In 1601, Michelangelo Merisi, known famously as Caravaggio, was at the height of his fame throughout Italy. Coming 50 years after the Renaissance, Caravaggio changed the course and vision of painting for all time. Each of his paintings created a scandal or was immediately hailed as a masterpiece, often both simultaneously.
In conjunction with the CMA exhibition Stories from Storage, which shows rarely seen collection works to tell new and untold stories about art objects and museums, this six-session course will expose and critically explore many of the foundational principles that have shaped understandings of art and art museum practice.
The core repertoire of Verdi and Wagner owes much to the works of their great predecessors. Wagner sought Meyerbeer's influence, emulated him, and later reviled him in his essay, Judaism in Music. His admiration for Halevy's 1835 opera La Juive (The Jewess) however, was lifelong.
Before he set sail for America in the late 1930s, Alfred Hitchcock helped invent the British film industry. We will discover how the master of suspense got his start in the movies as we share our thoughts on four of his early masterpieces: Blackmail (1929), The 39 Steps (1935), Young and Innocent (1937), and The Lady Vanishes (1938).
Although often seen simply as a form of traditional Japanese dress, one essentially unchanged for centuries, the kimono might better be viewed as an evolving fashion statement exerting influence on haute-couture across the world for centuries.
In honor of the 100th anniversary of the 19th Amendment, this course is a timely tribute to the contribution women artists have made to great music.
The ancient Athenians repulsed the Achaemenid Persian Empire in 490 and again in 480 BCE, at the famous battles of Marathon, Salamis, and Plataea. The Persian Wars had tremendous impacts on all aspects of Athenian society, including architecture and art.
“I practice a faith that's been long abandoned/Ain't no altars on this long and lonesome road” (Bob Dylan, "Ain't Talkin'”, 2006)
One way that humans understand themselves is to consider themselves in contrast to some counter entity -- an “other” -- against which the self can be understood. This “other,” though perhaps based on knowledge of a real person or people, is always shaped by the self’s projected fears and desires.