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Course Criteria
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3.00 Credits
This course is a survey of traditional Japanese painting, sculpture, architecture, woodblock prints, and decorative arts. Special attention will be paid to the developments in artistic style and subject matter in the contexts of contemporary cultural phenomena. Through visual analysis students learn the aesthetic, religious, and political ideals and cultural meanings conveyed in the works of art. This course offers students a solid grasp of the social, cultural, and art histories of Japan, and how Japan's foreign relations influenced the development of its artistic trends. Course highlights include the transmission of Buddhism and its art to Japan; the relationship between words and images; Zen Buddhism and its art (dry gardens; temples; and tea ceremony related art forms) in the samurai culture; the sex industry and kabuki theater, their art, and censorship; and the affinities between Japanese woodblock prints and Impressionist and Post-Impressionist paintings.
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3.00 Credits
This course has two components: art history and studio practice. The first offers students an opportunity to acquire an understanding of theoretical and aesthetic principles of Chinese calligraphy, one of the highest art forms in China practiced by the literati. It also investigates the social and political functions of Chinese calligraphy in ancient and contemporary China. It will also investigate Chinese calligraphy's impact on contemporary American artists. Studio practice allows students to apply theories to creating artworks. The semester is evenly divided between technical instruction and the art history part of the course.
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3.00 Credits
The region stretching from present day Iran to India figures prominently in contemporary global culture but it also has a rich and complex history?an amalgamation of Persian, Turkish and Islamic influences. Home to Genghis Khan and Timur (Tamerlane), Akbar the Great and Shah Jahan, it has generated some of the most renowned monuments (e.g. the Taj Mahal and the blue tiled mosques of Isfahan) and refined manuscript painting ever known. We will cover a broad swath of time?from the 10th to the 20th century?concentrating on important centers of artistic production such as Timurid Central Asia and Mughal India. Students will have the opportunity to study original works of art in the college museum collections.
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3.00 Credits
This course is an introduction to Visual Culture with a special focus on photography and its relationship to the construction of memory. Students will read western reflections on the practice and cultural impact of photography by critics such as Barthes, Baudelaire, Baudrillard, Bazin, Benjamin, Berger, Crimp, Derrida, Eco, Flusser, Greenberg, Hirsch, Kemp, Kracauer, Krauss, Metz, Mitchell, Moholy-Nagy, Solomon-Godeau, Sekula, Sontag, and Virilio. Students will supplement the theoretical and conceptual readings by examining photographs and collections of photography and their relationship to the construction of memory--from the personal album to museum collections and historical archives to the collected works of individual artists. Many class sessions will be held at the WCMA and local museums and libraries and students are encouraged to seek out and pursue projects that are meaningful to them.
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3.00 Credits
Currently Rembrandt ranks as the best known but also the most controversial Dutch artist of the 17th century. Dispute surrounds his character as well as the quantity, quality, and significance of his art. At each meeting we will focus on a specific painting, print, or drawing by Rembrandt or on an issue concerning him and his work in order to compare the strengths and weaknesses of the various approaches.
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3.00 Credits
This course on the methods and historiography of art history is designed to offer art history majors an opportunity to examine art-historical problems and methodological issues that have shaped the discipline. Works of art will inevitably enter into our discussions, but the main objects of study will be texts about art as well as texts about methods for an historical study of art. Topics include (depending on individual instructor): aesthetics, style and periodization; iconography, narratology, spectatorship; art and psychoanalysis, the social functions of images and the social history of art; art history and difference; and art-historical narrative as representation.
Prerequisite:
ArtH 101-102
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3.00 Credits
This undergraduate seminar emphasizes writing, critical reasoning, and analytical skills. It explores a variety of Zen art forms {painting, sculpture, architecture, ceramics, tea ceremony, and gardens} as expressions or visualizations of the ideals and doctrines of Zen Buddhism in the context of Chinese and Japanese cultures. Highlights include Zen's aesthetic principles as manifested in painting; dry gardens; the tea ceremony and its related art forms; iconographic development in Zen art; political functions of Zen in China and Japan's samurai culture; and feminine motifs of the Bodhidharma (founder of Zen Buddhism) symbology.
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3.00 Credits
This seminar takes as its subject the architectural articulations of utopia in the early modern period. Setting the stage for our discussions will be some of the Classical philosophical models--from polis to metropolis--as interpreted by urban historian Lewis Mumford, among others. We will grapple with the medieval monastery as organizing principle of communal life (the Plan of St. Gall). We will then turn to the image of the city-state and the connections between microcosm and macrocosm it articulated. The word "utopia" denotes simultaneously "no-place" and "happy place"--a double meaning exploited in Sir Thomas More's Utopia (1516), the novel that defined the genre. We will treat More's city of Amaurote as well as Ambrosius Holbein's memento mori map in the context of the Age of Discovery. Ultimately ours will be a selective as opposed to comprehensive approach to the theme, including such examples as: the Ideal City panels of Piero della Francesca's circle, Filarete's city of Sforzinda, the geometric configurations of the fortified city (orthogonal, circular, and radial), and the myth of Arcadia and its legacy (from the Pastoral Concert attributed to Titian or Giorgione to Nicolas Poussin's Et in Arcadia Ego). We will conclude with Enlightenment experiments such as Boullee's visionary architectural drawings and Ledoux's ideal city of Chaux.
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3.00 Credits
This class explores French and European painting and sculpture of the last quarter of the nineteenth-century, particularly the work of artists once famous in their day but whose reputations collapsed with the rise of Impressionism and Modernism. Attention to aesthetic theory, pictorial narrative, and the formation of artistic taste. Artists include Gerome, Bouguereau, and Alma-Tadema.
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3.00 Credits
Andrea Palladio (1508-1580) has come to be regarded as the most influential architect in western history, but he began his career as a stonemason in a provincial Italian city. This seminar will trace the contours of his career and his complex legacy. As we study his works in their physical and socio-political contexts, we will consider his humble origins in the stoneyard and later humanist education, his early success in his native city of Vicenza and difficult entry into Venice, and the 1570 publication of The Four Books of Architecture. The seminar will also seek to define the protean term "Palladianism" as we examine the reception, interpretation, and appropriation of Palladio's work by architects and theorists of subsequent centuries, especially in Britain and America. We will use Palladio as a lens to discuss key issues of his day and later periods such as: patronage, politics, and civic identity; ritual and reform in religious architecture; architectural theory and print culture; the villa and the "Palladian landscape"; and the interpretation of antiquity.
Prerequisite:
ARTH 101-102 or ARTH 101 only, if 102 taken at same time
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