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21 - 30 of 301 results for: ARTHIST

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

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 | UG Reqs: GER:DB-Hum

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

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 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

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

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 | UG Reqs: WAY-A-II
Instructors: Lugli, E. (PI)

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

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 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

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

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 | UG Reqs: WAY-A-II

ARTHIST 118A: Space, Public Discourse and Revolutionary Practices (CSRE 95I, GLOBAL 145)

This course examines the mediums of public art that have been voices of social change, protestnand expressions of community desire. It will offer a unique glimpse into Iran¿sncontemporary art and visual culture through the investigation of public art practices such asngraffiti and street art, as well as older traditions of Naghali and Iranian Coffeehouse Painting.nnBeginning Iranian case studies will be expanded in comparison with global examples that spannprojects that include Insite (San Diego/Tijuana), Project Row Houses (Houston, TX) the DMZnProject (Korea), Munster Skulpture Projects (Germany), among others. Students will alsonexamine the infrastructural conditions of public art, such as civic, public, and private funding,nrelationships with local communities, and the life of these projects as they move in and out ofnthe artworld. This encompassing view anchors a legacy of Iranian cultural contributions in largerntrajectories of art history, contemporary art, and community arts practice. Guest artists,ncurators, and researchers with site visits included. Students will propose either new public artnproposals, exhibitions, or research to provoke their own ideas while engaging the ever changingnstate of public discourse in these case studies
| UG Reqs: WAY-A-II

ARTHIST 118N: Pagan Mythology and the Making of Modern Europe

Once a religion looses its claim to truth it enters the sphere of the mythic. From the fifteenth through the seventeenth century, European artists turned to the legends and poetry of Greco-Roman paganism for pictorial subjects. What roles could Venus and Mars, Mercury and Minerva play in a Christian culture? Artists and humanists had different answers to this question. As relics from the past the stories of the ancient gods could serve as the prehistory of worldly and religious institutions and hence legitimize them. Or pagan myth, because of its alien nature, could convey fantasies of the body, which could not be articulated otherwise. Among the artists who explored creatively the ancient legends were Donatello, Botticelli, Michelangelo, Raphael, Velazquez, Rubens, Rembrandt, Bernini, and Poussin. Next to ancient authors such as Homer and Ovid we shall be reading excerpts from the humanists Dante, Boccaccio, Petrarch, and Vasari as we explore word/image relationships. The seminar includes excursions to the Cantor Arts Center at Stanford University to look at Old Master prints from the museum¿s storage, not normally on display, and we shall study paintings and sculptures with mythological subjects in the Legion of Honor, the Fine Arts Museum of San Francisco.
Last offered: Spring 2015

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

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 | UG Reqs: WAY-A-II
Instructors: Lugli, E. (PI)

ARTHIST 120: Superhero Theory (AMSTUD 120B, ARTHIST 320, 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 | UG Reqs: WAY-A-II
Instructors: Bukatman, S. (PI)

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.
Last offered: Winter 2017 | UG Reqs: GER:DB-Hum
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