printer friendly pageARTHIST 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 124: The Age of Naturalism, Painting in Europe1830-1874 (ARTHIST 324)
Survey of European painting from the heyday of Romanticism to the first Impressionist exhibition. Lectures and readings focus on the tensions between traditional forms and ambitions of history painting and the challenge of "modern" subjects drawn from contemporary life. Attention to the impact of painting in the open-air, and the effect of new imaging technologies- notably lithography and photography - to provide "popular" alternatives to the hand-wrought character and elitist appeal of "high art" cultural forms.
Terms: Spr
| Units: 4
| UG Reqs: GER:DB-Hum, 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
Instructors:
Wolf, B. (PI)
;
Shultz, O. (TA)
ARTHIST 143A: American Architecture (ARTHIST 343A)
A historically based understanding of what defines American architecture. What makes American architecture American, beginning with indigenous structures of pre-Columbian America. Materials, structure, and form in the changing American context. How these ideas are being transformed in today's globalized world.
Last offered: Spring 2012
| UG Reqs: GER:DB-Hum, WAY-A-II
ARTHIST 145: Culture Wars: Art and Social Conflict in the USA, 1890-1950 (AMSTUD 145M, ARTHIST 345, FEMGEN 145)
This course examines social conflicts and political controversies in American culture through the lens of visual art and photography. We consider how visual images both reflect and participate in the social and political life of the nation and how the terms of citizenship have been represented¿and, at times, contested¿by artists throughout the first half of the 20th century. The class explores the relation between American art and the body politic by focusing on issues of poverty, war, censorship, consumerism, class identity, and racial division.
Terms: Spr
| Units: 4
| UG Reqs: GER:EC-AmerCul, GER:DB-Hum, WAY-A-II, WAY-EDP
Instructors:
Meyer, R. (PI)
;
Stephan, K. (TA)
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
Instructors:
Troy, N. (PI)
;
Simon, S. (TA)
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: 4
| UG Reqs: GER:EC-AmerCul, GER:DB-Hum, WAY-SI, WAY-A-II
Instructors:
Cain, B. (PI)
;
Freyberg, D. (PI)
;
Jones, G. (PI)
...
more instructors for ARTHIST 152 »
Instructors:
Cain, B. (PI)
;
Freyberg, D. (PI)
;
Jones, G. (PI)
;
Kennedy, D. (PI)
;
Nemerov, A. (PI)
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)
ARTHIST 160N: The Sisters: Poetry & Painting (ENGLISH 51N)
Poetry and painting have often been called the "sister arts". Why? Sometimes a poem or a painting stands out to us, asking that we stay with it, that we remember it, although we cannot exactly say why. Poems have a way of making pictures in the mind, and paintings turn "rhymes" amid the people, places, and things they portray. Each is a concentrated world, inviting an exhilarating closeness of response: why does this line come first? Why does the artist include that detail? Who knows but that as we write and talk about these poems and pictures we will be doing what John Keats said a painter does: that is, arriving at a "trembling delicate and snail-horn perception of Beauty." Each week explore the kinship between a different pair of painter and poet and also focuses on a particular problem or method of interpretation. Some of the artist/poet combinations we will consider: Shakespeare and Caravaggio; Jorie Graham and (the photographer) Henri Cartier-Bresson; Alexander Pope and Thomas Gainsborough; William Wordsworth and Caspar David Friedrich; Christina Rossetti and Mary Cassatt; Walt Whitman and Thomas Eakins; Thomas Hardy and Edward Hopper.
Terms: Win
| Units: 3
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Jenkins, N. (PI)
;
Nemerov, A. (PI)
Filter Results: