Courses in History of Art (Division 392)

Open to All Undergraduates; Not Open to Graduate Students.

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).
Section 001 – An Introduction to Visual Culture in the West, 1300-1996.
As the essential introduction to Western Art from the Fourteenth to the Twentieth Centuries, this course has three principal objectives: first, to familiarize students with the wide range of images that constitute the canonical core – from Giotto to Jackson Pollock – of European and American painting, sculpture, and graphic arts; second, to engage a variety of critical perspectives with which Art History proposes interpretations of these images; and finally, to outline the historiography of Art History as a means of encouraging students to develop their own critical skills. Lectures focus on the general issues of a given period of artistic production as well as individual artists and works of art. Readings are selected from diverse methodological positions and assigned, in opposition one to another, to promote an understanding of critical difference and debate. Weekly discussion sections provide students with the opportunity to address these readings and to come to grips with the challenges of critical analysis in the arts. Cost:2 WL:4 (Campbell/Lay)

113/Art 113. Introduction to the Visual Arts. This course is for non art majors only. (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:3 WL:4 (Kapetan)

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)

194(210). First Year Seminar. (3). (HU).
Section 001 – Metropolitan Lives; the Ashcan School and their New York.
This seminar investigates what works of art can tell us about the society and culture in which they were made, through hands-on work with original art and historical material. We will focus on a particular time and place - New York City in the first years of the twentieth century – and a particular group of artists who were dedicated to exploring the highlife and lowlife they observed on the streets of the city. The "Ashcan School" were among the first Americans to bring themes from popular culture into the world of "high art." Our seminar will examine the making of the New York art world, and the artists' work and philosophy. We will develop skills in visual analysis and interpreting works of art. But we will also reconstruct the social world of a particular tumultuous era in urban history, when immigration, the entertainment business, labor strife and new forms of commercial activity helped transform New York and eventually shaped modern American culture. Students will work directly with original works of art in museums and private collections, and do first-hand reading and research in turn-of-the-century documents: literature, photographs, newspapers, popular music, movies, and art criticism produced in New York City during the Ashcan artists' years. Cost:3. There may be an additional lab fee for an optional field trip. WL:2 (Zurier)

Section 002 – The Black Death. No prerequisites. This interdisciplinary seminar will examine responses to the plague which ravaged western Europe between 1348 and 1350, killing between one third and one half of the population. In the first part of the course eyewitness descriptions and efforts to explain the scourge (medical, astrological, religious) will be examined in detail. Attention will then shift to the analysis of literary works (e.g., Boccaccio's Decameron) and artistic works produced in the aftermath of the plague. Themes in art revealing attitudes to death (e.g., The Dance of Death) will be analyzed as indicators of changing moral and religious sensibilities. Emphasis will be placed on reading and discussion; students will write several brief essays, give a short oral presentation, and prepare a longer research paper on a topic of choice. Cost:2 WL:2 (Sears)

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

This three-credit course, 'Understanding Architecture,' is the principal introductory survey course in architecture. Taught by distinguished senior faculty, it examines 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 is enhanced by recitation sections, which are run by five graduate teaching assistants. They meet with students once a week, leaving two hours per week for lectures. Recitation sections focus on improving the student's ability to venture into and sustain architectural discourse. Cost:1 WL:4 (Marzolf)

214/CAAS 214. Introduction to African-American Art. Hist. of Art 102 or 108 or permission of instructor. (3). (Excl).
Section 001 – African-American Art and Culture.
This course surveys the visual arts of African descendants residing in the United States. Beginning approximately in the mid-19th Century, and continuing until the present, the lectures and discussions will cover important topics, issues, and art productions within the context of African-American cultural history. Subject-matter, style and technique, training and patronage, content and meaning will be examined as a means of identifying and comprehending the social, cultural, political and economic milieu of the African-American vis-à-vis mainstream Euro-American society. Course topics are: Domestic and Folk arts, Architecture, Fine Arts – Painting and Sculpture (19th Century); From the New Negro Movement to the Cold War Era, Civil Rights Movement and Black Nationalism, Postmodernism and the Construction of Identity (20th Century). Within each topic, one or more specific themes will be examined such as the diaspora of Africa in 19th century folk/popular art forms, the abolitionist as patron, the muralist tradition, Black aesthetics, and the ancestral legacy of African art. There will be assigned readings from class text and/or course pack, and an object-study list (slide identification) for exam preparation. There will be two scheduled exams (19th and 20th Centuries), and a research paper/project. Students are encouraged to meet and research an undocumented Black artist or propose an interdisciplinary topic such as the aesthetics of improvisation. Cost:2 WL:4 (Patton)

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

See Classical Archaeology 222. (Alcock)

260. European Painting and Sculpture of the Seventeenth Century. Hist. of Art 102 or permission of instructor. (3). (HU).

After an opening review of 16th-century artistic and ideological developments, the course considers the revolutionary achievements of Annibale Carracci and Caravaggio, who together are shown to have established the premises of the three major trends in 17th-century art: Baroque Classicism; the "Ecstatic" Baroque; Baroque Realism. Each of these sub-categories is then discussed in turn, following a lecture format and a complete syllabus, with examples drawn from the painting and sculpture of Italy, France, Spain, Flanders and Holland, and with attention given to the historical/ cultural circumstances under which the works were produced. Simultaneously, the uniqueness of such major masters as Guido Reni, Poussin, Guercino, Rubens, Bernini, Velázquez, Martínez Monta–és, Georges de La Tour, Vermeer, and Rembrandt will be revealed. It is hoped that a spectacle of astounding creative richness will emerge. But the course will end with an attempt to demonstrate that there is an underlying philosophical unity to 17th-century art, and it is also to this point that the textbook (John R. Martin, Baroque, N.Y., 1977, Harper and Row Icon paperback) addresses itself. Beyond the text, there will be a minimal amount of required reading, considerably more suggested reading, and continual study of the visual material in conjunction with the lecture notes. Students will be evaluated on the bases of the midterm and final examinations and a short non-research paper. Cost:1 WL:4 (Bissell)

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

Throughout this century, artists have probed the role, the content, and the means of representation in art. This course follows the shifting story of art as it appears in a cross-section of movements (including Cubism, Dada and Surrealism, Abstract Expressionism, Pop Art, Minimalism, Earth Art, Performance Art), in works by individual artists (like Matisse, Wright, Rouault, Giacometti, Kienholtz, Saar, Schapiro, Kruger, and Long), and a variety of materials (broadly included under "painting," "sculpture," "photography," "architecture," "mixed media"). We will consider changes in the ways theorists and critics have thought about art in this century. And we will examine some of the multiple ways in which each of us "reads" art works. Full-class meetings will involve a blend of lecture, discussion, and films. The required weekly "section" meetings will complement the large class meetings through discussion on focused topics. Course members will use some computer-based resources designed for the class. Three slide exams will test the student's developing skill in applying critical thinking to the analysis of 20th century art. There will also be a term paper/project. Grades will be based on performance in the discussion sections and on the quality of the exams and the term paper/project. (Kirkpatrick)

380/Class. Arch. 380/Anthro. 380. Minoan and Mycenaean Archaeology. Hist. of Art 221 and 222, or permission of instructor. (3). (Excl).

See Classical Archaeology 380. (Cherry)

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).
Section 001 – Public Art and Political Controversy.
Seminar format. Focus: the "Dream Plaques" (1948) adorning the LS&A building - sculptures that have recently sparked heated campus debate. Unit I explores Dream Plagues as historically fixed artifacts, using skills of description, stylistic and iconographical interpretation, and research into the broader context of the commission and the artist's positioning within the politics of the mandate. Unit II explores political/ethical/legal dilemmas in reception of public commissions as these evolve over time – e.g., in terms of ethnic exclusivity, social values, engendered representational codes. This unit weaves in discussion of a foil monument: the Parthenon frieze of 5th century BC Athens, which poses provocative analogies. Unit III transforms seminar into a civic arts board embroiled in modes of contemporary debate, information dissemination and public opinion polling in attempt to reach consensus for a new competition mandate that will invite a late 20th century vision of aspiration. Course packs of primary source material as well as selected reserve readings on social issues of public art, race/ethnicity, reception, and gender theory. Units I and II: two 5-8 page papers discussed in seminar. Unit III: group investigative product in the form of an official public competition mandate. Cost:2 WL:3, 4 (Root)

