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Transfer Student Courses in History of ArtThis page was created at 7:16 PM on Mon, Jan 21, 2002. Winter Academic Term, 2002 (January 7 - April 26)Open courses in History of Art Wolverine Access Subject listing for HISTART Winter Academic Term '02 Time Schedule for History of Art. History of Art 101, 102, 103 and 108, while covering different areas, are all considered equivalent introductions to the discipline of art history. These four introductory survey courses consider not only art objects as aesthetic experiences but also the interactions among art, the artist, and society. The lecture and discussion sections explore the connections between the style and content of works of art and the historical, social, religious, and intellectual phenomena of the time. Attention also is given to the creative act and to the problems of vision and perception which both the artist and his/her public must face. Although it would be logical to move from History of Art 101 to History of Art 102, this is not required. One course in European/American art (101 or 102) and one course in Asian or African art (103 or 108) serve as a satisfactory introduction to the history of art for non-concentrators (concentrators should see the department's handbook for more information on requirements). 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. 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. Photographic material is available for study in the Image Study Gallery, G026 Tisch Hall. Examinations usually include short essays and slides which are to be identified, compared, and discussed.
HISTART 102. Western Art from the End of the Middle Ages to the Present.
Instructor(s): R Ward Bissell (bissellw@umich.edu)Prerequisites & Distribution: No credit granted to those who have completed Hist. of Art 104 and 105, or 150. Two credits granted to those who have completed one of Hist. of Art 104 or 105. (4). (HU). Credits: (4). Course Homepage: No homepage submitted. This course is a survey of topics in European and American Art from the late 14th century to the present, as well as an introduction to techniques of art history. It will examine institutions such as patronage and the art market, the changing roles of artists in society, and the changing functions of art. Weekly discussion sections will be devoted to building skills in visual analysis and critical reading of art-historical literature. Requirements: informed participation in section meetings, regular reading assignments, two short papers, midterm and a final examination. There are no prerequisites for this course.
HISTART 103. Arts of Asia.
Section 001.Instructor(s): Frank Chance (fchance@umich.edu)Prerequisites & Distribution: (4). (HU). Credits: (4). Course Homepage: No homepage submitted. This course will take a topical approach to the arts of India, China, and Japan rather than attempt a broad survey. Lectures will focus on conceptual units that range across geographical and historical categories. The course is divided into five topic areas based on medium: Ceramics and Metalwork, Architecture, Sculpture, Painting, and Prints; within each, we will consider a variety of themes, subjects, and genres such as narrative painting, devotional sculpture, funerary art, landscape, and popular subjects. There will be ample opportunity for exploring the basics of comparative art history. Apart from section participation, course work will include three short papers, quizzes, and a final examination. The course presumes no previous exposure to the arts of Asia. All are welcome.
HISTART 212 / ARCH 212. Understanding Architecture.Section 001.Instructor(s): Robert L Fishman (fishmanr@umich.edu)Prerequisites & Distribution: Not open to students enrolled in Architecture. (3). (Excl). Credits: (3). Course Homepage: No homepage submitted. No Description Provided Check Times, Location, and Availability HISTART 230 / AMCULT 230. Art and Life in 19th-Century America.
Section 001.Instructor(s): Rebecca Zurier (rzurier@umich.edu)Prerequisites & Distribution: (3). (HU). Credits: (3). Course Homepage: No homepage submitted. This course asks what the study of art history and American history can tell us about each other through a survey of art, architecture, and material culture produced during the 19th century. This complex period saw the transformation of the United States from rural to an industrial urban nation; a Civil War that divided the country, Westward expansion that enlarged it, and waves of immigration and border movement that changed its population; the rise of a middle class, and the emergence of women into public and professional life. American artists and architects sought to rival their European contemporaries and eventually produced distinctive works that responded to national trends. Through lectures, discussion, and visits to see original works of art in museums and libraries, along with readings in primary-source documents and recent critical interpretations, we will examine developments in the fine arts and the impact of historical change on the material and popular culture of everyday life in America. Among the topics to be investigated are: the role in art in creating an image of America as "nature's nation"; machine-made art and machines as art; the west as viewed from the painter's easel, the photographer's lens, and the frontier homestead; the interaction of Native American artists, Anglo settlers, and the tourist trade; the creation of Civil War monuments; parlors and the ideology of the Victorian home; mass-produced images and the dissemination of art for middle-class taste; the brooding psychology in the Gilded-Age paintings of Eakins, Homer, and Cassatt.
HISTART 251 / MEMS 251. Italian Renaissance Art, II.
Section 001.Instructor(s): Megan L Holmes (holmesml@umich.edu)Prerequisites & Distribution: (4). (HU).
Credits: (4). Course Homepage: No homepage submitted. In this course we will study Italian art from circa 1480 to 1570. This period is traditionally known as the "High Renaissance," and usually begins with the maturity of Leonardo da Vinci and ends with the death of Michelangelo. We will follow the careers of major masters like Botticelli, Leonardo, Raphael, Titian, and Michelangelo. We also will explore the urban centers – Venice, Florence, Rome – where these masters, and many others not as well known, produced their works in response to the demands of patrons and institutions. We will study key works of art, sites of production, techniques, patrons, practitioners, and publics. We will be interested in gender and social rank, and will visit the exhibition at the University of Michigan Museum of Art "Gender, Power and Representation." Transformations in artistic practices and representational forms will be related to specific social, political, economic, and cultural conditions. We will also consider primary sources, and pay close attention to how art historians selectively consider the fragmentary material and textual remains from the period and incorporate them into a "story of art." There will be weekly section meetings, a midterm and final exam, and a short paper.
HISTART 272. 20th-Century Art: Modernism, The Avant Garde, The Aftermath.
Section 001.Instructor(s): Maria E Gough (mgough@umich.edu)Prerequisites & Distribution: (4). (HU). Credits: (4; 3 in the half-term). Course Homepage: No homepage submitted. An exploration of the work of major 20th-century European and American artists, focusing on two fundamental issues in particular: first, the manifold ways in which modern and avant-garde artists have interrogated the nature of signification itself (i.e., how form produces meaning); and, second, the avant-garde's controversial relationship to revolutionary politics. This streamlined survey course is specifically designed to assist you in developing the vocabulary, and the analytical and visual tools that, are essential in order to come to grips with the great diversity of works and critical debates that constitute the history of 20th-century art.
HISTART 376. Dada and Surrealism.
Section 001 – Meets with RC Humanities 333.003.Instructor(s): Matthew Biro (mbiro@umich.edu)Prerequisites & Distribution: Upperclass standing. (3). (Excl). Credits: (3). Course Homepage: No homepage submitted. This course examines the international movements of dada and surrealism within the context of European culture and history between 1916 and 1939. These artistic movements, which were influenced by the formal experiments of early twentieth-century art and literature, redirected the formal radicalism of their artistic predecessors in new directions; namely, toward:
This course will explore these developments in depth and link dada with surrealist art to parallel tendencies in literature and film.
HISTART 387(487) / CHIN 360 / ASIAN 360 / RCHUMS 375 / PHIL 360. The Arts and Letters of China.
Section 001.Instructor(s): Shuen-Fu Lin (lsf@umich.edu)Prerequisites & Distribution: Upperclass standing. (4). (HU). Credits: (4). Course Homepage: https://coursetools.ummu.umich.edu/2002/winter/asian/360/001.nsf
HISTART 390. Japan's "Floating World".
Section 001 – Worlds of the Japanese Printmaker.Instructor(s): Frank Chance (fchance@umich.edu)Prerequisites & Distribution: Upperclass standing. (3). (Excl). Credits: (3). Course Homepage: No homepage submitted. This course looks deeply at the culture of Japan as expressed through woodblock prints, and the historical and social contexts in which printmaking flourished. We will undertake a chronological survey of printmaking in Japan, from its introduction to the twentieth century. We will explore the ukiyo or "floating world" of merchants, courtesans, entertainers, and artisans; this cultural milieu was steeped in pleasure, driven by monetary economy, and controlled by militant political forces, yet produced and supported prints of enduring beauty and social significance. We also will explore printmaking institutions, styles, regulations, and motivations. Course work will include three short papers, quizzes, and a final examination. Previous experience with the history of art, Japanese studies, or printmaking will be helpful. All are welcome.
HISTART 394. Special Topics.
