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Course Criteria
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4.00 Credits
(Same as ARTHIST 111.) New techniques of pictorial illusionism and the influence of the humanist revival of antiquity in the reformulation of the pictorial arts in 15th-century Italy. How different Italian regions developed characteristic artistic cultures through mutual interaction and competition. 4 units, Aut (Hansen, M)
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4.00 Credits
(Same as ARTHIST 114.) How 15th-century pictorial illusionism transformed the devotional image and portraiture, calling for a new kind of engagement with the image on the part of the beholder. How 16th-century humanist knowledge influenced the creation of new pictorial subjects and representational forms. The reflection of religious crises triggered by the Reformation in art. GER:DB-Hum 4 units, not given this year
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4.00 Credits
(Same as ARTHIST 116.) Characteristics of and innovations in sculpture in 17th-century Europe. The integration of sculpture with architecture in theatrical settings by Gian Lorenzo Bernini. Idealized images of statehood for mercantile republics, absolutist monarchs, and the papacy. Smaller works for private contemplation, ideas of classical versus modern style, and workshop practices. GER:DBHum 4 units, not given this year
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4.00 Credits
(Same as ARTHIST 117.) Campaigns of renovations aimed at restoring Rome to its former legendary splendor. How artists and architects created spectacular, large-scale representations of and for Christ's vicars on earth following the return of the papacy from Avignon in the early 15th century; how they negotiated papal nepotistic intentions from the 15th to the 18th century. 4 units, Spr (Hansen, M)
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4.00 Credits
(Same as ARTHIST 120.) Painting and graphic arts by artists in Flanders and Holland from 1600 to 1680, a period of political and religious strife. Historical context; their relationship to developments in the rest of Europe and contributions to the problem of representation. Preferences for particular genres such as portraits, landscapes, and scenes of everyday life; the general problem of realism as manifested in the works studied. 4 units, Spr (Marrinan, M)
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4.00 Credits
(Same as ARTHIST 121.) Major developments in painting across Europe including the High Baroque illusionism of Bernini, the founding of the French Academy, and the revival of antiquity during the 1760s, with parallel developments in Venice, Naples, Madrid, Bavaria, and London. Shifts in themes and styles amidst the emergence of new viewing publics. Artists: the Tiepolos, Giordano, Batoni, and Mengs; Ricci, Pellegrini, and Thornhill; Watteau and Boucher; Chardin and Longhi; Reynolds and West; Hogarth and Greuze; Vien, Fragonard, and the first works by David. Additional discussion for graduate students. 4 units, not given this year
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4.00 Credits
(Same as ARTHIST 122.) Painting in Europe during the French Revolution and the Napoleonic conquest. As political events altered social formations, practices in the visual arts were similarly affected by shifts in patronage, public, and the social function of image making. An attempt to align ruptures in the tradition of representation with the unfolding historical situation. The first manifestations of a romantic alternative to the canons of classical beauty and stylistic restraint. 4 units, not given this year
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4.00 Credits
(Same as ARTHIST 124.) The origins, development, and triumph of naturalist painting in Europe. The creative tensions that emerged between traditional forms of history painting and the challenge of modern subjects drawn from contemporary life. Emphasis is on the development of open-air painting as an alternative to traditional studio practice, and to the rise of new imaging technologies, such as lithography and photography, as popular alternatives to the handwrought character and elitist appeal of high art. 4 units, not given this year
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4.00 Credits
(Same as ARTHIST 126.) How conceptual models from language, literature, new technologies, and scientific theory affected picture making following the collapse of the radical naturalism of the 1860s and 1870s. Bracketed in France by the first Impressionist exhibition (1874) and the first public acclamation of major canvases by Matisse and Picasso (1905), the related developments in England, Germany, Belgium, and Austria. Additional weekly discussion for graduate students. Recommended: some prior experience with 19th-century art. 4 units, Aut (Marrinan, M)
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4.00 Credits
(Same as ARTHIST 132.) The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others. 4 units, not given this year
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