History of Art 101, 102, 103 and 108, 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 along with History of Art 103 and 108 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 to those who have completed one of 104 or 105. (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)
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. WL:4 (Spink)
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 distinguished senior faculty, 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 (1) to identify and distinguish buildings constructed in different times, places, and societies; (2) to discuss how architecture is and has been viewed and interpreted by various individuals and cultures; (3) to analyze urban forms and spaces in relation to the buildings which make them up and the people who use them; and (4) to 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 (Kleinman)
214/CAAS 214. Introduction to African-American Art. Hist. of Art 102 or 108 or permission of instructor. (3). (Excl).
This lecture course surveys art produced by African descendants residing in the United States. The course is organized into major chronologies beginning in the mid-19th century and ending in the present, and examines art and artifacts made by slaves and free persons of color in the 19th century and painting, sculpture, photography and other media made by professional and non-professional artists in the late 19th century and the 20th century. Artists, artistic movements, and groups will be examined within the context of American history and culture, particularly that of African Americans. Also topics such as art academies and training, patronage and audience, Civil Rights, the African diaspora and the nature of representation will be interwoven in the description and analysis of works of art, artistic production and process, and aesthetic. Course requirements are a midterm exam, a final exam and one short term paper. Exams consist of slide identification and one or more essays. Assigned readings from publications placed on reserve in the Undergraduate library augment those in the class text. Cost:2 WL:4 (Patton)
222/Class. Arch. 222. Introduction to Roman Archaeology. (4). (HU).
See Classical Archaeology 222. (Conlin)
240/MARC 240. The Visual Arts in Medieval
Society. Hist. of Art 101, 102; or permission of instructor. (3).
Section 001 – Art of the Monastic World. The medieval monastery as patron of the arts: architecture, sculpture, wall painting and the sumptuary arts of ivory carving, metalwork and manuscript illumination. The attractions and achievements of monastic life will be examined to include the early Desert Fathers of Egypt and Syria, who established the monastic ideal, the benedictines, who were a civilizing force in early Europe, the Cluniac monastic empire, the Cistercian and Carthusian reforms, the Dominican preaching friars and the Franciscans who led a life intermediate between the cloister and the world. Emphasis will be placed on great monastic establishments such as Qalat Seman, Mount Sinai, Monte Cassino, Cluny, Mont-Saint-Michel, the Chartreuse de Champmol, San Marco, and the great English abbeys. Students will be asked to purchase W. Braunfels, Monasteries of Western Europe, (Princeton University Press). There will also be a assigned readings in materials held on reserve in the library. A short term paper, midterm quiz and a final examination. (Forsyth)
260. European Painting and Sculpture of the Seventeenth Century. Hist. of Art 102 or permission of instructor. (3). (HU).
Primarily a study of elite visual culture, this course examines the ways artists and poets created illusions of natural truths and alternative worlds in the age of experimental science, religious wars and European expansion. Students will learn to distinguish the principal genres of the period and their respective codes of interpretation while examining contemporary poetics, political theory and religious thought as visualized in "marvelous" feats of painting, printmaking, sculpture, and architecture in Italy, The Dutch Republic, Spain, and Spanish holdings in Northern Europe and the New World. The central topic of the crisis of truth will be studied through the lyric poetry of Gianbattista Marino, the religious paintings of Annibale Carracci, Caravaggio and Artemisia Gentileschi, the sacred drama of Calderón, the sculpture ensembles of Bernini, and the devotional poetry of the Mexican nun Sor Juana Inés de la Cruz. Political allegories in support of prince, pope and monarch will be analyzed in paintings by Pietro da Cortona, Rubens, and Velázquez. Visits to museums, including one or more to the exhibition The Age of Rubens at the Toledo Museum of Art, will provide opportunities to study effects of brushwork, color and scale at close range. Requirements: several short papers and one term paper. (Willette)