394. Special Topics. (3). (Excl). May be elected for credit more than once.
Section 001 – Tradition and Invention: Aspects of the Arts in 18th Century Europe.
For Winter Term, 1996, this section is offered jointly with RC Humanities 344.001. (Hennessey)

Section 002 – Japanese Buddhist Art. This course is designed to expose students to the study of Japanese Buddhist painting and sculpture, and does not presuppose any prior familiarity with the subject. We will begin in the proto-historic period (5th-6th century C.E.) and proceed chronologically up through the late medieval era (15th century), covering the history of Japanese Buddhist art from its early beginnings through the art and architecture associated with medieval Zen Buddhism. Students will be trained in identifying media, techniques, and artistic conventions, and in recognizing major artistic traditions. Although the pictorial and sculptural arts are featured, their architectural context will also be studied. As a secondary theme we will examine common generalizations about Japanese Buddhist art encountered in Western studies. Course requirements include two scheduled quizzes and two short written assignments, one 12-page term paper, one term-paper proposal, and a final exam. (Sharf)

Section 003 – African Religious Imagery. The art of Africa is known for its richly diverse visual vocabulary. Images of gods, ancestors and other spirit beings, and magical charms abound. While frequently the distribution of some of these forms may appear to be geographically circumscribed, they also reflect common themes and contextual associations. Research has determined that African religious philosophy both prescribes and informs the meanings and uses of many art works. The course aims at identifying and exploring some recurring themes in African iconography. It analyzes visual forms used in religious worship, dwelling mainly on interpretation of imagery and context. It considers the specific social and political conditions under which images were produced and used to shed light on their total significance. Because images sometimes have multiple associations, and because meaning and interpretation can change over time and space, the course's approach will be both cross-cultural and historical. There are no prerequisites even though it would help if undergraduate participants have had one of the following courses: History of Art 108, 360, or 404. Interested graduate students may take HA 394 as an Independent Study. Participants will be required to do weekly intensive readings contained in a course pack (which will be available at Michigan Document Services on Church Street, off S. University) and John Mbiti's Introduction to African Religions. Both reading materials are important. Students are required to attend all the lectures and failure to do so can affect your performance in the class. In addition to two in-class written examinations (midterm and final), each student will be required to do a 12-15 page paper. Those opting for Independent Studies will produce 20-25 page paper. (Quarcoopome)

Section 004 – Art, Science, and Museums: Learning from Objects. No prerequisites. Three credit, interdisciplinary seminar, team-taught by Kelsey Museum and Museum of Art faculty and staff; uses the museums' collections to involve students, especially but not only non-humanists, with possibilities and techniques of object-based research as practiced in museums of art and archaeology. Students will explore ways in which objects of material culture are both the product of individual creative genius and embodiments of political, social, religious, economic, and cultural values of society. No textbook; readings from a course pack; books and articles on reserve. Student work will be based on object(s) student selects for detailed analysis. The results will be presented both in a term paper and oral report. No examinations. Class attendance and participation will be an important part of evaluation. The course is a seminar, with presentations by faculty, guest speakers, and students followed by discussion. Other sessions involve hands-on exercises with museum objects. Cost:2 WL:3 (Hennessey, Plummer, Talalay)

Open to Upperclass Students and Graduate Students

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

This course is designed to introduce students to new methods of interpretation currently in use in the discipline of art history. After a brief survey of the some of the major methodologies and practices which have traditionally informed the study of visual art, students will examine four methodologies which form part of the "new art history": (1) gender and cultural studies (modes of analysis which focus on gender and race as determining factors in the study of art), (2) psychoanalysis, (3) phenomenology, and (4) deconstruction. These newer art historical methodologies do not replace the more traditional modes of art historical analysis, but rather supplement them – augmenting canonical art history's focus on form, style, connoisseurship, and social history with concerns having to do with the construction of both selfhood and otherness, as well as the interrelation of art and politics. Grades will be based on three 5-7 page position papers, a twenty minute class presentation, and class participation. The seminar will include both lectures and discussions. (Biro)

