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91 - 100 of 187 results for: ARTHIST

ARTHIST 478: Problems in the History of Collecting, Circulation and Display

This graduate seminar involves intensive study of art collecting, circulation and display through the lens of one of the principal institutions of art history: the museum. It will include a site visit to the Solomon R. Guggenheim Museum to gain a comprehensive view of this complex institution as a basis for seminar-related research and writing. Limited to PhD students in Art History and Film Studies, or by permission of the instructor.
Terms: Win | Units: 5
Instructors: Troy, N. (PI)

ARTHIST 489A: Making the Masterpiece in Song Dynasty China (ARTHIST 289A)

Studies of canon formation involving Song Dynasty (10-13th c.) Chinese works of painting, calligraphy, ceramics, and architecture. The roles of early art writing and criticism; collecting histories; art historical theory; / copying, imitation, and reproductive practices; period and regional taste; and modern museological and art historical discourses in identifying and constructing a canon of Song masterworks.
Instructors: Vinograd, R. (PI)

ARTHIST 502: Methods and Issues in Visual Studies

This course introduces grad students to a range of interpretive methods in the study of art, visual culture, and media. Required for incoming PhD students in Art History.
Terms: Aut | Units: 5
Instructors: Ma, J. (PI)

ARTHIST 620: Area Core Examination Preparation

For Art History Ph.D. candidates. Prerequisite: consent of instructor.
| Repeatable for credit

ARTHIST 680: Curricular Practical Training

CPT course required for international students completing degree. Prerequisite: Art History Ph.D. candidate.
| Repeatable for credit

ARTHIST 80N: The Portrait: Identities in Question

Most of us hold libraries of hundreds or thousands of ¿portraits¿ ¿ more or less instantly available posed images of ourselves and others. For most of human history, before the development of portable and digital cameras, portraiture was a much rarer and more deliberate social act and cultural practice, involving special materials and techniques, encounters with expert portraitists or photographers, and established settings for display. What almost all portraits, of whatever time or cultural place, have in common are presentations of social identities, roles, or persona, as well as a potential fascination and power that may be based in our neurological capacities for facial recognition and ¿mind-reading¿ through facial expressions. n This introductory seminar will explore many aspects of this basically simple category of thing ¿ images of particular persons. Our point of departure will be from the history of art, focusing on portrait sculptures, paintings, and photographs from many eras and cultures, some of which are among the most studied and discussed of all artistic monuments. We will consider techniques and approaches of portrait making, including the conventions that underlie seemingly realistic portraits, posing, the portrait situation, and portrait genres. Our primary focus will be on the multiple purposes of portraiture, from commemoration, political glorification, and self-fashioning to making claims of social status, cultural role, and personal identity. We will also discuss the changing status of portraiture under modern states of social dislocation, technological change, and psychoanalytic interrogation, and in postmodern conditions of multi-mediated realities and distributed subjectivities. Along the way, we will see that our understandings of portraiture benefits from the approaches and insights of many fields ¿ political and social history, anthropology, neuroscience, and literary studies among others.

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.

ARTHIST 105: Art & Architecture in the Medieval Mediterranean (ARTHIST 305, CLASSICS 172)

Chronological survey of Byzantine, Islamic, and Western Medieval art and architecture from the early Christian period to the Gothic age. Broad art-historical developments and more detailed examinations of individual monuments and works of art. Topics include devotional art, court and monastic culture, relics and the cult of saints, pilgrimage and crusades, and the rise of cities and cathedrals.
| UG Reqs: GER:DB-Hum

ARTHIST 107A: St. Petersburg, a Cultural Biography: Architecture, Urban Planning, the Arts

The most premeditated city in the whole world, according to Dostoevsky; created in 1703 by Peter the Great as a counterpoise to Moscow and old Russian culture; planned as a rational, west-European-appearing capital city of the Russian Empire. St. Petersburg's history through works of its artists, architects, urban planners, writers, and composers.
| UG Reqs: GER:DB-Hum

ARTHIST 108: Virginity and Power: Mary in the Middle Ages (ARTHIST 308)

The most influential female figure in Christianity whose state cult was connected with the idea of empire. The production and control of images and relics of the Virgin and the development of urban processions and court ceremonies though which political power was legitimized in papal Rome, Byzantium, Carolingian and Ottonian Germany, Tuscany, Gothic France, and Russia.
| UG Reqs: GER:DB-Hum
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