272. Arts of the Twentieth Century. Hist. of Art 101 or 102; or permission of instructor. (4). (HU).
This course is designed to give students an overview of the role played by the visual arts within the history and culture of the twentieth century in the West. The main emphasis will be on Europe and the United States. The course has two goals. One goal is to provide the student with some understanding of the major movements, themes, and theoretical/critical ideas that occur in this century's art as they are expressed in the painting, graphic arts, sculpture, photography, and architecture of the period. The second goal is to help the student develop skill in applying critical thinking to the analysis of modern and contemporary visual art within the context of the world in which we live. Required readings will combine assignments from a survey art history text with selections from a compilation of theoretical writings by artists and others throughout the century. The course combines the more structured presentation of lectures with weekly discussion sessions designed to focus on individual aspects of the course materials to help students sharpen their abilities to analyze modern art. There will be three exams and a term paper/project. Final grades will be based on performance in the discussion sections and on the exams and the paper/project. Cost:2 WL:2 (Kirkpatrick)
360/CAAS 380. Special Topics in African Art.
Hist. of Art 108 or 214. (3). (Excl).
Section 001 – Art Styles in Sub-Saharan Africa. Since the first World War, attempts have been made to systematize the study of African art. In particular, various methods have been devised to make sense of existing anthropological collections from Africa in European and American museums. Among the methods used has been the study of art styles. In African art, the study of style has generally focused on sculpture. There was for a long time the assumption that each artistic tradition possessed a set of distinctive physical attributes – approach to representation, color scheme, materials, motifs, etc. – that differentiated it from others. Indeed, such differences have been correlated with ethnic and even linguistic divisions. Recent research, however, shows that the premise upon which this 'one-tribe-one-style' idea is based is flawed and deserves reexamination. One limitation is that African cultures borrow from one another and political boundaries tend to be more porous than we think. In other words, art works in Africa do travel, sometimes following the routes of itinerant artists, traders, and patrons. While tradition and belief may exert strong influences in art production, African societies are also dynamic. The assumption, therefore, that artists are bound by strictures that stifle innovation may not be universally applicable. From a methodological standpoint, stylistic analysis still carries weight in African art history. Yet, in view of its shortcomings, it must be done with caution, taking into consideration environmental (including geographical), cultural, and historical factors. This course is intended as a survey of stylistic traditions in sub-Sahara. Its primary emphasis is the identification of styles. However, it also aims at expanding student's understanding of historical relationships among African cultures through the study of art. A background in African art is important but not a must. Students with deficiencies must, however, be ready to work to make up as we go along. (Quarcoopome)
391. Survey of Japanese Painting. Hist. of Art 103 or permission of instructor. (3). (Excl).
This course will survey the long and richly varied history of Japan's pictorial arts. We will examine topics such as the role of painting in the rituals of Esoteric Buddhism, the complex interaction between image and text in hand scrolls of the Heian period, the relationship between Zen and Sesshu's ink landscapes, and the political implications of the bold decorative painting of the Kano school. The course will conclude with discussion of some of the ways in which contemporary Japanese artists have reinterpreted painting traditions introduced during the term. Two short essays, a midterm, and a final exam will be required. Cost: 2 WL:4 (Reynolds)
393. Junior Proseminar. History of Art concentrators. (3). (Excl).
This course is intended as a methodology seminar for concentrators in history of art. We shall spend an initial period (2-3 weeks) discussing aspects of theory and practice in the history of art, turning to selected art historians for models. The remainder of the seminar will then be given over to the study of major paintings from the 17th to 20th centuries, to be considered under the heading "The Art of Painting," i.e., major works that in one way or another attempt to absorb and conjure with issues affecting painting as a craft, an embodiment of ideas, and a social institution. Key paintings are: Vermeer's The Art of Painting, Velázquez's Las Meninas, Watteau's Signboard of Gersaint, Courbet's Painter's Studio, Manet's Bar at the Folies-Bergère, and Picasso's Still Life with Chair Caning. We shall read about these works and discuss them in class, and students, working singly or in pairs, will adopt one of the paintings as a term project. One or two oral reports and a term paper will be required. Cost:1 (Isaacson)
403/Nat. Res. 403. History of Western Landscape Architecture. (3). (Excl).
The intent of this course is to survey the human management and design of open space throughout history. The discussions will focus on gardens, urban open spaces and regional and environmental planning. Prototypes will be viewed and analyzed not only within the cultural context of their own time and place, but also in terms of the influence each has had in shaping 20th century perceptions of the landscape. The course will also introduce students to specific areas of knowledge and expertise which currently comprise the practice of landscape architecture. The potential roles landscape architects will play in shaping and managing the environment in the future will also be discussed. The course will consist of slide-illustrated lectures by the instructor and guest lecturers. There will be no regularly scheduled discussion section. Questions are welcome and encouraged during the lecture. In addition to taking a midterm and final exam, there will be a term paper. WL:2, Go to 1024 Dana Bldg. (Clendenin)
404/CAAS 404. The Art of Africa. (3).
Section 001 – Theories of Masquerading. Although masquerading is a world-wide phenomenon, students of specific traditions have tended to remain locked within a single methodology, e.g., considering African masquerade solely as "ritual." This undergraduate seminar will explore various approaches to the subject, drawing on works in art history, performance and dance studies, popular culture, literary and film criticism. We will consider important world-wide themes, such as the "grotesque body" and the carnivalesque, the miniature and the gigantic, the spectacle, and cross-dressing. Of particular interest will be the recent literature discussing the construction of both masculine and feminine gender as "masquerade." Students will be responsible for class presentations and a research paper. Although the course will privilege certain African traditions, students are free to research everything from Japanese Nó, to commedia dell'arte, to American drag for their own class contribution. There are no prerequisites, but advanced students are preferred. Cost:2 WL:3 (Strother)
415/Women's Studies 415. Studies in Gender
and the Arts. One course in Women's Studies or History of Art. (3).
(HU). May be repeated for a total of nine credits.
Section 001 – Classical Mythologies/Renaissance Bodies. This course explores the Renaissance use of classical mythologies by focusing on the construction of femininity and masculinity in both text and image. Female bodies were predominantly located in the discourses of heterosexuality, usually to the end of fertility and sexual allure, especially with figures like Venus and Flora. The idealization of chastity in Lucretia and Diana highlights tensions in the ideological control of the female body. Hercules is an interesting example of male action and complex sexuality. Throughout, we consider issues of power and ideology, especially about gender and sexualities, but also concerning such matters as the artist's status and the figuring of creativity. History of ideas and an attention to the construction of mythic structures will hence be placed in a particular social context. Classes will be conducted in a discussion format. Evaluation will be based on class participation and a final paper. Cost:1 WL:4 (Simons)
425/CAAS 435. 20th Century African-American Art. Hist. of Art 214 or 272. (3). (Excl).
This lecture course will survey and examine monuments, artists, and works of art in the United States. Beginning with the Armory Show in 1913, major artistic influences and movements and styles will be reviewed and discussed within the context of American society and culture. Various works of art will be reviewed within a chronological and regional framework. Various themes and topics will show the artistic diversities and similarities among African-American artists and the degree and nature of their participation within the artistic community. Possible topics will be Black nationalism and afrocentrism, the New Negro Movement, the Works Progress Administration and the muralist tradition, modernism, race and representation in contemporary art. Course requirements consist of two exams and one research paper (minimum length: 10 pages, excluding bibliography). Assigned and recommended readings from reserve library holdings will be given in the course syllabus and during term. Research papers are to encourage originality in theses and/or original research of individual artists. Cost:2 WL:4 (Patton)
426/Class. Arch. 425. Art and Archaeology of Early Italy through the Fifth Century B.C. Hist. of Art 222. (3). (Excl).
See Classical Archaeology 425. (McConnell)
433/Class. Arch. 433. Greek Sculpture. Hist. of Art 101 or permission of instructor. (3). (HU).
