Courses in History of Art (Division 392)

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.

Open to All Undergraduates; Not Open to Graduate Students.

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 while encouraging intellectual and emotional involvement with the works of art. Throughout the student will be introduced to the basic methodologies of the discipline. Various study materials (a full syllabus, textbook, suggested additional readings, photographs) will be made available, and grading will be based on examinations, participation in discussion sections, and on a short, non-research paper. Except for commitment, there are no prerequisites. (Bissell and Huntington)

113/Art 113. Introduction to the Visual Arts. (3). (HU).

Visual arts are a part of the human experience in all cultures and all time periods. The ability to appreciate, to understand, and to assess the quality of visual art can enrich a person's life and broaden one's thinking. This course will introduce students having no formal art or art historical background to the major forms of visual expression through human history from the Stone Age to the present. We will examine works of art in various media (painting, drawing, printmaking, photography, architecture, film/video, computer graphics, decorative arts, and design) and will explore not only the materials and techniques used to produce works of visual art but will also consider "how art works" and how works of art relate to the cultural and historic periods in which they are produced. Students will learn how artists use formal elements (line, texture, color, composition, etc.) to communicate information and to express emotion. While emphasis will be on learning how to look at and evaluate works of art, students will also be introduced to major cultural and historical epochs in the history of art as well as to artists whose works represent the "high points" of these epochs. This class meets twice a week for a 1-1/2 hour lecture. Assigned readings and visits to museums and galleries will help students to expand their own abilities to see, to appreciate, and to assess visual arts. Requirements include a midterm and a final examination and two short analytic papers in which students will be asked to examine and evaluate selected works of art on The University of Michigan campus. (Jackson)

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 95 only by room size. Professor Kingsbury Marzolf will be presenting: 1) ways of looking at, and experiencing architecture and urban space past and present; 2) his 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 book is required: J.M. Fitch, AMERICAN BUILDING: THE HISTORICAL FORCES THAT SHAPED IT, plus a course pack. (Marzolf)

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).

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 of 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 Neo-Expressionism will be examined. A program of films associated with Cubism, Dada, Expressionism and Surrealism (5-10 films) is planned. (Miesel)

390. Japan's "Floating World." (3). (HU).

This course will cover the art and culture of the UKIYO (floating world) life in Japan from the sixteenth through the nineteenth centuries. The major focus will be on the development of UKIYO-E prints and paintings from their origins in the popular culture of the early Edo period up to their after-effects in modern Japan. Some lectures will explore the popular themes of UKIYO-E such as the KABUKI theater, courtesans, ghost stories, landscapes, violence, historical scenes, and eroticism. To add depth to our understanding of the art form, there will be readings of some Edo period literature in translation, two Japanese feature movies on UKIYO themes, and several guest lectures by specialists in other fields. The course will approach the field of UKIYO-E prints and paintings with the aim of gaining deeper insight into the ways that popular culture is reflected in the art it produces. Although some background knowledge of Japan or art history will prove helpful, there are no prerequisites. There will be a midterm test and several brief papers. (Berry)

393. Junior Proseminar. History of Art concentrators. (3). (HU).

The subject of the junior proseminar for Winter, 1988, will be the art and world of Nicholas Poussin. In the first sessions the sources and development of his painting will be presented by the instructor in a series of informal lectures and discussions, accompanied by some readings in secondary sources. Thereafter the class will attempt to delve deeper into selected individual paintings by considering into detail such elements as patronage, historical moment, social milieu, economic determinacy, contemporary theological and philosophical attitudes, literary sources, iconography, and such other factors as mesh artifact and culture. At times the elucidation of Poussin's art may lead on to that of other artists both contemporary and later. Each student will be expected to present an oral report on a chosen subject to the class and to refine that report in a written term paper. Familiarity with Poussin is NOT presumed. (Whitman)

Open to Upperclass Students and Graduate Students

402. Contemporary Modes of Interpretation in Art History. (3). (Excl).

An introduction to the theoretical traditions in the humanities that have had the strongest impact on art-historical studies in recent years. The course material will include selected original texts in the areas of linguistics, structuralism/semiotics, psychoanalysis, Marxism, and more recent theories of discourse, textuality, and power that have contested these older traditions. In each instance, examples of art-historical work informed by these theoretical currents will be examined closely. Throughout, attention will be paid to those lines of speculative thought that have been central to the earlier formation of art history as a discipline. There will be a short term paper and take-home exams. (Crow)

413/Scandinavian 413/Architecture 413. Architecture and Art of Scandinavia. (3). (HU).

