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Course Criteria
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4.00 Credits
Examines developments in painting, sculpture, and architecture in Italy ca. 1200-1400, with emphasis on Tuscany, Umbria, Rome, Lombardy, and the Veneto. Traces the evolution of the painted altarpiece in relation to its liturgical, devotional, and cultic functions and with consideration of artistic personalities such as Duccio, Simone Martini, and the Lorenzetti. Studies the great fresco cycles in churches and chapels from the point of view of artists (including Giotto, Taddeo Gaddi, Andrea Bonaiuti, and Altichiero), patron(s), and program. Surveys key monuments of religious and civic architecture and their painted and sculpted decoration within the historical and political contexts of the emerging Italian city-states. Monuments studied include San Francesco, Assisi; the Scrovegni Chapel, Padua; the pulpits and tombs of the Pisani and Arnolfo di Cambio; the great Italian cathedrals; Santa Croce, Florence; the Palazzo Vecchio, Florence, and Palazzo Pubblico, Siena; and Santa Maria Novella, Florence. Topics include the mendicant orders and the arts; the Black Death and art; the status of the artist; gender and social class in representation and patronage; and the "eclectic" character of Italian Gothic.
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4.00 Credits
Surveys the architecture of the Middle Ages in Western Europe with emphasis on the period from ca. 1000-1500 C.E., from the emergence of the Romanesque to the late Gothic period. Examines monumental religious and secular projects, such as the soaring cathedral of Amiens and the civic palaces of communal Italy, from stylistic, technical, functional, iconographic, and ideological perspectives. Topics include regionalism, patronage, the status of the "architect," and the concept of the multimedia ensemble. Also situates buildings within their social, religious, and political contexts and examines the advantages and shortcomings of different approaches to the study of medieval architecture. Advanced Courses in Renaissance and Baroque Art and Architecture
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4.00 Credits
History of art in the Western tradition from 20,000 B.C.E. to the fourth century C.E, from the emergence of human beings in the Paleolithic Age to the developments of civilization in the Near East, Egypt, and the Aegean; the flowering of the classical age in Greece; and the rise of the Roman Empire to the beginnings of Christian domination under the Emperor Constantine in the fourth century C.E. Study of the collections of the Metropolitan Museum of Art and the Brooklyn Museum is essential.
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4.00 Credits
No course description available.
Prerequisite:
Prerequisite: History of Western Art II (ARTH-UA 2), or Renaissance and Baroque Art (ARTH-UA 5), or History of Architecture from Antiquity to the Present (ARTH-UA 601), or a score of 5 on the AP Art History exam. Offered every other year.
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4.00 Credits
An architectural history of Europe, 1600-1750, with emphasis on the social, cultural, and historical conditions that shaped the built environment. Palaces, churches, villas, gardens, and urban spaces such as streets and piazzas are studied in terms of the life that went on in and around them. Themes under discussion include the pursuit of status through architectural patronage; the use of buildings to communicate political power or religious authority; the role of ceremony and spectacle in shaping architectural space and design; and the dissemination of the baroque style beyond Europe to the colonies. Special attention to the contributions of Bernini, Borromini, and Cortona in Rome; Guarini and Juvarra in Piedmont; Mansart and Le Vau in France; Neumann, the Asam brothers, and others in Germany and Austria; and Jones, Wren, and Hawksmoor in England.
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4.00 Credits
Addresses painting north of the Alps, ca. 1380-1530, partly late medieval, partly Renaissance. Examines the connection of breathtaking technique and deeply religious aspects of the art to function, symbolic thought, patronage, and changes in the society to which painting was related. Also explains ways in which we write history when most of the vital written documents are missing or destroyed. Artists discussed include Jan van Eyck, the Master of Flemalle, Rogier van der Weyden, Jean Fouquet, Hugo van der Goes, Enguerrand Quarton, Jerome Bosch, Albrecht Dürer, Matthias Grünewald, and Hans Holbein.
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4.00 Credits
Topics discussed include the development of landscape as a separate subject in art; the Reformation's effects on subject matter and aesthetics; what northerners learned from the classicizing Italians and what the Italians learned from northern realism; aspects of patronage and the art market; northern ideas about the nude and eroticism; the northern interest in peasant life and in the grotesque; the sociopolitical significance of dress; and the importance of printmaking. As modern nation-states coalesce, we see the development of artistic tendencies that can be called French, Netherlandish, and German. Among the artists to be discussed are the German artists Albrecht Dürer, Matthias Grünewald, Hans Holbein the Younger, and the Cranach family; the Netherlandish artists Hieronymus (Jerome) Bosch, Quentin Massys, Lucas van Leyden, Jan Gossaert, and Pieter Brueghel the Elder; and Jean and François Clouet and other artists associated with the French court.
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4.00 Credits
The role of sculpture in the visual arts in Italy from ca. 1400-1600, primarily in central Italy, is studied through intensive examination of major commissions and of the sculptors who carried them out. Earlier meetings focus on Donatello and his contemporaries, including Ghiberti, Quercia, Verrocchio, and Pollaiuolo. Thereafter, students examine Michelangelo's sculpture and compare his works with those of contemporaries and followers, ending with Giambologna.
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4.00 Credits
Achievements of the chief painters of the 15th century studied through their major artistic commissions. Special attention is given to the Tuscan tradition. A brief introduction to Giotto and his time provides background for the paintings of Masaccio and his artistic heirs (Fra Angelico, Filippo Lippi, Piero della Francesca, and others). Topics include the role of pictorial narrative, perspective, and mimesis; the major techniques of Renaissance painting; and the relationship of painting to the other visual arts. In the later 15th century, social and cultural changes generated by power shifts from Medici Florence to papal Rome also affected art patronage, creating new tensions and challenges for artists and fostering the emergence of new modes of visualization.
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4.00 Credits
Painting in Florence and Rome from about 1470 to the mid-16th century. From a study of selected commissions by the Pollaiuolo brothers, Andrea del Verrochio, Leonardo, Perugino, Raphael, Domenico Ghirlandaio, and Michelangelo, we go on to investigate new pictorial modes emerging after 1510 in Andrea del Sarto, Pontormo, Rosso, Parmigianino, Giulio Romano, and other members of Raphael's school; we consider their younger contemporaries and successors, including Bronzino and Vasari. The course emphasizes the patronage, symbolic tasks, and functions of Renaissance painting and critically examines historical concepts such as high Renaissance, mannerism, and maniera.
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