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 and to place these artists within wider art-historical/cultural contexts 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 (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. There are no prerequisites. (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)

212/Architecture 212. Understanding Architecture. Not open to students enrolled in Architecture. (3). (HU).

A three-credit course, 'Understanding Architecture,' will become the principal introductory survey course in architecture. Taught by a master teacher, it will examine the architect's role in society and the role of architecture and urban design in shaping the built environment. The course will be enhanced by adding recitation sections, which will be run by five graduate teaching assistants. They will meet with students once a week, leaving two hours per week for lectures. Recitation sections will focus on improving the students ability to venture into and sustain architectural discourse. The College of Architecture and Urban Planning's best graduate students will be recruited for these positions and will become mentors for pre-professional students. (Hubbell/Marzolf)

222/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).

See Classical Archaeology 222. (Koeppel)

272. Arts of the Twentieth Century. Hist. of Art 101 or 102; or permission of instructor. (4). (HU).

In a slide lecture format, this course will survey major movements of twentieth century art from Fauvism to Neo-Expressionism, and will explore the ideas which underlie various movements. Painting and sculpture will be emphasized; however, architecture, photography, and cinema will also be studied. Weekly recitation sections will provide students with the opportunity to discuss philosophical issues and concepts associated with twentieth century art. There will be two examinations, a midterm and a final, and an 8-10 page paper or a project assignment. Required texts are Arnanson, HISTORY OF MODERN ART and Chipp, THEORIES OF MODERN ART. The course is an excellent sequel to Western art survey courses (101 or 102) and is a foundation for further study in twentieth-century art. (Wickre)

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

To celebrate the sesquicentennial of the announcement of the invention of photography, on this occasion the Junior Proseminar will be concerned with the early years of photography in Great Britain. The course will begin with a discussion of William Henry Fox Talbot, the inventor of negative-positive paper photography. It will also focus on the early development of photography in Scotland, Particularly in St. Andrews and Edinburgh, leading to the partnership of David Octavius Hill and Robert Adamson. Students should have an interest in nineteenth century-studies. Background in the history of photography is not required. Instruction will be a combination of lecture and discussion. There will also be opportunities to see original photographs. Students will give an oral presentation which will be developed into a formal research paper. PRINTED LIGHT: THE SCIENTIFIC ART OF WILLIAM HENRY FOX TALBOT AND DAVID OCTAVIUS HILL WITH ROBERT ADAMSON (Edinburgh, 1986) by John Ward and Sarah Stevenson will serve as an informal text to the seminar. (Smith)

Open to Upperclass Students and Graduate Students

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, 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)

474. American Art to 1913. Hist. of Art 102 or permission of instructor. (3). (HU).

This course will examine the development of American art from the Seventeenth-Century to the Armory Show of 1913. It will consider the work of such major artists as Copley, West, Cole, Eakins, and Homer; the rise of various types of painting (portraiture, history painting, landscape, genre); and such topics as the nature and influence of patronage, exchanges and interactions with Europe, and the ways in which art became established as a social institution. Classes will combine lecture and discussion. The instructor will not only provide information but also will attempt to stimulate critical thinking on the issues the course raises. Students will be asked to read a variety of texts and source materials (available in the bookstore and on reserve in the library) in preparation for class. Students will be required to take midterm and final examinations and write a term paper of approximately seven pages on a topic chosen in consultation with the instructor. (Wallach)

482. Buddhist Art. (3). (HU).

This course will present a detailed survey of the Buddhist architecture, sculpture, and painting of India, Southeast Asia, Tibet, China, and Japan, with particular emphasis on the development of these arts in response to the evolution of Buddhist doctrine and changes in devotional practices. Students should therefore bring to the course an interest in Buddhism as a religion, as well as some prior knowledge of the history and culture of the countries involved. The main requirement will be a final exam and a term paper on a subject of the student's choice. (Kane)

486. Art of the Central Islamic Lands from Muhammad to the Mongols (600-1258). Hist. of Art 386; or permission of instructor. (3). (HU).

THE "ISLAMIC" CITY: URBAN FORM AND SOCIETY. An overview of city formation and urbanism in the Near East and North Africa from pre-Islamic times to the present is presented in this course. The transformation of Hellenistic and Roman cities, the creation of new ones, and the fusion of these two types into what may be termed as the medieval Islamic city are discussed. The internal logic of these "labyrinthine" cities is analyzed, both on the level of urban form and social dynamic. The disintegration of their fabric and its subjugation to Western modes of urbanism and social planning is outlined. The course also presents a unique opportunity to view both monumental architecture and other little-known architecture (residential, military, commercial, etc.) within an urban context. Although the course often engages topics from the domains of economics, social history, and politics, its primary focus remains throughout the tangible form and the physical environment of the city. Requirements: Take-home exam and a 20-page research paper. (Tabbaa)

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

See Chinese 475 for course description. (Y. Feuerwerker)

491. Art of the Eastern Islamic World. (3). (HU).

LATER ISLAMIC ARCHITECTURE: 1500-PRESENT. The later manifestations of Islamic architecture from the formation of the Gunpowder Empires (the Ottomans in Turkey and the Arab world, the Safavids in Iran, and the Mughals in the Indian subcontinent) to the present are discussed in this course. The great architectural achievements of these highly distinct traditions during sixteenth and seventeenth centuries are examined within the context of existing culture, Islam, and pre-modern state formation. The question of the decline of these traditions and the concomitant rise of eclectic, historicist, Europeanizing, and, ultimately, colonial styles is discussed. The modernist interlude and the on-going search for an "appropriate" style are reviewed. Turkey and the Arab world are especially stressed. Requirements: midterm, final, and 10-page paper. (Tabbaa)

495. Art of Japan. Hist. of Art 103 or permission of instructor. (3). (HU).

This lecture course will survey the architecture, sculpture, and painting of Japan, with particular emphasis on those aspects of Japanese art which most clearly reflect the uniqueness of Japanese culture and creativity: Shinto shrine architecture, Buddhist sculpture and temple architecture, illustrated handscrolls, Zen monochrome painting, decorative screen painting, as well as tea ceremony arts, gardens, and woodblock prints. While H.A. 103 (Arts of Asia) is desirable as a prerequisite, any previous experience in the history, religion, or culture of Asia should adequately prepare the student for this course. The main requirements will be a final exam and a paper on some aspect of Japanese art of some particular interest to the student. (Kane)

525. Graphic Arts from 1660 to the Present. Hist. of Art 102 and permission of instructor. (3). (HU).

This course, designed primarily for graduate students in the History of Art, in the Museum Training Program, and in the Art School, will deal with developments in the last few centuries, emphasizing connoisseurship as much as history. The class will examine prints with museum curators, dealers, and collectors, will be shown the fundamentals of lithography, etching, and other processes, will be introduced to the problems and techniques of conservation, and to aspects of collecting. Assignments will consist of readings, short papers and reports on prints in nearby collections. Because so much work will be done with actual prints, the enrollment will be limited. (Spink)

531/Class. Arch. 531. Aegean Art and Archaeology. Hist. of Art 221 or 222; or permission of instructor. (3). (HU).

See Classical Archaeology 531. (Pedley)

540/Class. Arch. 540. Art and Archaeology of Byzantine Egypt. Hist. of Art 101, 142. 542, or permission of instructor. (3). (Excl).

In lecture and discussion, this course will examine the art, architecture, and artifacts of early Byzantine Egypt (ca. A.D. 300-650). Introductory lectures will offer a concise review of the major scholarly steps by which the cultural remains came to be defined. Subsequent discussions will focus on important questions raised by recent investigations into the historical setting of the remains. The continuity of pagan artistic traditions and the origins and developments of Christian artistic forms will provide the central themes for discussion; ancillary concerns are technique, documentation, and interpretation. We will survey how utilitarian products AND works of art reflect social, political, and religious currents. Students will find previous experience in Egyptian, Greek, Roman, or Byzantine studies helpful. Reading knowledge of German and/or French is necessary. Graduates and undergraduates will be required to write examination essays and a paper showing a command of the relevant issues and bibliography. Graduates will deliver oral presentations and write one research paper showing deeper understanding of the same issues and more comprehensive knowledge of the historiography. (Thomas)

543. Carolingian and Early German Art. Hist. of Art 101 or permission of instructor. (3). (HU).

The beginnings of German art: indigenous sources, the classical tradition and the influence of Byzantium, from Charlemagne in the ninth-century through Otto the Great and his eleventh-century successors. The course will focus upon major developments in manuscript illumination, small-scale sculpture, ecclesiastical and secular architecture, and the intellectual and political developments which lie behind the artistic phenomena of the era. Prerequisites: History of Art 101 and 340 or 440 or permission of the instructor. (Forsyth)

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 392 or 494; or permission of instructor. (3). (HU).

From the thirteenth-century on, Chinese artists came to paint in highly individual styles while continually reinterpreting earlier traditions. Building on a knowledge of Sung dynasty styles reviewed as an introduction, this course will survey the important schools and lineages of the following Yüan, Ming, and Ch'ing dynasties and focus on the best known masters of each period. Students will be examined by short slide tests and a final examination, and will be expected to write a term paper dealing, if possible, with actual paintings. There will be no single required text for the course, but James Cahill's CHINESE PAINTING will be assigned as a minimal background reading. (Bush)

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