Title | Instructor | Location | Time | All taxonomy terms | Description | Section Description | Cross Listings | Fulfills | Registration Notes | Syllabus | Syllabus URL | Course Syllabus URL | ||
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ARTH 100-301 | ARTS AT PENN: The Afterlife of Things | OUSTERHOUT, ROBERT | FURNESS BUILDING DSR | R 0130PM-0430PM | Topic varies. |
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FOR FRESHMEN ONLY; FRESHMAN SEMINAR; FRESHMAN SEMINAR |
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ARTH 101-001 | Introduction to Western Art & Civilization: Origins to Renaissance | OUSTERHOUT, ROBERT | ANNENBERG SCHOOL 111 | MW 1100AM-1200PM | This is a double introduction: to looking at the visual arts; and, to the ancient and medieval cities and empires of three continents - ancient Egypt, the Middle East and Iran, the Minoan and Mycenaean Bronze Age, the Greek and Roman Mediterranean, and the early Islamic, early Byzantine and western Medieval world. Using images, contemporary texts, and art in our city, we examine the changing forms of art, architecture and landscape architecture, and the roles of visual culture for political, social and religious activity. |
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Arts & Letters Sector (all classes) |
SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; ARTS & LETTERS SECTOR; CROSS-CULTURAL ANALYSIS |
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ARTH 101-601 | Introduction to Western Art & Civilization: Prehistory to Renaissance | MEIBERG, LINDA | UNIVERSITY MUSEUM 330 | MW 0530PM-0700PM | This is a double introduction: to looking at the visual arts; and, to the ancient and medieval cities and empires of three continents - ancient Egypt, the Middle East and Iran, the Minoan and Mycenaean Bronze Age, the Greek and Roman Mediterranean, and the early Islamic, early Byzantine and western Medieval world. Using images, contemporary texts, and art in our city, we examine the changing forms of art, architecture and landscape architecture, and the roles of visual culture for political, social and religious activity. |
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Arts & Letters Sector (all classes) |
CROSS CULTURAL ANALYSIS; ARTS & LETTERS SECTOR; CROSS-CULTURAL ANALYSIS |
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ARTH 106-001 | ARCHITECT AND HISTORY | HASELBERGER, LOTHAR | STITELER HALL B26 | MWF 0100PM-0200PM | Human experience is shaped by the built environment. This course introduces students to the interrelated fields of architecture, art history, and engineering and explores great architectural monuments from the ancient to the modern period, from India across the Mediterranean and Europe to the US. The focus will be on understanding these works in their structure and function, both as products of individual ingenuity and reflections of Zeitgeist. Questioning these monuments from a present-day perspective across the cultures will be an important ingredient, as will be podium discussions, guest lectures, excursions, and all kinds of visualizations, from digital walk-throughs to practical design exercises. Regularly taught in fall term, this course fulfills Sector IV, Humanities and Social Science, and it satisfies History of Art 100-level course requirements. There is only ONE recitation in this course, attached directly to Friday's class at 2-3 p.m., in order to provide sufficient time for practica and field trips. |
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Hum & Soc Sci Sector (new curriculum only) |
SECTION ACTIVITY CO-REQUISITE REQUIRED; HUMANITIES & SOCIAL SCIENCE SECTOR; SENIOR ASSOCIATES |
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ARTH 109-601 | WORLD FILM HIST '45-PRES | CONSOLATI, CLAUDIA | ANNENBERG SCHOOL 111 | T 0430PM-0730PM | Focusing on movies made after 1945, this course allows students to learn and to sharpen methods, terminologies, and tools needed for the critical analysis of film. Beginning with the cinematic revolution signaled by the Italian Neo-Realism (of Rossellini and De Sica), we will follow the evolution of postwar cinema through the French New Wave (of Godard, Resnais, and Varda), American movies of the 1950s and 1960s (including the New Hollywood cinema of Coppola and Scorsese), and the various other new wave movements of the 1960s, 1970s and 1980s (such as the New German Cinema). We will then selectively examine some of the most important films of the last two decades, including those of U.S. independent film movement and movies from Iran, China, and elsewhere in an expanding global cinema culture. There will be precise attention paid to formal and stylistic techniques in editing, mise-en-scene, and sound, as well as to the narrative, non-narrative, and generic organizations of film. |
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Arts & Letters Sector (all classes) |
ARTS & LETTERS SECTOR |
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ARTH 141-401 | POLICY,MUSEUMS&CUL HERIT | LEVENTHAL, RICHARD | UNIVERSITY MUSEUM 345 | TR 1030AM-1200PM | This course will focus upon and examine the ethics of international heritage and the role that Museums play in the preservation of identity and cultural heritage. The mission of this course will be to inform and educate students about the role of Museums within the 21st century. What is the role and position of antiquities and important cultural objects in Museums? How should Museums acquire these objects and when should they be returned to countries and cultural groups? Examples from current issues will be included in the reading and discussions along with objects and issues within Penn Museum. |
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ARTH 212-401 | CITES & TEMP IN ANC IND | MEISTER, MICHAEL | JAFFE BUILDING B17 | TR 0300PM-0430PM | The wooden architecture of ancient India's cities is represented in relief carvings from Buddhist religious monuments of the early centuries A.D. and replicated in remarkable excavated cave cathedrals. This course will trace that architectural tradition, its transformation into a symbolic vocabulary for a new structure, the Hindu temple, and the development of the temple in India from ca. 500-1500 A.D. |
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ARTH 213-401 | ARCHAEOLOGY OF E. ASIA | NISHIMURA, YOKO | JAFFE BUILDING B17 | MWF 1000AM-1100AM | This course introduces the major artistic traditions of Japan, from the Neolithic period to the present, and teaches the fundamental methods of the discipline of art history. Special attention will be given to the places of Shinto, the impact of Buddhism, and their related architectures and sculptures; the principles of narrative illustration; the changing roles of aristocratic, monastic, shogunal and merchant patronage; the formation of the concept of the artist over time; and the transformation of tradition in the modern age. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 217-401 | CHINESE PAINTING | STEINHARDT, NANCY | WILLIAMS HALL 421 | MW 1100AM-1200PM | Study of Chinese painting and practice from the earliest pictorial representation through the late twentieth century. Painting style forms the basis of analysis, and themes such as landscape and narrative are considered with regard to larger social and cultural issues. The class pays particular attention to the construction of the concepts of the "artist" and "art criticism" and their impact on the field into the present. Visits to look at paintings at the University of Pennsylvania Museum, PMA and/or local collections. |
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SECTION ACTIVITY CO-REQUISITE REQUIRED |
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ARTH 224-401 | ART OF MESOPOTAMIA | PITTMAN, HOLLY | JAFFE BUILDING 113 | TR 0900AM-1030AM | A survey of the art of Mesopotamia from 4000 B.C. through the conquest of Alexander the Great. |
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ARTH 225-401 | GREEK ART AND ARTIFACT | KUTTNER, ANN | JAFFE BUILDING 104 | TR 1030AM-1200PM | This course surveys Greek art and artifacts from Sicily to the Black Sea from the 10th century BCE to the 2rd century BCE, including the age of Alexander and the Hellenistic Kingdoms. Public sculpture and painting on and around grand buildings and gardens, domestic luxury arts of jewelry, cups and vases, mosaic floors, and cult artefacts are discussed. Also considered are the ways in which heroic epic, religious and political themes are used to engaged viewer's emotions and served both domestic and the public aims. We discuss how art and space was considered, along with ideas of invention and progress, the role of monuments, makers and patrons in Greek society. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 232-401 | BYZANTINE ART & ARCH | OUSTERHOUT, ROBERT | CANCELED | This course surveys the arts of Byzantium from the fall of Rome to the fall of Constantinople in 1453. Study of major monuments, including icons, mosaics, architecture, and ivories provide us with an overview of this rich artistic culture. We pay special attention to the role of the Orthodox Church and liturgy in the production and reception of art works. Weekly recitation sections focus on selected major issues, such as the relationship of art to the Holy, the uses and abuses of Iconoclasm, and imperial patronage. The course also grapples with the Empire's relationship to other cultures by looking at the impact of the Christian Crusades and Moslem invasions - as well as Byzantium's crucial impact on European art (e.g., in Sicily, Spain). |
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ARTH 235-401 | INTRO VIS CULT ISLAM WLD | HOLOD, RENATA | JAFFE BUILDING B17 | TR 1200PM-0130PM | A one-semester survey of Islamic art and architecture which examines visual culture as it functions within the larger sphere of Islamic culture in general. Particular attention will be given to relationships between visual culture and literature, using specific case studies, sites or objects which may be related to various branches of Islamic literature, including historical, didactic, philosophical writings, poetry and religious texts. All primary sources are available in English translation. |
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Hum & Soc Sci Sector (new curriculum only) |
SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; HUMANITIES & SOCIAL SCIENCE SECTOR; CROSS-CULTURAL ANALYSIS |
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ARTH 240-401 | MEDIEVAL ART | JUNG, TANYA | JAFFE BUILDING 104 | MWF 1200PM-0100PM | An introductory survey, this course investigates painting, sculpture, and the "minor arts" of the Middle Ages. Students become familiar with selected major monuments of the Late Antique, Byzantine, Carolingian, Romanesque, and Gothic periods, as well as primary textual sources. Analysis of works emphasizes the cultural context, the thematic content, and the function of objects. Discussions focus especially on several key themes: the aesthetic status of art and the theological role of images; the revival of classical models and visual modes; social rituals such as pilgrimage and crusading; the cult of the Virgin and the status of women in art; and, more generally, the ideology of visual culture across the political and urban landscapes. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 250-401 | Visual Arts of the Italian Renaissance | KIM, DAVID | JAFFE BUILDING B17 | MWF 1100AM-1200PM | This course explores the painting, sculpture, architecture, and other media (textiles, prints, and even armor) from the historical eras conventionally known as the Early and High Renaissance, Mannerism, and Counter Reformation. We consider the work of such artists as Cimabue, Duccio, Giotto, and Mantegna as well as the careers, personalities and reception of Leonardo, Raphael, Michelangelo, and Titian. With emphasis placed upon artists' cultivation of particular styles, we look closely at works originating from various contexts: political (city-states, princely courts, and the Papal States); spatial / topographic (inner chambers of private palaces, family chapels, church facades, and public squares); and geographic (Florence, Siena, Rome, Naples, Venice, and Milan). Topics include artistic creativity and license, religious devotion, the revival of antiquity, observation of nature, art as problem-solving, the public reception and function of artworks, debates about style, artistic rivalry, and traveling artists. Rather than taking the form of a survey, this course selects works as paradigmatic case studies, and analyzes contemporary attitudes toward art of this period through study of primary sources. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 270-401 | THE MODERN CITY | BROWNLEE, DAVID | ANNENBERG SCHOOL 111 | MWF 1000AM-1100AM | A study of the European and American city in the eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the history of architecture and urban design; political, sociological, and economic factors also receive attention. The class considers the development of London, St. Petersburg, Washington, Boston, Paris, Vienna and Philadelphia. |
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SECTION ACTIVITY CO-REQUISITE REQUIRED |
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ARTH 276-401 | IMPRESSIONISM | DOMBROWSKI, ANDRE | DAVID RITTENHOUSE LAB A4 | MW 0200PM-0300PM | Impressionism opened the pictorial field to light, perception, science, modernity, bourgeoise leisure and famously the material qualities of paint itself. This course will survey the movement's major contexts and proponents--Manet, Monet, Morisot, Cezanne, Gauguin, Van Gogh, Rodin--from its origins in the 1860's to its demise in the 1890's, as well as its subsequent adaptions throughout the world until World War I. Particular attention is paid to the artists' critical reception and the historical conditions which allowed one nation, France, to claim the emergence of early Modernism so firmly for itself. The course also analyzes the effects of the rapidly changing social and cultural fabric of Paris, and its affects on artistic developments. We also look outside of France's borders to Germany and Britain. |
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SECTION ACTIVITY CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 278-601 | AMERICAN ART | SHAW, GWENDOLYN | LAB-STRUC OF MATTER AUD | W 0430PM-0730PM | This course surveys the most important and interesting art produced in the United States (or by American artists living abroad) up through the 1950s. This period encompasses the history of both early and modern art in the U.S., from its first appearances to its rise to prominence and institutionalization. While tracking this history, the course examines art's relation to historical processes of modernization (industrialization, the development of transportation and communications, the spread of corporate organization in business, urbanization, technological development, the rise of mass media and mass markets, etc.) and to the economic polarization, social fragmentation, political conflict, and the cultural changes these developments entailed. In these circumstances, art is drawn simultaneously toward truth and fraud, realism and artifice, science and spirituality, commodification and ephemerality, nationalism and cosmopolitanism, individualism and collectivity, the past and the future, professionalization and popularity, celebrating modern life and criticizing it. |
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CULTURAL DIVERSITY IN US; CULTURAL DIVERSITY IN THE US |
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ARTH 296-601 | Introduction to Contemporary Art: 1945-Present | PINAR, EKIN | WILLIAMS HALL 202 | R 0500PM-0800PM | Many people experience the art of our time as bewildering, shocking, too ordinary (my kid could do that), too intellectual (elitist), or simply not as art. Yet what makes this art engaging is that it raises the question of what art is or can be, employs a range of new materials and technologies, and addresses previously excluded audiences. It invades non-art spaces, blurs the boundaries between text and image, document and performance, asks questions about institutional frames (the museum, gallery, and art journal), and generates new forms of criticism. Much of the "canon" of what counts as important is still in flux, especially for the last twenty years. And the stage is no longer centered only on the United States and Europe, but is becoming increasingly global. The course will introduce students to the major movements and artists of the post-war period, with emphasis on social and historical context, critical debates, new media, and the changing role of the spectator/participant. |
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ARTH 300-301 | Undergraduate Methods Seminar | SILVERMAN, KAJA | JAFFE BUILDING 113 | T 0130PM-0430PM | Topic varies. |
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PERMISSION NEEDED FROM INSTRUCTOR |
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ARTH 301-401 | INVISIBLE SUBJECTS IN 20TH-CENTURY ART AND LITERATURE | LEVY, AARON | FISHER-BENNETT HALL 323 | MW 0200PM-0330PM | Topic varies. |
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ARTH 301-402 | HISTORY OF COMPUTER ANIMATION | SIMENSKY, LINDA | FISHER-BENNETT HALL 244 | M 0430PM-0730PM | Topic varies. |
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ARTH 302-301 | UNDERGRADUATE SEMINAR: THE DARKER SIDE OF THE RENAISSANCE | WEST, ASHLEY | COLLEGE HALL 311F | R 0130PM-0430PM | Topic varies. |
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ARTH 302-401 | PARIS THEN AND NOW |
BIRCH, EUGENIE DEJEAN, JOAN |
CANCELED | Topic varies. |
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BENJAMIN FRANKLIN SEMINARS; PERMISSION NEEDED FROM INSTRUCTOR; BENJAMIN FRANKLIN SEMINAR |
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ARTH 302-402 | GREAT ARCH. MNMTS INDIA: CU IN INDIA: GREAT ARCHITECTURAL MONUMENTS OF INDIA | CANCELED | Topic varies. |