403/NR&E 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 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 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. Cost:2 WL:2, Go to 1024 Dana Bldg. (Clendenin)

404/CAAS 404. The Art of Africa. (3). (Excl).
Section 001 – West African Sculpture, 500 B.C. – A.D. 1900.
This course traces some significant developments in the history of West African sculpture from early iron age through the nineteenth century A.D. It focuses primarily on the influence of technological change on art production over the centuries. Beginning with terracotta sculptures of early iron-working and agrarian societies it proceeds with an analysis of the famous cast-bronze and gold masterpieces produced in the West African kingdoms of Benin and Asante. It concludes with a look at some enigmatic artistic traditions that emerged in the post-contact period (1500-1800 A.D.). The study deals mainly with the pre-contact period and most of its visual materials consist of art objects from archaeological excavations. The inherent limitations of this data are well known. Other sources of historical evidence – oral traditions, linguistics, ethnography, and written records (from the 16th century A.D.) – will therefore be used to expand our understanding of the uses, meanings, functions, and social contexts of the various art forms. Prerequisites: No background is required. However, students must bear in mind that this is an intensive lecture course that will deal with concepts drawn from the social sciences and humanities. This may prove a little difficult for first year undergraduates. I therefore recommend this course for advanced undergraduates and graduate students. (Quarcoopome)

428/Class. Arch. 428. The Public Spaces of Imperial Rome. Hist. of Art 101 or 222. (3). (Excl).

See Classical Archaeology 428. (Conlin)

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

See Classical Archaeology 433. (Pedley)

448. Medieval Manuscript Illumination. Hist. of Art 101 or permission of instructor. (3). (HU).

This course offers an introduction to a major art form, highly developed in the Middle ages: the richly illuminated hand-written book. As we now, in the computer era, are witnessing a revolution in the presentation of texts and images, the study of the history of the book becomes particularly relevant. Beginning with the invention of the codex in late antiquity, the course will cover significant developments in the form, appearance, production and use of the manuscripts in the early, central and late Middle Ages to end with the advent of the printed book. Readings will be drawn largely from the textbooks of the course: Shailor, The Medieval Book; De Hamel, A History of Medieval Manuscripts; Alexander, Medieval Illuminators and their Methods of Work. There will be a midterm and a final, and students will prepare a shorter and a longer paper or project. Cost:3 WL:4 (Sears)

462. Baroque Art in Italy. Hist. of Art 102 or 260 or permission of instructor. (3). (Excl).

The course pretends to identify the most significant achievements in the development of Italian Baroque Painting, from the late-16th-century stirrings of a new way of seeing and working to the spectacular ceiling frescoes of the late 17th-century. It focuses on such artists as Caravaggio, Annibale Carracci, Artemisia Gentileschi, Guido Reni, Guercino, and Pietro da Cortona, and upon the cities of Rome and Bologna. The art – religious subject matter, history, mythology, portraits, landscapes, genre, still-life - will be studied for what it reveals of individual creative genius, of socio/political/religious aspirations, and of shared features which together might be said to constitute a concept of the Baroque. A balance will be sought between monographic accounts of major masters and a running narrative involving the interactions of these masters (a sense of the actual flow of artistic activity). The course will observe essentially a lecture format, and evaluations will be based on two examinations. A syllabus and bibliography will be provided. While the amount of assigned reading will be modest, considerable additional reading will be expected. Undergraduates with some history of art training should not hesitate to elect the course. Cost:1 WL:4 (Bissell)

471. Investigations of Recent Art. Hist. of Art 272 or permission of instructor. (3). (Excl).
Section 001 – Portrait, Record, Sign-Photography and the Human Face in Contemporary Art.
Representations of the human face have been a recurring and resonant theme throughout the history of much of the world's art. In our own time, artists and theorists have explored deeply the varied meanings that can be carried by the photographed face, captured from the realm of news, advertising, public record, family album and re-placed within the art arena. This course will investigate this recent practice by studying a range of examples in different media created from the 1960s to the present (by artists like Andy Warhol, Chuck Close, Cindy Sherman, Sonia Sheridan, Bruce Nauman, The Starn Twins, et al.), and by examining these works in the light of selected critical readings on how meaning is constructed by our habits of seeing and of "reading" pictures. Class members will form groups, each of which will direct discussion of readings. One individual mid-length project/paper and one term project/paper. Grades based on a combination of class participation and on quality of the short and full-length project/ papers. (Kirkpatrick)

