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1 - 10 of 250 results for: ARTHIST

ARTHIST 1A: Introduction to the Visual Arts: Prehistoric through Medieval (CLASSICS 56)

A survey of the art and architecture from the cave paintings of Lascaux to the Gothic Cathedrals of France; the material is organized both chronologically and thematically and covers a multiplicity of religions: pagan, Christian, and Islamic.
Terms: not given this year | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)

ARTHIST 1B: Introduction to the Visual Arts: History of Western Art from the Renaissance to the Present

This course surveys the history of Western painting from the start of the 14th century to the late 20th century and our own moment. Lectures introduce important artists (Giotto, Rembrandt, Velazquez, Goya, Manet, Matisse, Pollock, and others), and major themes associated with the art of particular periods and cultures. The course emphasizes training students to look closely at - and to write about - works of art.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

ARTHIST 2: Asian Arts and Cultures (JAPAN 60)

An introduction to major monuments, themes, styles, and media of East and South Asian visual arts, in their social, literary, religious, and political contexts. Through close study of primary monuments of architectural, pictorial, and sculptural arts and related texts, this course will explore ritual and mortuary arts; Buddhist arts across Asia; narrative and landscape images; and courtly, urban, monastic, and studio environments for art from Bronze Age to modern eras.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom, WAY-A-II | Grading: Letter or Credit/No Credit

ARTHIST 3: Introduction to World Architecture (CLASSICS 54)

This lecture course surveys the history of architecture and urbanism, from the first societies to the present, in Europe, West and East Asia, the Americas, and Africa. The course progresses by case studies of exemplary monuments and cities, and examines the built environment as both cultural artifact and architectural event. It considers the social and political circumstances of architectural invention as well as plumbing the depth of artistic context by which particular formal choices resonate with an established representational culture.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

ARTHIST 12SC: Fashion History and Modern Art

This course explores the intersecting vectors of fashion, art and modernity in the late 19th and early 20th centuries (roughly, 1865-1965). Making use of primary sources -- from couture clothing to period fashion journals and relevant works of art on campus and in Bay Area museum collections -- students will examine the historical foundations of the fashion system in France and the United States, enabling them to approach and understand the contemporary nexus of art, fashion, branding and celebrity culture from an informed and critically engaged perspective.
Terms: Sum | Units: 2 | Grading: Satisfactory/No Credit

ARTHIST 36: Dangerous Ideas (EALC 36, ENGLISH 71, HISTORY 3D, MUSIC 36H, PHIL 36, RELIGST 21X)

Ideas matter. Concepts such as race, progress, and evil have inspired social movements, shaped political systems, and dramatically influenced the lives of individuals. Others, like religious tolerance, voting rights, and wilderness preservation play an important role in contemporary debates in the United States. All of these ideas are contested, and they have a real power to change lives, for better and for worse. In this one-unit class we will examine these dangerous ideas. Each week, a faculty member from a different department in the humanities and arts will explore a concept that has shaped human experience across time and space. Some weeks will have short reading assignments, but you are not required to purchase any materials.
Terms: Spr | Units: 1 | Grading: Satisfactory/No Credit
Instructors: Anderson, R. (PI)

ARTHIST 57Q: 10 American Photographs (AMSTUD 57Q)

Preference to sophomores. ¿The humor, the sadness, the EVERYTHING-ness and American-ness of these pictures!¿ wrote Jack Kerouac of photographer Robert Frank¿s iconic collection, The Americans. This seminar takes Kerouac¿s enthusiasm and applies it to ten American photographs, a new one each week. Examples span the medium¿s history and were taken as art, science, commerce, journalism, or personal mementos. Close study of the photo of the week will address how it looks and why; its history, from initial responses to later reception; and its relationship to the larger American visual and cultural context. Also under discussion: What story does this set of pictures tell about Americanness? What might another set of photos convey?
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Kessler, E. (PI)

