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 104 and 105, or 150. Two credits granted if only 104 or 105 has been completed. (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 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. [Cost:2] [WL:4] (Bissell)
113/Art 113. Introduction to the Visual Arts. (3). (Excl).
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. 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. [Cost:3] [WL:4] (Kapetan)
212/Architecture 212. Understanding Architecture. Not open to students enrolled in Architecture. (3). (Excl).
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. An examination of many aspects of the man-made environment, using historical and contemporary examples, incorporating the user, viewer, and designer points of view. Upon completion of the course the student is expected to be able to (1) identify and distinguish buildings constructed in different times, places, and societies; (2) discuss how architecture is and has been viewed and interpreted by various individuals and cultures; (3) analyze urban forms and spaces in relation to the buildings which make them up and the people who use them; and (4) develop and describe a personal attitude toward and understanding of the man-made environment. The format includes lectures by the College of Architecture and Urban Planning faculty and periodic discussion periods. Several field exercises requiring the student to experience, analyze, interpret, and report on aspects of the built environment will be required. 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. [Cost:2] [WL:4] (Hubbell/Marzolf)
222/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).
See Classical Archaeology 222. (Mattingly)
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 [Cost:2] [WL:2] (Kirkpatrick)
393. Junior Proseminar. History of Art concentrators. (3). (Excl).
This course is intended as a methodology seminar for junior concentrators who plan on pursuing a history of art degree with departmental Honors. It will be required of Honors concentrators and serve as a preparation for the writing of the Honors Thesis during the senior year. With permission of the Honors advisor and the seminar instructor, other interested and qualified juniors and seniors may also participate in the course. This term's proseminar will be devoted to philosophies of art history through a study of the discipline's literature, theory, and methods. Major theories which have shaped the field and constitute the core of its historiography will be evaluated in critical group discussion. Opportunity will be provided to apply this thinking to the student's own individual study of original works of art. Resources for research in the area, including museums in Ann Arbor, Detroit, and Cleveland, libraries, slide and photograph collections, laboratories and archives will be made available and varied research methodologies will be presented. Oral reports and a term paper will be assigned according to individual interests. [Cost:1] [WL:4] (Forsyth)
405. Artists and Patrons. Hist. of Art 101 or permission of instructor. (3). (Excl). May be elected for credit more than once with permission of chairman.
PERSIA AND THE PARTHENON. This course offers a comparative study of the official monuments of the Persian Empire at Persepolis (late 6th to late 4th century BC) and the official monuments of the Athenian Akropolis in the imperial age of Pericles (5th century BC). Persia and Athens are often characterized as occupying opposite poles. In this scenario, Persia symbolizes tyranny – its official art being one of manifestation of an empire built on slave labor solely for the glorification of the Great King. Athens, on the other hand, symbolizes democracy and an environment which nurtured the free expression of great artists. We shall examine the types of evidence we have from each society in order to assess the role of the artist, the mechanisms of patronage, the interplay between imperial patron, "creative artists," and production teams of artisans. Lectures will frequently place these issues within the broader context of investigations of patron and artist from other civilizations. PREREQUISITES: HA 101 or a course in Classical or Near Eastern Archaeology/Civilization, permission of the instructor. EVALUATION: (1) A 15-20 page research paper evaluated in two stages, with the final product due at the end of term; (2) An oral progress report on the term paper; (3) Leadership of one class discussion of a specific assigned reading. READINGS: Course Reserve; Course Packs. [Cost:2] [WL:2] (Root)
413/Scandinavian 413/Architecture 413. Architecture and Art of Scandinavia. (3). (Excl).
See Scandinavian 413. (K. Marzolf)
443/Class. Arch. 443. Greeks in the West. Hist. of Art 221, or permission of instructor. (3). (Excl).
See Classical Archaeology 443. (Pedley)
446/MARC 446. The Courtly Arts of the High and Late Middle Ages. Hist. of Art 101 or 102; or permission of instructor. (3). (Excl).
The course will concentrate on art and patronage of the royal courts in Western Europe from the reign of Louis IX (St. Loius) 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 exam 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. [Cost:2] [WL:1] (Neagley)
451. High Renaissance Art in Italy. Hist. of Art 102 or 250; or permission of instructor. (3). (Excl).
MASKS AND FACES: ASPECTS OF ITALIAN PORTRAITURE C.1300-1550. By way of lectures and class discussion, this course critically examines the relationships between Renaissance individualism, naturalism, and Italian (especially Florentine and Venetian) portraiture in the Renaissance period c.1300-1550. The images will be viewed as constructions of identity and tools of self-presentation. Their function as more than egocentric celebration (e.g., as, instead, religious, familial, political, patriarchal) will be considered. After a brief theoretical study of the definition of portraiture, classes will focus on such types as rulers and courtiers, wives and daughters, courtesan, sculpted busts, and the self-portrait. Evaluation will be based on a paper for class presentation, a final essay of 15 pages and a one-hour exam. [Cost:2] [WL:4] (Simons)
466. French Art in the Age of Absolutism. Hist. of Art 102 or permission of instructor. (3). (Excl).
This course attempts through lectures and readings to define the French tradition in the arts and to trace its emergence as a dominant European entity in the middle and later seventeenth century. Following a survey of the architecture fostered by Henri IV after the cessation of the civil wars, attention will turn to the Parisian painters Vouet, Le Sueur, Champaigne, and the Le Nain brothers as well as to the rather different art outside Paris of Georges de la Tour. Special emphasis will be given to Poussin, the greatest of French Classicists, despite his residing in Rome, and to a lesser extent, to his fellow émigré, Claude Lorraine. The last part of the course will concentrate on the growing organization of the arts under government control during the reign of Louis XIV. The Louvre and Versailles, the development of the Academy under Le Brun, and the reactions against the latter late in the century will be major topics of study. The textbook will be Blunt, ART AND ARCHITECTURE IN FRANCE 1500-1700. There will be an hour examination a final examination and a short term paper for graduate students. [Cost:2] [WL:4] (Whitman)
468. Modern Sculpture. Hist. of Art 102 and either Hist. of Art 271 or 272; or permission of instructor. (3). (Excl).
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: Herbert Read's CONCISE HISTORY OF MODERN SCULPTURE, and strongly recommended is: J. Burnham, BEYOND MODERN SCULPTURE. 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. [Cost:2] [WL:2] (Miesel)
469. Neoclassic and Romantic Painting. Hist. of Art 102 or permission of instructor. (3). (Excl).
This course is strongly recommended for both concentrators in art history and for concentrators in English, French, and German. It focuses on the masters of neoclassical and romantic painting in England, Germany, and France from approximately 1750 to 1850. Among the painters studied in detail are David Delacroix, Ingres, Blake, Turner, Constable, Runge, Friedrich, and the Spaniard Goya. Groups such as the Nazarenes and the pre-Raphaelites are also studied. Artistic issues such as the emergence of "modernism"; the development of the disciplines of aesthetics, art criticism, and art history; and the growth of the notion of art for art's sake are examined and analyzed. Two texts are assigned: Honour's ROMANTICISM and Honour's NEO-CLASSICISM. About 100 pages of additional reading is assigned. There is a one-hour examination as well as a final. A paper (fifteen to twenty pages in length) is required. Paper topics are chosen on an individual basis and are intended to accommodate personal interests and needs. [Cost:2] [WL:2] (Miesel)
474. American Art to 1913. Hist. of Art 102 or permission of instructor. (3). (Excl).
A study of the major chronological division of Anglo-American art from the first settlements of the 17th Century down through the closing of the frontier in 1890: the Colonial period, starting with the late medieval forms inherited from provincial England and closing by the eve of the Revolution with a colonies-wide adaptation of classical forms; the Federal period, during which the arts were dominated by radically new demands that accompanied political independence; the Romantic period, from 1820 to 1860, throughout which the arts were being nationalized and democraticized; the Post Civil War period, in which the loss of a unifying idealism opened the way in the arts both for aesthetic anarchy and for strong personal statement. Emphasis will be on artistic systems as they are manifested both in architecture and in painting. Examples of sculpture and the decorative arts will, on occasion, be considered. Grades are to be based on a midterm test, a paper, and a final examination or (with the instructor's permission) a final paper. [Cost:2] [WL:4] (Huntington)
476. Realism in European Art, c.1840-1870. Hist. of Art 102. (3). (Excl).
History of Art 476 provides a survey of realist art, primarily in France, from c.1840, when the ascendancy of Romanticism began to wane, to c.1870 and the beginnings of the Impressionist movement. Among the major artists discussed will be Courbet, Millet, Corot, Manet, and the young Monet and Degas. Attention will be given to the nature of realism in painting; to the formation of a Realist movement in France about 1848 and upon the contribution of Courbet, in particular; to developments in landscape painting, from the Barbizon School to the experiments in plein air painting of the 1860s to Manet and his contribution to the creation of Modernism. Three general artists and movements will be discussed in relation to social and political transformations during the period, especially to the relationship between country and city, and to the rebuilding of Paris by Napoleon III and Baron Haussman during the Second Empire (1852-1870). A background in the history of art since the Renaissance is required, and previous course work in 18th, 19th, or 20th century art is desired. Classes will be mainly in the form of lectures, although there will be opportunity for class discussion as well. A paper and a midterm and final examination will be required. Students may be asked to buy one or two paperbacks; other readings will be in the form of a course pack and assignments from books available on reserve. [Cost:2] [WL:2] (Isaacson)
487/Chinese 475/Asian Studies 475/RC Hums. 475/Philosophy 475. The Arts and Letters of China. (4). (HU).
See Chinese 475. (Y. Feuerwerker).
492/Amer. Cult. 492. The White City: The Drama of Urban-Industrial America, the Columbian Exposition, Chicago 1893. (3). (Excl).
An interdisciplinary study of the World's Columbian Exposition of 1893 as an expression of the America signaled by the cultural coming of age of Chicago, the capital of the Midwest. Emphasis will be placed on the visual arts and belles letters as they reflected and informed the perceptions and aspirations of a newly unified nation caught up in the process of modernization. Responses of small-town visitors, utopian visionaries, world-citizens, etc. will be compared. The Fair as ideal and as illusion will be examined with reference to twentieth century developments. Of all the world fairs none has been of greater significance to American artistic life than the Columbian Exposition held in Chicago in 1893. This great "White City" stood on the shores of Lake Michigan just long enough to fix a memory of aesthetic order and harmony that would inspire a communal dream of civic beauty. The aesthetic anarchy of the preceding years had rendered the dream a social necessity. For the architect, the painter, the sculptor, and the landscape gardener it was a rare moment and an extraordinary opportunity. The eyes of all artists were of one mind. The exposition was the product of the new continental nation's growing pains, the metropolis of railroads, stockyards, and skyscrapers; of Poles, Germans, and Irishmen, and the civic omen of an industrial, imperial America. The course will be conducted in a lecture/discussion format. The course is designed for both advanced undergraduates and graduate students. Grading will be based on class discussion, tests, and papers on topics selected in consultation with the instructor. [Cost:2] [WL:4] (Huntington)
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 History of Art 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. [Cost:1] [WL:4] (Kane)
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 HA 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 requirement will be a final exam and a paper on some aspect of Japanese art of particular interest to the student. (Kane)
536/Class. Arch. 536. Hellenistic and Roman Sculpture. Hist. of Art 101 Class. Arch. 222 or permission of instructor. (3). (Excl).
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. There will be one midterm and a final examination. A research paper of approximately fifteen pages or a lecture is 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. [Cost:2] [WL:4] (Gazda)
542. Byzantine Art. Hist. of Art 101 or permission of instructor. (3). (Excl).
This course will examine Byzantine art, above all painting, metalwork, and architecture, in the centuries between 843 and 1350 AD. These centuries saw the maturity of Byzantium's medieval art: its media of gold mosaic, cloisonné enamel, wall painting and panel painting; its many-domed architecture; its imagery of Christian empire; and its most distinctive form, the icon, found their fullest realization at this time. By studying key works in terms of their form, their function, their historical situation, and the modes of their interpretation and appreciation by contemporary Byzantine authors, the course endeavors to open a comprehending view into the art of this complex and centrally important medieval empire. Lectures and class discussions will be supplemented by student written projects, and trips to area collections. There will be a midterm and final exam.[Cost:3] [WL:3] (Thomas)
584. Painting in Islamic Countries. Hist. of Art 386 or 486; or permission of instructor. (3). (Excl).
A brief examination of pictorial representation on various media before the 12th Century is followed by a detailed treatment of miniature painting and the arts of the book in the Arab world, Persia, Mughal India, and Turkey from the 13th to the 17th Century. The dominance of 15th-Century Persian painting and literary culture and its influence on both India and Turkey is stressed. The most important literary genres – the heroic, the amorous, the pious, and the mystic – are stressed, and the popularity of each of these genres in different times and places is analyzed. A trip to the Detroit Institute of Arts is included. A short (3-5 pp.) paper on a single image and a research paper (10-15 pp.) will be assigned. There will be a midterm and a final examination. [Cost:3] [WL:4] (Tabbaa)
596. Chinese Painting: Han through Sung. Hist. of Art 103 or 488; or permission of instructor. (3). (Excl).
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 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. [WL:1] (Powers)
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