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Course Criteria
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4.00 Credits
The art of Venice and its surroundings, Emilia and Lombardy. Covers the Bellini family, Giorgione, the young Titian, Sebastiano del Piombo, and their profound impact in Venice and related centers; the itinerant careers of Carlo Crivelli and Lorenzo Lotto; and the origins and implications of Correggio's and his student Parmigianino's daring artistic experiments. Examines the achievements of the mature Titian and their significance for his contemporaries. Veronese, Tintoretto, Bassano, and, in the 18th century, Tiepolo, bring Venice's golden age to a close. Stresses artistic reciprocity between northern and central Italy.
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4.00 Credits
Painting and sculpture in Italy, 1580-1700. Highlights major developments in the visual arts and the work of leading artists including Caravaggio, Carracci, Bernini, and Poussin. Focusing on the often paradoxical nature of Baroque art, the course examines the blurring of boundaries between the real and the imaginary, the instantaneous and the infinite, the imitative and the innovative. Special attention is paid to the creative process and the influences on it: the role of the patron, the logistics of site, and the artist's own thought process as revealed through preparatory drawings and sketches. The course is designed to help students develop the skills necessary to "read" works of art in all their rich complexity of form and meaning.
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4.00 Credits
In Antwerp, Rubens overturned all previous concepts of painting. The first to deserve the term "Baroque," he dominated Flanders. Van Dyck, his pupil, took Rubens's style to England. Dutch painters, including Hals, Rembrandt, and Vermeer, moved in a different direction, addressing every aspect of their country and society: the peasant, the quiet life of the well-ordered household, the sea and landscape, views of the cities, and church interiors.
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4.00 Credits
Topics include arrival of the Italian Renaissance in France during the reign of Francis I and the completion of the palace at Fontainebleau; the revival of art around 1600 after the religious wars of the Reformation; the impact of Caravaggio in France; Poussin and Claude Lorrain in Rome, and other painters in Paris (for example, Vouet, Champagne, and Le Nain); artistic splendors of the court of Louis XIV at Versailles; and the rococo of Watteau, Chardin, Boucher, and Fragonard.
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4.00 Credits
The first third of this course focuses on the major figures in the development of early modern Spanish art: El Greco in Italy and Toledo, Velázquez, Zurbarán, Murillo, Ribera, Valdés Leal, and others. Lectures on still life painting and polychrome wood sculpture are also included. The 18th century (the Tiepolo family, Meléndez) is then discussed. The focus then shifts to the art of Francisco de Goya and the projection of Spanish art into the modern era. This course also seeks to define Spain in the 16th and 17th century as a global power and thus emphasis is also placed on art in such New World centers as Mexico City and Lima in the colonial era.
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4.00 Credits
Not a traditional survey, this course opens with a brief consideration of the achievements of the great pre-Hispanic civilizations (Aztec, Maya, Inca, and others) prior to contact with the Iberian world. Major emphasis is given to colonial painting, sculpture, and architecture in Mexico and Central America, the Caribbean, and the Andes. Painting and sculpture
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4.00 Credits
An introduction to the arts of the Christian Middle Ages in the Greek East and Latin West ca. 200-1400 C.E. Provides an overview of concepts and developments and the vocabulary necessary for analyzing and understanding the arts of the medieval period in light of the historical, religious, political, and social contexts of their creation. Covers architecture, monumental sculpture, painting, mosaics, stained glass, ivory and metalwork, and panel painting. Topics include the creation of a vocabulary of Christian symbols, imagery, and architectural forms; Christian attitudes toward Judaism and the classical tradition; medieval patrons, artists, and audiences; arts of pilgrimage; arts of monastery and cathedral; and the roles and functions of images in the medieval world. Study of the collections of the Metropolitan Museum of Art and the Cloisters is included.
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4.00 Credits
Examines the art that developed in what is now the United States, from the beginnings of European colonization until the First World War and the internationalizing of American art. Includes painting, sculpture, and architecture, concentrating on the work of Copley, Cole, Winslow Homer, Mary Cassatt, and others. New York City provides major collections of painting and sculpture, as well as outstanding examples of architecture.
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4.00 Credits
Focusing on the creation of modern building types such as the bank, state capitol, museum, railroad station, and skyscraper, the course begins in the later 18th century with the idealistic designs of Ledoux and Boullée. After considering the forms and meanings associated with neoclassicism, the course examines the Gothic revival and subsequent 19th-century movements (e.g., high Victorian Gothic, Second Empire, beaux-arts classicism) as efforts to find appropriate expressions for diverse building forms. Students consider changes resulting from the Industrial Revolution, including developments in technology, and the reforms of art nouveau and secession architecture. Works of Adam, Soane, Jefferson, Schinkel, Pugin, Richardson, and Sullivan; McKim, Mead, and White; Mackintosh, early Frank Lloyd Wright, and others.
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4.00 Credits
No course description available.
Prerequisite:
Prerequisite: History of Western Art II (ARTH-UA 2), or Modern Art (ARTH-UA 6), or Early Modern Architecture: 1776-1914 (ARTH-UA 408), or History of Architecture from Antiquity to the Present (ARTH-UA 601), or Expressive Culture: Architecture in New York Field Study (MAP-UA 722), or a score of 5 on the AP Art History exam. Offered every year.
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