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 chronological history of major achievements in painting, sculpture, and architecture from the Renaissance to the present day, the course will attempt both to define the uniqueness of great creative personalities (how, through the manipulation of the materials of their art forms, they gave special expression to their deepest feelings) and to place these artists within wider art-historical/cultural contexts (with their ever-changing conceptions of "man's" relationship to the physical and spiritual worlds). The weekly discussion section will reinforce the lectures and explore special topics (iconography, connoisseurship, theory, etc.) while encouraging intellectual and emotional involvement with the works. Various study materials, textbooks, suggested additional readings, photographs, will be made available, and grading will be based on examinations, participation in discussion sections, and on at least one short (four pages) non-research paper and one longer (ten pages) research paper. Except for commitment, there are no prerequisites, although a student might well elect History of Art 101 (Ancient through Medieval Art) prior to the present course. (Miesel)
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)
222/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).
See Classical Archaeology 222. (Humphrey)
272. Arts of the Twentieth Century. Hist. of Art 101 or 102; or permission of instructor. (4). (HU).
A survey of the major movements and personalities of 20th century western art. The primary focus will be on painting and sculpture, with some attention given to the arts of photography, architecture, cinema and graphics. The required discussion sections will center on particular aspects of the course material to develop individual skills in approaching 20th century visual art and ideas. Grading will be based on midterm and final examinations, a term project/paper, and section participation. (Kirkpatrick)
386. Introduction to the Art and Architecture of the Islamic World. History of Art 101 or permission of instructor. (3). (HU).
An introduction to the arts of Islamic countries from about 650 A.D. onward, including architecture, painting, ceramics, metalwork, and textiles. The emphasis will lie not on dynasties and dates, but on the distinctive characteristics of these arts as they developed over more than eleven centuries in the lands between Spain and India. The course is designed to demonstrate the lines of development of Islamic art, its regional groupings, and its cultural background and context. Two short papers based on the examination of objects in the University collections will be assigned, and there will be a final examination. The course is to be composed of lectures illustrated with slides, along with occasional discussions. Unpublished and newly discovered archaeological material will be included. (Allen)
392(488). Survey of 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 18th century. The approach is chronological, and the works of individual artists are examined in relation to their time and their cultural milieu. A major change occurs in Chinese painting in the 13th 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 school of art that developed. The class will meet three hours weekly for lectures, and there will be a midterm and a final examination. Prerequisite: HA 103 or permission of instructor. (French)
393. Junior Proseminar. History of Art concentrators. (3). (HU).
Intended especially for declared and potential Honors Concentrators, the proseminar will have as a working title "With God on Its Side: Spain's Religious Mission and the Baroque Artist's Assignment." More specifically, it proposes to assess the extent to which 17th century Spanish paintings of non -religious subject matter - e.g., genre, still-life, mythology, allegory – were responsive to the special nature and intensity of Spanish religiosity and to the conception of the painter as preacher. Using visual and written sources, the instructor will attempt to characterize the religious climate of Baroque Spain (and to suggest the reasons for its coming into existence), while students will explore its impact on masterpieces of "non-religious" painting by such major artists as Velázquez, Sanchez Cotan, Ribera, Zurbaran, and Valdes Leal. Each student is to undertake assigned readings, deliver an oral report, participate in critiques of the other reports, and submit a polished paper based on his/her oral presentation. Although dedicated to a defined topic, the proseminar will involve methodologies and research skills that are applicable to art-historical investigation in general. Priority enrollment will be extended to Honors Concentrators. (Bissell)
Open to Upperclass Students and Graduate Students
404/CAAS 404. The Art of Africa. (3). (HU),
The course will concentrate on the arts of Sub-Saharan Black Africa. Emphasis will be placed on the sculptural traditions of the major West African styles in the media of wood, stone, metal and clay. The course will also cover African decorative arts and utilitarian objects. Attempts will also be made to describe and integrate interrelationships between the visual arts and African culture and religion in general. This course is not part of a departmental sequence nor is any special background needed. The classes will consist of lectures, discussion and museum experience with actual objects. Two examinations and one paper will be required. (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 from the 7th through the 1st century B.C. Discussion centers on painting, sculpture, architecture and minor arts organized according to period and locale. Within each major era of development, comparisons among various Etruscan territories highlight their distinctive characteristics and illustrate influences of one upon another. The artifacts form the basis for discussing socio-economic conditions, religious and burial practices, and historical events. The course material is presented primarily in slide illustrated lectures; whenever possible, Etruscan objects in the Kelsey Museum, Toledo Museum and Detroit Institute of Arts are used in class discussions and written assignments. Student performance is evaluated in midterm and final examinations consisting of slide attributions and essay questions and in a sequence of writing assignments focused on the analysis of Etruscan works of art in area collections. ECB students will be expected to revise each written assignment and to attend conferences with the instructor. Students enrolled for graduate credit must do a substantial research paper on a topic agreed upon with the instructor. Readings include selections from Brendel, Etruscan Art; Pallottino, The Etruscans; Banti, The Etruscan Cities and Their Culture; Scullard, The Etruscan Cities and Rome, and a variety of monographs and journal articles. (Gazda)
439/Class. Arch. 439. Greek Vase Painting. (3). (HU).
See Classical Archaeology 439. (Herbert)
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 and Michelangelo will be studied in detail, but attention will also be given to other artists active at the time. 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)
452. Northern European Art of the Fifteenth and Sixteenth Centuries. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).
This course will concentrate on the painting, sculpture and graphic arts of the Netherlands, Germany and France from the late 14th century through the 16th century. The lectures and readings will focus on the work of the great masters including Jan van Eyck, Robert Campin, Gerard David, Hieronymus Bosch, Veit Stoss, Tilman Reimenschneider, Albrecht Dürer and Peiter Brueghel the Elder and will explore the developments of various themes and characteristics of style within the religious, cultural and historical context of the Northern Renaissance period. Readings will be assigned from the new text, James Snyder, Northern Renaissance Art, (New York, 1985). Students in the course are required to write one short paper (based on a relevant museum work from the UM Art Museum, the DIA, or the Cleveland or Toledo Art Museums); a midterm and final examination. (Neagley)
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)
487/Chinese 475/Asian Studies 475/RC Hums. 475/Philosophy 475. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Y. Feuerwerker)
491. Art of the Eastern Islamic World. (3). (HU).
This course will survey art, architecture, and archaeology in the Persian-speaking world and Turkish Central Asia (modern Iran, Afghanistan, Pakistan, and Russian Turkistan) from the 6th to the 17th centuries A.D. Eastern Islamic culture continues that of the Abbasid court in 8th-10th century Baghdad (treated in HA 486); special attention will be directed to innovations within this tradition (such as inlaid metalwork, architectural tilework, and developments in calligraphy), as well as connections with Persian literary culture. Indian and Southeast Asian Islamic art will be treated only briefly. (Allen)
492/Amer. Cult. 492. The White City: The Drama of Urban-Industrial America, the Columbian Exposition, Chicago 1893. (3). (HU).
See American Culture 492. (Huntington)
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)
597. Chinese Painting: Yüan to the Present. Hist. of Art 488 or 494; or permission of instructor. (3). (HU).
A major change in the course of Chinese painting occurs toward the end of the thirteenth century, in which the personal individual expression of the artist is particularly prized. The nature of this individualism will be explored in historical sequence. Since the material is too rich for complete coverage, one or more of the periods concerned, Yüan, Ming, and Ch'ing, may receive special emphasis. Classes will be conducted through a combination of lectures and discussion. There will be brief slide tests and one major paper requiring a more penetrating study of a special artist or period within the scope of the course. There will be recommended and assigned readings but no required text. (Edwards)
599. Japanese Painting of the Edo Period. Hist. of Art 103, 390, or 495. (3). (HU).
The Edo Period encompasses more than two and a half centuries, from 1600 to 1868. The longest era of peace in Japanese history, the arts flourished with rich diversity. In painting, strong indigenous trends resulted in a reinterpretation of Japan's traditional artistic sensibilities and led to a brilliant new style known as Rimpa. "The art of the floating world" (Ukiyo-e) catered to the tastes of the townsmen, and reflected their more prurient interests in the world of the demimonde and the theater. A renewed concern with Chinese culture resulted in a painting style based on knowledge of Chinese intellectual ideals and theories, reinterpreted in a more playful Japanese spirit. And the spector of the Western world, little understood but greatly wondered at, inspired a variety of styles based loosely on what the Japanese saw as naturalism in European art. In the context of these four categories Edo Period painting will be considered, and time permitting, the course will conclude with an overview of contemporary trends. History of Art 599 is the second in a sequence, and ideally should be taken following HA 598: Japanese Painting to 1600. The order is not specifically required, but either HA 103 (Survey of Asian Art) or HA 489 (Art of Japan) is a prerequisite. Course requirements include a midterm examination, final examination, and one short paper. (French)
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