Topic outline

  • General

    Classical Vision

    The twenty-first-century viewer is so accustomed to visual imagery that reproduces, in the most minute detail, the thing, view, person seen, that this kind of image production is taken to be the goal to which all image makers aspire (up until the modern period, that is). To many the imagery of the classical periods in western art history, Greece, Rome, the Italian Renaissance and nineteenth-century France set the standards by which much artistic production, even today, is measured. This course examines how and attempts to understand why “Classical” or Ã¢â‚¬Å“Naturalistic” or “Realistic” vision transformed the artistic production of these cultures across time and space and why it continues to be important to us today.

    Key Questions:

    How do we explain/understand/give historical meaning to naturalistic representation in the visual arts?

    What is the connection between how we see and naturalistic representations?

    What is the historical significance of the concept of naturalistic representation to the history of art and to our understanding of the role of art in cultural practice both in the past and in the present day?

    Filippo Lippi, Annunciation parthenon pediment Gerome, prayer in the mosque


  • Topic 2

    Classical Art.
    The Development of Naturalism in Greece

    6th through 5th centuries
    Weeks 2 through 5

  • Topic 4

    Realism in France and Beyond.

    19th century
    Weeks 10 through 13

    Gerome, Snake Charmer
    Mammeri, market before the gates of Oudayas (Rabat)
    Factory image from Abdulhamid II album, Library of Congress
    Manet ball at the opera

  • Topic 5

    Wrap up and presentations.
    Weeks 13 and 14
    • Topic 6

      • Topic 7

        • Topic 8

          • Topic 9

            • Topic 10

              • Topic 11

                • Topic 12

                  • Topic 13

                    • Topic 14

                      • Topic 15

                        • Topic 16