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91 - 100 of 293 results for: ARTHIST

ARTHIST 202: Inherent Vice (ARTHIST 402)

Taught jointly by an art historian and a senior conservator, this research seminar focuses on selected objects (mostly) of modern and contemporary art many in Stanford collections -- that pose significant condition and/or conservation challenges for long term maintenance and display. Together we will examine the objects in the conservation lab and/or the gallery; students will then confer with appropriate museum staff, consult relevant curatorial and conservation files, research and debate potential treatments, and write up reports of their findings. Issues of aesthetics, ethics and other problems bearing on the material longevity of art will be explored together in class discussions as a foundation for thinking about the preservation and exhibition of works of art.
Last offered: Winter 2019

ARTHIST 203: Artists, Athletes, Courtesans and Crooks (CLASSICS 163)

The seminar covers a range of topics devoted to the makers of Greek art and artifacts, the ancient Greeks who used them in life and the afterlife, and the miscreants - from Lord Elgin to contemporary tomb-looters and dealers- whose deeds have damaged, deracinated and desecrated temples, sculptures and grave goods. Readings include ancient texts in translation, books and articles by eloquent experts, legal texts and lively page-turners. Classes meet in the seminar room and the Cantor Center.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Maxmin, J. (PI)

ARTHIST 203A: Philosophies Behind Architecture: The Work of Antoni Gaudí as a Response to Modernity. (ILAC 203)

The emergence of modern and contemporary Architecture in the West is intimately linked to the background culture that spread across the intellectual centers of Europe and the US between early nineteenth century and the Second World War. Catalan architect Antoni Gaudí (1852-1926) is a major representative of a style of architecture that asks and answers the questions posed by modernity and industrialization with an attitude of resistance. The purpose of this course is to pair these two perspectives: first, an exploration of the history of the most influential movements in Architecture and Interior Design since 1850 and the philosophies and historical events that explain their impact. Second, an elucidation of the originality and relevance of Antoni Gaudí in light of this international context. The course will combine texts by Marx, Smith, Nietzsche, Benjamin, Emerson, Walt Whitman, or Nelson Goodman with those of Cerdà, William Morris, or Adolf Loos, so as to shed light on the most representative buildings and interiors of the period: from the 1851 Crystal Palace of London to the state of La Sagrada Família in 1926, the year Gaudí died. The poles of this history will be represented by industrialization on one side, and autographic craftsmanship on the other. In particular, we will disentangle the tension between creativity and uniformization and their influence in the building of an entire artistic sensibility and culture, in architecture as in politics.
Terms: Spr | Units: 3-5

ARTHIST 205: Cairo and Istanbul: Urban Space, Memory, Protest

In the aftermath of the Arab Spring, the city of Cairo has become a theater of social and political upheaval. In Istanbul, the Gezi protests in spring and summer 2013 drew attention to the contested public space. These events are the result of longstanding developments in the urban and social fabric. This seminar introduces students to the architectural and urban history of Istanbul and Cairo, with the current transformations as a central point of reference. Readings will focus on the tension between historical center and recent urban development, the social problems arising from the segregation, and reactions of scholars, architects, and artists to these issues.
Last offered: Autumn 2014 | UG Reqs: GER:DB-Hum

ARTHIST 205A: Islamic Painting: Landscape, Body, Power

This seminar focuses on the production of paintings, mostly but not exclusively miniatures in books, in the Islamic world. A particular focus lies on the Muslim Empires of the sixteenth to eighteenth centuries, namely the Ottoman, Safavid, and Mughal realms, together stretching from the Balkans to India. During this period, illustrated books were popular objects of high-level patronage, and numerous examples have survived that allow a detailed study of the implications of these images. Themes discussed include: figural representation in Islam, patronage and court culture; gender and the body; illustrations of literature and history; images of Sufis ceremonies; portraiture; images of animals and nature; the impact of European prints and paintings; space and landscape. A field-trip to the Museum of Asian Art in San Francisco to view Mughal paintings from India is planned.
Last offered: Spring 2013 | UG Reqs: GER:DB-Hum

ARTHIST 205B: Iberian World Architecture (ARTHIST 405B)

The cities and buildings of the Iberian World of Spain, Portugal, and Ibero-America are a testament to the role architecture played during the centuries-long process of colonization: to its power since 1492 to disrupt and transform pre-existing material and cultural landscapes and thus facilitate the conquest of the New World and its peoples. In addition to their survival as symbols of power for many decolonized nations, now as then, the conspicuous archives of a conflicted history the particular nature of these constructions (the sheer perplexing quality of their decoration, for instance, encompassing at once pre-Columbian and Baroque motifs and techniques) demands we pay attention to their complexity, richness, and sophistication as well and in doing so, question canonical definitions of style, chronology, or authorship. Besides pairing recent scholarship with the examination of case studies, the seminar also makes extensive use of the work of George Kubler to help us understand what it means to encounter, study, and write about an architectural phenomenon of transoceanic cohesion within competing chronologies, and how that experience should transform us in return: it is no coincidence that after pondering the art and architecture of the Iberian World and its roots, Kubler published his groundbreaking The Shape of Time.
Last offered: Autumn 2017

ARTHIST 206C: Nostos: The Survival of Antiquity in Medieval Art (ARTHIST 406C)

This seminar explores the processes of survival and activation of Greco-Roman art in the Middle Ages, including iconographic transformations, modalities of reuse, trajectories of return (nostos), and the poetics of embodiment. Focusing on specific case studies from Italy, Spain, France, and England, this course offers in-depth analyses of some of the most remarkable artworks of the Middle Ages in different media, paying special attention to sculpture. Reading assignments will give students the background to engage critically with the thought of scholars such as A. Warburg, E. Panofsky, S. Freud, W. Benjamin, G. Agamben, M. Schapiro, P. Nora, L. Steinberg, and others, with the aim of gaining a rich theoretical perspective on Nachleben der Antike (Afterlife of Antiquity) ¿ one of the central themes in the history of art from Vasari to the most recent Warburgian revival.
Last offered: Spring 2018

ARTHIST 206H: Women and the Book: Scribes, Artists, and Readers from Late Antiquity through the Fourteenth Century (FEMGEN 216, HISTORY 216, HISTORY 316)

This course examines the cultural worlds of medieval women through particular attention to the books that they owned, commissioned, and created. Beginning with the earliest Christian centuries, the course proceeds chronologically, charting women¿s book ownership, scribal and artistic activity, and patronage from Late Antiquity through the fourteenth century. In addition to examining specific manuscripts (in facsimile, or digitally), we will consider ancillary questions to do with women¿s authorship, education and literacy, reading patterns, devotional practices, and visual traditions and representation.
Last offered: Winter 2015

ARTHIST 207: The Resurrected Body: Animacy in Medieval Art (ARTHIST 407)

This course explores the relationship of spirit and matter in medieval art and architecture, more specifically how the changing appearance of objects and spaces evokes the presence of the metaphysical as glitter, reverberation, and shadow. We will engage objects and monuments across the Mediterranean, studying the way they were staged in order to produce the perception of liveliness. The phenomenology of liveliness will be tied to the development of the theology of resurrection of the body.
Terms: Aut | Units: 5

ARTHIST 207B: Art and Ritual in Italy 1250-1420 (ARTHIST 407B)

This seminar explores the ritual contexts of the painting, sculpture, and architecture of late medieval Italy. Rituals structured almost every aspect of life in Italian towns. Elaborately choreographed rites of passage marked the great events of the life cycle, from pregnancy and childbirth to marriage to death. Each town¿s ritual calendar established the rhythms of the year. Major feast days were celebrated with all the pageantry of the late medieval Church. Crises ¿ whether famine or plague or the threat of war ¿ spawned their own ritual responses, often penitential processions of flagellants. The course considers the ways in which works of art register, respond to and participate in these rites. The last part of the course will focus on one of the most important and distinctive ritual spaces in late medieval Italy, the baptistery. Works to be studied include some by the greatest painters and sculptors of the era: the painters Duccio, Giotto, Simone Martini, Ambrogio Lorenzetti and Pietro Lorenzetti, and the sculptors Nicola Pisano and Giovanni Pisano.
Last offered: Spring 2018
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