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Course Criteria
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3.00 Credits
This course surveys the arts of the Japanese archipelago through the focused study of selected major sites and artifacts. We consider objects in their original contexts and in the course of transmission and reinterpretation across space and time. How did Japanese visual culture develop in the interaction with objects and ideas from China, Korea, and the West Topics include prehistoric artifacts, the Buddhist temple, imperial court culture, the narrative handscroll, the tea ceremony, folding screens, and early modern prints. C. Foxwell. Autumn.
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3.00 Credits
This course surveys the art and architecture of the Islamic world from 1500 to 1900. This was the period of the three great Islamic empires (i.e., Ottomans, Safavids, Mughals). Each of these multi-religious, multi-linguistic, multi-ethnic empires developed styles of art and architecture that expressed their own complex identities. Further, they expressed their complex relations with each other through art and architecture. We also consider ways in which contact with regions beyond the Islamic world throughout this period impacted the arts. P. Berlekamp. Spring.
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3.00 Credits
Students must attend first class to confirm enrollment. For nonmajors, any ARTH 17000 through 18999 course meets the general education requirement in the dramatic, musical, and visual arts. Courses in this series investigate basic methods of art historical analysis and apply them to significant works of art studied within definite contexts. Works of art are placed in their intellectual, historical, cultural, or more purely artistic settings in an effort to indicate the origins of their specific achievements. An informed appreciation of the particular solutions offered by single works and the careers of individual artists emerges from the detailed study of classic problems within Western and non-Western art.
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3.00 Credits
If the invention of writing is regarded a mark of early civilization, the practice of calligraphy is a unique and sustaining aspect of Chinese culture. This course introduces concepts central to the study of Chinese calligraphy from prehistory to the present. Topics include materials and techniques, aesthetics and communication, copying/reproduction/schema and creativity/expression/personal style, public values and the scholar's production, orthodoxy and eccentricity, official scripts and the transmission of elite culture, and wild and magic writing by "mad" monk s. P. Foong. Autumn
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3.00 Credits
This course surveys major areas of study in the Chinese landscape painting tradition, focusing on the history of its pictorial representation during premodern eras. Our primary format is class discussion following a series of lectures. Areas for consideration may include first emergence and subsequent developments of the genre in court and literati arenas; landscape aesthetics and theoretical foundations; and major attributed works in relation to archaeological evidence. P. Foong. Spring.
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3.00 Credits
There are three major themes in this course: the rise of philosophical skepticism (pyrrhonisme) and the New Science, and their impact on ideas of painting; the relationship between new "practices of the self" and practices of knowledge; and political centralization and the emergence of the police state. We discuss major artists (e.g., Nicolas Poussin, Philippe de Champaigne, Georges de la Tour, Claude Lorraine, Charles Le Brun) and lesser-known figures (e.g., Laurent de la Hyre, Lubin Baugin, Eustache Le Seur, Valentin de Boulogne). Readings are drawn largely from primary sources. Texts in English. R. Neer. Autumn.
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3.00 Credits
This course examines the diversity of Japanese art in the seventeenth through nineteenth centuries, relating it to audience diversity during the same period. The shogunal government and imperial court, samurai and merchants, regional lords and wealthy farmers, geisha and learned women, and urban dandies and lovers of Chinese culture all were patrons of paintings, ceramics, and other arts. We consider changes in the display of objects, concluding with the emergence of the modern Japanese artist and the museum. C. Foxwell. Spring.
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3.00 Credits
An introduction to architecture and planning, this course examines the changes in thinking about the University campus from its origins in the 1890s to the present. We interpret how the University images itself in masonry, metal, and lawn; how it works with architects; the role of buildings in social and intellectual programs and values; the effects of campus plans and the siting of individual buildings; and the impact of technological change. On-site sessions and study of archival documents required. K. Taylor. Spring.
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3.00 Credits
This course examines some of the masterpieces of the French tradition (e.g., David's Oath of the Horatier, G éricault ? Raft of the Medus a, Delacroix 's Liberty Leading the Peopl e). Through the close analysis of single paintings, different and competing models of art historical interpretation are introduced. Focusing on new structures of pictorial meaning emerging around 1800, we discuss the shifting place of painting in a (post)revolutionary wor ld. R. Ubl. Autum
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3.00 Credits
In this in-depth study of Manet' s paintings, we explore the aesthetic structure of his work and discuss it with respect to more general questions concerning the interpretation of modernism . R. Ubl. Winter.
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