2019-2020 2020-2021 2021-2022 2022-2023 2023-2024
Browse
by subject...
    Schedule
view...
 

221 - 230 of 293 results for: ARTHIST

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 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)

ARTHIST 419: The Poetics of Softness

This seminar probes the meaning of softness in the theory and practice of early modern Southern European art. As this seminar will investigate, softness is intrinsically tied to the creative process, to the challenges of visualization and art making. What does it mean for a sculptor to depict fingers digging into marble flesh? How did the painter rise to the challenge of depicting subtle forms - clouds, atmosphere, the beating pulse, hair and animal fur? Why were some of the first histories of art relayed as the progression from hard to soft forms? Through the investigation of the concepts and artworks of artists such as Leonardo, Giorgione, Raphael, Correggio, and Bernini, this seminar will explore softness as an aesthetic category. Materiality, enlivenment, perfection and imperfection in art theory, old-age style, and the ekphrastic tradition will be topics of particular interest. Participants are invited to pursue research papers in their fields of specialty.
Last offered: Spring 2017

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
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints