ARTHIST 660E: Extended Seminar
May be repeated for credit. (Staff)
Terms: Aut, Win, Spr
| Units: 4
| Repeatable
for credit
Instructors:
Barry, F. (PI)
;
Bukatman, S. (PI)
;
Hansen, M. (PI)
...
more instructors for ARTHIST 660E »
Instructors:
Barry, F. (PI)
;
Bukatman, S. (PI)
;
Hansen, M. (PI)
;
Lee, P. (PI)
;
Levi, P. (PI)
;
Ma, J. (PI)
;
Marrinan, M. (PI)
;
Maxmin, J. (PI)
;
Meyer, R. (PI)
;
Nemerov, A. (PI)
;
Pentcheva, B. (PI)
;
Troy, N. (PI)
;
Vinograd, R. (PI)
;
Wolf, B. (PI)
ARTHIST 680: Curricular Practical Training
CPT course required for international students completing degree. Prerequisite: Art History Ph.D. candidate.
| Repeatable
for credit
ARTHIST 802: TGR Dissertation
Terms: Aut, Win, Spr, Sum
| Units: 0
| 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 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
ARTHIST 109D: Means, Media and Mode: An Introduction to Western Medieval Art (ARTHIST 309D)
The course is an introduction to western medieval art approached primarily through distinctions of materials and media. We work with a combination of medieval and later sources, often engaging with the modern objects and spaces available for study on campus in order to create new perspectives on the historical material. Medieval case studies are chosen that raise particularly complex issues of materiality, mixed-media form, and cross-media citation.
ARTHIST 121: 18th-Century Art in Europe, ca 1660-1780 (ARTHIST 321)
Major developments in painting across Europe including the High Baroque illusionism of Bernini, the founding of the French Academy, and the revival of antiquity during the 1760s, with parallel developments in Venice, Naples, Madrid, Bavaria, and London. Shifts in themes and styles amidst the emergence of new viewing publics. Artists: the Tiepolos, Giordano, Batoni, and Mengs; Ricci, Pellegrini, and Thornhill; Watteau and Boucher; Chardin and Longhi; Reynolds and West; Hogarth and Greuze; Vien, Fragonard, and the first works by David. Additional discussion for graduate students.
| UG Reqs: GER:DB-Hum
ARTHIST 126: Post-Naturalist Painting (ARTHIST 326)
How conceptual models from language, literature, new technologies, and scientific theory affected picture making following the collapse of the radical naturalism of the 1860s and 1870s. Bracketed in France by the first Impressionist exhibition (1874) and the first public acclamation of major canvases by Matisse and Picasso (1905), the related developments in England, Germany, Belgium, and Austria. Additional weekly discussion for graduate students. Recommended: some prior experience with 19th-century art.
| UG Reqs: GER:DB-Hum
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