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191 - 200 of 237 results for: ARTHIST

ARTHIST 416A: Michelangelo Architect (ARTHIST 216A, CEE 33A, ITALIAN 216)

The architecture of Michelangelo Buonarroti (1475-1564), "Father and Master of all the Arts," redefined the possibilities of architectural expression for generations. This course considers his civic, ecclesiastic, and palatial works. It proceeds from his beginnings in Medicean Florence to his fulfillment in Papal Rome. It examines the anxiety of influence following his death and his enduring legacy in modernism. Topics include: Michelangelo's debt to Classical and Early Renaissance prototypes; his transformation of the canon; the iterative sketch as disegno; architecture and the body; the queering of architectural language; sketch, scale, and materiality; Modernism and Michelangelo. The historiography of Michelangelo has predominantly favored studies in painting and sculpture. Our focus on architecture encourages students to test new ideas and alternative approaches to his work.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Barry, F. (PI)

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

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: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 419: The Poetics of Softness

This seminar probes the meaning of softness in the theory and practice of early modern Southern European art. As this seminar will investigate, softness is intrinsically tied to the creative process, to the challenges of visualization and art making. What does it mean for a sculptor to depict fingers digging into marble flesh? How did the painter rise to the challenge of depicting subtle forms - clouds, atmosphere, the beating pulse, hair and animal fur? Why were some of the first histories of art relayed as the progression from hard to soft forms? Through the investigation of the concepts and artworks of artists such as Leonardo, Giorgione, Raphael, Correggio, and Bernini, this seminar will explore softness as an aesthetic category. Materiality, enlivenment, perfection and imperfection in art theory, old-age style, and the ekphrastic tradition will be topics of particular interest. Participants are invited to pursue research papers in their fields of specialty.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Kinew, S. (PI)

ARTHIST 422: Reception and Literacy in Roman Art (CLASSICS 373)

(Formerly CLASSART 322.) Beyond a focus on artists and patrons: how Roman art was seen and understood by its contemporary viewers. Themes include memory, performance, gender, replication, and constructions of space. Goal is to draft a differentiated model of viewing and literacy, with attention to collective experience, hierarchy, access, and subversion.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 423: Living in the Material World: Imagination and Agency (ARTHIST 223)

This seminar deals with the materials that artists have chosen in art and construction from antiquity to the early modern era. The particular focus is upon pre-modern perceptions of the inherent properties of materials, from amber and ivory to marble and granite, as well as the diverse ways in which societies have associated particular substances with social and cultural values. Particular emphasis is laid upon the architectural use of materials.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Barry, F. (PI)

ARTHIST 426: NARRATIVE THEORY & VISUAL FORM

The theoretical terrain of narrative studies in literary criticism and historiography. The critical implications of narrative analysis for the writing of history in general. Readings integrated with students' current research projects.
Terms: not given this year | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 429: Vienna and Hamburg : Readings in the Science of Art History

The place of art history in a university curriculum was established in Europe only during the course of the nineteenth century, and only after demonstrating that its methods are rigorous and that its goals have little to do with subjective connoisseurship or personal taste. The ambition was to develop a properly ¿scientific¿ [wissenschaftlich] practice able to claim legitimacy among the traditional disciplines of university study and research. Two German-speaking centers were critical to this development : the Institute for Austrian Historical Research in Vienna and the Warburg Library for the Science of Culture at the University of Hamburg. The best-known author of the first is Alois Riegl, while the second counts Aby Warburg, Erwin Panofsky, and Ernst Cassirer among its members. Recent books on both centers, and the availability of texts in English by others of each group now make it possible to revisit their debates about ¿scientific¿ art history that shaped the field as we know it today. This seminar will read closely a selection of these texts with the aim of understanding more fully our own intellectual history and its impact upon discussions concerning the place of our discipline within the humanities today.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 432: Rethinking American Art

A re-examination of American art of the 18th and 19th centuries, focusing on works in the collection of the de Young Museum, San Francisco. The class will meet weekly at the de Young, where we will be joined by Professor Margaretta Lovell and students from the University of California, Berkeley. Each student will pursue an in-depth study of a single work in the Museum's superb American collections, using documents of social and cultural history. We will pay particular attention to recent scholarship, questions of genre (landscape, portrait, still life and images of everyday life), and the "biography of objects" (the way works of art shift in context and interpretation over time).nGraduate seminar open to advanced undergraduates with the instructor¿s approval.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 440A: The Art Market

This seminar is designed to examine aspects of the art market in the current moment and since the mid 19th century. Participants will have an opportunity to engage with problems and perspectives that, until recently, have generally been overlooked or marginalized in narratives of the history of art. Each week, students will write a response to the readings to be shared in advance of the class meeting, and each week, discussion will be initiated by a different student. In individual research projects culminating in a seminar paper, students will be encouraged to focus on how the art market may have impacted the production, reception, and/or circulation of a work or works by a particular artist. 
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 442: Looking at Violence

Violence in the media and its effects upon viewers, especially thennyoung, is an issue of national concern that has produced legislationnnfor the ratings of movies, television shows, and computer/video games. Parental control software makes it possible to program cable boxes andnncomputers to censor what broadcasts or websites are accessible tonnchildren. These are political and technical fixes to a perceivednnsocial problem. They do not ask why one is drawn to watch violence innnthe first place, nor why certain kinds of violent imagery is compelling. Debates about how such measures should be implemented usually proceed from the given that images of violence are subjectspecific, with little or no consideration of their formal qualities or visual protocols. This seminar assumes that the tools and categories of visual analysis specific to the History of Art might enrich our thinking about the attraction and impact of violence across media andnnacross time. The seminar proposes to situate more »
Violence in the media and its effects upon viewers, especially thennyoung, is an issue of national concern that has produced legislationnnfor the ratings of movies, television shows, and computer/video games. Parental control software makes it possible to program cable boxes andnncomputers to censor what broadcasts or websites are accessible tonnchildren. These are political and technical fixes to a perceivednnsocial problem. They do not ask why one is drawn to watch violence innnthe first place, nor why certain kinds of violent imagery is compelling. Debates about how such measures should be implemented usually proceed from the given that images of violence are subjectspecific, with little or no consideration of their formal qualities or visual protocols. This seminar assumes that the tools and categories of visual analysis specific to the History of Art might enrich our thinking about the attraction and impact of violence across media andnnacross time. The seminar proposes to situate its topic at the intersection of social, philosophic, and visual traditions so as to allow productive points of view to emerge. Readings will include texts from the history of aesthetics, psychology, and moral philosophy. Research projects will encourage analysis of all forms of visual media: painting, sculpture, prints, photographs, film, video, and computer graphics.
Terms: not given this year | Units: 5 | Grading: Letter (ABCD/NP)
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