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 104 and 105, or 150. Two credits granted if only 104 or 105 has been completed. (4). (HU).

The purpose of this course is to present a survey of major developments in Western art from the Renaissance to the present day. Works of architecture, painting, and sculpture will be studied within the context of technical, formal, and expressive characteristics and their relationship to cultural change. The presentation in the three weekly lectures will be chronological, beginning with Italian and Northern European art of the fourteenth and fifteenth centuries. Weekly discussions will be devoted to basic characteristics of the visual arts, to the nature of painting, sculpture, architecture, and printmaking, and to special topics related to but not identical with the lecture material. Readings will include a general historical text. Short paper, midterm and final examination will be required. No previous course work is necessary. [Cost:2] [WL:2] (Smith)

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 such as painting, drawing, printmaking, photography, sculpture, architecture, graphics, and industrial design. Students will learn how artists use the language of form to communicate information, to express emotion, to explore the world of nature and the world of the mind. Students will learn the basic techniques of the various media. Students will learn how the art of a time and place defines and expands the boundaries of that culture. Assigned readings and visits to museums and galleries will help students become critical consumers of the visual culture as they learn to see, appreciate, and assess art forms. Requirements include periodic quizzes, a final exam, and a term paper. Students will also make some ungraded drawings and paintings as analytical tools. [Cost:2] [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:1] [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).

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. [Cost:3] [WL:4] (Miesel)

292. Introduction to Japanese Art and Culture. No credit granted to those who have completed or are enrolled in Hist. of Art 495. (3). (Excl).

A selective, in-depth look at key aspects of Japanese art and culture, this course requires no background in either art history or Japanese studies. The course will be taught chronologically, with topics drawn from prehistory to the contemporary period, but it will not provide a comprehensive survey of all arts from all periods. Topics may include, but are not limited to: cord-marked pottery, recent discoveries in archaeology, the Sun Goddess and Ise Shrine, Prince Shotuku and Horyuji, the Great Buddha of Todaiji; esoteric mandalas; art of the Western Paradise; feminine sensibility and the ILLUSTRATED TALE OF GENJI; poetry and design motifs; the warrior aesthetic; Zen and ink painting; garden design; tea ceremony; screens, woodblock printing; east-west dialogue; modernism. Two textbooks will be required: Paul Varley, JAPANESE CULTURE and Joan Stanley-Baker, JAPANESE ART, along with additional readings on reserve or in a course pack. Three exams and two museum exercises will be required. Class size is limited to 45. Freshmen and sophomores are especially welcomed. Not open to those who have had HA 495. [Cost:1 or 2] [WL:4] (Brock)

341. The Gothic Age. Hist. of Art 101 or permission of instructor. (3). (HU).

This course is a survey of the art of Western Europe in later Middle Ages (1150-1500). Students will examine major works of architecture, sculpture, stained glass, manuscript illumination, tapestry, fresco and panel painting and the art of the goldsmith. The goal of the course is to explore the rapid evolution of the Gothic style from the experimental transition period of the mid-twelfth century, to the classic High Gothic style of the early thirteenth century, the court style of Louis IX of France and Henry III of England and the rich and varied works of the late Gothic Period at the end of the Middle Ages. The course will concentrate on work produced in northern Europe (France, England and Germany) but developments in Italy and Spain will be considered. Style, iconographic themes, techniques and materials and developments in structure will be discussed within the context of secular and religious life of the Middle Ages (Neagley)

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

Section 001 JAN VAN EYCK. With an emphasis on the development of skills in research, writing, and critical thinking, the seminar will investigate the works of the fifteenth century Flemish painter, Jan van Eyck. Traditional art historical methods involving connoisseurship and iconography will be discussed along with more recent technological studies and contextual approaches involving liturgy and private devotional practices. Students will participate in weekly critiques of scholarly literature. Independent research topics of each student will be presented to the class in two oral presentations and a written research paper. [Cost:2] [WL:4] (Neagley)

