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Course Criteria
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3.00 Credits
This course examines the golden age of caricature. Beginning with the prints of William Hogarth, we look at the caricatural traditions in France and England from the late 18th-century through the early 20th century. Special emphasis is placed on visual satire as a vehicle for social and political critique, on theories of humor (particularly Baudelaire and Bakhtin), and the development of a mass market for this imagery. Other figures discussed include Rowlandson, Cruikshank, Daumier, Gavarni, Philipon, and Gil. We take advantage of a major collection of French caricature in the Mildred Lane Kemper Art Museum at Washington University, as well as collections available for study in Olin Library and at the St. Louis Art Museum. Prerequisites: Art-Arch 112 or Art-Arch 211, or a 300-level course in modern European history or literature, or permission of the instructor.
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3.00 Credits
Leonardo da Vinci is universally recognized as one of the greatest artists of all time. But who was Leonardo? Artist or scientist? Master, magus, or myth? This seminar explores the reality and fiction of a fascinating, yet enigmatic genius, as well as placing this unique individual in the contexts of Renaissance Italy and the modern imagination.
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3.00 Credits
An examination of the life and works of Michelangelo. The most important developments in his architecture, painting, and sculpture; with special attention to his assistants, friends, family, and contemporaries. Prerequisite: permission of instructor.
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3.00 Credits
A seminar focusing on the art of Venice, in particular on Bellini, Giorgione, and Titian. Special attention to the international reputations of these three artists and to problems of patronage, connoisseurship, and interpretation. Prerequisite: Art-Arch 361 or 362, or permission of the instructor.
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3.00 Credits
Italian and Italianate art after the High Renaissance (ca. 1510-90), including consideration of style, historical events, cultural context, and artistic personality and biography. Artists include Michelangelo, Pontormo, Bronzino, Cellini, and Parmigianino. Prerequisite: Art-Arch 361, 362, or 3621, or permission of instructor.
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3.00 Credits
When, why, and how did the great Renaissance sculptor, painter, and poet Michelangelo Buonarroti become and architect? This seminar surveys Michelangelo's built and unbuilt architecture, his methods and extant drawings, and the process and influence of his creations.
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3.00 Credits
No course description available.
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3.00 Credits
Same as Drama 445
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3.00 Credits
The rise and "triumph" of Abstract Expressionism has long dominated the story of American art following World War II. This new seminar puts Abstract Expressionism into context with parallel developments in the arts, photography, and film. Among the topics we consider: the conversation between émigré artists and American culture during and after the war; the emergence of a "noir" aesthetic in film and literature; the early work of Jasper Johns and Robert Rauschenberg and the so-called "aesthetic of indifference" in relation to Abstract Expressionism; artistic collaborations at Black Mountain College; New York school photography and photojournalism; and the cultural impact of the A bomb. Prerequisite: a 300-level course on 20th century art, photography, or history; or permission of the instructor.
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3.00 Credits
The particular climate of the fin-de-siècle and its expression in art, architecture, and letters. Concurrent development in Vienna, Paris, and London as basis for comparison. Themes include new theories of mind and perception, the fate of rationalism, the "crisis in bourgeois values," and redefinitions of gender. Prerequisite: permission of instructor.
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