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

1 - 10 of 34 results for: ARTHIST ; Currently searching spring courses. You can expand your search to include all quarters

ARTHIST 3: Introduction to World Architecture (CLASSICS 54)

This lecture course surveys the history of architecture and urbanism, from the first societies to the present, in Europe, West and East Asia, the Americas, and Africa. The course progresses by case studies of exemplary monuments and cities, and examines the built environment as both cultural artifact and architectural event. It considers the social and political circumstances of architectural invention as well as plumbing the depth of artistic context by which particular formal choices resonate with an established representational culture.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, GER:DB-Hum
Instructors: Barry, F. (PI)

ARTHIST 100N: The Artist in Ancient Greek Society (CLASSICS 18N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. n nWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?n nPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.n nSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).n nThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

ARTHIST 105B: Medieval Journeys: Introduction through the Art and Architecture (DLCL 123)

The course explores the experience and imagination of medieval journeys through an interdisciplinary, cross-cultural, and skills-based approaches. As a foundations class, this survey of medieval culture engages in particular the art and architecture of the period. The Middle Ages is presented as a network of global economies, fueled by a desire for natural resources, access to luxury goods and holy sites. We will study a large geographical area encompassing the British Isles, Europe, the Mediterranean, Central Asia, India, and East Africa and trace the connectivity of these lands in economic, political, religious, and artistic terms from the fourth to the fourteenth century C.E. The students will have two lectures and one discussion session per week. Depending on the size of the class, it is possible that a graduate student TA will run the discussion session. Our goal is to give a skills-oriented approach to the Middle Ages and to engage students in creative projects that will satisfy 1. Ways-Creative Expression requirement as well as one of the following two: Ways-Analytical Interpretive or Ways-Engaging Difference.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-CE, WAY-EDP

ARTHIST 118N: Pagan Mythology and the Making of Modern Europe

Once a religion looses its claim to truth it enters the sphere of the mythic. From the fifteenth through the seventeenth century, European artists turned to the legends and poetry of Greco-Roman paganism for pictorial subjects. What roles could Venus and Mars, Mercury and Minerva play in a Christian culture? Artists and humanists had different answers to this question. As relics from the past the stories of the ancient gods could serve as the prehistory of worldly and religious institutions and hence legitimize them. Or pagan myth, because of its alien nature, could convey fantasies of the body, which could not be articulated otherwise. Among the artists who explored creatively the ancient legends were Donatello, Botticelli, Michelangelo, Raphael, Velazquez, Rubens, Rembrandt, Bernini, and Poussin. Next to ancient authors such as Homer and Ovid we shall be reading excerpts from the humanists Dante, Boccaccio, Petrarch, and Vasari as we explore word/image relationships. The seminar includes excursions to the Cantor Arts Center at Stanford University to look at Old Master prints from the museum¿s storage, not normally on display, and we shall study paintings and sculptures with mythological subjects in the Legion of Honor, the Fine Arts Museum of San Francisco.
Instructors: Hansen, M. (PI)

ARTHIST 147: MODERNISM AND MODERNITY (ARTHIST 347)

The development of modern art and visual culture in Europe and the US, beginning with Paris in the 1860s, the period of Haussmann, Baudelaire and Manet, and ending with the Bauhaus and Surrealism in the 1920s and 30s. Modernism in art, architecture and design (e.g., Gauguin, Picasso, Duchamp, Mondrian, Le Corbusier, Breuer, Dali) will be explored 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: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 152: The American West (AMSTUD 124A, ENGLISH 124, HISTORY 151, POLISCI 124A)

The American West is characterized by frontier mythology, vast distances, marked aridity, and unique political and economic characteristics. This course integrates several disciplinary perspectives into a comprehensive examination of Western North America: its history, physical geography, climate, literature, art, film, institutions, politics, demography, economy, and continuing policy challenges. Students examine themes fundamental to understanding the region: time, space, water, peoples, and boom and bust cycles.
Terms: Spr | Units: 5 | UG Reqs: GER:EC-AmerCul, GER:DB-Hum, WAY-SI, WAY-A-II

ARTHIST 155C: Abstract Expressionism: Painting/Modern/America (AMSTUD 155C)

The course will focus on American abstract painting from the 1930s to the 1960s, emphasizing the works of art at the Anderson Collection at Stanford. We will focus on looking closely at pictures by Jackson Pollock, Mark Rothko, Willem de Kooning, and other renowned abstract painters, developing skills of speaking and writing about these works of art. We will also place these pictures in their mid-20th century context: World War II and the Cold War; Hollywood and popular culture generally; Beat literature; and locations such as New York and San Francisco.
Terms: Spr | Units: 4

ARTHIST 166: Representing Fashion

Course on the representation of fashion in the 20th and 21st century, with focus on fashion photography. Topics include: history of fashion illustration, fashion photography, and fashion films; intersection of art and commerce; role of designers, photographers, editors, and models; studio v. street photography; the place of mass media, alternative magazines, and online publications; and use of media, photography, and design theory for interpretation of fashion representations. Illustrators and artists include Lepape, Erte, Avedon, Penn, Klein, Newton, Sherman, and Leibovitz.
Terms: Spr | Units: 4

ARTHIST 189C: Global Currents: Early Modern Art Enterprises, Economies, and Imaginaries (ARTHIST 389C)

Episodes of global artistic exchange from the 16th to 19th centuries involving commodities (porcelains and textiles), technologies (printmaking, perspective, and cartography), and imaginaries (Chinoiserie, East Asian Occidenteries, Orientalism, Japonisme). The role of enterprises, institutions, and power relations in artistic economies, from the Portuguese Empire, Jesuit mission networks and East India Companies to imperialist systems.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP

ARTHIST 209C: Iconoclasm (ARTHIST 409, CLASSICS 158, CLASSICS 258, REES 409)

Iconoclasm, iconophobia, and aniconism as markers of cultural transformation of the Mediterranean in the 7th-9th centuries. The identity crisis in the region as the Arabs established the Umayyad caliphate, conquering the Holy Land, Egypt, and Spain. The West consolidated around the Carolingians versus the East split between the Byzantines and the Arabs. How each of these three empires emerged from the ashes of late antique culture and carved an identity out of a common cultural foundation. The course will take place in the seminar room of the Art and Architectural Library located in the Cummings Art Building.
Terms: Spr | Units: 5
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