ARTH300 - Undergraduate Methods Seminar
Section 301 - SEM
ARTH 300, Proseminar in Method— In this course, we will approach a wide range of theoretical and historiographical works through the body: the body in the work of art and the body of the work of art, but also the body of the artist, the viewer, and even the art historian. How, we will ask, are these bodies defined at different moments in time, and what is the relationship between them? What is the role of the maternal body in Leonardo’s paintings and drawing? Why does Winckelmann associate classical Greek sculptures of idealized male bodies with freedom? Is Velasquez looking at King Philip IV and his wife Mariana in Las Meninas, or at us, and what difference does the answer make? How does the Rückenfigur in Chardin’s Young Draughtsman Copying an Academy Study compare with the one in Friedrich’s Wanderer Above the Sea of Fog? Why did Manet’s contemporaries recoil from the dirt on Olympia’s feet, and why did Epstein carve Genesis—a pregnant figure with a massive body and grossly “negroid” features--out of white marble? We will begin with Leon Battista Alberti’s On Painting (1435), a work that presents the system of perspective, and end with Rosalind Krauss’s astonishingly “fleshly” account of Clement Greenberg’s face.
VAN PELT LIBRARY FLMCR