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221 - 230 of 274 results for: ARTHIST

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: Aut | Units: 5
Instructors: Barry, F. (PI)

ARTHIST 423B: Art That Moves: Affect, Kinesis, Mobility, 1300-1700

The early modern artist who imbues his subjects with movement is praised by his critics above all others, for he can do what is impossible: give life to dead matter. Movement is sometimes suggested, a trick of the eye that leads the spectator to anticipate a moment just about to unfold. Other times, the artist is said to conjure a living figure, whose flesh trembles with breath and a beating pulse. This seminar explores these and other examples of movement, instances that negotiate the relationship between depicted and actual movement with the emotion it stirs (affect). We will also study movement¿s relation to narrative and descriptive language (history and ekphrasis), and art¿s ability to move through time (Warburg¿s Pathosformel) and space (artworks and artists that travel). A study of movement uncovers multiple contradictions and possibilities in the history of art.
Last offered: Autumn 2017

ARTHIST 425: Wonder, Curiosity & Collecting: Building a Stanford Cabinet of Curiosities (ARTHIST 225, HISTORY 205J, HISTORY 305J)

( History 205J is an undergraduate course offered for 5 units; History 305J is a graduate course offered for 4-5 units.) Inside every museum lies a cabinet of curiosities. Explores the history of wonder, curiosity, and collecting, with special attention to the Renaissance origins of the cabinet of curiosities and their modern afterlives. Hands-on experience working with the Stanford collection in the Cantor to create a contemporary cabinet in collaboration with artist Mark Dion. This will be a unique opportunity to create a Stanford cabinet of curiosities for the twenty-first century. All seminar participants will contribute to the published exhibit catalogue.
Terms: Win | Units: 4-5

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.
Last offered: Spring 2013

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.
Last offered: Winter 2016

ARTHIST 431: Leonardo's World: Science, Technology, and Art (ARTHIST 231, HISTORY 231, HISTORY 331, ITALIAN 231, ITALIAN 331)

Leonardo da Vinci is emblematic of creativity and innovation. His art is iconic, his inventions legendary. His understanding of nature, the human body, and machines made him a scientist and engineer as well as an artist. This class explores the historical Leonardo, exploring his interests and accomplishments as a product of the society of Renaissance Italy. Why did this world produce a Leonardo? Students will contribute to a library exhibit for the 500th anniversary of Leonardo's death in May 2019.
Terms: Aut | Units: 4-5

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.
Last offered: Autumn 2013

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. 
Last offered: Spring 2014

ARTHIST 441: Overlooked/Understudied

This seminar focuses on overlooked artists and understudied artworks in the U.S. from the late 19th century to the present. Rather than reclaiming marginality for its own sake, we will consider how the practice of looking at the overlooked art changes familiar narratives of canonical art.
Terms: Win | Units: 5
Instructors: Meyer, R. (PI)

ARTHIST 445: What's not American about American Art?

This seminar focuses on American art as a history of migration (of people but also of visual objects) across national and continental boundaries. We examine trans-Atlantic and trans-Pacific dialogues and consider how anxieties about foreigners, immigrants, and political dissidents shaped American art and culture at particular moments in the 20th century. In the second half of the course, we consider a series of museum exhibitions that repositioned American art as a history of social conflict and exclusion.
Last offered: Spring 2013
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