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231 - 240 of 301 results for: ARTHIST

ARTHIST 416: Bernini and Baroque Rome

This seminar examines the career of Gianlorenzo Bernini (1598-1680), sculptor, architect, painter, stage designer and playwright, the premier artist of the popes. It will examine his cultural, political and religious milieu and lay particular emphasis on the theoretical relations between the arts that his oeuvre is seen to embody. In the process it will also review the genre of artistic biography, the historiography of the baroque and the myths of dynamism, theatricality, eroticism (and others) always associated with the period, and Bernini's work in particular. Limited to PhD students in Art History and Film Studies, and advanced undergraduates with permission of instructor.
Last offered: Autumn 2015

ARTHIST 416A: Michelangelo Architect (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.
Last offered: Winter 2017

ARTHIST 417B: Architectural Design Theory (ARTHIST 217B)

This seminar focuses on the key themes, histories, and methods of architectural theory -- a form of architectural practice that establishes the aims and philosophies of architecture.  Architectural theory is primarily written, but it also incorporates drawing, photography, film, and other media.  nnOne of the distinctive features of modern and contemporary architecture is its pronounced use of theory to articulate its aims. One might argue that modern architecture is modern because of its incorporation of theory. This course focuses on those early-modern, modern, and late-modern writings that have been and remain entangled with contemporary architectural thought and design practice.  nnRather than examine the development of modern architectural theory chronologically, it is explored architectural through thematic topics. These themes enable the student to understand how certain architectural theoretical concepts endure, are transformed, and can be furthered through his/her own explorations.nCEE 32B is a crosslisting of ARTHIST 217B/417B.
Terms: Win | Units: 5
Instructors: Beischer, T. (PI)

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.
Last offered: Spring 2017

ARTHIST 420: Art and Invisibility: The Dissemblance of Labour.

Labor has been at the center of political and philosophical analyses from Jean-Jacques Rousseau to Simone Weil. While uncovering essential stages in the conceptualization of labor--is labor work? How does it differ from process?--this course reframes the question of the nature of labor and artmaking in relation to invisibility. How come entire stages of production have disappeared from history? How have patrons, builders, and artists managed to erase their presence from their artifacts? To what extent do art historical narratives still pursue ideologies of exclusion or, at least, of carelessness when they get to who did what? By pairing specific case studies from the eleventh to the twentieth centuries with select passages from A-list thinkers of labor (Agamben, Arendt, Aristotle), this course offers both a history of a troublesome concept and a series of opportunities to rethink the agendas of a discipline that has often turned a blind eye to specific aspects of making. Interdisciplinary in spirit--we focus on select groups of paintings, buildings, organizations, and co-operations--the course also serves as an occasion for introspective analyses, thus helping future researchers to re-think the ways they work and the political motives of their investigations.
Last offered: Spring 2019

ARTHIST 421: Art and Visual Culture in Europe: The 1920s and 30s

This seminar focuses attention on European art institutions, exhibitions, journals, and movements, most of which intersected with one another across national borders during the interwar period, including Cubism, De Stijl, Purism, Art Deco, the Bauhaus, and Surrealism. Media include painting, architecture, photography, film, fashion and (graphic) design. We will examine period sources in Stanford library special collections and visit the permanent collection at SFMOMA.
Terms: Win | Units: 5
Instructors: Troy, N. (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.
Last offered: Spring 2015

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.
Last offered: Autumn 2018

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 424: Architecture as Performance from Antiquity to the Enlightenment (ARTHIST 224)

This seminar examines the nature of architectural representation in the western tradition, from antiquity until the 18th century. It considers the ancient theatre as an icon of representation and the afterlife of the stage building as a model for western architecture, including ephemera. It concludes a distinction between the theatrical and the more recent concept of the theatrical.
Terms: Aut | Units: 5
Instructors: Barry, F. (PI)
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