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31 - 40 of 274 results for: ARTHIST

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

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.
Terms: not given this year, last offered Spring 2014 | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

ARTHIST 126: Post-Naturalist Painting (ARTHIST 326)

How conceptual models from language, literature, new technologies, and scientific theory affected picture making following the collapse of the radical naturalism of the 1860s and 1870s. Bracketed in France by the first Impressionist exhibition (1874) and the first public acclamation of major canvases by Matisse and Picasso (1905), the related developments in England, Germany, Belgium, and Austria. Additional weekly discussion for graduate students. Recommended: some prior experience with 19th-century art.
Terms: not given this year, last offered Spring 2016 | Units: 4 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)

ARTHIST 127A: African Art and Politics, c. 1900 - Present (AFRICAST 127)

This course explores the relationship between art and politics in twentieth century Africa. Artistic production and consumption is considered in the context of various major political shifts, from the experience of colonialism to the struggle against Apartheid. Each week we will look closely at different works of art and examine how artists and designers responded to such challenges as independence, modernization and globalization. We will look at painting, sculpture, religious art, public and performance art, photography and film. How western perceptions and understanding of African art have shifted, and how museums have framed African art throughout the twentieth century will remain important points of discussion throughout the course.
Terms: not given this year | Units: 4 | Grading: Letter or Credit/No Credit

ARTHIST 132: American Art and Culture, 1528-1910 (AMSTUD 132, ARTHIST 332)

The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others.
Terms: not given this year, last offered Autumn 2013 | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II | Grading: Letter (ABCD/NP)

ARTHIST 135: William Blake: A Literary and Visual Exploration of the Illuminated Poetry (ENGLISH 135E)

An introduction to the illuminated world of William Blake¿poet, prophet, revolutionary, and visionary artist. The course will address Blake's visual iconography, belief system and ideology, unique mythology, and method of relief etching that allowed him to make every illuminated book a unique work of art, among them, The Songs of Innocence and Experience; The Marriage of Heaven and Hell; The Book of Thel; Visions of the Daughters of Albion; The Book of Urizen; America a Prophecy; and Europe a Prophecy.
Terms: not given this year, last offered Winter 2018 | Units: 5 | Grading: Letter or Credit/No Credit

ARTHIST 140N: Couture Culture: Fashion, Art & Modernism from Manet to Mondrian

This course examines the ways in which fashion has figured in the construction of modern experience and how it has been represented in the visual arts, primarily in Europe and the United States between about 1850 and 1965. Alongside the emergence of haute couture, the rise of the ready-to-wear industry during this period coincided with the consolidation of the department store; these institutions contributed to the development of a culture of consumption and display that continues to shape our lives today. Manet, Degas and other Impressionist painters were sensitive the nuances of fashion, which they, like Baudelaire, saw as an aspect of modernity indispensable to their art. Clothing was no less significant in the context of the Russian revolution, when Alexander Rodchenko, for example, outfitted himself in a home-made version of workers' overalls in order to reinforce his identification with factory laborers and thereby to suggest the breaking down of class distinctions. The course al more »
This course examines the ways in which fashion has figured in the construction of modern experience and how it has been represented in the visual arts, primarily in Europe and the United States between about 1850 and 1965. Alongside the emergence of haute couture, the rise of the ready-to-wear industry during this period coincided with the consolidation of the department store; these institutions contributed to the development of a culture of consumption and display that continues to shape our lives today. Manet, Degas and other Impressionist painters were sensitive the nuances of fashion, which they, like Baudelaire, saw as an aspect of modernity indispensable to their art. Clothing was no less significant in the context of the Russian revolution, when Alexander Rodchenko, for example, outfitted himself in a home-made version of workers' overalls in order to reinforce his identification with factory laborers and thereby to suggest the breaking down of class distinctions. The course also explores the significance of fashion for an abstract painter like Piet Mondrian, but, more to the point, we look at how Mondrian's work was appropriated to the world of fashion by Yves Saint-Laurent, who assured that Mondrian's signature geometric style would become instantly recognizable and eventually function as a hugely popular brand. The circuits through which we can trace the historical trajectory of fashion will illuminate its importance for understanding many facets of modern culture.
Terms: not given this year, last offered Spring 2013 | Units: 3-4 | Grading: Letter (ABCD/NP)

ARTHIST 141: Modern and Contemporary World Architecture: A Cultural History in Twenty Five Buildings (CEE 32X)

This survey course is a guided tour of twenty five case studies from the last hundred years; interrogates how architecture responds to the aesthetic, technological, political, and cultural issues of the societies they belong to, all over the world.
Terms: not given this year, last offered Winter 2017 | Units: 4 | Grading: Letter (ABCD/NP)

ARTHIST 142: Architecture Since 1900 (CEE 32G)

Art 142 is an introduction to the history of architecture since 1900 and how it has shaped and been shaped by its cultural contexts. The class also investigates the essential relationship between built form and theory during this period.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Beischer, T. (PI)

ARTHIST 142A: The Architecture of Thought: Artists and Thinkers Design for Themselves (ARTHIST 342A)

This course investigates houses, hideaways, and studios that artists and thinkers have designed for themselves with varying degrees of self-consciousness, from subconscious images of the self to knowing stages for the contemplative life. Case studies range from antiquity to the present, from the studio-house of Peter Paul Rubens to that of Kurt Schwitters; from the house-museum of Sir John Soane to the Vittoriale of Gabriele D'Annunzio; from the philosophical dwelling of the Emperor Hadrian to that of Ludwig Wittgenstein.
Terms: Win | Units: 4 | Grading: Letter (ABCD/NP)
Instructors: Barry, F. (PI)

ARTHIST 143A: American Architecture (AMSTUD 143A, ARTHIST 343A, CEE 32R)

A historically based understanding of what defines American architecture. What makes American architecture American, beginning with indigenous structures of pre-Columbian America. Materials, structure, and form in the changing American context. How these ideas are being transformed in today's globalized world.
Terms: given next year, last offered Spring 2018 | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
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