Open to Upperclass Students and Graduate Students

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

This course provides an introduction to theories of gender as they relate to the visual arts. Structured as a history of feminist art theory, this class will examine documents (both texts and art objects) that have been important to the development of ideas about art and gender. Topics will include pioneering attempts both to critique the presumptions of standard art history, and to create a history of women's art. More recent, psychoanalytic theories of art production and viewing ("the gaze") will be examined, along with debates about their biological essentialism. Consideration of lesbian and gay theory and art-practice will raise questions of heterosexism and homophobia, both in feminism and in conventional art-historical practice. Contemporary arguments over pornography and censorship will be studied in light of their reciprocal influence on feminist art theory. Throughout, readings and class discussions will question perceived divisions between theory and practice, art and life, scholarship and politics. Students must be prepared to grapple with assigned texts thoroughly and honestly. Class discussions will require students to formulate a point of view that they can present articulately. Respect for those whose opinions are different is a pre-requisite. Short papers will synthesize readings and class discussion. (Reed)

406/Environ. Studies 406. Art and the Natural Environment. Permission of instructor. (3). (Excl).

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. 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 on a new continent faced the task of adapting to a tradition of 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.

433/Class. Arch. 433. Greek Sculpture. Hist. of Art 101 or permission of instructor. (3). (HU).

Section 001 ARTISTS AND PATRONS OF THE PARTHENON. This course approaches the study of ancient Greek sculpture from the particular vantage point of the most famous monument of Classical Athens: the Parthenon. A series of preliminary lectures and readings will explore the predecessors of the Parthenon. Then, the Parthenon and related Classical monuments will be examined in depth from several points of view: motives and mandates of the patrons; aims and modes of operation of the designing artists; construction and status of the labor force; political and cultic implications of the sculptural iconography; expressive and message-laden aspects of the sculptural style. Students will examine many types of evidence in the exploration of this topic literacy and administrative texts (available in translation), the relevant artistic record preserved in vase painting and sculpture, and archaeological data. Required textbooks are: J. Boardman's GREEK SCULPTURE THE ARCHAIC PERIOD and GREEK SCULPTURE THE CLASSICAL PERIOD (Thames and Hudson 1978 & 1985). There will be an extensive course pack of selected journal articles as well as a course reserve in the Fine Arts Library. Evaluation will be based on a three-tiered research paper amounting to approximately 30 pages total plus periodic oral presentations in class. [Cost:2] [WL:1] (Root)

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)

442/Class. Arch. 442. Late Antique and Early Christian Art and Architecture. Hist. of Art 101, 222, or permission of instructor. (3). (Excl).

This course will survey the architecture, painting, sculpture and minor arts of the Late Roman and Early Byzantine Empires (A.D. 200-600). Primary emphasis in the lectures will be on how social, political, and religious forces affected the arts in their style, imagery, patterns of production and patronage. The changing roles for artists and the public will be explored in the emergence of a repertory of architectural and artistic forms created to serve the new Christian religion and its developing institutions. Changes in attitudes toward the arts stemming from the conversion of the Roman Empire from paganism to Christianity and from outside, Eastern, influences will be seen to be especially significant. Their interplay with continued artistic traditions will also be discussed. Course requirements will include a midterm, a final examination, a short research paper, and participation in class discussions. [Cost:3] [WL:4] (Thomas)

471. Investigations of Recent Art. Hist. of Art 272 or permission of instructor. (3). (Excl).

Section 001 RUSSIAN ART. This course will examine the development of Russian art from the emergence of Realism with the organization of the Wanderers group (in 1871) to the formation of an innovative avant-garde in the 1910s and its eventual demise when Socialist Realism was imposed in 1934. Accepted interpretations will be scrutinized, and the various movements (such as Symbolism, Suprematism and Constructivism) and individuals (such as Repin, Vrubel, Tatlin, and Malevich) will be studied in relationship to social and political demands, aesthetic theories, and the continuing tension between native traditions and Western aesthetic ideas. (Lodder)

477. French Impressionism. Hist. of Art 102. (3). (Excl).

This course presents a survey of Impressionist painting in France from the early 1860s to the late work of Monet extending into the 20th century. Among the major painters discussed are Manet, Monet, Renoir, Pissarro, Cezanne, Morisot, and Degas. Attention will be given to the formation of a new style of painting in the 1860s in the work of Monet and the young Impressionists; to the emphasis upon open air painting, working directly in nature; to the formation of the Impressionist group and its independent exhibitions in the 1870s and 1880s; to the transformations of Impressionism in the work of Monet, Pissarro, Renoir, and Cezanne in the 1880s; and to such late developments as the series paintings of Monet beginning in the 1890s. Also considered will be the relationship between painting and photography; the role of art critics, dealers, and patrons; the social and interpersonal dynamics of the Impressionist group; the entry of women artists into the avant-garde; the interplay between city and country and between work and leisure in Impressionist iconography. 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)

478. American Art: 1890 to 1940. Hist. of Art 102 or permission of instructor. (3). (Excl).

Concentrating upon painting and sculpture this course will investigate the development of the visual arts in the United States during the period from 1890-1940. Special readings and films will review the relevant architectural developments. [Cost:3] [WL:4] (Miesel)

482. Buddhist Art. (3). (Excl).

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 requirements will be a final exam and a term paper on a subject of the student's choice. [Cost:1] [WL:4] (Kane)

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

See RC Humanities 475. (Lin)

497(597). Chinese Painting: Yüan to the Present. Hist. of Art 392 or 494; or permission of instructor. (3). (Excl).

From the thirteenth century on, Chinese artists came to paint in highly individualized 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 EIGHT DYNASTIES OF CHINESE PAINTING will be used regularly in the course. There will also be additional readings in course packs. [Cost:3] [WL:2,3] (Powers)

503/Art 565. Materials and Techniques of the Artist. Junior, senior, or graduate standing in History of Art or Art School. (3). (Excl).

This course is designed to provide art history students with an introductory experience with some of the most common materials and techniques used by artists throughout history. This course will offer a variety of experience in a workshop setting as well as demonstrations of particularly complicated procedures to help students gain an understanding for both the potential and limitations of various media. Studio exercises and demonstrations will be accompanied by in-class discussion about the development and art historical significance of various techniques and materials. Each student will be expected to do and report in class on an independent research project, investigating how a particular artist used certain processes and materials and considering how an understanding for those processes and materials contribute to understanding that artist's work. Course grades will be based on class participation and on the individual research project. [Cost:2] (Jackson)

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

See Classical Archaeology 531. (Fotiadis)

534/Class. Arch. 534. Ancient Painting. Hist. of Art 101 and either Hist. of Art 221 or 222; or permission of instructor. (3). (Excl).

Following a brief survey of the painting traditions of the Near East, Egypt, and Greece, the course will focus on monumental painting from Hellenistic through Roman Imperial times. Emphasis will be placed upon wall paintings, but mosaics and other two-dimensional arts will be studied when appropriate. Questions relating to the style, decorative and social function, physical and historical context, and the artistic and intellectual milieux of the paintings will be addressed both in lectures and in student reports. Midterm and final examinations will consist of slide attributions and essays. An oral report or paper will be required. (Stern)

539/Class. Arch. 539. Greek Architecture. Hist. of Art 101, and 221 or 222; or permission of instructor. (3). (Excl).

See Classical Archaeology 539. (Pfaff)

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

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. Lecture-discussion sessions will be supplemented by visits to the Rare Book Room. In addition to a midterm quiz and a final examination, students may pursue independent work in a term paper. Assigned readings will make use of publications in the Fine Arts Library. [Cost:1] [WL:4] (Forsyth)

555. Renaissance Architecture in Italy. Hist. of Art 101 or 102; or permission of instructor. (3). (Excl).

A survey of selected Italian buildings from Brunelleschi to Palladio, this course endeavors to explain the formal nature of Renaissance, classical architecture and to relate it to the historical context of the city-state and the papacy. The theory and practice of Alberti, Bramante, and Michelangelo are explored in some detail. Lectures and discussions are supplemented by a textbook and varied shorter reading assignments. Evaluation of students is based on an hour examination, a short paper, and the final examination in addition to class participation. Graduate students will write a term paper of their choice. [Cost:2] [WL:3] (Whitman)

585. The "Islamic" City: Urban Form and Society. Hist. of Art 386 or any course in Islamic history or civilization. (3). (Excl).

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. The requirements include a take-home exam and 2 papers (7-10 pages). (Tabbaa)

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