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221 - 230 of 296 results for: ARTHIST

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

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 empires took among others the issue of what constitutes an image and what role it plays in devotion. Eik'n, imago, ura became the basis on which to built differences and accuse the other political players of idolatry. This course explores medieval image theory, especially the phenomena of iconoclasm, iconophobia, and aniconism. The discussions focus on monuments in the Mediterranean as well as objects in the Cantor collection and facsimiles of manuscripts at the Bowes Art Library.
Last offered: Spring 2017

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].
Terms: Spr | Units: 3-5
Instructors: Lugli, E. (PI)

ARTHIST 410B: Giotto (ARTHIST 210)

Often hailed as ¿the father of western painting,¿ Giotto was seen as a revolutionary figure even in his own day. We will begin with Giotto¿s critical reception, his artistic predecessors and contemporaries, and his work for patrons ranging from the Franciscan order to the king of Naples. We will most closely examine Giotto¿s masterpiece, the frescoes of the Arena Chapel in Padua, and consider topics including Giotto¿s figural realism, the layered readings of the program, its use of visual rhetoric, and issues of gender, sexuality, and ethnicity.
Last offered: Autumn 2015

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.
Terms: Win | Units: 5
Instructors: Bukatman, S. (PI)

ARTHIST 413: Michelangelo

Michelangelo's long career in light of recent scholarship. Topics include the status of the cult image, the paragon between poetry and the pictorial arts, painting and questions of literary genre, and Counter Reformation reactions to his art.
Last offered: Spring 2014

ARTHIST 415: Baroque: 1900-2000

The seminar, which is largely methodological and historiographic, problematizes issues of periodization. The course examines different approaches to the question of "what is baroque," from Alois Riegl and Erwin Panofsky to Michel Foucault, Svetlana Alpers and Giovanni Careri.
Last offered: Winter 2015

ARTHIST 416: Bernini and Baroque Rome

This seminar examines the career of Gianlorenzo Bernini (1598-1680), sculptor, architect, painter, stage designer and playwright, the premier artist of the popes. It will examine his cultural, political and religious milieu and lay particular emphasis on the theoretical relations between the arts that his oeuvre is seen to embody. In the process it will also review the genre of artistic biography, the historiography of the baroque and the myths of dynamism, theatricality, eroticism (and others) always associated with the period, and Bernini's work in particular. Limited to PhD students in Art History and Film Studies, and advanced undergraduates with permission of instructor.
Last offered: Autumn 2015

ARTHIST 416A: Michelangelo Architect (CEE 33A, ITALIAN 216)

The architecture of Michelangelo Buonarroti (1475-1564), "Father and Master of all the Arts," redefined the possibilities of architectural expression for generations. This course considers his civic, ecclesiastic, and palatial works. It proceeds from his beginnings in Medicean Florence to his fulfillment in Papal Rome. It examines the anxiety of influence following his death and his enduring legacy in modernism. Topics include: Michelangelo's debt to Classical and Early Renaissance prototypes; his transformation of the canon; the iterative sketch as disegno; architecture and the body; the queering of architectural language; sketch, scale, and materiality; Modernism and Michelangelo. The historiography of Michelangelo has predominantly favored studies in painting and sculpture. Our focus on architecture encourages students to test new ideas and alternative approaches to his work.
Last offered: Winter 2017

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.
Terms: Win | Units: 5
Instructors: Beischer, T. (PI)

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.
Terms: Spr | Units: 3-5
Instructors: Prodan, S. (PI)
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