FAH Fine Art Courses
Undergraduate seminar that focuses on specific ideas, questions, phenomena or controversies, taught by a regular Faculty member deeply engaged in the discipline. Open only to newly admitted first year students. It may serve as a distribution requirement course; see page 40.
History of Art Courses
Issues and perspectives in the study of western art. Consideration of representative monuments, their original significance, and their continuing relevance.
An introduction to the Art of the ancient Mediterranean world, from the Bronze Age to the Later Roman era.
The aesthetic, historical and cultural significance of selected major works of art and architecture in the Christian world between the 3rd and 15th centuries.
Major forms of expression in the visual arts ca. 1400 - ca. 1600 with particular attention to Italy, but also to Germany, France and the Low Countries: forms, techniques, theories, and patronage of the arts as well as biographies of the artists.
A study of the two most important Netherlandish artists of the 17th century and their contemporaries.
Major forms of expression in the visual arts ca. 1600 - ca. 1750 with particular attention to forms, techniques, theories, and patronage of the arts as well as biographies of artists in Italy, France, the Netherlands, Flanders, Germany and England.
A survey of artistic culture from the time of Mignard, named as First Painter and Director of the Royal Academy in 1690, to the Academy’s dissolution in 1793.
Major monuments of architecture and town planning in Europe and North America from the middle of the 18th century through the 19th century.
Continuous with FAH281H1, a study of the work of key figures in Europe and North America from the “early moderns” of the late 19th century through the “Modern Movement” to the present.
An introductory survey of the history of painting and sculpture in Canada from the 17th to the mid-20th century.
A survey of major movements and artists active in Europe in the 18th and 19th centuries.
A lecture survey of the principal movements from 1900 to 1945, including Fauvism, Cubism, Dada, Surrealism, de Stijl, Expressionism and Constructivism. Consideration is given to the theories as well as practice of artists, and to the relationship of artists to the social context.
A general lecture survey of the principal art movements from c.1945 through the present (e.g., Abstract Expressionism, Pop, Minimalism, Earthworks Performance, Postmodernism). Consideration is given to the theories as well as practice of artists, and to the relationship of artists to their social context.
Major themes of eastern art drawn from the rich legacy of Ancient Near Eastern, Islamic, Indian, Chinese and Japanese civilizations from prehistory to the recent past. Emphasis on appreciation within cultural context; museum visits.
Credit course for supervised participation in faculty research project. See page 40 for details.
An investigation of the major archaeological sites of the ancient Greek world, both the built environment and associated activities - social, religious, and political - within (ca. 750 - 100 B.C.).
Daily life scenes pervade Greek pictoral arts, especially in the late archaic and classical periods. The ostensible subject matter and the manner of presentation both give insight into Greek social structures, especially when analyzed in conjunction with the literary record.
Design and function of architectural forms in the Roman world ca. 300 B.C. - ca. 300 A.D.: late Hellenistic and Italic roots; the transformed orders; Roman forms in capital and empire.
During period 2000-1000 B.C., Minoan civilization flourished at palatial centers on Crete, and Mycenaean culture arose on the Greek Mainland. The architecture at centers such as Minoan Knossos and Mycenaean Pylos, and associated palace arts, combined with Mycenaean written records, also provide a background for studying later Classical culture.
Albrecht Dürer and the painting and printmaking of his contemporaries. Consideration of the great Hall churches of Saxony and the altarpieces and tomb sculpture of Tilman Riemenschneider, Viet Stoss, and others; the status of the arts and attitudes towards Italian art, and the consequences of the Reformation for religious imagery.
Arts of the 16th century in the context of literature, religion, urban expansion, political and economic development. Detailed study of Dürer, Hieronymus Bosch, Pieter Bruegel, rise of vernacular literature and secular art.
Concentration on the major masters of Holland’s Golden Age with reference to works in the Art Gallery of Ontario.
The course surveys the tradition of historical representation from its Greek and Etruscan precedents to its apogee in the great innovative monuments of imperial Rome
Concepts and expression of narrative in the Greek pictorial arts ( free-standing
and relief sculpture, monumental painting, ceramics, and minor arts),
from the 8th through the second century B.C., with reference to other
traditions (e.g. Aegean, Near Eastern).
The mediaeval townscape: forms and uses of religious and secular public buildings, domestic architecture, and other ordinary furnishings of cities.
Transformation in the visual arts painting, sculpture, and mosaics of the expanding Greek world, ca. 400 - ca. 100 B.C.; the response to Hellenization from the new artistic centres of Pergamon and Italy.
The art and architecture of French monasticism in the 12th century, with an emphasis on the interrelationship of art and spirituality. Among the topics considered: monastic architecture (the crypt, the facade, the cloister, and the portal), pilgrimage, relics and reliquaries, the illuminated bible, royal patronage, and controversies over the legitimacy of images.
The course focuses on Early Christian to Gothic painting, examining their form and content, original contexts, and their scrutiny and interpretation through time. Primary tools for this assessment are drawn from Information Science, Semiotics and conventional art history.
The Jewish antecedents of Christian art, the continuity and the revival of classical styles and iconography, the impact of devotional images, church decoration, the role of patronage and working methods of mediaeval artists.
Mediaeval sculpture from Carolingian times to the last quarter of the 12th century in architectural decoration and in church furnishings in stone, metal and wood.
The imagery in Books of Hours mirrors contemporary societal concerns, and is a window onto late medieval culture. Topics include: origins, function, ownership and patronage; relationships between image and text; effects of changing patterns of literacy; and interplay between realism and abstraction.
Architecture and architectural theory ca. 1400 - ca. 1600.
Public and private structures; urban development in Siena and its regions, with field trips to Florence and elsewhere. Taught in Siena.
A study of the 13th- and 14th-century sculpture in Siena and its environs, with particular attention given to Nicola and Giovanni Pisano and the social and architectural contexts for their work.
The arts of Mediaeval and Renaissance periods, based on the major collections of Siena and Florence. Taught in Siena
Focussing on developments in Venice, Florence and Rome during the Renaissance, this course examines altarpieces both as aesthetic objects and as expressions of the social, religious and political structures for which they were made.
Love is studied not only as a favorite theme of Renaissance art, but as the basis of some of its fundamental aesthetic claims. The question of love connects Renaissance art to important strains of philosophical thought and religious spirituality, as well as to some urgent realities of social life.
A wide array of works in architecture, painting and sculpture studied in light of some of the most important political and social developments of the period: the French invasion of Italy, the rise of Savonarola and the fate of the Medici, the imperialization of the papacy under Julius II, and the Sack of Rome.
Form and meaning, theory and practice of painting and architecture in Venice, ca. 1450-ca. 1600. Social, political and cultural contexts of making and viewing art, including works by Giorgione, Titian, Veronese, Tintoretto and Palladio.
The symptoms and causes of Mannerism, ca. 1520 to ca. 1600, as seen through shifting historical perspectives. The contested status of Mannerism opens questions about the relation of style and content, the uses of quotation and formulae in art, and the rhetorical functions of beauty in religious art.
Study of the visual arts, architecture and urbanism in seventeenth-century Rome and their contribution to the city’s promotion of itself as both the cultural capital of Europe and the centre of Christendom. Particular attention is given to the works of the sculptor and architect, Gian Lorenzo Bernini.
The arts of South Asia, from ancient times to the present day, interactions across time and culture expressed through the artistic traditions of Buddhism, Hinduism, Jainism, and Islam. Visual imagery develops from the Indus Valley Civilization through Medieval temple architecture, the Islamic Period, and contemporary.
The craft and social history of drawings and prints in Western tradition ca. 1400- ca. 1900; their real and perceived roles in the
An examination of the Gothic cathedral from its origins in Paris in the 1130's through its development and elaboration in France, England and Italy. This course also considers monumental decorations in painted glass, wall painting, tapestry and portal sculpture.
Vernacular traditions of the colonial period, patterns of settlement and urbanization, the emergence of the architect and development of high styles of architecture throughout representative parts of what is now the United States, from ca. 1650 to ca. 1925.
Vernacular traditions in building, patterns of settlement and urbanization, and development of high styles in architecture in New France, British North America, and what is now Canada, from ca. 1650 to ca. 1925. Material economy, cultural identity, local character, regional expression, national symbolism and international influences.
