2019-2020 2020-2021 2021-2022 2022-2023 2023-2024
Browse
by subject...
    Schedule
view...
 

1 - 10 of 49 results for: ARTHIST

ARTHIST 1: Introduction to the Visual Arts: History of Western Art from the Renaissance to the Present

This course surveys the history of Western painting from the start of the 14th century to the late 20th century and our own moment. Lectures introduce important artists (Giotto, Rembrandt, Velazquez, Goya, Manet, Matisse, Pollock, and others), and major themes associated with the art of particular periods and cultures. The course emphasizes training students to look closely at - and to write about - works of art.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 99A: Student Guides at the Cantor Center for the Visual Arts

Open to all Stanford students. Public speaking, inquiry methods, group dynamics, theme development, and art-related vocabulary. Introduction to museum administration; art registration, preparation and installation; rights and reproduction of images; exhibition planning; and art storage, conservation, and security. Students research, prepare, and present discussions on art works of their choice.
Terms: Aut | Units: 2
Instructors: Young, P. (PI)

ARTHIST 101: Archaic Greek Art (ARTHIST 301, CLASSART 101, CLASSART 201)

The development of Greek art and culture from protogeometric beginnings to the Persian Wars, 1000-480 B.C.E. The genesis of a native Greek style; the orientalizing phase during which contact with the Near East and Egypt transformed Greek art; and the synthesis of East and West in the 6th century B.C.E.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

ARTHIST 109D: Means, Media and Mode: An Introduction to Western Medieval Art (ARTHIST 309D)

The course is an introduction to western medieval art approached primarily through distinctions of materials and media. We work with a combination of medieval and later sources, often engaging with the modern objects and spaces available for study on campus in order to create new perspectives on the historical material. Medieval case studies are chosen that raise particularly complex issues of materiality, mixed-media form, and cross-media citation.
Terms: Aut | Units: 4

ARTHIST 120: Living in a Material World: Seventeenth-century Dutch and Flemish Painting (ARTHIST 320)

Painting and graphic arts by artists in Flanders and Holland from 1600 to 1680, a period of political and religious strife. Historical context; their relationship to developments in the rest of Europe and contributions to the problem of representation. Preferences for particular genres such as portraits, landscapes, and scenes of everyday life; the general problem of realism as manifested in the works studied.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 122: The Age of Revolution: Painting in Europe 1780-1830 (ARTHIST 322)

Survey of European painting bracketed by the French Revolution and the end of the Napoleonic conquest. Against this background of social upheavel, the visual arts were profoundly affected by shifts in patronage, public, and ideas about the social utility of image making. Lectures and readings align ruptures in the tradition of representation with the unfolding historical situation, and trace the first manifestations of a "romantic" alternative to the classicism that was the cultural legacy of pre-Revolutionary Europe.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Marrinan, M. (PI)

ARTHIST 123N: Thinking about Visual Attention : from Balzac to Facebook

Writing in 1829, the French author Honoré de Balzac celebrated the acute visual attention of the flâneur, a character he closely associates with modern life: "To flâne is to take pleasure, to collect flashes of wit, to admire sublime scenes of unhappiness, of love, of joy as well as graceful or grotesque portraits, to thrust one's attention into the depths of a thousand lives." In July 2012 the Huffington Report pointed to a fact of modern life: "On city streets, in suburban parking lots and in shopping centers, there is usually someone strolling while talking on a phone, texting with his head down, listening to music, or playing a video game. The problem isn't as widely discussed as distracted driving, but the danger is real." These two very different ways of circulating in urban space suggest that a major shift in how we humans relate to our environment has occurred over the course of nearly two centuries--especially in the densely populated spaces of modern cities. Where the great spectacle of urban life was a marvel of the nineteenth century, today's inhabitants want mainly to block it out by insulating themselves in a cocoon of favorite music or personal conversation, whether by voice or text, that they risk stepping into traffic, colliding with lightposts, or bumping into others similarly self-absorbed. This seminar proposes to think about the hows and whys of that important shift from the unique perspective of art history, a field of study especially attuned to the limits and exigencies of visual acuity. We will explore the topic across a range of media, from daguerreotypes to stereoscopes, from paintings to films, from television screen to the hand-held displays of our smartphones.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II
Instructors: Marrinan, M. (PI)

ARTHIST 132: American Art and Culture, 1528-1910 (AMSTUD 132, ARTHIST 332)

The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II

ARTHIST 147: The Visual Culture of Modernism and its Discontents (ARTHIST 347)

The development of modern art and visual culture in Europe and the US, beginning with Paris in the period of Haussmann, Baudelaire and Manet, and ending with Surrealism in the 1920s and 30s. Modernism in art, architecture and design (e.g., Gauguin, Picasso, Duchamp, Tatlin, Le Corbusier, Breuer, Dali) will be presented as a compelling dream of utopian possibilities involving multifaceted and often ambivalent, even contradictory responses to the changes brought about by industrialization, urbanization, and the rise of mass culture.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 157A: Histories of Photography (ARTHIST 357A)

This course investigates multiple histories of photography. It begins in early nineteenth-century Europe with the origins of the medium and ends in the United States on September 11, 2001, a day that demonstrated the limits of photographic seeing. Rather than stabilizing any single trajectory of technological iterations, the course is more interested in considering the ¿work¿ performed by photography. Through historical case studies, it considers how `to photograph¿ is to order and to construct the world; to incite action and to persuade; to describe and to document; to record and to censor; to wound; to heal.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum
Instructors: Bennett, E. (PI)
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints