Fall 2013 Courses

Undergraduate Courses

Graduate Courses


Undergraduate Courses

ARTH200 Art and Society in Ancient and Medieval Europe to the Mediterranean (Professor Gensheimer)
TuTh 11-11:50 + section (ASY 2203)
Examines the material culture and visual expressions of Mediterranean and European societies from early times until ca. 1300 CE, emphasizing the political, social, and religious context of the works studied, the relationships of the works to the societies that created them, and the interrelationship of these societies.

ARTH201 Art and Society in the West from the Renaissance to the Present (Professor Hargrove)
MW 9-9:50 + section (ASY 2203)
Examines representative European and American works of art from the later Middle Ages to the present, highlighting the dynamic exchange between artistic and cultural traditions both within periods and across time.

ARTH 250 Art and Society in the Ancient American World (Professor Bland)
MW 10-10:50 + section (ASY 2203)
Surveys major arts and architecture of the pre-Columbian world, including Mesoamerican and Andean cultures from the earliest known civilizations through European contact and conquest. Acquaints students with the monumental architecture, urban planning, painting, sculpture, and portable arts of the ancient Americas.

ARTH 275 Art and Society in Africa (Professor Ater)
MW 11-11:50 + section (ASY 2203)
A comparative study of art and material culture from various regions of the African continent. Looking across ethnic and national boundaries, considers the many relevant political, social, and religious contexts.

ARTH313 Early Medieval Art (Professor Sails)
TuTh 11-12:15 (ASY 3211)
Painting, sculpture and architecture in Western Europe, ca. 500-1150.

ARTH321 Sixteenth-Century Northern European Painting (Professor Martinez)
TuTh 2-3:15 (ASY 3215)
Painting in France, Germany, England, and the Low Countries during the Renaissance and Reformation.

ARTH335 Seventeenth-Century Art in the Netherlands (Professor Georgievska-Shine)
M 3-5:30 (3211)
Painting, sculpture and architecture in seventeenth-century Netherlands.

ARTH350 Twentieth-Century Art to 1945 (Professor Mansbach)
TuTh 9:30-10:45 (3211)
Prerequisite: ARTH201
Painting, sculpture, and architecture in Europe and America from the late nineteenth century to the end of World War II.

ARTH351 Art Since 1945 (Professor Metcalf)
TuTh 3:30-4:45 (ASY 3211)
Prerequisite: ARTH201 or ARTH350
Visual art since 1945, with an emphasis on North America and Europe.

ARTH359C Film as Art: Faking Reality: False Documentary and "Found Footage" (Professor Metcalf)
W 3-6:30 (HBK 0302J)
This course explores the popularity of fiction films that pretend to be documentaries to consider the appeal of "true" stories that we know to be false. Genres range from Comedy and Horror to Independent and Art film.

ARTH361 American Art Since 1876 (Professor Naeem)
TuTh 12:30-1:45 (ASY 3211)
Painting, sculpture, architecture, and the decorative arts in North America after 1876.

ARTH362 Twentieth-Century African-American Art (Professor Childs)
TuTh 11-12:15 (ASY 3215)
Surveys and evaluates the art and visual culture of African Americans from 1900 to the present.

ARTH370 Latin American Art and Archaeology before 1500 (Professor Bland)
W 2-4:30 (ASY 3215)
Pre-Hispanic painting, sculpture, and architecture, with a focus on the major archaeological monuments of Mexico.

ARTH376 Living Art of Africa (Professor Hill)
TuTh 2-3:15 (ASY 3211)
Art styles among the segmentary, centralized, and nomadic people of Africa. The iconography and function of their art and its relationship to their various societies, cults and ceremonies.

ARTH386 Experiential Learning
permission of department and junior standing required

ARTH389G Special Topics in Art History and Archaeology: East, West, Global: Contemporary Islamic Art
(Professor Naeem)
TuTh 9:30-10:45 (ASY 3215)
This course will explore contemporary works made by artists from Islamic cultures, in the United States and across the globe. We also will consider explorations of Islamic identity in film, literature, and music.

ARTH484 Modern Chinese Film and Visual Culture (Professor Kuo)
TuTh 12:30-1:45 (HBK 0302H)
Modern Chinese culture, society, and history studied through examples of art, film, and visual culture.

ARTH488E Colloquium in Art History: Modern Art and the Primitive Pretense (Professor Mansbach)
TuTh 12:30-1:45 (ASY 3217)
This course will examine some of the ways in which "primitivist" subject matter, styles, and spiritual states were aesthetically manipulated by modern artists to create a decisively modern visual idiom.

ARTH488F Colloquium in Art History: Exile, Immigration, and Art: Gao Xingjian (Professor Kuo)
TuTh 11-12:15 (HBK 0302H)
The course will be offered in conjunction with an exhibition to be held at the Art Gallery, "The Inner Landscape: The Paintings and Films of Gao Xingjian," guest-curated by Professor Kuo. Students will have the opportunity to study the relationship between the different media by Gao, the first Chinese winner of the Nobel Prize in Literature in 2000 and who now lives in exile in Paris.

ARTH488G Colloquium in Art History: The Early Modern Self-Portrait: Truths and Fictions (Professor Georgievska-Shine)
W 2-4:30 (ASY 3217)
The self-portrait is arguably the most intimate of artistic subjects: as Michelangelo is said to have stated, every painter paints himself. Yet, for all of the truth claims associated with this genre, every self-portrait is a carefully constructed statement of artistic desires and aspirations. This wide-ranging colloquium explores the flourishing of self-portraiture in early modern Europe, from fifteenth-century Italy and Flanders to seventeenth-century Spain and Holland. Some of the artists to be discussed include Van Eyck, Durer, Titian, Bruegel, Sofonisba Anguissola, Artemisia Gentileschi, Caravaggio, Bernini, Rubens, Rembrandt, Poussin, and Velazquez.

ARTH498 (PermReq) Directed Studies in Art History I. Individual Instruction Course
TBD

ARTH499 (PermReq) Honors Thesis. Individual Instruction Course
TBD

Graduate Courses

ARTH 692: Methods of Art History
Professor Anthony Colantuono
Tuesday 12:00-2:40 pm
ASY 4304
This required 600-level colloquium in methods of art history is designed to help students take control of the philosophical, theoretical and rhetorical principles underlying art-historical inquiry.  The course is structured in clusters of readings organized to reveal various aspects of method, typically either: 1) studying a set of readings all applying the same method or approach to a variety of art-historical problems; 2) studying a set of readings using differing approaches to the same art-hsitorical problem; or 3) studying the explicit theorization of a method or theory of art history.  Emphasis is placed upon how scholars acquire their characteristic forms of inquiry due to their intellectual formation in a given "school of thought," due to aspects of personal discourse or due to pragmatic career choices.  The course also examines the role and interests of government as well as of public and private research institutions in husbanding, advocating or discouraging certain types of methodic discourse.  The course includes readings presented in alternate weeks as well as a final paper examining an aspect of method in the student's major field. For all non-Art History and Archaeology majors, permission of the department is required.

ARTH 709: Seminar in Late Roman, Early Christian, and Byzantine Art: The Art and Aracheology of Roman Spectacle
Professor Maryl Gensheimer
Tuesday 3:00-5:40 pm
ASY 4304
This seminar will explore Roman architecture built for entertainment – the amphitheater, bath, circus, naumachia, stadium, theater, and so forth – as a distinct class of public architecture. We will examine the ways in which Greek forms of entertainment differed from Roman: in terms of architectural design and format (of the theater, stadium, or bath, for instance); the levels of violence and types of equipment involved; and the question of amateurism versus professionalism. We will also read primary sources in English translation that vividly illustrate the myriad activities associated with ancient Roman spectacle, such as Greek and Latin tragedies and comedies; Martial’s commentaries on ancient bathing; Christian narratives like The Passion of St. Perpetua as a reflection of martyrdom in the amphitheater; or curse tablets aimed at rival charioteers and racing factions. Throughout the semester, we will study each “type” of entertainment in turn, considering first the art, architectural, and archaeological evidence for it, and then reconstructing the manner in which these buildings were used with the help of various literary sources. Where relevant, we will also discuss the late antique history of a particular type of entertainment – bathing and chariot racing, for instance, continued for centuries at Constantinople, even after gladiatorial games had faded into obsolescence.

ARTH 719: Seminar in Italian Renaissance Art: "Michelangelo"
Professor Meredith Gill
Thursday 12:00-2:40 pm
ASY 4304
In this seminar, we will examine the life and works of Michelangelo, tracing his beginnings as a sculptor through his career as a painter, architect, poet, and designer.  In tandem with this chronological framework, we will analyze contemporary biographies, the artist’s lively relations with his patrons, and his philosophical and theological perspectives as these intersect with the subjects of gender, aesthetics, and poetics in the Renaissance.

Our class structure will be two-fold, comprising lectures and weekly readings, and also focused case-studies on individual works of art or themes selected by participants.  In this way, we will cover a cross-section of the scholarship on Michelangelo, as well as investigate critical themes in art history and the humanities, such as gender (masculinity; queer theory); poetics; psychoanalysis; self-representation; artistic practice and the industry of art (marble quarrying; the artist’s finances); philosophy (Neoplatonism), and theology (patristics and reform).

