UNDERGRADUATE ART HISTORY & ARCHITECTURAL HISTORY OFFERINGS – FALL 2008* Please check the Online COD to confirm the following information. Updates can occur at any time and the information here is to be used as a guideline. ARTH 101 History of Art I
12:30-13:45 TR A survey of the great monuments of art and architecture from their beginnings in caves through the arts of Egypt, Mesopotamia, Greece and Rome, Byzantium, the Islamic world, and medieval western Europe. The course attempts to make art accessible to students with no background in the subject, and it explains the ways in which painting, sculpture, and architecture are related to mythology, religion, politics, literature, and daily life. The course serves as a visual introduction to the history of the West. ARTH 213 Greek Art
10:00-10:50 MWF A survey of Greek art from ca. 1000 B.C. to ca. 100 B.C. Works of Greek painting and sculpture are studied in their cultural settings-- in agora, temple, and cemetery; in Panhellenic sanctuaries and private houses. The course examines such themes as mythological narrative, artistic conventions, gender distinctions in art, and heroic and athletic nudity. ARTH 222 Medieval Art in Western Europe
12:30-1:45 MW This course examines art created in the era from 300 to 1100, when the Christian church expanded and consolidated its authority to become the single most powerful political and cultural force of Europe. Media examined include: architecture, sculpture, illuminated manuscripts and the luxury arts. Too often the "middle ages" remain stuck in the middle. According to a traditional view in art history, medieval artworks were only considered to be of value because they supplied a bridge between antiquity and the Renaissance. In this course, we will interrogate the complex cultural values that gave rise to grand churches and small liturgical vessels alike. Throughout this exploration, we will identify the reasons that medieval artists, motivated by devotion to the three Abrahamic faiths and their scientific beliefs, crafted beautiful and refined visual expressions of their values. These crafted confessions in stone, paint, parchment, and metal provide the living historical records of a vibrant period, during which medieval artists asserted their various cultural identities. ARTH 231 Italian Renaissance
2:00-3:15 MW
Studies painting, architecture, and sculpture in Italy from the close of the Middle Ages through the sixteenth century. Focuses on the work of major artists such as Masaccio, Donatello, Botticelli, Leonardo, and Michelangelo. Detailed discussion of the social, political, religious and cultural background of the arts.
REQUIREMENTS: Attendance to class, midterm, final examination, a two-page paper and a five-page paper. ARTH 241 Baroque Art in Europe
9:30-10:45 TR
A survey of painting, sculpture, and architecture in Europe in the seventeenth century. The course emphasizes major artists, including Caravaggio, Bernini, Rembrandt, Rubens, Vermeer, Poussin, and Velázquez. The development and meaning of their work will be assessed within the artistic, historical, and religious developments of their times. Themes receiving special attention will be the emergence of dynamic new styles between 1590 and 1620, the role of Counter-Reformation piety in artistic expression, the rhetorical
character of Baroque realism and classicism, the development of new subjects like landscape, still life, and daily-life genre, and the interpretation of these subjects.
REQUIREMENTS: two quizzes, mid-term, and the final exam ARTH 251 18th Century Art
3:30-4:45 MW This survey of European art begins with the creation of the French Royal Academy of Arts in 1648 and the construction of the Palace at Versailles, and concludes with the fall of the Bastille in 1789. It traces the development of the Baroque, Rococo, and Neoclassical styles in Northern Europe with a particular emphasis on the cultural rivalry between Great Britain and France. Major themes include the relation of art to the Absolutist state, imperial expansion, the role of the decorative arts, the lure of Italy, and the rise of aesthetics. ARTH 255 Impressionism and Post Impressionism
3:30-4:45 TR This class will focus upon the origins and significance of Impressionist painting and subsequent developments in painting in relation to the social and cultural settings of late nineteenth-century France. Focusing on the work of artists Claude Monet, Edgar Degas, Berthe Morisot, Mary Cassatt, Gustave Caillebotte and others, we will examine the development of an urban Parisian avant-garde; impressionist themes of modern life; the development of new art exhibition strategies; issues of gender in/and representation; and the rise of landscape painting. ARTH 264 African American Art
11:00- 12:15 TR
This course will survey the visual arts (painting, sculpture, photography prints, mixed media and textiles) produced by those of African decent in the United States from the Colonial period to the present. Particular attention will be paid to cultural, political and social issues to provide a contextual frame for the interpretation and analysis of these works of art.
