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course index |
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winter 2007 |
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lower division courses |
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Introduction to Art |
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Introduction to Architecture and Environment |
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Art Survey III: Renaissance — Baroque |
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upper division courses |
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Medieval Architecture: from Constantine to Charlemagne |
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Late Romanesque and Gothic Architecture |
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Art and Formation of Social Subjects in Early Modern Italy |
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Italian Journies |
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Dutch Art in the Age of Vermeer |
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Rethinking Rembrandt |
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cancelled |
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Special Topics in Nineteenth-Century Art |
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Early Modern European Art, 1900-1945 |
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Reconstruction, Renaissance, and Realism in American Art (1860 TO 1900) |
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Arts of Spain and New Spain
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Art of Empire |
Simonowitz |
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Topics in Islamic Art: Modern Islamic Art and Architecture |
Simonowitz |
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Ukiyo-e: Pictures of the Floating World |
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Special Topics in Architecture: Gardens and Landscape Architecture in the West from the Renaissance to 1900 |
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Social Documentary Photography |
Vilander |
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Wren, Vanbrugh, and Hawksmoor |
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Seminar in Photographic History |
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graduate courses |
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Proseminar: Introduction to Art Historical Methods |
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Transnationalism: Identity Politics in Expatriate and Diaspora African Arts |
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Seminar: 19th-Century Genre Painting in Britain and the United States |
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Museum Architecture, 19th-21st Centuries |
Japanese Art in Print: Read, Quoted, and Transformed |
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Seminar: Getty Consortium |
staff |
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Introduction to Art |
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This course is intended for students who have not taken classes
in Art History, and may or may not do so again. It is designed to develop
basic visual skills and introduce students to the wide range of issues,
works, and themes with which Art History is engaged, varying from year
to year. Not open to art history majors. GE: F
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MW |
200-315 |
IV THEA 1 |
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Introduction to Architecture and Environment |
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Examines the history of the built and natural environments as interrelated phenomena, and explores how human beings have positioned them architecturally in relation to the natural world at various cultural moments.
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MW |
200-315 |
BUCHN 1930 |
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Art Survey III: Renaissance — Baroque |
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European art of the early modern period, ca. 1300-1800.
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TR |
930-1045 |
Campbell Hall |
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Medieval Architecture: From Constantine to Charlemagne |
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A survey of the architecture in Italy, France, Spain, Germany, and England from the Early Christian through the Carolingian periods. Prerequisite: upper-division standing. Recommended Preparation: Art History 6A, 6F, 105E, or 105G. GE: F
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TR |
1100-1215 |
ARTS 1426 |
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Late Romanesque and Gothic Architecture |
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Twelfth- and thirteenth-century architecture in France, Italy, Spain, Germany, and England. Prerequisite: upper-division standing. Recommended: Art History 6A, 105C, or 105E. GE: F
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TR |
1230-145 |
ARTS 1426 |
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Art and Formation of Social Subjects in Early Modern Italy |
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An approach to the art of Renaissance Italy that focuses on the viewer's experience and the social and cultural conditions framing it. Prerequisite: not open to freshmen. GE: F
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TR |
1230-145 |
ARTS 1241 |
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Italian Journies |
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An historical survey of travel to Italy and its importance as one of the constitutive rituals of western culture, drawing upon literature, the visual arts, and film, and ending with practical advice for those planning to make the trip themselves. Prerequisite: Not open to freshmen. GE: F Prerequisite: not open to freshmen. GE: F
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TR |
330-445 |
EMBARCADERO HALL |
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Dutch Art in the Age of Vermeer |
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Visual culture produced in the Northern Netherlands between 1648 and1672. Classes will be devoted to individual artists (e.g. Rembrandt, Johannes Vermeer) and genres (e.g. landscape, portraiture, history painting) in relation to material culture and thought of the period. Prerequisite: At least one art history course; not open to freshmen. Art History 111B is recommended, but not required. GE: F
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TR |
1100-1215 |
ARTS 1241 |
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Rethinking Rembrandt |
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In light of recent reevaluations of Rembrandt's biography and his oeuvre, this course examines questions of authenticity and authorship in light of artistic technique, subject matter, style, and patronage. GE: F
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TR |
200-315 |
ARTS 1241 |
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117A |
cancelled |
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Special Topics in Nineteenth-Century Art |
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"What was Realism?" This course examines the historical style called Realism in both elite and mass culture, primarily, but not exclusively, in metropolitan Paris and London. The strongest emphasis, however, will be put on what 19th century artists, critics, poets and novelists thought about the practice of realism itself. In other words, rather than attempting to encompass the broad range of aesthetic and political practices at mid-century, we will be looking closely at the rhetoric of realism in both its discursive and visual forms. This includes consideration of how realism as a style was expressed in different media; lithography, photography, print culture as well as official (and unofficial) painting and sculpture. Prerequisite: not open to freshmen.
course website |
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MW |
1100-1215 |
ARTS 1241 |
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Early Modern European Art, 1900-1945 |
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An introduction to the major movements of European modern art in the first half of the 20th century, this course critically addresses the formation of avant-garde groups and movements in relation to political and social issues. Prerequisites: Not open to freshmen. GE: F
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MW |
930-1045 |
EMBARCADERO HALL |
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Reconstruction, Renaissance, and Realism in American Art (1860 TO 1900) |
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Painting within the context of the human-made environment, from the onset of the Civil War to just before World War I, tracing the role of art in the rise of modern, corporate and industrial America. Prerequisite: not open to freshman. GE: F, AMH
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MW |
200-315 |
ARTS 1245 |
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Arts of Spain and New Spain |
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From the Alhambra and Velázquez to the Virgin of Guadalupe, this course charts both the evolution of the arts in 16th and 17th century Spain and their influence and transformation in the visual culture of the New World. Special emphasis will be placed on the creative interaction of the European and indigenous traditions in the architecture, sculpture, painting and ritual practice of the colonial Americas. Prerequisite: not open to freshmen. GE: F
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TR |
930-1045 |
ARTS 1245 |
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Art of Empire |
Simonowitz |
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Architecture and material culture of three roughly contemporary dynasties: the Ottomans, Safavids, and Mughals who ruled areas roughly corresponding present day Turkey, Iran, and India. Investigation of the imperial image as manifested in architecture and visual culture. Prerequisite: Not open to freshmen. GE: F
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MW |
1100-1215 |
ARTS 1245 |
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Special Topics in Islamic Art: Modern Islamic Art and Architecture |
Simonowitz |
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This course examines art and architecture of Muslim societies from the 19th to the 21st century. Special attention is devoted to political and ideological influences that have informed the production of culture by or for Muslims in particular context. Not open to freshmen.
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MW |
200-315 |
ARTS 1241 |
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Ukiyo-e: Pictures of the Floating World |
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Japanese paintings and woodblock prints of the sixteenth through twentieth centuries, with an emphasis on cultural perspectives and Japanese popular culture. Prerequisites: Not open to freshmen. Recommended preparation: Art History 6D or 6DW. GE: F, NWC
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MW |
930-1045 |
ARTS 1241 |
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Special Topics in Architecture: Gardens and Landscape Architecture in the West from the Renaissance to 1900 |
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This course will cover Italian Renaissance gardens, 17th-century French formal gardens (including Versailles), 18th-century picturesque gardens in England (from Stourhead and Stowe to Capability Brown), and the urban parks of 19th-century Paris, London and New York, up to the development of the suburban ideal. Focus on how these different spaces each reflect the changes in attitudes towards land and nature wrought by the West's long transition from feudalism to industrial capitalism Prerequisites: Not open to freshmen
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MW |
1230-145 |
ARTS 1245 |
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Social Documentary Photography |
Vilander |
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This course traces the interrelationship between photographic art history and social history. Topics include pioneers of social documentary photography, government and industrial projects, regional and national views, snapshots, minorities, personal voices and contemporary issues. Readings for the course are complied in a course reader. Exams may consist of photograph IDs, image comparison/contrasts, and brief-answer as well as essay questions. Students must complete a paper or photographic project on a topic of their choice. Prerequisite: not open to freshman. GE: F
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TR |
1100-1215 |
EMBARCADERO HALL |
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Wren, Vanbrugh, and Hawksmoor |
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An inquiry into the extraordinary lives and accomplishments of England's three greatest architects, whose overlapping careers spanned the several decades before and after 1700. Topics for study will include public architecture, private buildings, landscape architecture, and theory, as well as the rich intellectual, political, and social contexts of each architect's production. Prerequisites: Upper-division only. GE: WRT.
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T |
200-450 |
ARTS 2622 |
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Seminar in Photographic History |
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"Topics in Photography: Torture and Representation." This seminar will work with the visual archive generated by Abu Ghraib (as well as other American-run prisons abroad) in order to examine some central questions: What are the consequences of making, viewing, and disseminating actual transcriptions of acts of torture? What motivates men and women to engage in acts of torture and photograph themselves in the act? Why and when torture is explicitly eroticized? What are some of the ways by which artists use the imagery of real torture to make their art? How does the visual knowledge of what torture "looks like" intersect with other forbidden knowledges (e.g., pornographic representation)? And finally, does the reproduction (after the fact) of photographs depicting acts of torture (or other depictions of war) animate or deaden ethical response? This course requires weekly readings and discussion, and the writing of a research seminar paper. Prerequisites: Upper-division only. GE: WRT.
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W |
100-350 |
ARTS 1234 (conference room) |
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Proseminar: Introduction to Art-Historical Methods |
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Introduction to art-historical methods, with emphasis on the historical development of current practices, critical theory, debates within the field, and cross-disciplinary dialogues. Building upon the material you cover in Fall quarter, This course "wraps" the readings you have done with an historiographic background to some of the major methods to which you were introduced, and locates them in their larger theoretical contexts. At the same time, we will attend to the application of these methods or approaches. The course emphasizes close analysis of argumentation, and to the ideology or politics of an argument, asking "who is the audience" and "what are the stakes" in the point of view taken by the author? Prerequisite: graduate standing. |
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M |
400-650 |
ARTS 2622 |
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Transnationalism: Identity Politics in Expatriate and Diaspora African Arts |
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Special research in African Art. Prerequisite: graduate standing |
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R |
1200-250 |
ARTS 2622 |
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Seminar: 19th-Century Genre Painting in Britain and the United States |
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This seminar examines the iconography and narrative structures of two schools of genre painting, intimately related but separated by an ocean and increasingly divergent histories. Genre painting, or pictures of scenes of everyday life, was exceptionally popular in the nineteenth-century and yet unlike landscape, still-life, and portraiture it has received little recent scholarly attention. Asking "What is the relationship between genre painting and the community that consumes it?", we consider the ways narratives and subjects reflect, model and mediate their audiences. The formats, tropes and issues found in British and U.S. genre painting will be looked at against the different national experiences of industrialism, urbanism, empire and political unrest. British and American treatments of civility, race, domesticity and other topics will be compared and analyzed with an eye to understanding how genre painting both models social problems and imagines their possible resolutions. Rather than a simple reflection of everyday life genre painting is an active reshaping of experience, audience, and nation. Thediscussion of this body of work requires the development of skills in close looking and analysis of two schools of painting where the likenesses may appear to be as great as the differences, and both must be attended to.
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W |
1000-1250 |
ARTS 2622 |
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Museum Architecture, 19th-21st Centuries |
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Special research on problems of the nineteenth thru twenty-first century museum architecture, especially that of painting galleries. The seminar will involve site visits to, for example, the Huntington, LACMA, and the Getty. Prerequisite: graduate standing. |
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F |
900-1150 |
ARTS 2622 |
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Japanese Art in Print: Read, Quoted, and Transformed |
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This seminar explores the ways that Japanese books--and foreign publications that appropriated their images--displayed and defined Japanese `art.` We will compare how Japanese and Western print culture presented samplings of Japanese masters` sketches, disseminated popular iconography, and recorded exhibitions in Japan and abroad during the volatile 19th century. Looking particularly at Korin gafu, Hokusai manga, and printed memorabilia of the world expositions, we will consider issues of reception--such as the ideological underpinnings of the Western discourse on Japanese art. Reading ability of Japanese, French welcome. Weekly assignments on secondary readings and primary sources, final presentation and paper. Undergraduates need professor`s permission to enroll. |
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W |
100-350 |
ARTS 2622 |
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Seminar: Getty Consortium |
staff* |
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Special graduate seminar offered at the Getty Research Institute in Los Angeles, involving faculty and graduate students from the five graduate programs in Art History of Visual Studies located in southern California. Prerequisite: graduate standing. Location: The Getty Research Institute Note: Parking, lunch, and access to the library and collections will be provided for students enrolled in this course. |
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Getty Research Institute |
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*Enroll with instructor code for Robertson 05 |
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