2015-2016 2016-2017 2017-2018 2018-2019 2019-2020
Browse
by subject...
    Schedule
view...
 

221 - 230 of 296 results for: ARTHIST

ARTHIST 408B: The Art of Medieval Spain: Muslims, Christians, Jews (ARTHIST 208B)

The seminar explores the hybrid character of the art of Medieval Spain between the sixth and the fifteenth centuries. Rather than strictly chronological, our exploration of the artistic production of Muslims, Jews, and Christians is structured around major topics such as imperial power, pilgrimage, word and image. The readings juxtapose historical studies of specifically Spanish sites and objects with theoretical approaches tied to the broader themes.
Terms: not given this year, last offered Winter 2017 | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 409: Iconoclasm (ARTHIST 209C, CLASSICS 158, CLASSICS 258, REES 409)

By the seventh century three large political entities formed in the Mediterranean the Umayyads, the Carolingians, and the Byzantines each competed for legitimacy; all three emerged from the ashes of Late Antique culture, yet each tried to carve out an identity out of this common foundation. In this parting of the ways, the three empires took among others the issue of what constitutes an image and what role it plays in devotion. Eik'n, imago, ura became the basis on which to built differences and accuse the other political players of idolatry. This course explores medieval image theory, especially the phenomena of iconoclasm, iconophobia, and aniconism. The discussions focus on monuments in the Mediterranean as well as objects in the Cantor collection and facsimiles of manuscripts at the Bowes Art Library.
Terms: not given this year, last offered Spring 2017 | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 410: The Masters: Raphael

Five hundred years after Raphael mysteriously died (April 6, 1520), this seminar reflects on his contributions to the arts. Raphael's art is often defined as a negation of death. He painted eternal myths, unearthly saints, and timeless beauties. His sketches served as exemplars and the very paragon of drawing for hundreds of years. So much so that art historians have done little more than admire his art. How come Raphael has resisted criticism for half a millennium? What does his unremitting fame tell us about the state of art history? While studying eight of Raphael's masterpieces in depth, this course also reflects on the shortcomings and potentials of art history as a critical discipline.
Terms: Spr | Units: 3-5 | Grading: Letter (ABCD/NP)
Instructors: Lugli, E. (PI)

ARTHIST 410B: Giotto (ARTHIST 210)

Often hailed as ¿the father of western painting,¿ Giotto was seen as a revolutionary figure even in his own day. We will begin with Giotto¿s critical reception, his artistic predecessors and contemporaries, and his work for patrons ranging from the Franciscan order to the king of Naples. We will most closely examine Giotto¿s masterpiece, the frescoes of the Arena Chapel in Padua, and consider topics including Giotto¿s figural realism, the layered readings of the program, its use of visual rhetoric, and issues of gender, sexuality, and ethnicity.
Terms: not given this year, last offered Autumn 2015 | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 411: Childish Enthusiasms, Perishable Manias (FILMSTUD 411)

Universities are sites of gravitas, but what of levitas -- a lighter, more playful category? Does intellectually credible work depend upon a ⿿critical distance⿝ between scholar and object of study? Can we take something seriously without imposing a seriousness that it may not possess (or want)? How to retain (or recover) the intensely pleasurable relation to objects that we were allowed when younger? The seminar is predicated upon the proposition that effective scholarship need not suck the joy from the world.
Terms: Win | Units: 5 | Grading: Letter (ABCD/NP)
Instructors: Bukatman, S. (PI)

ARTHIST 413: Michelangelo

Michelangelo's long career in light of recent scholarship. Topics include the status of the cult image, the paragon between poetry and the pictorial arts, painting and questions of literary genre, and Counter Reformation reactions to his art.
Terms: not given this year, last offered Spring 2014 | Units: 5 | Grading: Letter (ABCD/NP)

ARTHIST 415: Baroque: 1900-2000

The seminar, which is largely methodological and historiographic, problematizes issues of periodization. The course examines different approaches to the question of "what is baroque," from Alois Riegl and Erwin Panofsky to Michel Foucault, Svetlana Alpers and Giovanni Careri.
Terms: not given this year, last offered Winter 2015 | Units: 5 | Grading: Letter or Credit/No Credit

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.
Terms: not given this year, last offered Autumn 2015 | Units: 5 | Grading: Letter (ABCD/NP)

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.
Terms: not given this year, last offered Winter 2017 | Units: 5 | Grading: Letter (ABCD/NP)

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. nnnOne 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. nnnRather than examine the development of modern architectural theory chronologically, the seminar investigates theory through thematic topics. These themes enable us to understand how certain architectural theoretical concepts endure and are transformed.
Terms: Win | Units: 5 | Grading: Letter or Credit/No Credit
Instructors: Beischer, T. (PI)
Filter Results:
term offered
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints