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121 - 130 of 177 results for: ARTHIST

ARTHIST 408B: The Art of Medieval Spain: Muslims, Christians, Jews (ARTHIST 208B)

The seminar reveals the religious and ethnic hybridity of the art medieval Spain, where the lives, material cultures, and artistic practices of Muslims, Christians, and Jews were more intertwined than any other region of the medieval world. We work thematically rather than strictly chronologically in order to build a model of engagement with medieval art in which the movement of ideas and objects between the three major religions is in itself a focus of study.
Terms: Win | Units: 5

ARTHIST 409: Theories of the Image: Byzantium, Islam and the Latin West (ARTHIST 209C, CLASSICS 158, CLASSICS 258, REES 409)

This seminar explores the role of images in the three major powers of the medieval Mediterranean: the Umayyads, the Carolingians, and the Byzantines. For each the definition of an image- sura, imago, or eikon respectively-became an important means of establishing religious identity and a fault-line between distinct cultural traditions. This course troubles the identification of image with figural representation and presents instead a performative paradigm where chant or recitation are treated as images. As such, students will be able to see the connections between medieval image theory and contemporary art practices such as installation.
Terms: Spr | Units: 5

ARTHIST 409A: Image, Icon, Idol: Theories and Practices in Byzantium, Islam, and the Latin West

This course explores the phenomenon of iconoclasm, iconophobia, and aniconism as markers of a vast and profound cultural transformation of the Mediterranean in the period from the seventh to the ninth centuries. As the Arabs established the Umayyad caliphate in the seventh century, quickly conquering Holy Land, Egypt, and advancing all the way to Spain, they perpetrated an identity crisis in the region. By the seventh century three large political entities formed in the Mediterranean ¿ the Umayyads, the Carolingians, and the Byzantines ¿ each competed for legitimacy; all three emerged from the ashes of Late Antique culture, yet each tried to carve out an identity out of this common foundation. In this parting of the ways, the three cultures took among others the issue of what constituted an image and what role it played in devotion. Eik¿n, imago, ¿ura became the basis on which to built differences and accuse the other political players of idolatry.

ARTHIST 410: The Masters: Raphael

Five hundred years after Raphael mysteriously died (April 6, 1520), this seminar reflects on his contributions to the arts. Raphael's art is often defined as a negation of death. He painted eternal myths, unearthly saints, and timeless beauties. His sketches served as exemplars and the very paragon of drawing for hundreds of years. So much so that art historians have done little more than admire his art. How come Raphael has resisted criticism for half a millennium? What does his unremitting fame tell us about the state of art history? While studying eight of Raphael's masterpieces in depth, this course also reflects on the shortcomings and potentials of art history as a critical discipline. [Undergraduate enrollment with consent of one of the instructors].
Last offered: Spring 2020

ARTHIST 411: Childish Enthusiasms, Perishable Manias (FILMSTUD 411)

Universities are sites of gravitas, but what of levitas -- a lighter, more playful category? Does intellectually credible work depend upon a ⿿critical distance⿝ between scholar and object of study? Can we take something seriously without imposing a seriousness that it may not possess (or want)? How to retain (or recover) the intensely pleasurable relation to objects that we were allowed when younger? The seminar is predicated upon the proposition that effective scholarship need not suck the joy from the world.
Last offered: Winter 2020

ARTHIST 417: Architecture, Mysticism, and Myth (ARTHIST 217)

This course examines global origin myths for architecture, for example cosmic symbolism (e.g. the Mandala/dome), and the magic of technologies (e.g. the "petrification" of the wooden hut in permanent architecture). Examples range from Ethiopian rockcut churches, to the Parthenon, to the Ise Grand Shrine, to Fire Temples, and Navajo lodges. The course concludes with the modern mythology of industrialisation and the mechanised building.

ARTHIST 417B: Architectural Design Theory (ARTHIST 217B)

This seminar focuses on the key themes, histories, and methods of architectural theory -- a form of architectural practice that establishes the aims and philosophies of architecture.  Architectural theory is primarily written, but it also incorporates drawing, photography, film, and other media.  nnOne of the distinctive features of modern and contemporary architecture is its pronounced use of theory to articulate its aims. One might argue that modern architecture is modern because of its incorporation of theory. This course focuses on those early-modern, modern, and late-modern writings that have been and remain entangled with contemporary architectural thought and design practice.  nnRather than examine the development of modern architectural theory chronologically, it is explored architectural through thematic topics. These themes enable the student to understand how certain architectural theoretical concepts endure, are transformed, and can be furthered through his/her own explorations.nCEE 32B is a crosslisting of ARTHIST 217B/417B.
Last offered: Winter 2020

ARTHIST 418A: Michelangelo: Gateway to Early Modern Italy (ARTHIST 218A, ITALIAN 237, ITALIAN 337)

Revered as one of the greatest artists in history, Michelangelo Buonarroti's extraordinarily long and prodigious existence (1475-1564) spanned the Renaissance and the Reformation in Italy. The celebrity artist left behind not only sculptures, paintings, drawings, and architectural designs, but also an abundantly rich and heterogeneous collection of artifacts, including direct and indirect correspondence (approximately 1400 letters), an eclectic assortment of personal notes, documents and contracts, and 302 poems and 41 poetic fragments. This course will explore the life and production of Michelangelo in relation to those of his contemporaries. Using the biography of the artist as a thread, this interdisciplinary course will draw on a range of critical methodologies and approaches to investigate the civilization and culture of Italy in the fifteenth and sixteenth centuries. Course themes will follow key tensions that defined the period and that found expression in Michelangelo: physical-spiritual, classical-Christian, tradition-innovation, individual-collective.
Last offered: Spring 2020

ARTHIST 420: Art and Invisibility: The Dissemblance of Labour.

Labor has been at the center of political and philosophical analyses from Jean-Jacques Rousseau to Simone Weil. While uncovering essential stages in the conceptualization of labor--is labor work? How does it differ from process?--this course reframes the question of the nature of labor and artmaking in relation to invisibility. How come entire stages of production have disappeared from history? How have patrons, builders, and artists managed to erase their presence from their artifacts? To what extent do art historical narratives still pursue ideologies of exclusion or, at least, of carelessness when they get to who did what? By pairing specific case studies from the eleventh to the twentieth centuries with select passages from A-list thinkers of labor (Agamben, Arendt, Aristotle), this course offers both a history of a troublesome concept and a series of opportunities to rethink the agendas of a discipline that has often turned a blind eye to specific aspects of making. Interdisciplinary in spirit--we focus on select groups of paintings, buildings, organizations, and co-operations--the course also serves as an occasion for introspective analyses, thus helping future researchers to re-think the ways they work and the political motives of their investigations.
Last offered: Spring 2019

ARTHIST 421: Art and Visual Culture in Europe: The 1920s and 30s

This seminar focuses attention on European art institutions, exhibitions, journals, and movements, most of which intersected with one another across national borders during the interwar period, including Cubism, De Stijl, Purism, Art Deco, the Bauhaus, and Surrealism. Media include painting, architecture, photography, film, fashion and (graphic) design. We will examine period sources in Stanford library special collections and visit the permanent collection at SFMOMA.
Last offered: Winter 2020
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