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91 - 100 of 209 results for: ARTHIST

ARTHIST 217B: The Classical Theory of Architecture from Antiquity to the French Revolution (ARTHIST 417B)

This seminar focuses on themes and theories in architectural design from antiquity until the early twentieth century. Modern and contemporary architecture has often claimed its modernity through the incorporation of theory, but this seminar examines selections from key texts that have also moulded architectural and urbanistic thought in the ancient, medieval, and early modern eras in combination with analytical comparisons of built architecture.
Terms: Aut | Units: 5
Instructors: Barry, F. (PI)

ARTHIST 225: Cezanne

This seminar will study the complexity and richness of pictures made by Paul Cézanne that affected the course of modernist painting during the early twentieth century. Usually called an Impressionist, Cézanne shares only partially Monet's concern for fleeting effects, and he evokes little of Renoir¿s charm. He did not paint the bustle of city life like Manet or Degas. Cézanne spent most of his career near his hometown of Aix-en-Provence painting landscapes, a few local residents, and many still-lifes. Yet Matisse was serious when he said, "Cézanne, you see is a sort of god of painting. Dangerous his influence? So what? Too bad for those without the strength to survive it." The seminar will explore the foundations of that influence.
Last offered: Spring 2015

ARTHIST 229D: Topophilia: Place in Japanese Visual Culture through 19th Century (JAPANGEN 229)

Attachments to "place" and "home" are hard-wired into the biology of humans and animals alike, although such attachments vary according to specific times, cultures, and states of mind. Can we speak of a "Japanese sense of place" and if so, what is distinctive about it? Seminar explores religious visions and ritual fields; narratives of itinerancy; cityscapes; topographic taxonomies. Knowledge of Japanese culture is beneficial but not mandatory.

ARTHIST 243C: The Art of Travel

This undergraduate seminar explores a variety of objects upon which we see the marks of makers smitten and/or stymied by new technologies of transportation ¿ objects about the steamship, the railroad, the automobile, the airplane, the space shuttle, the internet. Among many types of material culture, the course considers scrimshaw, album quilts, maps, paintings, photographs, city plans, hood ornaments, and advertisements from the early Republic to the present. How do objects mark geographic movement, and the social relationships forged in the process? What do these marks tell us about how we, as contemporary viewers, experience the world?
Last offered: Winter 2015

ARTHIST 244: The Visual Culture of the American Home Front, 1941-1945 (AMSTUD 244)

How does home front of WWII look now? What sort of meanings appear with the vantage of more than sixty years' distance? Examining Hollywood films from those years -films made during the war but mostly not directly about the war - the seminar focuses on developing students' abilities to write emotion-based criticism and history. Weekly short papers, each one in response to a film screening, are required. Among the films screened: Shadow of a Doubt, Gaslight, I Walked with a Zombie, The Best Years of Our Lives.
Last offered: Winter 2013 | UG Reqs: GER:DB-Hum

ARTHIST 245: Art, Business & the Law

This course examines the intersection of art, business, and the law from a number of different angles, focusing on issues that impact our understanding of works of art and their circulation in the modern and contemporary periods. Topics range from individual case studies (e.g., Leonardo da Vinci; Richard Serra) to the consolidation of the art market, and include cultural heritage issues, problems of censorship, and conceptions of authorship and intellectual property.
Last offered: Winter 2014 | UG Reqs: WAY-A-II

ARTHIST 246A: California Dreaming: West Coast Art and Visual Culture, 1848 - present

This seminar examines art, photography, and other forms of cultural production (e.g. film, advertisements, postcards) in and about California from the middle of the 19th century to the present. It approaches California as a contested political, historical and geographical site and as a series of images and alternative "lifestyles." How have artists pictured the state's diverse landscapes, both natural and commercial, as well as its complex history of labor, immigration, ethnicity, tourism, and social division?
Last offered: Winter 2013 | UG Reqs: GER:DB-Hum

ARTHIST 246B: Pop Art (AMSTUD 246B)

A new course on the history and meaning of Pop art in the United States and abroad. The course will feature close study of paintings, photographs, and prints at the Cantor Art Center. The course will be given in the Denning Family Resource Room, located in The Anderson Collection building. If you have any questions regarding the location, please contact Linda Esquivel at lindae@stanford.edu.
Last offered: Spring 2015

ARTHIST 248B: Architecture, Urbanism, and Visual Culture in Early Modern Rome

This seminar investigates architecture in Rome, from Michelangelo to Piranesi. It examines the origins of modern urbanism; the piazza as ceremonial theater; the water network and fountain displays; palace design inside and out; religious institutions, from convents to confraternities; church design inside and out; the devotional and illusionistic space of the family chapel; festival architecture; light symbolism and geometry; the use of new materials and technologies; the relationship of early modern architecture to painting and sculpture; and the question of a unity of the arts.
Last offered: Spring 2014

ARTHIST 252: Transatlantic American Art

This is an American art history course from a transatlantic perspective, considering the ties between the United States and England from the colonial era to World War I, a period in which both nations underwent a similar trajectory of industrialization, urbanization, democratization, and expansionism/imperialism. We will explore the ways in which American attitudes towards England oscillated between anxious emulation and proud repudiation, as the ideas of ¿British culture¿ and ¿Englishness¿ became catalysts for national self-definition and touchstones for gendered and racialized metaphors of national vigor or decline. We will also examine how American artists received aesthetic conventions and artistic genres from Britain, and how the geography of the American landscape and questions of national character and taste challenged these traditions.
Terms: Win | Units: 5
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