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141 - 150 of 237 results for: ARTHIST

ARTHIST 309: The Book in the Medieval World (ARTHIST 109)

Studying the design and function of books in medieval society from the 7th to the 15th century, and the ways in which manuscripts are designed to meet (and shape) the cultural and intellectual demands of their readers. Major themes are the relationships between text and image, and between manuscripts and other media; the audience and production context of manuscripts; and changing ideas about pictorial space, figural style, page design, and progression through the book. Final project may be either a research paper or an original artist's book.
Last offered: Winter 2015

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 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 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 320: Living in a Material World: Seventeenth-century Dutch and Flemish Painting (ARTHIST 120)

Painting and graphic arts by artists in Flanders and Holland from 1600 to 1680, a period of political and religious strife. Historical context; their relationship to developments in the rest of Europe and contributions to the problem of representation. Preferences for particular genres such as portraits, landscapes, and scenes of everyday life; the general problem of realism as manifested in the works studied.
Last offered: Winter 2015

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.
Terms: Win | Units: 4
Instructors: Marrinan, M. (PI)

ARTHIST 322: The Age of Revolution: Painting in Europe 1780-1830 (ARTHIST 122)

Survey of European painting bracketed by the French Revolution and the end of the Napoleonic conquest. Against this background of social upheavel, the visual arts were profoundly affected by shifts in patronage, public, and ideas about the social utility of image making. Lectures and readings align ruptures in the tradition of representation with the unfolding historical situation, and trace the first manifestations of a "romantic" alternative to the classicism that was the cultural legacy of pre-Revolutionary Europe.
Terms: Spr | Units: 4
Instructors: Marrinan, M. (PI)

ARTHIST 324: The Age of Naturalism, Painting in Europe1830-1874 (ARTHIST 124)

Survey of European painting from the heyday of Romanticism to the first Impressionist exhibition. Lectures and readings focus on the tensions between traditional forms and ambitions of history painting and the challenge of "modern" subjects drawn from contemporary life. Attention to the impact of painting in the open-air, and the effect of new imaging technologies- notably lithography and photography - to provide "popular" alternatives to the hand-wrought character and elitist appeal of "high art" cultural forms.
Last offered: Spring 2014
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