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Course Criteria
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4.00 Credits
(Same as ARTHIST 395.) African cultural expression in the Americas. How politics, religion, and culture influence the art of the Black Atlantic. Focus is on the period when cultures were brought from Africa to the Americas through the slave trade and came into contact and conflict with western colonial powers. GER:DB-Hum 4 units, not given this year
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5.00 Credits
(Same as CLASSART 109.) The cultural contexts in which art served religious, political, commercial, athletic, sympotic, and erotic needs of Greek life. 5 units, Aut (Maxmin, J)
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5.00 Credits
(Same as CLASSART 110.) The history of the appropriation of Greek art by Rome, the Renaissance, Lord Elgin, and Manet. 5 units, not given this year
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5.00 Credits
Why mosaics in early Christian and Medieval contexts were placed on apses, triumphal arches, and clerestories. Why early Christian artists used the technically difficult and costly medium of mosaicsl Why and how images of God-Father and Christ were legitimized in spite of the second commandment prohibiting images. What sort of a message was involved considering the near invisibility of mosaics located high up in apses and clerestories. 5 units, Aut (Brenk, B)
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5.00 Credits
Notions of cultural superiority in light of changes in Florentine society as it went from being a republic to a duchy ruled by the Medici. Artists and architects such as Donatello, Brunelleschi, Botticelli, Michelangelo, and Pontormo praised as having revived the arts and returned them to a level of ancient splendor. The role of the sacred in daily life and uses of the pagan past for poetic and scholarly expressions and as vehicles for contemporary experience. 5 units, not given this year
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5.00 Credits
Coincides with the exhibition at the Cantor Arts Center. The relatively inexpensive and reproducible nature of prints, and how they became vehicles for spreading artistic inventions and political religious propaganda. 5 units, Win (Hansen, M)
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5.00 Credits
These 18th-century painters preferred everyday life subjects, stilllifes, and landscape; Watteau invented the fête galante as a new picture type. Common to their work is attention to the materials of art: surfaces, textures, and glazes of paint; graphic range of chalk, ink, and pencil; an objectness that signals the artist's creative presence. Readings in contemporary theory and historical criticism frame an aesthetics of touch at odds with the eye-centered bias of Academic theory. Student presentations. Recommended: 121. GER:DB-Hum 5 units, not given this year
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5.00 Credits
Art and cultural context of the inventor of pointillism, associated with scientific discoveries about the nature of light. Dimensions of Seurat's work that escape a purely scientific understanding; the psychological tenor of his imagery; his choice of subject matter; drawings that are neither colored nor dot-like in style; his interest in the traditions of art; and left-wing politics. 5 units, not given this year
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5.00 Credits
His evolving historical persona over the past three decades, emphasizing recent critical writings. Recommended: reading knowledge of French. 5 units, Aut (Marrinan, M)
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5.00 Credits
Painting and some sculpture of the 18th and 19th centuries, focusing on works in the de Young MuseumEmphasis is on recent scholarship, genre, and the biography of objects as they shift in context and meaning over time. Weekly meetings at the de Young with Professor Margaretta Lovell and UC Berkeley students. 5 units, not given this year
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