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).
This course will chronicle the visual arts – painting, sculpture, and architecture – in western Europe from 1300 to approximately 1960. The selection presented will highlight particularly rich centers of production which are critically acclaimed, or point at times to uniquely interesting examples. Lectures will discuss expressive meaning in style, the mirroring aspect of painting, and growth in the role of artist as independent voice. The student should expect to become familiar with major monuments and eminent artists such as those associated with the Italian Renaissance, a multinational Baroque, and nineteenth century Paris. Weekly meetings include three slide-illustrated lectures and one section; readings will be assigned from the required text. Section offers an unusually valuable opportunity to develop a personal vocabulary for art and history through sharing perceptions and discourse. Final grades are based on three exams and a short paper. No prerequisites. (Agnew)
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. (Small)
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, 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. (Ruby)
375. Art of the 60's. Hist. of Art 102 or 272; or permission of instructor. (3). (HU).
This course covers the major styles and concepts in the visual fine arts during the 1960's. The main emphasis will be on art in Europe and the United States and on how that art reflected the period and society of which it was a part. We will study movements through the work of representative artists. Among the movements studied will be Pop, Op, Minimal, Color Field, Funk, Conceptual, Process, Earth, Happenings, Multi-media, Environments, New Realism, Art and Technology; artists will include Warhol, Lichtenstein, Indiana, Rosenquist, Oldenburg, Thiebaud, Ruscha, Hamilton, Paolozzi, Raysse, Fahlstrom, Rauschenberg, Johns, Dine, Artschwager, Close, Hanson, Samaras, Dubuffet, Westermann, Grooms, Segal, Marisol, D. Smith, Caro, DiSuvero, Noguchi, Nevelson, Bontecou, Francis, Louis, Frankenthaler, Vasarely, Kelly, Martin, Stella, Judd, LeWitt, Morris, Serra, Hesse, Tinguely, Schoffer, EAT, Christo, Heizer, Smithson, Kienholz. Class periods will be mostly lecture format, with some time for discussion, and some presentations of relevant films. There will be a term project/paper and two examinations: a midterm and a final. (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 course will highlight the achievements of particular times or dynasties, not survey the entire history of art of the Islamic world. Issues of importance to the development of Islamic art such as trade, urban development, court ateliers, and cultural diversity will also be included. The course meets three hours per week: two hours will be devoted to illustrated lectures and one to discussion. Grading will be based on several short papers which will examine objects in the University collections, participation in discussion, and a final examination. (Micklewright)
393. Junior Proseminar. History of Art concentrators. (3). (HU).
This term's proseminar will discuss the theme of the "Gothic" in art by studying intensively one of the most varied and richest of the masterworks of religious art: Chartres Cathedral. Students will have an opportunity to analyze its architecture, sculpture, stained glass, liturgical and devotional images, and its iconographic programs; they will also be able to examine various concepts and evaluations of Gothic art from the Renaissance to the twentieth century (Vasari, Ruskin, Victor Hugo, Henry Adams, Panofsky, Frankl). Individual projects will allow independent as well as directed study. (Forsyth)
Open to Upperclass Students and Graduate Students
406/Environ. Studies 406. Art and the Natural Environment. Permission of instructor. (3). (HU).
Case studies in relationships of art to nature, with emphasis on England and America from the picturesque garden of the 18th century to the organic architecture of Frank Lloyd Wright in the 20th century. Painting, landscape gardening, architecture and aesthetics will be studied with reference to changing ideas about nature. Developments in political, social and intellectual life will be taken into account as they bear on the artist's attitudes towards landscape. Thus, for example, landscape gardening testifies in the Enlightenment to a new ideal of reconciling freedom and order, and in the Romantic period to a concern for the moral elevation of urban populations. In the era of Manifest Destiny, Americans faced the task of adapting to the portrayal of a continent a tradition in landscape painting that had been created by the English, an island people. Throughout the 19th century the progress of science precipitated a succession of redefinitions of mankind's place in nature: at one point landscape appeared to be fraught with prophecy, at another to be devoid of all teleological meaning. The visual arts demonstrate graphically how modes of seeing depend upon modes of consciousness. Understanding the vision of other generations should enrich and refine our own vision and sensitize us to possibilities in relating art to nature. Grades will be based on tests and papers. A previous course in art history, while desirable, is not necessary. (Huntington)
436/Class. Arch. 436. Hellenistic and Roman Architecture. Hist. of Art 101 or 330; or permission of instructor. (3). (HU).
See Classical Archaeology 436. (Small)
438/Class. Arch. 438. The Art and Archaeology of Hellenistic and Roman Egypt. Permission of instructor. (3). (HU).
Offered to students interested in the processes of cultural and artistic changes/transformations in Egypt in the period from 332 BC to AD 300. A variety of disciplines can be applied to the gamut of Hellenistic and Graeco-Roman historical, social, religious, linguistic and art-historical issues. Full documentation of the primary cultural inventory will be drawn from the Kelsey Museum's extensive collections. Topics at issue include inter alia : the ruler cult, syncretistic religious trends, Alexandrian realism, Nilotic exoticism, court and popular art, funerary arts – all with-in the context of the cultural interface between Hellenism and the indigenous Egyptian cultures. Terenouthis, a site excavated by the University of Michigan provides the basis of discussing the Graeco-Roman phase of this on-going cultural osmosis. Student evaluation consists of (a) an oral, in-class book review of circa 15 minutes, related to (b) an assigned and/or selected topic that is commensurate with the student's interests and academic skills and presented in the seminar with illustrations etc., and (c) an essay of 5000 words or more based on the class presentation. Language requirements are minimal: one of Greek, French, German and Italian would be useful, and may determine admission for the prospective candidates. (McCleary)
445/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 understanding of the development of European architecture between the Early Christian Period of the fourth century and the Late Gothic Period of the fifteenth century. The major focus of architectural design in this period was the church building, and the course will emphasize the structural, functional, and stylistic developments that 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. Requirements include a research paper, a midterm and a final examination. (Neagley)
446/MARC 446. The Courtly Arts of the High and Late Middle Ages. Hist. of Art 101 or 102; or permission of instructor. (3). (HU).
