printer friendly pageARTHIST 1A: Introduction to the Visual Arts: Prehistoric through Medieval (CLASSICS 56)
A survey of the art and architecture from the cave paintings of Lascaux to the Gothic Cathedrals of France; the material is organized both chronologically and thematically and covers a multiplicity of religions: pagan, Christian, and Islamic.
Terms: Win
| Units: 5
| UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-EDP
Instructors:
Pentcheva, B. (PI)
;
Binning, R. (TA)
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: Win
| Units: 2
Instructors:
Lampe, I. (PI)
ARTHIST 102: Empire and Aftermath: Greek Art from the Parthenon to Scopas (ARTHIST 302, CLASSICS 162)
The class begins with the art, architecture and political ideals of Periclean Athens, from the emergence of the city as the political and cultural center of Greece in 450 to its defeat in the Peloponnesian War in 404. It then considers how Athens and the rest of Greece proceed in the fourth century to rebuild their lives and the monuments that define them. Earlier artistic traditions endure, with subtle changes, in the work of sculptors such as Kephisodotos. Less subtle are the outlook and output of his son Praxiteles. In collaboration with Phryne, his muse and mistress, Praxiteles challenged the canons and constraints of the past with the first female nude in the history of Greek sculpture. His gender-bending depictions of gods and men were equally audacious, their shiny surfaces reflecting Plato¿s discussion of Eros and androgyny. Scopas was also a man of his time but pursued different interests. Drawn to the inner lives of men and woman, his tormented Trojan War heroes and victims are still scarred by memories of the Peloponnesian War, and a world away from the serene faces of the Parthenon. His famous Maenad, a devotee of Dionysos who has left this world for another, belongs to the same years as Euripides¿ Bacchae and, at the same time, anticipates the torsion and turbulence of Bernini and the Italian Baroque. In the work of these and other fourth century personalities, the stage is set for Alexander the Great and his conquest of a kingdom extending from Greece to the Indus River. (Formerly
CLASSART 102)
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Maxmin, J. (PI)
ARTHIST 109: The Book in the Medieval World (ARTHIST 309)
Studying the design and function of books in medieval society from the 7th to the 15th century, and the ways in which manuscripts are designed to meet (and shape) the cultural and intellectual demands of their readers. Major themes are the relationships between text and image, and between manuscripts and other media; the audience and production context of manuscripts; and changing ideas about pictorial space, figural style, page design, and progression through the book. Final project may be either a research paper or an original artist's book.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum
Instructors:
Kitzinger, B. (PI)
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: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Marrinan, M. (PI)
ARTHIST 154: The American Civil War: A Visual History (AMSTUD 154X, ARTHIST 354)
A painting of men charging across a field, a photograph of dead bodies in a ditch, a fragment of metal, a sliver of bone, and a brass button: how do we make sense of the visual record of the American Civil War (1861-65)? From the Capitol Dome to a skeleton dug up in a highway project a hundred years after the last battle, the course will consider the strange and scattered remnants of a famous era. Drawing on the poetry of Walt Whitman, Emily Dickinson, and Herman Melville, the paintings of Winslow Homer, the photographs of Alexander Gardner, and the oratory of Abraham Lincoln, the course will examine what cannot be portrayed: the trauma of war.
Terms: Win
| Units: 4
| UG Reqs: WAY-A-II
Instructors:
Nemerov, A. (PI)
ARTHIST 156N: Art and the Power of Place: Site, Location, Environment
Many iconic works in the history of art draw their power and significance from the place in which they are sited or installed. The cave paintings of Altamira, Spain; Michelangelo's Sistine Chapel and the monumental "earthworks" made in the deserts of the American Southwest during the 1960s are just a few examples showcasing the important relationship between art and place. In this seminar we will explore how works of art throughout history create a sense of place; and how place, in turn, changes the interpretation of works of art. We will learn how to analyze works of art in terms of their immediate contexts and surroundings, whether temples, museums, spaces of the city or unexpected environments, charting the historical meanings of place in the process. We will look at a range of examples throughout time, from prehistory to the present day. A critical feature of the seminar will be to consider works of art outside the classroom, on both the Stanford campus and beyond. Possible field trips include visits to Alcatraz Prison (where the famous Chinese artist, Ai Weiwei, will install a new work in the fall of 2014)
Terms: Win
| Units: 3
Instructors:
Lee, P. (PI)
ARTHIST 164A: Technology and the Visual Imagination (ARTHIST 364A, FILMSTUD 164A, FILMSTUD 364A)
An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Kessler, E. (PI)
ARTHIST 184: Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting (ARTHIST 384, JAPANGEN 184, JAPANGEN 384)
Changes marking the transition from medieval to early modern Japanese society that generated a revolution in visual culture, as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum
ARTHIST 188B: From Shanghai Modern to Global Contemporary: Frontiers of Modern Chinese Art
Chinese artistic engagements with international arenas and with the cultural politics of modernity, from the late 19th century to the present. Topics will include Shanghai modernity and public media; artistic reform and political activism at the end of empire; competition between national style painting and international modernisms; politicized arts of resistance and revolution; post-Mao era experimental and avant-garde movements; transnational careers and exhibition circuits.
Terms: Win
| Units: 4
| UG Reqs: WAY-A-II, WAY-EDP
Instructors:
Vinograd, R. (PI)
;
Wu, Y. (TA)
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