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101 - 110 of 891 results for: all courses

ARTHIST 110: French Painting from Watteau to Monet (ARTHIST 310, FRENCH 110, FRENCH 310)

This course offers a survey of painting in France from 1700 to around 1900. It introduces major artists, artworks, and the concepts used by contemporary observers and later art historians to make sense of this extraordinarily rich period. Overarching themes discussed in the class will include the dueling legacies of coloristic virtuosity and classical formalism, new ways of representing visual perception, the opposing artistic effects of absorption and theatricality, the rise and fall of official arts institutions, and the participation of artists and artworks in political upheaval and social change. The course ends with an interrogation of the concept of modernity and its emergence out of dialogue and conflict with artists of the past. Students will learn and practice formal analysis of paintings, as well as interpretations stressing historical context.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Pesic, A. (PI)

ARTHIST 114: Mystical Naturalism: Van Eyck, Dürer, and the Northern Renaissance (ARTHIST 314)

A survey of the major innovations in Northern European painting ca. 1400-1600, in light of the social status of the artist between city and court. In the early fifteenth century painters began to render an idealized world down to its smallest details in ways that engaged new devotional practices. Later Hieronymus Bosch would identify the painter's imagination with the bizarre and grotesque. In response to Renaissance humanism, some painters introduced classical mythology and allegorical subjects in their works, and many traveled south to absorb Italianate pictorial styles. We will be visiting art museums in San Francisco and Stanford. May be repeat for credit.
Last offered: Winter 2014 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 2 times (up to 8 units total)

ARTHIST 117: Picturing the Papacy, 1300-1850 (ARTHIST 317)

Popes deployed art and architecture to glorify their dual spiritual and temporal authority, being both Christ's vicars on earth and rulers of state. After the return of the papacy from Avignon, Rome underwent numerous campaigns of renovation that staged a continuity between the pontiffs and the ancient Roman emperors. Patronage of art and architecture became important tools in the fight against Protestantism. Artists include Botticelli, Michelangelo, Caravaggio, and Bernini.
Last offered: Spring 2014 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 2 times (up to 8 units total)

ARTHIST 118: Titian, Veronese, Tintoretto (ARTHIST 318)

The course addresses the ways in which Venetian painters of the sixteenth century redefined paradigms of color, design, and invention. Themes to be examined include civic piety, new kinds of mythological painting, the intersection between naturalism and eroticism, and the relationship between art and rituals of church and statecraft.
Last offered: Spring 2013 | UG Reqs: WAY-A-II

ARTHIST 119: Love at First Sight: Visual Desire, Attraction, and the Pleasures of Art

Why do dating sites rely on photographs? Why do we believe that love is above all a visual force? How is pleasure, even erotic pleasure, achieved through looking?nnWhile the psychology of impressions offers some answers, this course uncovers the ways poets, songwriters, and especially artists have explored myths and promoted ideas about the coupling of love and seeing. Week by week, we will be reflecting on love as political critique, social disruption, and magical force. And we will do so by examining some of the most iconic works of art, from Dante's writings on lovesickness to Caravaggio's Narcissus, studying the ways that objects have shifted from keepsakes to targets of our cares. While exploring the visual roots and evolutions of what has become one of life's fundamental drives, this course offers a passionate survey of European art from Giotto's kiss to Fragonard's swing that elicits stimulating questions about the sensorial nature of desire and the human struggle to control emotions.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II

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.
Last offered: Winter 2015 | 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.
Last offered: Spring 2017 | UG Reqs: GER:DB-Hum, WAY-A-II

ARTHIST 123N: Thinking about Visual Attention : from Balzac to Facebook

Writing in 1829, the French author Honoré de Balzac celebrated the acute visual attention of the flâneur, a character he closely associates with modern life: "To flâne is to take pleasure, to collect flashes of wit, to admire sublime scenes of unhappiness, of love, of joy as well as graceful or grotesque portraits, to thrust one's attention into the depths of a thousand lives." In July 2012 the Huffington Report pointed to a fact of modern life: "On city streets, in suburban parking lots and in shopping centers, there is usually someone strolling while talking on a phone, texting with his head down, listening to music, or playing a video game. The problem isn't as widely discussed as distracted driving, but the danger is real." These two very different ways of circulating in urban space suggest that a major shift in how we humans relate to our environment has occurred over the course of nearly two centuries--especially in the densely populated spaces of modern cities. Where the great spectacle of urban life was a marvel of the nineteenth century, today's inhabitants want mainly to block it out by insulating themselves in a cocoon of favorite music or personal conversation, whether by voice or text, that they risk stepping into traffic, colliding with lightposts, or bumping into others similarly self-absorbed. This seminar proposes to think about the hows and whys of that important shift from the unique perspective of art history, a field of study especially attuned to the limits and exigencies of visual acuity. We will explore the topic across a range of media, from daguerreotypes to stereoscopes, from paintings to films, from television screen to the hand-held displays of our smartphones.
Last offered: Autumn 2013 | UG Reqs: WAY-A-II

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.
Last offered: Spring 2014 | UG Reqs: GER:DB-Hum, WAY-A-II

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.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II
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