The course will concentrate on art and patronage of the royal courts in Western Europe from the reign of Louis IX (St. Louis) in the mid thirteenth century to the lavish splendor of the ducal courts of Jean de Berry and Philip the Bold at the end of the middle ages. While focusing on art of specific courts, the lectures and readings will examine the dualistic nature of art of the fourteenth century that reflected both new religious attitudes and secular chivalric values. Within the context of the courtly patronage, we will be concerned with the development of new traditions such as portraiture and defining and evaluating the validity of a "courtly style" or an "international style" by examining a variety of works including small, private devotional objects, secular and sacred manuscripts, funerary monuments, and secular architecture with its sumptuous decoration. There will be a midterm, a final examination and a short paper. (Neagley)
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, Carpaccio, 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 PB), 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 examinations. (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 short term paper. Some general knowledge of European art history will be assumed. (Whitman)
483. Asian Architecture. Hist. of Art 103 or permission of instructor. (3). (HU).
This course will be devoted to a 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 architectural types is separately traced, crossing national boundaries where appropriate. While History of Art 103 (Arts of Asia) is not strictly necessary as a prerequisite, this course or some other experience in the religions or cultures of Asia is recommended. A final exam and a term paper of approximately ten pages will constitute the main student requirements. (Kane)
487/Chin. 475/Asian Std. 475/RC Hums. 475/Phil. 475 The Arts and Letters of China. (4). (HU).
See Chinese 475. (Y. Feuerwerker)
498. Japanese Sculpture. Hist. of Art 103 or permission of instructor. (3). (Excl).
This course will survey the various types of Japanese sculpture from the early haniwa figures until the twentieth century. The main focus of the course will be Japanese Buddhist sculpture although Shinto figures, folk art, and modern trends will also be discussed. Buddhist iconography will be presented in some depth in order to familiarize students with the meaning and diversity of the various Buddhist deities, guardians, etc. The lectures will follow the influences from China and Korea and the resulting stylistic development in Japan. Taken as a whole, the course will present the tremendous diversity of sculptural expression throughout Japanese history. There will be a midterm and a final exam plus two short written comparisons. Students enrolling for graduate credit will also be expected to write a short paper. (Berry)
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 century to the early 19th century: El Greco (the Italian-trained Greek working in Toledo), Ribalta, Martinez Montanes, Ribera, Velázquez, Zurbaran, 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 Spain, Princeton PB), 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 basic training in the history of art should by no means be intimidated by the "500" course number. (Bissell)
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)
568. Art in Britain, 1600-1870. Hist. of Art 102 or permission of instructor. (3). (HU).
The emphasis in the course will be on English painting from the Baroque to the Victorian periods. Consideration will be given to topics such as: foreign influences on the training and style of British artists; the rise of a national English school, and the foundation of its Royal Academy; tradition and innovation in portraiture, landscape, and history painting. Attention will be focused on major figures from Rubens to Leighton, including van Dyck, Hogarth, Gainsborough, Reynolds, Constable, Turner, and the Pre-Raphaelites, and the relationships of these artists to developments on the Continent. Prerequisite is History of Art 112 or permission of the instructor. There will be slide lectures and some discussion; grades will be determined by a midterm, final, and short paper. (Faberman)
575. Mass Media and the Visual Arts. Hist. of Art 102 and 272. (3). (HU).
This course explores the interaction between mass media and the visual arts, with modest attention to pre-twentieth century activity and primary focus on what has happened since 1900. The material will be divided into four general sections: (1) a study of the major ideas for using technology to design total living environments for human societies; (2) the modern evolution of visual language and graphic mass communication; (3) the ways in which machines have both served as subjects in art and have furnished new media and techniques for making art; and (4) the expressive realm of film, video, and computer graphics as art media. Requirements will include commitment to class attendance and participation in class discussion, completion and presentation of a team project with assigned partner or partners, and an individual project/paper. (Kirkpatrick)
590. Japanese Literati Painting. Hist. of Art 103 or permission of instructor. (3). (Excl).
Literati painting nanga developed in Japan under the influence of increasing appreciation for the literati painting tradition of China. This course will follow the history of this style of painting from its origin in the seventeenth century until its latest manifestations in the twentieth century. The Chinese basis of this style will be examined through a study of the Chinese Obaku monks in Japan and Japanese collections of Chinese paintings. An understanding of the unique aesthetic of Japanese literati painting that distinguishes it from Chinese literati painting will emerge as the development of this school is delineated in the course lectures. The significance of the Japanese attempt to combine image, verse, and a philosophical perspective in literati painting will be assessed in the broader context of Japanese art. Local public and private collections of literati painting will be introduced to allow direct study of representative works of this school. There will be a midterm and a final exam along with a research paper. (Berry)
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