A survey of Scandinavian architecture, and some art, from the Iron Age to the present, with emphasis on the last hundred years. It is part of the concentration in Scandinavian, but is open to all students of junior standing and above. The course will include the following topics: early construction from the Iron Age house to the hearth and gallery houses; the runic inscriptions; the Viking houses and camps; churches and their art from Romanesque and Gothic periods, including stave churches of Norway and round churches of Bornholm; the Renaissance, including Dutch influence, and planned towns; the brief Baroque, followed by neo-Classicism and other revival styles through the 19th century. The late 19th and early 20th century's development of a "National Romantic" style, followed by "Functionalism" in the 1930's and finally, the post-World War II period with its blending of traditional crafts and contemporary design, bringing Scandinavia to its present position of international leadership. This last topic gets most coverage. Primarily a lecture course, with some discussion. A single major term paper, and a final exam, each counting half of the final grade. No textbook, but a reading list will be provided containing related books available in campus libraries. (Marzolf)

424/Class. Arch. 424. Archaeology of the Roman Provinces. Hist. of Art 221 or 222; or permission of instructor. (3). (HU).

See Classical Archaeology 424. (Humphrey)

439/Class. Arch. 439. Greek Vase Painting. (3). (HU).

See Classical Archaeology 439. (Root)

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 lectures and readings will focus on fourteen major monuments including Old St. Peter's, the Hagia Sophia, Cluny III and Chartres Cathedral. These monuments will be examined from perspectives of style, structure, function and meaning within their own unique historical and religious settings. Requirements include a midterm, final examination and written assignment. (Neagley)

454/MARC 454. Late Renaissance Art in Italy. Hist. of Art 102 or 250; or permission of instructor. (3). (HU).
Section 001 History Of Painting In Florence During The Sixteenth Century.
On this occasion the course will focus upon the history of painting in Florence during the sixteenth century. The approach will be monographic in nature, with particular attention being given to Andrea del Sarto, Rosso Fiorentino, Jacopo Pontormo, Agnolo Bronzino, Francesco Salviati, and Giorgio Basari. Some time will also be devoted to examining new directions in Florentine painting at the end of the sixteenth century. Much of the material covered in this course will be relatively unfamiliar and so students will find it necessary to devote time to acquiring a visual repertoire for the course. It is particularly important that students entering the course already have a good grounding in Italian art of the Early and High Renaissance. There will be a paper, a midterm examination, and a final examination. Texts for the course will be S.J. Freedberg, PAINTING IN ITALY 1500-1600, and W. Friedlaender, MANNERISM AND ANTI- MANNERISM.

485. The Art of Southeast Asia. Hist. of Art 103 or permission of instructor. (3). (HU).

This course will focus on the monuments of Southeast Asia: how the Borobudur, Angkor Wat, the temples of Pagan and the monasteries of Thailand embody spiritual values and are at the same time the products of specific social and political environments. The stylistic changes in sculpture and architecture are also relevant: how an image differs from an earlier one and still, say, has "Cambodian" characteristics. There are two hour exams and a final. Recommended special background: an art history course, or a course in Asian religions or culture. (Mannikka)

487/Chinese 475/Asian Studies 475/RC Hums. 475/Philosophy 475. The Arts and Letters of China. (4). (HU).

See Chinese 475. (Y. Feuerwerker)

488. Turkish Art and Architecture. Hist. of Art 386 or permission of instructor. (3). (HU).

The material to be covered in the course includes the architecture, painting, ceramics, textiles and other minor arts produced in the years, from about ca. 1200 to 1900. Although the course material will be presented chronologically, emphasis will be on issues, such as the diverse cultural and artistic influences present in the "melting pot" of Anatolia; the importance of trade in the region and its effect on artistic developments; and the changes which took place in the structure of the craft and building industries over time. There will be class visits to local museums and library collections to examine relevant material. Student grades will be based on the writing assignments (6 short projects, totaling about 30 pages) and class participation. (Micklewright)

494. 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. Although H.A. 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)

496. American Art, 1865-1920. (3). (Excl).

The purpose of the course is to familiarize the undergraduate and graduate student with the development of American art following the Civil War through the emergence of modernism in the United States. Various currents, such as the persistence of illustrative and genre FOCI, are discussed with reference to their impact upon artists' educations and the sources in the European traditions sought out by Americans. The major expatriot figures Whistler, Sargent, Cassatt are discussed as are the influences of Oriental art and academic training. Lesser-known figures such as Duveneck, La Farge and Vedder are also considered. A survey of the highlights of American architecture, both the Renaissance and Romanesque revivals and the work of Sullivan and early F.L. Wright is presented. A consideration of art criticism in the early 20th century, with particular reference to the reception and attitude towards modern art, is introduced so that both the beginning and advanced student can gauge the knowledge available to the public in the pre-Armory Show period. One of the purposes of this perspective is to reveal the degree of sophistication and awareness of European developments in the arts and thus to provide a broader range of potential research material for the student who wishes to reach beyond the mere biographical or chronological approach to artists or movements. Grades evaluated on a midterm paper and final exam (undergraduates) and individual interview/conference at midterm, end-of-the-term paper, and final exam (graduates). (Wattenmaker)