ARTHIST 80N: The Portrait: Identities in Question

Most of us hold libraries of hundreds or thousands of ¿portraits¿ ¿ more or less instantly available posed images of ourselves and others. For most of human history, before the development of portable and digital cameras, portraiture was a much rarer and more deliberate social act and cultural practice, involving special materials and techniques, encounters with expert portraitists or photographers, and established settings for display. What almost all portraits, of whatever time or cultural place, have in common are presentations of social identities, roles, or persona, as well as a potential fascination and power that may be based in our neurological capacities for facial recognition and ¿mind-reading¿ through facial expressions. n This introductory seminar will explore many aspects of this basically simple category of thing ¿ images of particular persons. Our point of departure will be from the history of art, focusing on portrait sculptures, paintings, and photographs from many era more »
Most of us hold libraries of hundreds or thousands of ¿portraits¿ ¿ more or less instantly available posed images of ourselves and others. For most of human history, before the development of portable and digital cameras, portraiture was a much rarer and more deliberate social act and cultural practice, involving special materials and techniques, encounters with expert portraitists or photographers, and established settings for display. What almost all portraits, of whatever time or cultural place, have in common are presentations of social identities, roles, or persona, as well as a potential fascination and power that may be based in our neurological capacities for facial recognition and ¿mind-reading¿ through facial expressions. n This introductory seminar will explore many aspects of this basically simple category of thing ¿ images of particular persons. Our point of departure will be from the history of art, focusing on portrait sculptures, paintings, and photographs from many eras and cultures, some of which are among the most studied and discussed of all artistic monuments. We will consider techniques and approaches of portrait making, including the conventions that underlie seemingly realistic portraits, posing, the portrait situation, and portrait genres. Our primary focus will be on the multiple purposes of portraiture, from commemoration, political glorification, and self-fashioning to making claims of social status, cultural role, and personal identity. We will also discuss the changing status of portraiture under modern states of social dislocation, technological change, and psychoanalytic interrogation, and in postmodern conditions of multi-mediated realities and distributed subjectivities. Along the way, we will see that our understandings of portraiture benefits from the approaches and insights of many fields ¿ political and social history, anthropology, neuroscience, and literary studies among others.
Terms: not given this year | Units: 3 | Grading: Letter (ABCD/NP)

ARTHIST 100N: The Artist in Ancient Greek Society (CLASSICS 18N)

Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. nn nnWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?nn nnPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and pain more »
Given the importance of art to all aspects of their lives, the Greeks had reason to respect their artists. Yet potters, painters and even sculptors possessed little social standing. nn nnWhy did the Greeks value the work of craftsmen but not the men themselves? Why did Herodotus dismiss those who worked with their hands as "mechanics?" What prompted Homer to claim that "there is no greater glory for a man¿ than what he achieves with his own hands," provided that he was throwing a discus and not a vase on a wheel?nn nnPainted pottery was essential to the religious and secular lives of the Greeks. Libations to the gods and to the dead required vases from which to pour them. Economic prosperity depended on the export of wine and oil in durable clay containers. At home, depictions of gods and heroes on vases reinforced Greek values and helped parents to educate their children. Ceramic sets with scenes of Dionysian excess were reserved for elite symposia from which those who potted and painted them were excluded.nn nnSculptors were less lowly but even those who carved the Parthenon were still regarded as "mechanics," with soft bodies and soft minds (Xenophon) "indifferent to higher things" (Plutarch).nn nnThe seminar addresses these issues. Students will read and discuss texts, write response papers and present slide lectures and gallery talks on aspects of the artist's profession.
Terms: not given this year | Units: 3 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

ARTHIST 101: Introduction to Greek Art I: The Archaic Period (CLASSICS 161)

This lecture course explores Greek art and culture from 1000-480. In the beginning archaic art forms are more abstract than life-like, closer to Calder than Michelangelo. While Homer describes the rippling muscles (and egos) of his heroes, vase-painters and sculptors prefer abstraction. This changes in the 7th C. as a result of commerce with the Near East and Egypt. Imported Near Eastern bronzes and ivories awaken the Greeks to a wider range of subjects, techniques and ambitions. Later in the century, Greeks in Egypt learn to carve hard stone from Egyptian masters. Throughout the 6th C. Greek artists assimilate what they had borrowed, compete with one another, defy their teachers, test the tolerance of the gods and eventually produce works of art that speak with a Greek accent. When the Persians invade the Acropolis in 480, they find artifacts with little trace of alien influence or imprint - omens of the defiant Greek military that would prevail at Salamis and Plataea.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Maxmin, J. (PI)
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