483. Asian Architecture. Hist. of Art 103 or permission of instructor. (3). (Excl).

This course will be devoted to a survey of all of the most significant religious and secular architectural monuments of India, Southeast Asia, China, and Japan – viewed in the context of their religious and social functions and analyzed according to their plans, materials, structural techniques, exterior and interior decoration, environmental settings, and stylistic evolution. The material is divided into two main categories, comprising the religious and the secular, within each of which the development of the various architectural types is separately traced, crossing national boundaries where appropriate. While History of Art 103 (Arts of Asia) is not strictly necessary as a prerequisite, this course or some other experience in the religions or cultures of Asia is recommended. A final exam and a term paper of approximately ten pages will constitute the main student requirements. Cost:1 WL:4 (Kane)

484. The Art of Cambodia and Indonesia. Hist. of Art 103 and 383. (3). (Excl).

Section 001 – From Apogee to Extinction: the Disappearance of Great Civilizations. The site of Angkor, one of the largest architectural complexes in the world, embodies the highest achievements in Cambodian art, culture, and religion. But by the mid-15th century, the site was abandoned and the secrets of its temple architecture were lost. What were the forces that extinguished this thriving culture? What survived? In central Java in the 9th century, the Shailendra dynasty built the great Borobudur and several other major monuments. Within 100 years, the Shailendras vanish from power and central Java is abandoned. What constituted these remarkable civilizations, and what may have caused their downfall? Requirements for the class are History of Art 103 (Arts of Asia) and/or the Survey of Southeast Asian Art (HA 383). There will be weekly assignments/quizzes, and two 7-10 page papers. 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.

499/Amer. Cult. 499. The Arts in American Life. Seniors concentrators, seniors in any Honors curriculum, or graduate students with permission. (3). (Excl). May be elected for credit more than once with permission of instructor.
Section 001 – National Identity in American Art.
This class is open to juniors, seniors, and graduate students in any concentration with permission of the instructor. The course will consider the old question, "What's American about American art?" by asking "When and why have people cared what's American about American art?" We will focus on a series of moments – from Colonial portraiture to the formation of abstract expressionism - which artists, critics, historians, or their public have claimed were uniquely American. By studying related issues in political, social, and cultural history, we will examine how Americans have sought to define a national identity through art. The class will combine lectures, discussion, and brief presentations by groups of students. Recommended background: there are no fixed prerequisites for this course but students will be expected to have taken prior courses in art history, American culture, and/or American history. Requirements: about 100-150 pages of reading each week in textbooks, a packet of photocopied articles, and books on reserve in the Fine Arts Library. Class participation is essential. Each student will participate in a group report in class and prepare several short papers. Undergraduates will write a take-home final exam; graduate students will write a research paper. (Zurier)

582. Later Islamic Architecture: 1500-Present. Hist. of Art 285; or permission of instructor. (3). (Excl).

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 19th century are discussed in this course. The great architectural achievements of these highly distinct traditions during 16th and 17th 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. Turkey and the Arab worlds are especially stressed. (Tabbaa)

589. Rajput Painting. Hist. of Art 103 or 493 or permission of instructor. (3). (Excl).
Section 001 – Indian Painting: Rajput and Mughal.
A study of the important schools of Rajput painting from the 15th through the 19th centuries. Concentration on stylistic origins and distinctions between the principal painting schools in Rajasthan and North India, and on the development of Mughal painting in the 16th and 17th centuries. Interpretation of the religious, iconographical, literary, and political components which constitute this cultural background. Attention will also be given to establishing criteria for judging the quality of individual works. This course is designed for upperclassmen and graduate students, and is of special interest to those concentrating in the field of Asian art. Required text M. Beach, Mughal and Rajput Painting (Cambridge). Students will be evaluated by means of short papers and one examination. Cost:2 WL:4 (Spink)


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