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221 - 230 of 301 results for: ARTHIST

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

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

ARTHIST 407C: Phenomenology and Aesthetics in Medieval Art (ARTHIST 207C)

This course explores the phenomenal aspects of the medieval image and space such as glitter, shadow, smoke, reverberation and how these presence effects were conceptualized in medieval culture as animation. Focus is on a select group of monuments as well as engagement with medieval objects at the Cantor Art Museum and the facsimiles of medieval manuscripts kept at the Art Library and Special Collections. Among the monuments we will study are the Alhambra in Spain, the Apocalypse MSS, the Cantigas of Alfonso X, the Byzantine Joshua Roll, the Homiles of the Monk Kokkinobaphos, the Ashburnhamensis Pentateuch, and the Rossano Gospels.
Last offered: Winter 2015

ARTHIST 408: Hagia Sophia (ARTHIST 208, CLASSICS 173, CLASSICS 273)

This seminar uncovers the aesthetic principles and spiritual operations at work in Hagia Sophia, the church dedicated to Holy Wisdom in Constantinople. Rather than a static and inert structure, the Great Church emerges as a material body that comes to life when the morning or evening light resurrects the glitter of its gold mosaics and when the singing of human voices activates the reverberant and enveloping sound of its vast interior. Drawing on art and architectural history, liturgy, musicology, and acoustics, this course explores the Byzantine paradigm of animation arguing that it is manifested in the visual and sonic mirroring, in the chiastic structure of the psalmody, and in the prosody of the sung poetry. Together these elements orchestrate a multi-sensory experience that has the potential to destabilize the divide between real and oneiric, placing the faithful in a space in between terrestrial and celestial. A short film on aesthetics and samples of Byzantine chant digitally imprinted with the acoustics of Hagia Sophia are developed as integral segments of this research; they offer a chance for the student to transcend the limits of textual analysis and experience the temporal dimension of this process of animation of the inert.
Terms: Win | Units: 5

ARTHIST 408B: The Art of Medieval Spain: Muslims, Christians, Jews (ARTHIST 208B)

The seminar explores the hybrid character of the art of Medieval Spain between the sixth and the fifteenth centuries. Rather than strictly chronological, our exploration of the artistic production of Muslims, Jews, and Christians is structured around major topics such as imperial power, pilgrimage, word and image. The readings juxtapose historical studies of specifically Spanish sites and objects with theoretical approaches tied to the broader themes.
Last offered: Winter 2017

ARTHIST 409: Iconoclasm (ARTHIST 209C, CLASSICS 158, CLASSICS 258, REES 409)

By the seventh century three large political entities formed in the Mediterranean the Umayyads, the Carolingians, and the Byzantines each competed for legitimacy; all three emerged from the ashes of Late Antique culture, yet each tried to carve out an identity out of this common foundation. In this parting of the ways, the three empires took among others the issue of what constitutes an image and what role it plays in devotion. Eik'n, imago, ura became the basis on which to built differences and accuse the other political players of idolatry. This course explores medieval image theory, especially the phenomena of iconoclasm, iconophobia, and aniconism. The discussions focus on monuments in the Mediterranean as well as objects in the Cantor collection and facsimiles of manuscripts at the Bowes Art Library.
Last offered: Spring 2017

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.
Terms: Spr | Units: 3-5
Instructors: Lugli, E. (PI)

ARTHIST 410B: Giotto (ARTHIST 210)

Often hailed as ¿the father of western painting,¿ Giotto was seen as a revolutionary figure even in his own day. We will begin with Giotto¿s critical reception, his artistic predecessors and contemporaries, and his work for patrons ranging from the Franciscan order to the king of Naples. We will most closely examine Giotto¿s masterpiece, the frescoes of the Arena Chapel in Padua, and consider topics including Giotto¿s figural realism, the layered readings of the program, its use of visual rhetoric, and issues of gender, sexuality, and ethnicity.
Last offered: Autumn 2015

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
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