Section 001 – Contemporary Artists of Color in England, Mid-1950s to the Present. Meets with RC Core 334.001Instructor(s): Jacqueline R Francis (jrfranci@umich.edu)Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once. Credits: (3). Course Homepage: No homepage submitted. This course tracks the burst of cultural production by contemporary, African Diaspora artists trained and based in England from the mid-1950s to the present. The art under our scrutiny will be Modernist painting and sculpture, and post-Modernist installations, performances and film. We also will examine the furor generated by controversial exhibitions in which Black British artists' work was prominently featured, namely, "The Other Story" (London, 1989) and "Sensation" (Brooklyn, 1999). The academic term's readings include art histories and criticism, as well as the social and intellectual texts that influenced these artists: cultural nationalism, post-colonial critiques, British cultural studies, anti-racist coalition politics, and post-identity hybridity.
HISTART 394. Special Topics.
Section 003 – Order and Chaos in 18th-Century European Art.Instructor(s): James C Steward (jsteward@umich.edu)Prerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once. Credits: (3). Course Homepage: No homepage submitted. This seminar will use order and chaos as two organizing principles for an exploration of eighteenth-century European art. Drawing on primary texts (both critical and literary), the course will focus on a number of key figures in European art (Hogarth, Reynolds, Gainsborough, Chardin, David, Tiepolo, Goya) in an attempt to understand better their relationship to fundamental Enlightenment discourses concerning the ordering of knowledge and society. The eighteenth century is a critical period in the art of Europe, incorporating the roots of the modern movement and the ordering of disciplines that continues to define the academy and the museum today. Readings will help to build a societal context for the examination of works of art, and allow the student to explore differences in literary and visual expression as means for describing order or chaos. Students will gain an understanding of the fundamental forces at work in eighteenth-century European culture, with examples drawn from England, France, Italy, and Spain, and will be able to place individual artists against broad historical and artistic developments. The emphasis on order and chaos will serve to elucidate the overlapping concerns of less useful traditional rubrics such as "Neoclassicism" and "Romanticism." The course is designed to introduce students to a range of critical methodologies in the history of art, including Marxist readings and the social history of art, while paying special attention to the use of primary texts. At the same time, it will give students a sophisticated understanding of principal governing moments in the history of eighteenth-century European art.
HISTART 394. Special Topics.
Section 005 – 17th-Century Art and Visual Culture: Art in the Courts of Baroque Europe. Meets with Art and Design 408.001.Instructor(s): Sarah CohenPrerequisites & Distribution: Upperclass standing. (3). (Excl). May be elected for credit more than once.
Credits: (3). Course Homepage: No homepage submitted. This course examines the art and architecture produced in and around the courts of Europe in the seventeenth century, an era that saw unprecedented monarchical authority and display. Beginning in the papal court in Rome, we will then travel to Spain, France, and England, including a stop in the smaller courts of the Southern and Northern Netherlands. A particular focus of our examination will be the profound theatricality of much of this courtly art, with its focus upon ceremony and physical spectacle. Artists to be studied include: Caravaggio, Bernini, Rubens, Velázquez, Inigo Jones, and the numerous artists working in many media to build the palace and gardens of Versailles.
HISTART 405. Artists and Patrons.
Section 001 – China in Comparative Perspective.Instructor(s): Martin J Powers (mpow@umich.edu)Prerequisites & Distribution: Upperclass standing, and HISTART 101. (3). (Excl). May be elected for credit more than once with permission of chair. Credits: (3). Course Homepage: No homepage submitted. This course is designed to help students understand artistic production in the context of human issues such as debates over the distribution of wealth, social privileges, or personal autonomy. In order to accomplish this we ask why a particular artifact looks the way it does: who made it? who acquired it? where was it placed and for what purpose? who decided what was acceptable and who, if anyone, challenged established styles of production? Specific topics include: royal patronage; monastic patronage; the evolution of an open market; the impact of art collecting and criticism on artistic style; competition between the court and the alternative markets; the evolution of an art "world"; the use of painting as a site for social and political debate. While the focus of class discussion will be the history of art production in China, readings in European art history will provide a comparative perspective. No previous knowledge of Chinese history is necessary. There will be a midterm quiz and a final paper. In addition, students will select a small portion of assigned readings for inclusion in an annotated bibliography. There is no textbook. Readings will be placed on reserve and or provided in course packs.
HISTART 440 / CLARCH 440. Cities and Sanctuaries of Classical Greece.