The changing concerns of architects and planners from the first quarter of the nineteenth century to the present are examined closely in a series of site visits. Structures are chosen from different periods to represent the broadest possible range of designers, building types, materials, technologies and styles. Enrolment is limited due to the method of instructor.
The origin and development of Impressionism in France and Europe, 1860-1886, in its social, political and intellectual context. Painting, graphics and sculpture by Monet, Renoir, Degas, Pissarro, Sisley, Cassatt and Morisot.
The formal vocabulary and theory of the Modern Movement (ca. 1907- ca. 1927) set in the context of social and political changes, of debates in the field of aesthetics and criticism, and of dialogue with the other arts.
An examination of architectural theory and practice spanning the period marked by the dissolution of Modernist utopia to Post-Modernism and beyond.
This course explores the painting, sculpture, and graphic arts of the Romantic era in France, from about 1820 to 1850. Major emphasis on Gericault, Delacroix, and Ingres in their artistic, cultural, and political context. Key topics in Romanticism, including Orientalism and gender are also explored.
An investigation of the birth and development of Cubism, Futurism and Orphism in Europe and North America.
The origins and development of the Dada and Surrealist movements in early 20th-century Western art, and their lasting impact on art after World War II. Painting, sculpture, graphic arts, and the theoretical preoccupation which accompanied artistic production.
The origins, development, and critical issues pertaining to abstract or non-figurative modes of art as manifested in painting, sculpture and other selected media in the 20th century. Movements include European abstract art before World War II as well as post-war developments.
The role of Theory in the art of the modern period. The texts studied include works by the principal theoreticians and critics from the late 18th century to the present.
An investigation of the different definitions and issues of minimal art including seriality, materials, process, objecthood, chance, installation, reception, relations to music and film, and the influence of structuralism.
We study various aesthetic, cultural, social, political, and theoretical aspects of Western art and photography across the centuries.
An instructor-supervised group project in an off-campus setting. See page 40 for details.
Le Corbusier’s work as it interprets and reflects artistic and societal issues critical to the 20th century.
Developments in the mainstream of Western painting and sculpture since World War II with special emphasis upon interrelations between Europe and North America.
An examination of mid-19th century French Realism with emphasis on Courbet, Millet, the Barbizon School, Daumier and Manet.
An examination of the theoretical underpinnings of the Modern Movement set in the context of 19th-century sources, contemporary developments in aesthetics, art history, and science.
Investigation of English, French, German and Swiss landscape painting from the birth of the Romantic movement to Post-Impressionism.
Close examination of turning points in American architecture represented by critical works of major designers such as: Jefferson; Latrobe; Mills; Davis; Renwick; Olmsted; Richardson; McKim, Mead & White; Burnham & Root; Adler & Sullivan; and Wright.
Selected aspects of the complex array of international contemporary art movements, their artists, objects, and critical discourses. Potential issues include the theoretical, philosophical, and political concerns addressed given artworks and artists; the role of art journals, the private patron, and museum display.
The work and influence of major figures in Late Georgian and Victorian architecture in Great Britain and Ireland (with some reference to the colonies).
Special studies in the sources, development and significance of painting trends, selected in consultation with interested students.
Analysis of the physical and artistic environment of this central cultural institution from a neo-historicist perspective.
Studies in the manipulation of monumental art and construction for commemorative and propagandistic purposes in the Greek world.
Republican and Imperial painting; its Hellenistic sources and parallel media (mosaic, relief). Styles, themes and modes of display in cultural context.
The four distinctive genres of Roman sculptural production: the portrait, the historical relief, sarcophagi, and the replicas of famous Greek sculptures
Investigation of the newly discovered city of Akrotiri, on Thera, north of Crete. This Bronze Age Aegean Pompeii is producing artistic and architectural remains unique to the time and area.
The character of the religious architecture (shrines and cult areas) and the possible meanings of ritual scenes as depicted by the Minoans, Mycenaens and other Aegean peoples in wall painting and other representational art, ca. 2000 - ca. 1200 B.C.
An interdisciplinary course focusing on new pictorial structures around 1300, paralleled by an evaluation of Italian (Tuscan) civilization, culture and language (volgare).
Special topics concerning the interaction of social, political or intellectual trends in Western Mediaeval history as manifested in works of art, selected in consultation with interested students.
The study of Pieter Bruegel’s works in the context of Netherlandish culture. Emphasis on secular works.
The house as a total work of art, and its effect on the character of private life: the development of its architectural forms as a setting for the display of painting, sculpture, mosaic, and decorative arts.
The life and work of Caravaggio in the context of 17th-century Roman and Neapolitan art theory and patronage, with a particular emphasis on the contentious issues of realism.
The convulsive redefinitions of art during the sixteenth and twentieth centuries serve as an indirect introduction to modern aesthetics and a basis for reflection on the future of art. Classes in seminar room and in art galleries. Readings by hans Belting, T.J. Clark, Arthur Danto, Rosalind Krauss.
We consider the proliferation of forms of religious art produced in late Mediaeval Europe: cult statues, reliquaries, prayer books, icons and panels, devotional dolls, and altarpieces. We explore differences in monastic and lay piety, religious attitudes north and south of the alps, “low” and “high” forms of piety, and the distinguishing features of female spirituality.
The seminar examines the art of Rome between the Pontificate of Innocent III and the exile of the Curia in Avignon (late 12th - early 14th century). This period is marked by radical historical, political, and religious changes which had significant repercussions on artistic production in Rome.
A careful reading of some classic accounts of the “High Renaissance”, from Vasari and Reynolds to Wolfflin and Freedberg, serves as the basis for an analysis of developments within various genres and types of art production in the period: drawings, altarpieces, portraits, cabinet pictures and sculpture.
Consideration of European art ca. 1500 in the context of the reform debates that mark the period. Students study original works of art in the AGO and read period texts by, among others, Girolamo Savonarola, Desiderius Earsmus, and Martin Luther.
Study of so-called “scenes of everyday life.” Special attention given to cultural context and problems of interpretation, the work of Jan Vermeer, and the reputation of this art in following centuries.
The Renaissance architect engaged his profession from a multitude of vantage points: as designer, builder, writer, critic, instrument-maker, draughtsman, scenographer, archaeologist, historian and courtier; his activity intersected with many disciplines. This course charts the consequences of this exchange both for architecture and for contemporary conceptions of rulership, nature, history, etc.
The museum is built over generations and held in public trust. Its rhythms, priorities and problems come from its collections, which must be conserved, studied and interpreted for different audiences. Its exhibitions and publications reveal the other side of the art-historical coin and the problem of public perception and marketing.
This seminar explores key topics in the stylistic and technical development of ceramics in Western art from the middle ages to the present. Focus on objects in the collections of the ROM, and taught in the Museum.
An Introduction to Conservation, designed to give art history majors, specialists, and interested students a basic understanding of the field, its techniques, and its purposes. Sessions conducted by specialists in the ROM conservation department.
Students work together designing and installing an exhibition of works of art, normally drawn from the collections of the University Art Centre. The course meets every two weeks at the University Art Centre over the entire academic year.
The internship is designed to offer hands-on experience pertaining to the study, exhibition, and care of works of art, focused on the collections and activities of the University Art Centre. The course extends over the entire academic year.
Approach to and hands-on study of the mostly pre-1900 Canadian picture collection in the Royal Ontario Museum. Topics include past collecting patterns, collecting “Canadiana” in the twentieth century, and how such collections function within multi-disciplinary museums.
The internship provides hands-on experience pertaining to the study, exhibition and care of works of art at an art gallery or museum in the Toronto area. The course may extend over one term or across the entire academic year.
This course examines historical and contemporary meanings and theories
of fashion and /consumption (18th – 21st c) through thematic seminars.
Analysis and research will include artifacts in the Textile&Costume
collection of the Royal Ontario Museum.
Students who have demonstrated unusual ability in earlier years are encouraged to undertake supervised special research projects culminating in a major research paper. Not more than one course in Independent Studies may be taken in a single year. Students must obtain the written consent of their faculty supervisor(s) and the Undergraduate Secretary before registering.
The same course description and prerequisites as FAH480Y1/481H1.
The same course description and prerequisites as FAH480Y1/481H1.
The same course description and prerequisites as FAH480Y1/481H1.
The same course description and prerequisites as FAH480Y1/481H1.
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