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Course Criteria
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4.00 Credits
An introduction to the major painters of the Venetian School: Gentile and Giovanni Bellini, Carpaccio, Giorgione, Tintoretto, Titian, and Veronese. Students investigate the development of independent easel painting, the poetic landscapes of Giorgione, the enigmatic Venuses of Titian and Veronese, the pageantry of Venetian narrative cycles, and the special character of Venetian patronage and of the city itself. The class attempts to define those qualities that made for a distinctively Venetian style.
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4.00 Credits
David Smith is widely regarded as America's greatest sculptor. In 1932, after an early career in painting, Smith encountered the sculpture of Picasso and Julio González and decided that steel would be his material and sculpture his calling. Over the next 30 years, until his death in 1965, he produced a mythic body of sculpture informed by modernism and magic and what he called "identity." This seminar examines manyfacets of Smith's art and life, including his critical reception and his writings (and their relationship to the writings of other abstract expressionists such as Barnett Newman, Robert Motherwell, and Mark Rothko).
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4.00 Credits
A consideration of the history of recent art, beginning with a survey of the minimalism of the 1960s and then focusing on artistic developments in the 1970s, 1980s, and 1990s. The class meets in New York City every fourth week to view current exhibitions.
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4.00 Credits
In Principles of Art History ( 1915), Heinrich W?lfflin devised five criteria of opposition (linear to painterly, plane to recession, closed to open form, multiplicity to unity, and absolute to relative clarity) for understanding the changes in painting, sculpture, and architecture from the Renaissance to the Baroque. W?lfflin's criteria provide a starting point for understanding architectural form in the 17th and 18th centuries. This seminar addresses the form and function of architecture in cities during this period.
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4.00 Credits
See Photography 343 for full course description.
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4.00 Credits
Italian Studies A study of the achievements of Michelangelo in sculpture, painting, architecture, and poetry in the context of the biographies of Vasari (1550, 1568) and Condivi (1553). Exploration of the meaning of Michelangelo's work is complemented by the study of the various influences on the biographies. Discussion also analyzes Michelangelo's role in shaping his public image and creating the modern idea of the artist as isolated genius. Priority is given to students with some background in art history, Renaissance studies, and/or Italian.
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4.00 Credits
Asian Studies In recent years there has been increasing interest in artists of Asian ancestry who have worked in the United States. The relationships between the artistic traditions of their native lands and their subsequent immersion in American culture provide material for fascinating inquiries concerning biography, style, subject matter, and politics. This class surveys some of the central figures involved and explores uncharted art historical territory. Key artists studied include Yasuo Kuniyoshi, Isamu Noguchi, Yayoi Kusama, and Mariko Mori.
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4.00 Credits
This course examines the use of female sexuality in surrealist imagery and then juxtaposes it to the writing and work of such female surrealists as Claude Cahun, Leonora Carrington, Leonor Fini, Dora Maar, Lee Miller, Meret Oppenheim, Dorothea Tanning, Toyen, Remedios Varo, and others. Issues explored are female subjectivity, cultural identity, occultism, mythology, dream imagery, artistic collaboration, and the methodologies employed to interpret surrealism in general. Prerequisite: permission of the instructor.
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4.00 Credits
Human Rights Photography may not always tell the truth, but a photograph can't help but give away certain truths about the time it records. This course traces the evolution of documentary photography from 1839 to the present, including photojournalism, travel and exploration photography, evidentiary photography, street photography, and the subjective hybrids practiced by artists such as Robert Frank and Diane Arbus. Students also consider how formal conventions have affected content in various photographic practices that present themselves as documentary, and ask whether many former hallmarks of verity have been fatally compromised.
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4.00 Credits
French Studies A social history of French painting from 1860 to 1900, beginning with the origins of modernism in the work of Manet. Topics include the rebuilding of Paris under Napoleon III, changing attitudes toward city and country in impressionist and symbolist art, the gendering of public spaces, and the prominent place of women in representations of modern life. The course addresses vanguard movements such as impressionism and postimpressionism and the styles of individual artists associated with them, as well as the work of academic painters.
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