Section 001 – Urbanism in Mediterranean Architecture. Meets with Architecture 509.001.Instructor(s): Lydia M Soo (lmsoo@umich.edu)Prerequisites & Distribution: Upperclass standing, and a course in archaeology. (3). (Excl). Credits: (3; 2 in the half-term). Course Homepage: No homepage submitted. This course will adopt an anthropological approach to urbanism and the links between ecological settings, natural characteristics of the site, and architecture. It provides both historical and political contexts and illustrates the hold that Athens and Alexandria have had on the imagination through an exploration of the visual and literary arts.
HISTART 473. Twentieth-Century Architecture.
Section 001 – Meets with Architecture 543.001.Instructor(s): Anatole Senkevitch Jr (senkanat@umich.edu)Prerequisites & Distribution: Upperclass standing, and HISTART 102. (3). (Excl). Credits: (3). Course Homepage: No homepage submitted. The course offers a critical examination of the transformations in architectural theory and practice from the late 19th through the 20th century, with emphasis on elucidating the leadership struggles for definition, meaning, and form in the architecture of this period. Also considered is the link between theory and practice; the relationship between conceptual and aesthetic as well as technical factors; and the cultural, economic, social, and political context out of which they evolved.
HISTART 489. Special Topics in Art and Culture.
Section 001 – Histories of Art and Histories of Nations. (3 credits). Meets with History 481.002.Instructor(s): Thomas Willette (willette@umich.edu)Prerequisites & Distribution: (2-3). (Excl). May be elected for a total of nine credits. May be elected more than once in the same academic term. Credits: (2-3). Course Homepage: No homepage submitted. This course will be conducted as a seminar on the historiography of "national art" in early modern and modern Europe, with emphasis on Germany and Italy in the period 1450-1945. We will consider how discourses of nationhood were articulated in works of art, as well as in historical writings about art, long before the age of nationalism. The comparative approach will allow us to observe how concepts of national identity are formed locally in a process of comparison and contrast with the peoples of other lands, and how works of art have served to create, document, and justify the distinctions of "nationality." From the 16th century to the 20th century, histories of art and histories of nations were often informed by the same philosophical premises and cultural attitudes regarding national character, language, physiognomy and political institutions, as well as similar assumptions about the determining roles of race, geography, and climate. Our point of departure will be the Germania of Tacitus, in which the "barbarian" northern tribes and the "civilized" ancient Romans were defined and characterized in ways that would shape cultural stereotypes about both Germans and Italians for centuries. We will then focus on Humanist historiography (including works of Petrarch, Leonardo Bruni, Conrad Celtis, and Heinrich Bebel) and the articulation of national histories in terms of collective cultural achievements. In this way, works of art (as highly crafted material objects invested with intrinsic merit) became linked to essential national attributes codified by ancient authorities. At the same time, art became material evidence for both the legitimacy and the political virtues of the nation state (such as republican Florence or the German empire of Maximilian I). The political ideas of "Italy" and "Germany" developed in the 18th and 19th centuries along with beliefs about national styles and characteristic subject matter. Hence the dark forests of German painting and the sun-lit pastoral landscapes of Italian art. In the period of romantic nationalism Albrecht Dürer came to embody the soul of Germany, while Raphael represented the ideal of Italy.
HISTART 489. Special Topics in Art and Culture.
Section 004 – Use and Reuse of the Past in Architecture: Antiquity-Medieval Period. (3 Credits).Instructor(s): Alka A Patel (alkap@umich.edu)Prerequisites & Distribution: (2-3). (Excl). May be elected for a total of nine credits. May be elected more than once in the same academic term. Credits: (2-3). Course Homepage: No homepage submitted. The re-use of building materials has been documented throughout various regions of the globe and in many time periods. This practice encompassed the recycling of all that was useable, from small architectural fragments to portions of standing buildings. Moreover, it could be suggested that reuse of the past did not refer strictly to the physical remains of bygone eras, but included the conceptual remains of these eras as well. In light of the "global" practice of salvaging older material and putting it to good use, focus on a single region and time period would be artificially limiting. Thus, this course will examine the phenomenon of using remnant building materials from Antiquity through the medieval period, roughly spanning the 1st through 15th centuries C.E. The regions covered will extend from the Iberian peninsula eastward to the Indian subcontinent. Among the issues raised by this approach and addressed in the course are:
The course will be conducted in seminar format, requiring weekly participation, one presentation, and a final paper.
This page was created at 7:16 PM on Mon, Jan 21, 2002.
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