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Course Criteria
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3.00 Credits
This course surveys the artistic achievements of the medieval era in Western Europe from the 4th to the 9th century and in the eastern Mediterranean from the 4th to the 13th century. In addition to early Christian art of the late Roman, Carolingian, Ottonian, Anglo-Saxon, and Byzantine worlds, we also consider works of art and architecture from the medieval Islamic and Jewish spheres as well as arts of the Migration Period. A broad geographic and chronological span-from England to the Near East and Constantinople to Spain; from the establishment of Constantinople in the 330s to cross-cultural exchange of the Crusader era-allows for full exposure to the rich variety of objects and monuments that fall under the rubric of early medieval art.
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3.00 Credits
Portable painting is commonly perceived as an art form of the Renaissance, when artists to an unprecedented degree utilized the surface of canvas or wood panels to create virtual windows onto the world. But Renaissance painting developed in large part from medieval icons, which functioned as objects of religious devotion and veneration. This course traces the evolution of Christian portable paintings from their origins in the late antique and Byzantine worlds to the earliest decades of the European Renaissance. Special attention is paid to the impact of Eastern icons on Western devotional images in the 12th to 13th centuries. We are concerned with the function of paintings as much as their aesthetics, examining how the emphasis on their cultic versus artistic value shifted for the medieval to Renaissance periods. Cross-cultural interaction in the Mediterranean world is of particular importance to our discussion, with historical phenomena such as the Crusades and the proselytizing efforts of European Mendicant Orders receiving special attention.
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3.00 Credits
The contemporary eye commonly sees the Byzantine icon as a static and unreal image of foreboding religiosity. But Byzantines saw their icons as full of life and believed these objects provided access to the divine figures pictured there within. Produced before the modern phenomenon of the "display object," Byzantine icons were touched, kissed, held, and even eaten, all in an effort to gain assistance from the holy persons they represented. This course introduces the history of Byzantine icons, addressing their function in religious and secular life of the private and the public realms. It focuses on the "anthropology" of the icon, examining ways in which these objects were used in personal and public rituals and how these works of art reflected shifts in Byzantine religious doctrine and social ideology. Beginning with the emergence of icons in the first centuries of Christianity, we follow their zenith in popularity through pilgrimage and monastic cults of the 6th and 7th centuries. We then consider the period of Iconoclasm (720s-840s), and its effects on the production, alteration, and function of images in Byzantium. The post-Iconoclastic reintroduction of religious imagery is examined with particular attention to the role of miraculous icons in the promotion of imperial and civic authority and the function of monumental and portable images in the middle Byzantine liturgy. Tracing the trajectory of Byzantine icons into the late Byzantine and modern eras, we address parallels and differences in the use and ideology of images in Byzantium and Western medieval Europe; the contribution of Byzantine icons and image theory to the development of Renaissance art; and the possible impact of the Byzantine icon on modern artists, including the Impressionists, the Bloomsbury Group, and Andy Warhol.
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3.00 Credits
This course examines the artistic and architectural achievements of the civilizations of ancient Mesoamerica, a cultural region covering most of modern-day Mexico, Guatemala, Belize, and Honduras. From the emergence of complex societies in the second millennium bc through the rise of the spectacular cities of the Maya and ending with the violent fall of the Aztec Empire in the 16th century ad, rulers of ancient Mesoamerica relied on a consistent set of themes, images, and media to proclaim their religious and political authority. This class explores how artists, farmers, priests, elites, kings, and other community members created a vast array of images and objects that expressed cultural ideals; political and religious narratives; and distinct ethnic and civic identities. Prerequisite: Art-Arch 112; Arch 200, Arch 335; or permission of the instructor.
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3.00 Credits
The modern concept of the architect as creator and genius began with Filippo Brunelleschi, the great innovator of 15th-century Florentine art. The course explores the spread of architecture and architectural theory as it begins in the hands of the innovator and is expressed and changed by other men of genius such as Leon Battista Alberti, Donato Bramante, Michelangelo Buonarroti, and Andrea Palladio.
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3.00 Credits
A general survey focusing on such outstanding figures of the period as Botticelli, Leonardo da Vinci, Michelangelo, Bellini, Giorgione, Titian.
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3.00 Credits
This course surveys the various embodiments of Mannerism, "maniera," or what has been called the "stylish style," in Italian art following in the wake of the High Renaissance. The nature of this self-conscious response to the achievements of Raphael, Michelangelo, and the revival of the antique has resisted easy classification both in contemporary writings and modern scholarship. The works of the "maniera" have been framed both in terms of decadence and refinement. The period was also a time of great social and religious upheaval, leading some to define Mannerism as a style of crisis. On the other hand, the deliberate elegance and grace that characterizes so many works responded to the tastes of court society. The course addresses the conflicting definitions of Mannerism by analyzing the works of art themselves and placing them in their social and cultural contexts.
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3.00 Credits
This course considers recent movements in European and American Art, including Pop, Minimalism, Conceptualism, Performance, Postmodernism, and Installation Art, in their social and historical contexts. We examine the dialogue between visual works and critical and theoretical texts. Prerequisite: Art-Arch 112 or permission of instructor.
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3.00 Credits
A general survey focusing on such outstanding figures of the period as Botticelli, Leonardo da Vinci, Michelangelo, Bellini, Giorgione, Titian.
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3.00 Credits
A survey of baroque art in Italy, from its origins in the middle of the 16th century until its late phase at the end of the 17th century. The course examines some of the factors the led to the Baroque in the intellectual and theological debates surrounding the Protestant and Catholic Reformations and the stylistic initiatives that began in the workshops of Michelangelo and Raphael, with special attention to the role of Federico Barocci, introducing new research for an upcoming exhibition on that artist. The course looks at how these and other factors fostered a style of spatial dynamism, expressive coloration, viewer involvement, and psychological subtlety. Topics discussed include the renewed interest in the early Christian church, the role of women artists, workshop practice, artists' materials, the role of patronage, and some of the theoretical debates that governed the creation and reception of the visual arts in 17th-century Italy. Artists include Caravaggio, Artemisia Gentileschi, Annibale Carracci, Guido Reni, Guercino, Bernini, and Pietro da Cortona. Prerequisites: Art-Arch 112 (Introduction to Western Art) or Art-Arch 211 (Introduction to Modern Art) or permission of instructor.
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