required for graduate students. Undergraduates may choose between a research paper and two short essays as their writing requirement. In general, the instructor emphasizes a critical approach to secondary sources on Hellenistic and Roman sculpture and encourages students to develop skills of analysis, both textual and visual. It is recommended that students have some previous exposure to Greek and Roman civilization. Foreign languages are not required for undergraduates, but it is expected that graduate students will read assignments in German, French and/or Italian and will use foreign language sources in their research. (Gazda)
547. Late Medieval Painting in Italy. Hist. of Art 101 and 341, or permission of instructor. (3). (HU).
The intention of this lecture course is to trace the roots of Italian painting in the later 12th and 13th centuries and to characterize the work of the first great individual masters in Western painting: Cimabue, Duccio, Giotto, Simone Martini, and the Lorenzetti brothers. A history of Tuscany and an analysis of the techniques of fresco and tempera painting will serve as prologue to the discussion of stylistic traditions. It is imperative that students have had as background a history of ancient and medieval art. The obligations of the students will be the following: a midterm examination, an analytical paper on an original work of painting within the scope of the course, and a final examination. Required texts: B. Cole, Giotto and Florentine Painting, 1280-1375, Harper and Row, New York, 1976; J. Stubblebine, Giotto: The Arena Chapel Frescoes, W.W. Norton, New York, l969. (Eisenberg)
563/Architecture 563. Visionary Architecture. Permission of instructor. (3). (HU).
An exploration of the sources and influence of visionary architecture through unbuilt buildings, competition projects and proto-types for new buildings; visionary work of Villard de Honnecourt, Leonardo, Piranesi, et alii : The Age of Reason; Ledoux, Boullee, et alii : Utopian architects and planners of the 19th century. The influence of visionary projects on the development of modern architecture: Relation to cubism and abstract art in the 20th century. Visionary architecture of Wright, Mies and le Corbusier, et alii : Contemporary visionary projects and the role of visionary architecture as an influence on the future. A recommended reading list will be provided. (Malcolmson)
569. Art, Truth, Beauty, and the Victorian Mind. (3). (HU).
Issues in theory, criticism, taste and artistic practice in Victorian England and America will be considered with regard to the period's perceptions of the art and of exotic lands of past ages and to contemporary developments in painting, sculpture, architecture, the decorative arts and to collecting. John Ruskin, who in the realm of art matters was an inescapable presence, will be studied in selected contexts; e.g., as interpreter of Turner, as defender of Pre-Raphaelitism, as informant of Hudson River School painting, as admirer of medieval architecture, as contemner of the Renaissance and as denouncer of the champion of "art for art's sake," James Whistler. Also to receive particular attention will be one of America's most articulate and influential proponents of art and culture, C.E. Norton, friend and emulator of Ruskin and the nation's first professor of fine arts (Harvard). Among others who are likely to figure significantly in the course are William Morris, Matthew Arnold, Walter Pater, J.A. Symonds and Frederick Leighton in England, and Church, Homer, Richardson, Saint-Gaudens and LaFarge in America. (Huntington)
578. American Art: 1940 to the Present. Hist. of Art 102, 272, 478; or permission of instructor. (3). (HU).
An examination of key developments during this period when American art achieved world prominence. This lecture course is planned to provide upper level undergraduates and graduate students with an intensive survey of the major movements and personalities in U.S. visual arts from l940 to the present. Examination of the sources and development of American 'figurative painting' during these years (Magic Realism, Wyeth, Avery, object art, radical realism, pad painting, new expressionism) will be followed by the study of the American contributions to the abstract art of this period (New York School, Albers, Color Field, Systemic painting, Minimal Art), to conceptual art (Happenings, concept art, performance art, etc.), to political art. Photography will be included and some attention will be given to architecture, film, and various other arts as part of the cultural context of the times. There will be a midterm and a final exam, and a term project/paper. (Kirkpatrick)
582, 583. History of Architecture in Islamic Countries. 582: Hist. of Art 101 and permission of instructor; 583: Hist. of Art 582 or permission of instructor. (3 each). (HU).
History of Art 582 is offered Winter Term, 1984.
This course will examine the architecture of Islamic countries from about 650 A.D. onwards surveying major Islamic sites and monuments in Spain, North Africa, Egypt, the Near East, Persia, Afghanistan, and India. Emphasis will lie on the distinctive regional architectural characteristics as they developed over the span of a thousand years and the ways in which the broader cultural background and historical context influenced this artistic evolution. The course will be composed of lectures illustrated with slides, assigned readings and discussions and will include a midterm and a final examination. (Allen)
596. Chinese Painting: Han through Sung. Hist. of Art 103 or 488; or permission of instructor. (3). (HU).
The course will deal with the "formative" period of Chinese painting from the late Chou (4th century B.C.) and Han through the high sophistication of the Sung period, until around the middle of the 13th century. Broadly speaking, this involves the development of an increasing sense of "physical realism" both in an approach to the human figure and the wider scene of the landscape itself. Careful attention will be paid to the analysis of form, with the purpose of understanding the meaning of those forms and the degree to which they reveal the meaning of Chinese civilization during this time. When their works survive, contributions of individual artists will be stressed. Since it is an advanced course, for which some prior knowledge is required, students should not expect a systematic survey. Discussion will be emphasized and the degree to which a given aspect (or aspects) of the period is explored will depend a great deal on student interest and need. A major paper, serving as a focus for those interests, will be required. (Edwards)
599. Japanese Painting of the Edo Period. Hist. of Art 103, 390, or 495. (3). (HU).
Japanese painting of the 17th, 18th, and 19th centuries can be divided roughly into four categories. (1) Rimpa, the decorative school: Artists took as their themes, flowers, birds, and subjects from Japanese literature, and painted them in bold and dramatic designs. (2) Ukiyo-e, "art of the floating world": The subjects were women of the brothels and actors of the kabuki stage, themes treated both in paintings and in the woodblock prints that became so popular in the West. (3) Bunjinga, "pictures by literary men": Largely imaginary landscapes of China and figures of Chinese lore were the fashion, subjects that appealed particularly to scholars of Chinese culture. (4) Shasei, "drawing from nature": The term applies broadly to several types of art, from naturalistic renderings to Western style oil paintings. The above are the major topics considered, and the course concludes with a look at current art trends. Ideally, Japanese Painting to 1600 (History of Art 598), should be taken before History of Art 599, though it is not specifically required. Either History of Art 103 or History of Art 489 is a prerequisite. Lecture course, grades determined by a midterm, a final exam, and one written paper. No required texts to purchase. (French)
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