Presented both chronologically and thematically this course will interrogate issues of artistic identity, gender, patronage and the aesthetic influences of the African Diaspora and European and Euro-American aesthetics on African American artists. The course will encourage students to engage with theoretical, ideological and aesthetic concerns raised by artists, collectors, critics and art historians on the nature of African American Art and its context within the history of art. ARTH 270 Buddhist Art India to Japan
2:00-3:15 TR The class traces Buddhism through its art from its origins in India to its spread to Central Asia, Southeast Asia, and East Asia. There will be a midterm and a final exam. ARTH 312 Greek Vase Painting
12:30-1:45 TR
This class will survey the major styles, techniques, and painters of Greek vases produced in the Archaic and Classical periods (c. 700-350 BC). It will further emphasize themes of both mythology and daily life, and the relationship of vases to other art forms, such as sculpture, coins, and gems.
Requirements include a midterm exam, a final exam, and two short papers (5-6 pages). ARTH 491 Ancient Chinese Art
3:30-6:00 R
Spanning from the Neolithic period to the Han dynasty, this seminar covers the period when ancient Chinese civilization was formed. Through the close study of well-documented archaeological sites, which include Anyang, Sanxingdui, the First Emperor’s Tomb, and the Mawangdui Tombs, it investigates how ritual art such as jades and bronzes were made and used. It also explores the Chinese notions of afterlife, ancestor worship, state ritual, and immortality cults. The material culture and beliefs and practices examined in this seminar form a backdrop to understanding the times when indigenous traditions such as Confucianism and Daoism were formulated. Writings from archaeological, anthropological, art historical, and ritual perspectives are introduced.
Prerequisite: some background in Chinese studies or art history. ARTH 491 Early Indian Sculpture and Architecture
1:00 – 3:30 M
The seminar covers South Asian sculpture and architecture up to the Third Century of the Common Era. There will be special attention to the works of the pioneering scholar A.K. Coomoraswamy. Each student
will write a paper and make a final oral presentation in class. Students will also take responsibility for leading discussions of the readings. ARTH 491 Art and Myth
1:00 – 3:30 W A study of mythological art form classical antiquity to the modern period in relation to Ovid’s Metamorphoses, with emphasis on the Renaissance and Baroque periods. We will discuss work by Rembrandt, Rubens, Poussin, Velazquez, Picasso and many others. ARTH 491 Cinema and The Avant-garde
3:30 – 6:00 T
The topic of this seminar is the intersection of the worlds of experimental cinema and avant-garde art. We will examine the historical and theoretical issues that are associated with this topic, including the question of a “pure" cinematic language, the idea of film as the visual form for a modern age, and the politics of montage. We will become familiar with classic avant-garde and underground films dating from the 1920s to the 1960s (by such filmmakers as Man Ray, Léger, Duchamp. Eggeling, Richter, Eisenstein, Vertov, Cornell, Deren, Brakhage, Warhol). We will examine period criticism and more recent scholarly interpretations. Course work will include regular evening film screenings and a research paper.
Regular film screenings will occur on Thursdays from 6 to 8 pm in Clemons ARTH 491 Art and Science for the Medieval People of the Book
3:30 – 6:00 M
During the middle ages, power relations and scientific knowledge relied upon the approval and support of churchmen. Rather than demonstrate a division between science and the spiritual culture of the middle ages, this unification in Christendom revealed an interpenetration of science and religion that found expression in exceptional works of art. This intersection of spiritual and intellectual cultural life in the middle ages flourished in Constantinople, the capital of the eastern medieval Byzantine Empire, where the cultural legacy of Greek artistic developments and learning, also celebrated by the Romans, were cultivated. Charlemagne launched astronomical reforms that were marshaled in support of the efforts at reforming the western medieval Christian liturgy, since reckoning the date for the feast of Easter required astronomical and computistical expertise. Similarly, the scientific advancements, especially in medicine and astronomy, advanced by Arabic, Islamic, and Jewish scientists during the middle ages fostered additional points of connection between the secular and spiritual aspects of the lives of those communities, as
well. For each of the medieval peoples of the book – that is those practicing the Christian, Islamic, and Jewish religions –objects of fine distinction, illuminated manuscripts, and building sites attest to a long-standing effort at expressing the sacred and secular uses for science through art from the early to the late middle ages.
In this course, particular attention will be paid to answer the following questions:
1) When is a scientific image an artwork, and when is it merely an illustration or diagram? (2) When does a particular artwork inform us about the ways that standard iconographies can be altered to express nuanced meanings of interest to an artwork's users or makers? (3) How did an artwork display an intersection of art and science in the middle ages? (4) When and how do scientific artworks also display aspects of sacred and secular life? (5) Which spiritual traditions and scientific theories informed the creation of specific artworks under consideration? ARTH 491 Material Life In Early America
3:30-6:00 W How did Americans live during the colonial and early republican periods? How did they conceptualize and create their physical worlds? This course is an introduction to the material aspects of American culture—how to “read” the physical environment—and the variety of ways in which artifacts serve as social and cultural documents. While “material culture” may cover anything altered by humans (from a post-it note to an entire plantation landscape), this course will focus on the artifacts that serve as tangible records of life in early America, especially those often omitted from other classes: clothing, food, decorative arts, houses, landscapes, etc. A primary goal is to sharpen our ability to focus very closely on a particular object and to formulate questions and interpretations about its social, cultural, historical and political contexts. Questions of production, function, meaning, context, difference, class, gender, race and setting will enhance our consciousness of the built environment and help integrate material culture into the historical analysis of early America. Students will have the opportunity to participate in class field trips and will write a research paper based on their own primary research. ARTH 491 Hogart's London
1:00-3:30 R This seminar examines the artistic career of William Hogarth and a growing literature on the cultural geography of London in the eighteenth century. Major themes include the relation of fine art to popular culture, the politics of cultural space, and the place of art in the public sphere. The seminar culminates with a 20-page research paper, and significant time will be dedicated to developing strong research and writing skills. ARTH 491 Renaissance Art and Religion
3:30-6:00 M This seminar investigates Florentine art from the fifteenth and early sixteenth centuries within religious contexts. Major themes include God as the first artist, Franciscan thought, and Dominican devotion. We will consider a wide range of artists and focus on commissions made for family chapels, confraternities, monasteries and private devotion. ARH 101/701 History of Ancient & Medieval Architecture
Monday, Wednesday, and Friday 11:00-11:50 Campbell 153
Prerequisites: None – open to all students at the University of Virginia Course description
This course will consist of lectures with weekly discussion groups. Pedagogical intentions
This course will introduce students to the tools of visual analysis, reading architectural drawings and the study of architecture as a part of the larger cultural, social and political context of its society. While the course will focus on Western Europe, it will also include topics from the eastern Mediterranean and Asia. Requirements
This course has required attendance at lectures and discussion groups with one short (5 page paper) two tests and a final exam. Discussion groups may also have short written assignments. Readings
Weekly readings will be assigned from a text book as well as articles and primary sources. Non-textbook readings will be available through toolkit. Number of Students Authorized to Enroll: 154 Satisfies Requirement:
Humanities requirements for students from Arts and Sciences, Architectural History requirement for students in the School of Architecture AR H 180 Thomas Jefferson, Architect
Monday and Wednesday 8:30 – 9:45 Campbell 153 Prerequisites Open to all undergraduates in the College, Education, Engineering, Commerce, and other non-architecture majors. Architecture school majors are welcome but a background in architecture or architectural history is not required. Description To Thomas Jefferson architecture was an art that encompassed more than simply shelter but embodied cultural and political values. This course will focus on his architectural and other designs (gardens, interiors, towns, campuses) and his interest in the arts and how they relate to Jefferson’s other accomplishments. The course is intended to enhance the student’s understanding of: • Jefferson's architectural oeuvre and his contributions to American architecture • How Jefferson's interest and participation in architecture can be seen as both unique and typical of his time and its relation to his other accomplishments. • Jefferson's concept of the didactic role of architecture in the new Republic and in the education of Americans • The role of African-Americans in Jefferson's architectural accomplishments • How preservation influences our understanding of Jefferson's architecture • The role of architecture in American public life The course will consist of lectures, field trips, and discussion sections. Requirements Several 10-minute quizzes (10%), discussion section (10%) a mid-term examination (20%), a final examination (30%) and a term paper (30%). Readings Selected readings will be available on tool kit. Students will need to purchase Harris, Illustrated Dictionary of Historic Architecture; Malone, Thomas Jefferson, A Brief Biography; Stanton, Slavery at Monticello Sutton, Western Architecture: From Ancient Greece to the Present Number of Students Authorized to Enroll: 150 ARH 203/703 History of Modern Architecture
2:00 – 3:15 TR CAM 158 CRANE
This course presents a critical introduction to the history of modern architecture from the late nineteenth century to the present. We will consider buildings, cities, and landscapes around the globe, with emphasis on France, Germany, the Netherlands, Latin America, North Africa, Turkey, India, and Japan. Throughout the course, we will pay particular attention to how key players and projects negotiated specific cultural,
social, technological, economic, and political situations and meanings. The changing structures of architectural practice, new mechanisms of publicity and modes of architectural representation, the global circulation of architects and architectural ideas, as well as the institutionalization of modern architecture will also serve as important strands throughout the course. Lectures will focus on case studies of significant sites that we will examine in greater detail, but we will move outward from these core examples to discuss broader issues. Readings from the textbook will be balanced by texts selected as outstanding examples of architectural theory, critical writing, or historical analysis. Students will be asked to pay close attention to distinguishing amongst the different modes of writing we will encounter. Lectures will include time for discussion of key sites and of issues raised in the readings. Readings
William J. Curtis, Modern
Architecture Since 1900,
3rd edition (Phaidon, 1996).
Additional readings will be
posted on Toolkit Requirements
Weekly readings
Midterm exam
Final term paper
Final exam ARH 335/735 Rome, Venice and Istanbul
Tuesday/Thursday 12:30 – 1:45 Campbell 158 This course will consider architecture, urbanism and landscape in three cities with multilayered histories: Rome, Venice, and Istanbul. While conditioned by distinct historical and topographic circumstances, each city negotiated complex and varied local traditions: Roman and Medieval in Rome; Byzantine and Gothic in Venice; and Roman, Byzantine, and Ottoman in Istanbul. The chronological focus of the course will be on the period from 1400-1600, when changes were taking place in the cultural and political conditions, radically reshaping the cities’ appearance. Attention will be focused both on how architects responded to the complex architectural legacies of their cities, and on how patrons willfully refashioned urban environments to suit their ideological aims. Although the main perspective of the course will be comparative, there will also be a consideration of connections between the cities, and the role of the traveler, merchant, ambassador and artist as agents of cultural transmission. AR H 361/761 EAST MEETS WEST: INTERACTIVE ARCHITECTURE
Tuesday & Thursday 9:30-10:45 158 Campbell Hall
Prerequisites
Open to both graduate and undergrad students without prior course work required. Course description
This is a lecture class to introduce the brief history of architectural exchanges between the East and West world. The interaction in architecture is a post-renaissance phenomenon. The separated world had few chances to understand and learn from each other before sixteenth century. Both sides developed their own architectural forms and styles separately and they have reflected different traditions. Eighteenth century was a time when Westerners actively explored to the East. The western professionals brought strong influence to the architecture of the Eastern world. While the East nations were anxious to adopt the Western architectural forms, architects and scholars in the West found interest and value in Eastern architectural forms. The relevant works of Frank Lloyd Wright, Louis Kahn, Le Corbusier, I. M. Pei, Minoru Yamasaki, and others are discussed. The significance and impact of this interaction for modern architecture will be analyzed. Pedagogical intentions
The architectural interaction is to be viewed as cultural translation and transplantation. Students will learn how to study architecture from a wider perspective of the world cultures. The issues of architectural globalization will be discussed. Requirements
1. Term Project: A research paper or a visual project, presentable to the class. (40%)
2. Mid-term Exam and Final Exam. (30% and 30%). Readings: Posted in toolkit. Number of Students Authorized to Enroll: 40 Satisfies Requirement: This class fulfills the non-western requirements for some disciplines. ARH 385/785 Anthropology/Architectural History Historical Archaeology
Wednesday 4:30-7:00 Campbell 105
Description
Historical archaeology is the archaeological study of the continental and transoceanic human migrations that began in the fifteenth century, their effects on native peoples, and historical trajectories of the societies that they created. This course offers an introduction to the field. It emphasizes how theoretical models, analytical methods, and archaeological data can be combined to make and evaluate credible inferences about the cultural dynamics of the past. The class combines lecture and discussion with computer workshops, in which students have a chance to explore historical issues raised in the reading and lectures. Our principle historical focus this semester is change in the conflicting economic and social strategies pursued by Europeans, Africans, and Native-Americans, and their descendents in the 17th-century Chesapeake -- after all this is the 400th anniversary of the founding of Jamestown! The course is designed to teach students in architectural history, history, and archaeology how to use theoretical models, simple statistical methods, and software applications, including spreadsheets, databases, and GIS, to address important historical questions
The course is structured around three projects. In the first we will look at change over time at Jamestown in one of the world's earliest mass-produced consumer goods: clay tobacco pipes. We will use models of consumption, along with the seriation method to explain variation in imported and locally-made pipe assemblages. In the second project we will investigate variation in house plans and the use of space around them. The goal here is to see how these might relate to changing social relationships between elites and the servants and slaves that worked for them. A key tool here will be the analysis of the distribution of artifacts in the yards around houses, using computer mapping techniques. The third project looks at changes in architectural technology in the Chesapeake and the transition from "earth fast" to brick construction among elites. The goal here is to tease apart the importance of changing attitudes about the future ("future discounting") and conspicuous consumption. Course Schedule and Reading
The schedule and reading list for the course are available here. Course website: http://people.virginia.edu/~fn9r/arh385/index.html Nearly all journal articles and book chapters will be found on Toolkit. AR H 391/791 DRAWING OF HISTORIC ARCHITECTURE
Thursday 2:00 – 4:45 107 Campbell Hall
Prerequisites
Open to both graduate and undergrad students without prior course
work required. Course Description and Method
This is mainly a drawing workshop, with some lectures. Learn the
classical features of historic architecture such as five orders and domes
in details through drawing them. Learn the techniques of drawing the
historic architecture, with pencil and pen. There is a focus topic each week to learn and draw. Some drawings
are to be done with field trips in the nearby area. At the mid-term and the end of the semester there are group reviews. Evaluations are mainly based on the drawing works. Requirements
1. Regular attendance of classes and take notes of the weekly topics.
2. Develop drawing techniques in each week’s graphic exercise, finish on time.
3. There is a homework assignment each week, with readings and some drawing work as well.
4. A term project of drawing. Readings
“The American Vignola: A Guide to the Making of Classical Architecture” Number of Students Authorized to enroll: 20 ARH 491 Vernacular Architecture
Thursday 2:00 – 4:15 Campbell 108 Vernacular Architecture is often understood to be all the built environment that is not monumental or High Art architecture. This is a profound misunderstanding engendered by elitist views of the arts and it is the central mission of this seminar to unseat this view by exploring the rich and complex dimensions of vernacular architecture. Vernacular architecture is any aspect of the built environment examined through the lens of the local AND it is a method for asking questions about the relationship between architecture and culture. By emphasizing the local and the cultural, the significance of vernacular architecture lies in its capacity to tell stories. By rooting us in a particular place and time, the stories woven by vernacular architecture help us better understand who we are, and sometimes who we are not. As an undergraduate seminar, this course will be limited in number to no more than 12 and our class times will be dominated largely by discussion. The seminar will be expected to read a heavier than normal load for an undergraduate class. Students will be expected to engage those readings critically and come to class prepared to discuss and debate the various methods put forth in the scholarship. Students will also undertake an independent semester-long research project that will be overseen by the professor over the course of the semester and presented to the seminar as a scholarly paper at the end of the term. Course grades will depend largely on contributions to seminar discussions and the quality of the research project. ARH 592 Community History Workshop
Thursday 12:30 – 3:15 Campbell 325
Course Description:
This course will undertake an in-depth historical analysis of the architecture, planning, and landscape form of a single Virginia community. The investigation will focus upon social and cultural history as it relates to and is expressed in community design. In developing the history of the place and a narrative of its significance, the class will explore the uses of building, population census, land conveyance, subdivision, condemnation, tax, probate and other court records. Newspapers, manuscripts, topographical, insurance, and plat maps, historic and aerial photographs will also be employed. Unlike most architectural history, which tends to emphasize the initial emphasize the dynamics of architectural and cultural change; in particular it will scrutinize the ways in which the meaning of place is invented and reinvented through time, both with and without changes in existing buildings. The course will focus as well upon the architectural and cultural distinction between the private domestic landscape and civic and commercial forms. The ways in which constructions of gender, class, race, and aesthetics have historically affected the form and use of community space and also of particular interest. ARAD 310 Principles and Practices in Arts Administration
5:00-6:15 TR
Overview and Course Goal: Arts Administration exists at the crossroads of commerce and art, where an artistic creation meets its audience. This survey course explores that intersection in theory and practice, introducing tools of business and of community building. Principles of theory provide context, enabling students to consider the relative positions of the arts and artists in our society. Practical techniques of business introduce tools and concepts for effectively managing the businesses and organizations encountered at this crossroads. Cases and examples come from both the visual and performing arts worlds; from non-profit museums and orchestras; theater, opera, dance, and performance art companies; and also from for-profit art galleries and auction houses; and from the music, film, television, and related entertainment industries. ARAD 510 Marketing for the Arts
3:30-6:00 R
Overview: Arts Administration exists at the crossroads of commerce and art, where an artistic creation meets its audience. The Arts Marketer is the key animator of this crossroads, looking outward toward the needs and desires of the marketplace; as well as inward, nurturing and supporting the artist and the work. As a principle interpreter of the art work, the marketer needs a deep understanding of the work balanced by a clear-eyed appraisal of the community where the work is bought and sold, a process which transforms both art and community.    | |||