See Classical Archaeology 433. (Pedley)
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 surveys the architecture, painting, sculpture and minor arts of the Late Roman and Early Byzantine Empires (ca.200-600 CE). Primary emphasis in the lectures and assigned readings is placed on identifying the emergence of a repertory of artistic and architectural forms as well as topographical relationships created to serve the new Christian religion and its developing institutions. Lectures, readings and class discussions will explore how social, political and religious forces affected the arts in their styles, iconographies, patterns of production and patronage. Course requirements for undergraduates will include a midterm, a final examination, a short research paper and participation in class discussions. Course requirements for graduate students will include a midterm, a brief oral presentation, a final paper and participation in class discussions. Cost:2 WL:4 (Thomas)
450. Early Renaissance Art in Italy.
Hist. of Art 101 or 250; or permission of instructor. (3). (Excl).
Section 001 – Tradition and Innovation in Italian Painting 1300-1500. This course will study the history of painting in Italy from Giotto to Michelangelo. This period is often celebrated as a succession of great artists and epoch-making works. We will study how this view originated in the period itself. Artists at this time were increasingly aware of their place in an art-historical tradition, and increasingly strove to "make history" through their own works. The unrelenting pace of artistic innovation is the most consistent index of this striving. Painters began to see their work as part of a forward-moving progression, whose course is periodically shifted by moments of artistic revolution: the concept of the "avant-garde," very much at issue today, assumed its familiar modern accent during this period. We will contrast this pattern, which most clearly developed in Florentine art, with the traditions of Siena and the North. This will allow us to consider why the Florentine tradition became, in Vasari's Lives of the Artists (1550) and after, the privileged art-historical model. The purpose of the course is thus to explore, within artistic practice itself, an "archaeology" of the ideas which were eventually institutionalized in the modern discipline of Art History. Students will be assigned weekly readings and periodic short papers, as well as a midterm and a final. (Nagel)
479. Nineteenth-Century Masters. Hist. of Art 102, or 271, or permission of instructor. (3). (Excl).
The dynamic of change in the canon of American art is richly manifest in terms of the critical historiography of mastery and its variety during the course of the 19th century in the continental United States. The question the course asks is: "How, and why, did the greatest hits of American art get there?" We will parallel the notions of period, region, and school with the contemporary (to them and to us) critical stances which define them. Beginning with expatriates like Copley and West, the century proceeded through a series of political and aesthetic upheavals which produced such changing versions of mastery as the genre paintings of Bingham and Mount, landscapes by Cole, Church, Bierstadt, and Moran, buildings by Bulfinch, Parris, Richardson, and Sullivan, and sculpture by Greenough, Powers, and Story. We will consider these in the context of the larger material culture which frames them. Students will advance research projects based on local collections at the University and the Detroit Institute of Arts. Evaluation will be based on discussion, critical research writing and a midterm and comprehensive final exam. Cost:2 WL:4 (Peters-Campbell)
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)
485. The Art of Thailand and Burma. Hist. of Art 103 and 383. (3). (Excl).
Buddhism as it was exported from Sri Lanka served as a unifying force in the development of Thai and Burmese art and architecture, yet classic sculptural styles remained distinctive in each nation, and the architectural centers at Pagan and Sukhothai represent completely different modes of expression. The Mons in Thailand and Burma will be compared for similarities and differences in their art and temples from the 6th through the 13th centuries. Also, the role of royal patronage in each nation, and urban planning and cosmology, will be examined for influences on the great centers of temple construction. The final grade will be based on class participation, two hour exams, and one final paper. Cost:2 WL:3 (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)
525. Graphic Arts from 1660 to the Present. Hist. of Art 102 and permission of instructor. (3). (Excl).
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. Cost:2 WL:4 (Spink)
560/CAAS 560. African Art and Archaeology. Hist. of Art 108 or 404. (3). (Excl).
Archaeology has been an important element in the historical study of African art over the last half century. However, Africanist scholars have made selective use of this data, emphasizing solely its value as a source of dating. Related cultural material from excavations, including architectural remains and utilitarian objects, often receive little attention. This lack of interest in dealing with the total contexts from which pieces have come still poses problems for understanding precolonial art. In particular, attempts to establish a relationship between the latter forms and art from the ethnographic present have sometimes been seriously flawed. HA 560 is designed to give students the opportunity to reevaluate the artistic evidence and related material from selected archaeological sites in sub-Saharan Africa. This comprises inter alia ceramics, sculpture, textiles, beads, and architecture. The course has a three-fold task: first, to study in-depth artifactual data from each site; second, to examine critically the research methodologies employed and their implications for art history; third, to evaluate the basis for ethnographic parallels and comparative analysis; and last, to review the current state of scholarship on each, particularly new interpretations stemming from recent research. While HA 560 is an advanced lecture course, it will also involve weekly reading assignments, discussions, and oral presentations. Participants must have some background in African art, history, anthropology, and archaeology. In addition, some reading knowledge of French will be required. (Quarcoopome)
574. Cubism. Hist. of Art 102 and 272; or permission of instructor. (3). (Excl).
This course concentrates upon the first twenty years of this century, when Picasso and Braque, the founders of the Cubist movement, developed and elaborated their art. Among the issues to be covered are the heritage from Symbolism, the relationship to "primitivism," innovative investigations of form and space, new approaches to the possibility of abstraction, sophisticated explorations of the relationship between art and reality, all primary factors in a consideration of this complex, experimental period. Other artists – e.g., Gris, Duchamp, Mondrian, Malevich – and movements - Constructivism, Futurism, Dada, and Surrealism – will also be considered in relation to Cubism. Readings will be in one or two assigned paperbacks, a course pack, and in books on reserve. A midterm and final will be required. (Isaacson)
575. Mass Media and the Visual Arts. Hist. of Art 102 or 272 or
permission of instructor. (3). (Excl).
Section 001 – Industrial Culture: Art & Society from the Pre-Modern to the Post-Modern. For Winter Term, 1994, this course is jointly offered with History 644. This graduate course will examine industrial capitalism as a hegemonic cultural system that invades all aspects of daily life. It will map key metaphors of industrializing society: the market, the chimney, the street, the parlor, the bar, the clock, the machine, the empire. Through both written and visual sources, it will explore how these metaphors conditioned men's and women's behavior and consciousness. The course, taught jointly by a social historian and an art historian, will introduce an interdisciplinary mix of key texts of social history, art history and cultural criticism. It will incorporate close analysis of cultural products of industrial society, ranging from Manet's Bar at the Folies-Bergères, through the Communist Manifesto, to Charlie Chaplin's Modern Times. Cost:2 WL:3 (Strother/Wahrman)
581. Islamic Architecture to 1500. Hist. of Art 285; or permission of instructor. (3). (Excl).
This course deals with early and medieval Islamic architecture in the Middle East and North Africa. The first part of the course attempts to outline the legacy of the ancient world in early Islamic architecture as a way of explaining its continuities and departures from pre-existing traditions. This is followed by a detailed discussion of medieval Islamic architecture, emphasizing its common forms and themes and pointing out its regional diversity. Although the main focus remains religious architecture, the course also discusses palaces (e.g., Alhambra) and "public" architecture such as caravanserais and hospitals. The course attempts to depart from a purely chronological survey by dividing the epoch into long periods within which lectures follow a thematic presentation. By so doing, it is hoped that the student will get a general understanding of historical evolution and perhaps a deeper appreciation of certain problems in medieval Islamic architecture, including the creation of a sacred space, geometric planning, the dome, the garden, and the role of ornament. Requirements: Students are required to take a midterm and a final exam and to write a 10-page paper. Cost:4 (Tabbaa)
584. Painting in Islamic Countries. Hist. of Art 285; 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, Iran, and Turkey from the 13th to the 17th century. Fifteenth-century Persian painting and literary culture are emphasized, and their influence on later centuries and neighboring regions is explored. The course focuses on the most important literary genres - the scientific, the heroic, the amorous, and the mystic – analyzing their popularity in different times and places. Visits to collections at the UM Art Museum, the Detroit Institute of Art, and possibly the Freer Gallery in Washington are included. Requirements: short (3-4 pp.) on a single image; a longer essay (8-10 pp.); midterm; and final examination. (Tabbaa)
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