ARTH 739: Seminar in Seventeenth-Century Northern European Art: Land and Sea in the Dutch Republic
Professor Arthur Wheelock
Monday 3:00-5:40 p.m.
ASY 4304
The evolving character of Dutch landscapes and marines in paintings, prints and drawings in works by artists ranging from Hendrick Avercamp to Jacob van Ruisdael and Willem van de Velde the Younger is one of the most fascinating aspects of the Dutch Golden Age.  This seminar will not only examine the stylistic changes and technical innovations that artists introduced over the course of the century, but also the relationship of pictorial traditions to changes in the physical character of the lands (as when, for example, windmills drained swampy areas to create polders).  It will examine how artists responded to the evolution in transportation systems along inland waterways and the impact of international trade linking the Netherlands with the far reaches of the world.  Finally, it will explore the ways in which artists captured diverse weather conditions and seasons of the year.

This seminar will meet primarily at the National Gallery of Art to study the rich collection of paintings, prints and drawings in its collection.  One of the semester’s projects will be to discuss organizing a small exhibition devoted to marine painting.

ARTH 749: Seminar in Nineteenth-Century European Art: Paul Gauguin: the Artist as Parsifal
Professor June Hargrove
Monday 12:00-2:40 pm
ASY 4304
Paul Gauguin (1848-1903) was one of the most gifted and enigmatic artists of the modern era.  While a monographic seminar might seem narrow, it offers the chance to cover a wide spectrum of topics in depth. The approach will be freewheeling in terms of the ideas and methodological approaches that the class explores.

Painting, sculpture, graphics, and decorative arts were all within his purview. Moreover, he authored hundreds of letters, essays, meditations, and several book-length manuscripts on his experiences, philosophy, religious beliefs, the art world, and his aesthetic principles. He was a prolific artist whose lack of formal training left him free to explore a wide range of materials and techniques without any academic constraints to shed. His radical approach to ceramics, for example, had a profound impact on his painting and sculpture. The audacity with which he transposed his innovations across media is matched by his astonishing eclecticism, embracing cultures around the globe, from antiquity to his own day. His theosophical faith encouraged him to combine the subjects and iconography of different religions, from Christian and Islam to Hindu and Maori, which he leavened with a dose of the occult. The friend of poets and musicians, he integrated their ideas into his creative process, redefining and transforming the nature of symbolism along the way.

His tumultuous life is inseparable from his creative endeavors–the autobiographical mingles with the mythic, and his artistic credo reflects the syncretic nature of his spiritual beliefs. He was, in many ways, the man you love to hate–egocentric, male chauvinist, colonialist–any number of pejorative adjectives can be applied. He could also be a devoted friend and advocate for the disenfranchised. His sentimental side is at odds with his irascible persona. But he was an extraordinarily original artist whose innovations took Symbolism into the abstract and deeply subjective art of the twentieth century.

This course will investigate his art and his writings over the length of his career, in the context of his Symbolist milieu, from various perspectives, besides the historical context–such as his relationship with other artists, poetry and music, theosophy and spiritualism, the sensorium and synesthesia, orientalism and exoticism, modernism and primitivism, feminism and gender issues, post-colonial theories, and the themes and interests that you bring to the class.

Initially, the classes will be a combination of lectures and discussions, for which you will be expected to read assigned articles every week. Each of you will be a section leader for the weekly class discussion on readings chosen in conjunction with the professor.  You will all give an oral presentation on the topic of your research paper.

ARTH 758: Seminar in American Art: The 1930s
Professor Renee Ater
Wednesday 3:00-5:40 pm
ASY 4304

The 1930s mark a moment of extraordinary change in the United States. The Great Depression precipitated a rethinking and reordering of the federal government’s response to economic, political, and social institutions. As part of this rethinking, the federal government sponsored an unprecedented number of art projects, creating jobs for thousands of painters, sculptors, photographers, printmakers, architects, filmmakers, writers, and actors. However, the New Deal art projects of President Franklin D. Roosevelt were not the only response to the changing times. The 1930s also saw the rise of leftist political artists and the strikingly conservative art forms of the so-called “Regionalist” painters. This seminar will focus on the federal art projects of President Franklin D. Roosevelt, social realism (broadly conceived), and the world’s fairs of the period—sometimes called the “Century-of-Progress” expositions. As part of this evaluation, the seminar will consider the role of race, gender, and class in artistic production, the quest for a uniquely American national identity in the arts, the dialogue between urban center and regional periphery, the conflicts between modernism and realism, and the rise of anti-fascist responses in art. We will be foremost concerned with mural and easel painting, public sculpture, photography, and film.