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YEAR LONG COURSE; PERMISSION NEEDED FROM INSTRUCTOR |
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ARTH 388-301 | Spiegel-Wilks Seminar in Contemporary Art: Carrie Mae Weems at the ICA | SHAW, GWENDOLYN | JAFFE BUILDING 113 | R 0130PM-0430PM | Topic varies. |
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PERMISSION NEEDED FROM INSTRUCTOR |
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ARTH 391-401 | TOPICS FILM STUDIES: CINEMA & GLOBALIZATION | MAZAJ, META | FISHER-BENNETT HALL 244 | TR 1030AM-1200PM | Topic varies. |
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ARTH 501-301 | CURATORIAL SEMINAR: IMAGE & POLITICS, C. 1900-DREYFUS AFFAIR |
ST.GEORGE, ROBERT DOMBROWSKI, ANDRE |
VAN PELT LIBRARY 627 | T 1100AM-0200PM | Spring 2015: Practiced in almost all ancient cultures, magic offered ways of managing or understanding the present, controlling supernatural agencies, and seeing the future. The objects and images associated with magical practices are rich and varied and are well represented in the University of Pennsylvania Museum. The aim of the seminar is to prepare an exhibit on magic and divination, working with the archaeological collections of the UPM, specifically the Ancient Near Eastern, Egyptian, and Mediterranean sections. It will include objects such as amulets, curse tablets, incantation bowls, and magical papyri, as well as images representing magical practices. Participating students will select and research objects and prepare wall texts for the exhibit. |
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PERMISSION NEEDED FROM INSTRUCTOR; UNDERGRADUATES NEED PERMISSION |
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ARTH 502-301 | Introduction to Object-based Study |
MILROY, ELIZABETH SILVER, LARRY |
JAFFE BUILDING 104 | T 0130PM-0430PM | Topic varies |
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ARTH 504-640 | Central Asian Art and Archaeology | WU, XIN | WILLIAMS HALL 316 | M 0500PM-0800PM | Topic varies |
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ARTH 513-301 | UKIYO-E | CANCELED | Topic varies. |
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ARTH 520-401 | MINOAN AND MYCENAEAN LUXURY ITEMS | SHANK, ELIZABETH | WILLIAMS HALL 705 | T 0300PM-0600PM | Topic varies. Spring 2015: Double axes, horns of consecration, and images of a prominent female goddess were powerful cult symbols for both the Minoans and the Mycenaeans. And indeed, it was originally thought that these two cultures practiced the same religion. But closer examination of textual and archaeological evidence reveals that despite the similarities in their respective iconographies, the religions had significant differences, differences that must have arisen from their different cultural backgrounds. In this course we will look at many different types of evidence Linear A and B texts, archaeological sites and mortuary remains, cult objects such as rhyta and figurines, and artistic renderings of religious scenes found on gold rings and frescoes so that together we can attempt to reconstruct the ritual practices of these religions. We will also use these physical manifestations to consider more broadly the nature not only of the Minoan and Mycenaean religions, but also of the Minoan and Mycenaean cultures. We will also come back to those similarities first noted in the artistic expression of the religions, so that we can trace the Minoan elements that do appear in Mycenaean religion, and try to understand why they were taken up by the Mycenaeans and what that adoptive behavior meant in terms of religious belief. Elements of other Aegean cultures will be explored as well as we move forward in time through the Iron Age and into the Archaic and Classical periods, in an effort to evaluate what came through from the Bronze Age into the historical periods practice of cult. |
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ARTH 529-401 | TOPICS IN ROMAN ARCH: MODELING HERMOGENES | HASELBERGER, LOTHAR | JAFFE BUILDING 113 | T 0430PM-0730PM | Topic varies. |
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ARTH 571-301 | MODERN ARCH THEORY | BROWNLEE, DAVID | JAFFE BUILDING 104 | M 0200PM-0500PM | A survey of architectural theory from the mid-eighteenth century to the present. The discussion of original writings will be emphasized. |
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ARTH 572-640 | MLA Seminar in Visual Studies: Medusa and the Power of Vision | PASTORE, CHRISTOPHER | JAFFE BUILDING 104 | W 0600PM-0840PM | Topic varies. |