562. Baroque Sculpture in Italy and Spain. Hist. of Art 102 or permission of instructor. (3). (HU).

Beginning with introductory lectures on 16th-century sculptural traditions and on the stirrings of a new way of seeing and working, the course will pass to an intensive investigation of the art of Gianlorenzo Bernini. Bernini's sculpture will be studied both for what it reveals of the master's artistic genius and of the changing socio/political/religious climate in Papal Rome. The influence of Bernini's vision and alternative to the Berninian manner - i.e., Baroque Classicism will then be discussed. This will be followed by a unit on the extraordinary sculpture of 17th-century Spain. The course ends with suggestions as to the constants i.e., the peculiarly Baroque features within so much diversity. The course will observe a lecture format and students will be evaluated on the bases of two examinations. A syllabus and a bibliography of reserve books will be provided. While the amount of assigned reading will be modest (text: Howard Hibbard, BERNINI, Pelican PB), considerable additional reading will be recommended. In spite of the fact that the course bears a "500" number, undergraduates with history of art training should not hesitate to elect it. (Bissell)

565. Baroque Architecture in Italy and Germany. Hist. of Art 555 or permission of instructor. (3). (HU).

After a short study of the seminal architecture of Alberti in Rimini, Florence, and Mantua, the course will focus on Rome as an urban center from the early 16th to the early 18th centuries. The city will be treated as an organism within which operated such great architects as Bramante, Raphael, Michelangelo, Vignola, Maderno, Bernini, Borromini, and Pietro da Cortona. Behind them is the patronage of the popes and cardinals of the papal court and such sponsorship will form an integral part of the lectures. In brief, the course will concern itself with the development of Rome as a visible expression of both the Renaissance and the Catholic Restoration. From Rome the focus will shift northward to Turin where the dukes of Savoy employed Guarini and Juvarra to create another civic organism which revealed in vivid architectural language their anointed right to autocratic rule. The course will conclude with the expansion into Germany and Austria of architectural forms originating in Italy but carried to new heights of religious and imperial expression in areas prosperous again after decades of war and invasion. Great architecture, especially in the early modern period, is inseparable from social forces and will be so treated, while at the same time every effort will be made to help the student appreciate the subtleties of the language of classical architecture. (Whitman)

571. Post-Impressionism. Hist. of Art 102 or permission of instructor. (3). (HU).

This course deals with the philosophical content of French theory and art, with emphasis on the thought and OEUVRES of Redon, van Gogh, and Gauguin. It will first investigate the spiritual and aesthetic principles underlying the Symbolists' rebellion against the conventions of modern society and the prevailing trends of Academic, Naturalist, Impressionist, and "decadent" painting. Using the Symbolists' letters, journals, and essays as evidence, their interest in "primitive" cultures and arts will be analyzed and the relation- ships between their ideas and the Neoplatonic thought contained in their favorite works of ancient and Romantic literature will be traced. Particular attention will be paid to the connections between their preoccupation with such issues as reverence for nature, emotion, imagination, mystery, and the dream state, and the aesthetic and stylistic criteria they championed. The second part of the course will consist of detailed interpretive studies of the systems of personal symbolism Redon, van Gogh, and Gauguin developed in their own works to convey their visions of life, death, love and the expansion of spiritual knowledge. There will be two papers in lieu of exams: a critical evaluation of selected literature on the Symbolist movement, and an analysis of works of art relating style and thematic content. (Maurer)

581. Early Photography in the Middle East. Hist. of Art 112 or permission of instructor. (3). (Excl).

The inclusion of photography within the history of art is a recent development and there is still a great deal of basic research to be done. This course will survey what is known of the early photographers in the Middle East, their subject matter, respective styles, technical procedures, publications and commercial successes. Their work will be analysed in terms of both its style and its reliability as historical document. Students will have the opportunity for original research, using local collections or reproductions of photographs in more distant locations. Class format will be a combination of lecture and seminar, with student discussion and presentation of research an important aspect of the class. Grades will be based on class participation and research projects. (Micklewright)

596. Chinese Painting: Han through Sung. Hist. of Art 103 or 488; or permission of instructor. (3). (HU).

This course surveys the pictorial art of China from the fifth century BC to AD 1278. Formats and materials include bronze vessels with cast and engraved images, stone monuments with engraved images and ceramic tiles with stamped images as well as paintings on plaster, ceramic, silk and paper. Pictorial art in ancient China, like that of classical Europe, was more than just decoration. In both subject matter and style it frequently and consciously touched upon fundamental human issues such as the value of human life, man's place in nature, the limits of originality and genius or the rights of individuals. Because of this the lectures seek to identify and describe major changes in subject matter and style throughout the centuries and to understand these as changes in the artistic taste of different interest groups who promoted different attitudes towards things like human life, political power or originality. Our sources will include secondary readings in Chinese and European art history, Chinese and European social history, and translations of Chinese poems, essays and writings on art and aesthetics. There will be no textbook. There will be a short midterm, a final, and take-home questions on the readings. The take-home questions will be issued at the beginning of the term and will be discussed in class but will not be due until the end of the term. Some background in European history or art history will be helpful. (Powers)


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