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171 - 180 of 301 results for: ARTHIST

ARTHIST 309D: Means, Media and Mode: An Introduction to Western Medieval Art (ARTHIST 109D)

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.
Last offered: Autumn 2013

ARTHIST 310: French Painting from Watteau to Monet (ARTHIST 110, FRENCH 110, FRENCH 310)

This course offers a survey of painting in France from 1700 to around 1900. It introduces major artists, artworks, and the concepts used by contemporary observers and later art historians to make sense of this extraordinarily rich period. Overarching themes discussed in the class will include the dueling legacies of coloristic virtuosity and classical formalism, new ways of representing visual perception, the opposing artistic effects of absorption and theatricality, the rise and fall of official arts institutions, and the participation of artists and artworks in political upheaval and social change. The course ends with an interrogation of the concept of modernity and its emergence out of dialogue and conflict with artists of the past. Students will learn and practice formal analysis of paintings, as well as interpretations stressing historical context.
Last offered: Winter 2019

ARTHIST 311: Introduction to Italian Renaissance, 1420-1580 (ARTHIST 111)

New techniques of pictorial illusionism and the influence of the humanist revival of antiquity in the reformulation of the pictorial arts in 15th-century Italy. How different Italian regions developed characteristic artistic cultures through mutual interaction and competition.
Last offered: Autumn 2014

ARTHIST 314: Mystical Naturalism: Van Eyck, Dürer, and the Northern Renaissance (ARTHIST 114)

A survey of the major innovations in Northern European painting ca. 1400-1600, in light of the social status of the artist between city and court. In the early fifteenth century painters began to render an idealized world down to its smallest details in ways that engaged new devotional practices. Later Hieronymus Bosch would identify the painter¿s imagination with the bizarre and grotesque. In response to Renaissance humanism, some painters introduced classical mythology and allegorical subjects in their works, and many traveled south to absorb Italianate pictorial styles. We will be visiting art museums in San Francisco and Stanford. May be repeat for credit.
Last offered: Winter 2014 | Repeatable for credit

ARTHIST 315: The Italian Renaissance, or the Art of Success (ARTHIST 115)

How come that, even if you have never set foot in Italy, you have heard of Leonardo, Michelangelo, and Raphael? What made them so incredibly famous, back then as well as today? This course examines the shooting of those, and other, artists to fame. It provides in-depth analyses of their innovative drawing practices and the making of masterpieces, taking you through a virtual journey across some of the greatest European and American collections. At the same time, this course also offers a study of the mechanics of success, how opportunities are created and reputations managed, and what role art plays in the construction of class and in today's national politics."
Terms: Aut | Units: 3-5
Instructors: Lugli, E. (PI)

ARTHIST 317: Picturing the Papacy, 1300-1850 (ARTHIST 117)

Popes deployed art and architecture to glorify their dual spiritual and temporal authority, being both Christ's vicars on earth and rulers of state. After the return of the papacy from Avignon, Rome underwent numerous campaigns of renovation that staged a continuity between the pontiffs and the ancient Roman emperors. Patronage of art and architecture became important tools in the fight against Protestantism. Artists include Botticelli, Michelangelo, Caravaggio, and Bernini.
Last offered: Spring 2014 | Repeatable for credit

ARTHIST 318: Titian, Veronese, Tintoretto (ARTHIST 118)

The course addresses the ways in which Venetian painters of the sixteenth century redefined paradigms of color, design, and invention. Themes to be examined include civic piety, new kinds of mythological painting, the intersection between naturalism and eroticism, and the relationship between art and rituals of church and statecraft.
Last offered: Spring 2013

ARTHIST 319: Love at First Sight: Visual Desire, Attraction, and the Pleasures of Art (ARTHIST 119)

Why do dating sites rely on photographs? Why do we believe that love is above all a visual force? How is pleasure, even erotic pleasure, achieved through looking? While the psychology of impressions offers some answers, this course uncovers the ways poets, songwriters, and especially artists have explored myths and promoted ideas about the coupling of love and seeing. Week by week, we will be reflecting on love as political critique, social disruption, and magical force. And we will do so by examining some of the most iconic works of art, from Dante's writings on lovesickness to Caravaggio's Narcissus, studying the ways that objects have shifted from keepsakes to targets of our cares. While exploring the visual roots and evolutions of what has become one of life's fundamental drives, this course offers a passionate survey of European art from Giotto's kiss to Fragonard's swing that elicits stimulating questions about the sensorial nature of desire and the human struggle to control emotions.
Terms: Win | Units: 3-5
Instructors: Lugli, E. (PI)

ARTHIST 320: Superhero Theory (AMSTUD 120B, ARTHIST 120, FILMSTUD 120, FILMSTUD 320)

With their fantastic powers, mutable bodies, multiple identities, complicated histories, and visual dynamism, the American superhero has been a rich vehicle for fantasies (and anxieties) for 80+ years across multiple media, including comics, film, animation, TV, games, toys, and apparel. This course will center upon the body of the superhero, as it incarnates allegories of race, queerness, hybridity, sexuality, gendered stereotypes/fluidity, politics, vigilantism, masculinity, and monstrosity. They also embody a technological history that encompasses industrial, atomic, electronic, bio-genetic, and the digital.
Terms: Aut | Units: 3-5
Instructors: Bukatman, S. (PI)

ARTHIST 321: 18th-Century Art in Europe, ca 1660-1780 (ARTHIST 121)

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.
Last offered: Winter 2017
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