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ARTH 594-401 | FICTIONS AND FRICTIONS OF POWER | BERSANI, LEO | FISHER-BENNETT HALL 140 | R 0330PM-0630PM | Topic varies. |
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ARTH 612-401 | CITES & TEMP IN ANC IND | MEISTER, MICHAEL | JAFFE BUILDING B17 | TR 0300PM-0430PM | The wooden architecture of ancient India's cities is represented in relief carvings from Buddhist religious monuments of the early centuries A.D. and replicated in remarkable excavated cave cathedrals. This course will trace that architectural tradition, its transformation into a symbolic vocabulary for a new structure, the Hindu temple, and the development of the temple in India from ca. 500-1500 A.D. |
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ARTH 613-401 | ARCHAEOLOGY OF E. ASIA | NISHIMURA, YOKO | JAFFE BUILDING B17 | MWF 1000AM-1100AM | This course introduces the major artistic traditions of Japan, from the Neolithic period to the present, and teaches the fundamental methods of the discipline of art history. Special attention will be given to the places of Shinto, the impact of Buddhism, and their related architectures and sculptures; the principles of narrative illustration; the changing roles of aristocratic, monastic, shogunal and merchant patronage; the formation of the concept of the artist over time; and the transformation of tradition in the modern age. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 617-401 | CHINESE PAINTING | STEINHARDT, NANCY | WILLIAMS HALL 216 | MW 1100AM-1200PM | Study of Chinese painting and practice from the earliest pictorial representation through the late twentieth century. Painting style forms the basis of analysis, and themes such as landscape and narrative are considered with regard to larger social and cultural issues. The class pays particular attention to the construction of the concepts of the "artist" and "art criticism" and their impact on the field into the present. Visits to look at paintings at the University of Pennsylvania Museum, PMA and/or local collections. |
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ARTH 624-401 | ART OF MESOPOTAMIA | PITTMAN, HOLLY | JAFFE BUILDING 113 | TR 0900AM-1030AM | A survey of the art of Mesopotamia from 4000 B.C. through the conquest of Alexander the Great. |
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ARTH 625-401 | GREEK ART AND ARTIFACT | KUTTNER, ANN | JAFFE BUILDING 104 | TR 1030AM-1200PM | This course surveys Greek art and artifacts from Sicily to the Black Sea from the 10th century BCE to the 2rd century BCE, including the age of Alexander and the Hellenistic Kingdoms. Public sculpture and painting on and around grand buildings and gardens, domestic luxury arts of jewelry, cups and vases, mosaic floors, and cult artefacts are discussed. Also considered are the ways in which heroic epic, religious and political themes are used to engaged viewer's emotions and served both domestic and the public aims. We discuss how art and space was considered, along with ideas of invention and progress, the role of monuments, makers and patrons in Greek society. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 632-401 | BYZANTINE ART & ARCH | OUSTERHOUT, ROBERT | CANCELED | This course surveys the arts of Byzantium from the fall of Rome to the fall of Constantinople in 1453. Study of major monuments, including icons, mosaics, architecture, and ivories provide us with an overview of this rich artistic culture. We pay special attention to the role of the Orthodox Church and liturgy in the production and reception of art works. Weekly recitation sections focus on selected major issues, such as the relationship of art to the Holy, the uses and abuses of Iconoclasm, and imperial patronage. The course also grapples with the Empire's relationship to other cultures by looking at the impact of the Christian Crusades and Moslem invasions - as well as Byzantium's crucial impact on European art (e.g., in Sicily, Spain). |
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ARTH 635-401 | INTRO VIS CULT ISLAM WLD | HOLOD, RENATA | JAFFE BUILDING B17 | TR 1200PM-0130PM | A one-semester survey of Islamic art and architecture which examines visual culture as it functions within the larger sphere of Islamic culture in general. Particular attention will be given to relationships between visual culture and literature, using specific case studies, sites or objects which may be related to various branches of Islamic literature, including historical, didactic, philosophical writings, poetry and religious texts. All primary sources are available in English translation. |
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SECTION CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 640-401 | MEDIEVAL ART | JUNG, TANYA | JAFFE BUILDING 104 | MWF 1200PM-0100PM | An introductory survey, this course investigates painting, sculpture, and the "minor arts" of the Middle Ages. Students become familiar with selected major monuments of the Late Antique, Byzantine, Carolingian, Romanesque, and Gothic periods, as well as primary textual sources. Analysis of works emphasizes the cultural context, the thematic content, and the function of objects. Discussions focus especially on several key themes: the aesthetic status of art and the theological role of images; the revival of classical models and visual modes; social rituals such as pilgrimage and crusading; the cult of the Virgin and the status of women in art; and, more generally, the ideology of visual culture across the political and urban landscapes. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 650-401 | Visual Arts of the Italian Renaissance | KIM, DAVID | JAFFE BUILDING B17 | MWF 1100AM-1200PM | This course explores the painting, sculpture, architecture, and other media (textiles, prints, and even armor) from the historical eras conventionally known as the Early and High Renaissance, Mannerism, and Counter Reformation. We consider the work of such artists as Cimabue, Duccio, Giotto, and Mantegna as well as the careers, personalities and reception of Leonardo, Raphael, Michelangelo, and Titian. With emphasis placed upon artists cultivation of particular styles, we look closely at works originating from various contexts: political (city-states, princely courts, and the Papal States); spatial / topographic (inner chambers of private palaces, family chapels, church facades, and public squares); and geographic (Florence, Siena, Rome, Naples, Venice, and Milan). Topics include artistic creativity and license, religious devotion, the revival of antiquity, observation of nature, art as problem-solving, the public reception and function of artworks, debates about style, artistic rivalry, and traveling artists. Rather than taking the form of a survey, this course selects works as paradigmatic case studies, and analyze contemporary attitudes toward art of this period through study of primary sources. |
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CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 670-401 | THE MODERN CITY | BROWNLEE, DAVID | ANNENBERG SCHOOL 111 | MWF 1000AM-1100AM | A study of the European and American city in the eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the history of architecture and urban design; political, sociological, and economic factors also receive attention. The class considers the development of London, St. Petersburg, Washington, Boston, Paris, Vienna and Philadelphia. |
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SECTION CO-REQUISITE REQUIRED |
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ARTH 676-401 | IMPRESSIONISM | DOMBROWSKI, ANDRE | DAVID RITTENHOUSE LAB A4 | MW 0200PM-0300PM | Impressionism opened the pictorial field to light, perception, science, modernity, bourgeoise leisure and famously the material qualities of paint itself. This course will survey the movement's major contexts and proponents--Manet, Monet, Morisot, Cezanne, Gauguin, Van Gogh, Rodin--from its origins in the 1860's to its demise in the 1890's, as well as its subsequent adaptions throughout the world until World War I. Particular attention is paid to the artists' critical reception and the historical conditions which allowed one nation, France, to claim the emergence of early Modernism so firmly for itself. The course also analyzes the effects of the rapidly changing social and cultural fabric of Paris, and its affects on artistic developments. We also look outside of France's borders to Germany and Britain. |
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SECTION CO-REQUISITE REQUIRED; CROSS CULTURAL ANALYSIS; CROSS-CULTURAL ANALYSIS |
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ARTH 678-601 | AMERICAN ART | SHAW, GWENDOLYN | LAB-STRUC OF MATTER AUD | W 0430PM-0730PM | This course surveys the most important and interesting art produced in the United States (or by American artists living abroad) up through the 1950s. This period encompasses the history of both early and modern art in the U.S., from its first appearances to its rise to prominence and institutionalization. While tracking this history, the course examines art's relation to historical processes of modernization (industrialization, the development of transportation and communications, the spread of corporate organization in business, urbanization, technological development, the rise of mass media and mass markets, etc.) and to the economic polarization, social fragmentation, political conflict, and the cultural changes these developments entailed. In these circumstances, art is drawn simultaneously toward truth and fraud, realism and artifice, science and spirituality, commodification and ephemerality, nationalism and cosmopolitanism, individualism and collectivity, the past and the future, professionalization and popularity, celebrating modern life and criticizing it. |
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CULTURAL DIVERSITY IN US; UNDERGRADUATES NEED PERMISSION; CULTURAL DIVERSITY IN THE US |
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ARTH 725-401 | Borderlines: Roman Provincial Culture | KUTTNER, ANN | JAFFE BUILDING 104 | R 0430PM-0730PM | Topic varies. |
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ARTH 735-301 | Topics in Islamic Art: Vision and Optic Effects in Islamic Art | HOLOD, RENATA | JAFFE BUILDING 104 | W 0300PM-0500PM | Topic varies. |
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ARTH 740-401 | TOPICS IN MEDIEVAL ART | CANCELED | Topic varies. Spring 2015: Among the functional genres shaping religious imagery in the Middle Ages and Renaissance, the altarpiece is arguably the most important, and many of the most famous panel paintings that hang today in museums originated as components of altarpieces. The altarpiece in the Latin church bridged the divide between clergy and laypeople, between cult and devotion, between public acclaim and private interests. Such altarpieces developed into extraordinarily dynamic vehicles for staging the religious image, akin to mural painting (in its potential for narrative elaboration), and manuscript illumination (in its potential for interchanging and juxtaposing imagery). As an umbrella for diverse research projects in both medieval and Renaissance art, this seminar affords an overview of the origins, development and articulation of the altarpiece as a functional and pictorial genre in European art, on both sides of the Alps. It also seeks to provide students with the materials and practical training--technical, scholarly, interpretative-- required to study altarpieces as visual, narrative, and material totalities. |
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ARTH 775-301 | TOPICS IN 19TH C. EUROPEAN ART: NEOCLASSICISM: FROM REVOLUTION TO EMPIRE | GREWE, CORDULA | FISHER-BENNETT HALL 140 | W 0200PM-0400PM | Topic varies. Spring 2015: Despite the fact that one exhibition on Impressionism chases the next these days, the academic study of this crucial early modernist movement has slowed since the 1970s and 1980s, when new art historical paradigms (like feminism and the social history of art) were tested on Manet, Monet and their followers. This seminar seeks to understand this development but also countermand it by establishing an account of Impressionism that fits our current global, multimedia and multidisciplinary forms of humanistic thought. To this end, we will read those recent scholars who place Impressionism within new contexts that include the history of science and technology (visual perception, psychology, evolution, chemistry), political history and theory (republicanism, revolution, empire, nationalism), and consumer culture (fashion, capitalism). We will also go back to the movement s early critics (like Laforgue and Geffroy), in order to appreciate their strange metaphoric languages (which saw in Impressionism, for instance, the seeds of social upheaval or the most advanced eye in human evolution ) and make them newly useful for a 21st-century interpretation of Impressionism s true intellectual heft and radical aesthetics. |
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ARTH 781-401 | TOPICS IN 20TH C. ARCH: Does Architectural Theory Define Architectural Practice? |
BARNETT, JONATHAN WEISSBERG, LILIANE |
VAN PELT LIBRARY 302 | W 0300PM-0600PM | Topic varies. |
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ARTH 786-301 | TOPICS IN 20TH C. ART | POGGI, CHRISTINE | JAFFE BUILDING 104 | R 0130PM-0330PM | Topic varies. |
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PERMISSION NEEDED FROM INSTRUCTOR |