Fall 2017 Courses

Undergraduate Courses

Graduate Courses

Undergraduate Courses

Undergraduate Catalog

ARTH200 Art and Society in Ancient and Medieval Europe to the Mediterranean (Professor Egan)
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 Colantuono)
MW 11-11:50 + 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.

ARTH292 Discovering Japan: How the Arts Shaped a Nation (Professor Volk)
MW 10-10:50 + section (ASY 2203)
Explores the origins and creation of Japan from ancient to contemporary times through East Asian and European exchange. Acquaints students with painting, sculpture, architecture, ceramics, gardens, and other art forms in relation to the various cultural contexts within which they were produced and used.

ARTH305 Archaeological Methods and Practice (Professor Hambrecht)
TuTh 2-3:15 (KEY 0116)
A team-taught, interdisciplinary course discussing theories, methods, and ethical issues in the practice of archaeology.
Prerequisite: ANTH240, ARTH200, or CLAS180.
Also offered as: ANTH305, CLAS305. Credit only granted for: ANTH305, ARTH305, or CLAS305.

ARTH320 Fourteenth- and Fifteenth-Century Northern European Art (Professor Martinez)
TuTh 11-12:15 (ASY 3215)
The art of northern Europe with an emphasis on painting in the Netherlands and France.





ARTH335 Seventeenth-Century Art in the Netherlands (Professor Georgievska-Shine)
TuTh 12:30-1:45 (ASY 3211)
Painting, sculpture and architecture in seventeenth-century Netherlands

ARTH345 Nineteenth-Century European Art to 1850 (Professor Crosson)
TuTh 11-12:15 (ASY 3211)
Major trends from Neo-Classicism to Romanticism through an interdisciplinary perspective with an emphasis on historical context.

ARTH350 Twentieth-Century Art to 1945 (Professor Mansbach)
TuTh 9:30-10:45 (ASY 3215)
Prerequisite: ARTH201.
Painting, sculpture, and architecture in Europe and America from the late nineteenth century to the end of World War II.

ARTH359M Film as Art; The Western and the Idea of the American West (Professor Metcalf)
W 3:30-7 (ASY 4213A)
This course is a consideration of the West in American Imagination. The primary documents and focus will be Western films.

ARTH362 Twentieth-Century African-American Art (Professor Gohari)
TuTh 11-12:15 (ASY 3217)
Credit only granted for: ARTH362 or ARTH462. Formerly: ARTH462.
Surveys and evaluates the art and visual culture of African Americans from 1900 to the present.

ARTH372 Modern Latin American Art to 1945 (Professor McEwen)
TuTh 9:30-10:45 (ASY 3211)
Recommended: ARTH371.
Restriction: Must not have completed ARTH389L during the following semester; Fall 2010, Fall 2011, or Fall 2012.
Credit only granted for: ARTH372 or (ARTH389L in Fall 2010, Fall 2011, or Fall 2012).
Formerly: ARTH389L in Fall semesters of 2010, 2011, 2012 only.
Painting and sculpture in Latin America, with an emphasis on avant-garde movements in Mexico City, Havana, Buenos Aires, Sao Paulo, and Rio de Janeiro.

ARTH386 Experiential Learning
Prerequisite: Permission of ARHU-Art History & Archaeology department.
Junior standing or higher.

ARTH389A Special Topics in Art History and Archaeology: The Art of Drawing: A Left and Right Brain Experience (Professor Bland)
W 2-4:30 (ASY 4306)
This course examines Old and Modern Master Drawings, theories of drawing and drawing practice. Lectures will discuss Dr. Betty Edward's theory of a verbal, analytical Left Brain and a visual, perceptual Right Brain. As practice, students will learn to make the mental shift from left, analytical brain to right, visual brain. Class exercises are based on Betty Edward's text, Drawing on the Right Side of the Brain. No prior drawing experience is necessary.


ARTH389B Special Topics in Art History and Archaeology; The Art of Color: A Left and Right Brain Experience (Professor Bland)
F 10-12:30pm (ASY 2318)
This course is about understanding color and experiencing color. The course is composed of two parts, a lecture and color practice. The lectures examine a wide range of old and modern master paintings from Antiquity to the Twentieth Century. The lectures also examine how artists use color in a variety of media to distinctively record their surroundings, express their emotions and explore the aesthetics color applications. The practice portion of this course is composed of color/painting assignments that challenge students beyond color theory. Students will complete a series of exercises based on Dr. Betty Edward's text, Color, A Course in Mastering the Art of Mixing Color. No prior drawing or painting experience is necessary. However, students should be willing to extend a concerted amount of time and effort on each studio assignment

ARTH389N Special Topics in Art History and Archaeology; The Art of Seeing (Professor Georgievska-Shine)
TuTh 9:30-10:45 (ASY 3217)
In addition to reviewing basic elements associated with visual communication such as composition, space, form, and color, the course explores how these elements help establish meaningful connections between images whether in terms of identifying works created by a single artist, or those that belong to a particular period or social setting. The Art of Seeing offers a close study and analysis of works of art from diverse periods and cultures.

ARTH389P Special Topics in Art History and Archaeology: Help for Life's Journey: Visual and Material Culture in Northern Europe (Professor Martinez)
TuTh 2-3:15 (ASY 3215)
This course considers the ways in which people used art and objects to meet the challenges of life relating to health and disease, marriage and family, and social identity.

ARTH389R Special Topics in Art History and Archaeology; World Science Fiction Film (Professor Kuo)
TuTh 11-12:15 (HBK 0302J)
Also offered as FILM359N. Credit granted for ARTH389R or FILM359N.
The course will examine important global science fiction films, with emphasis on films made by directors in Asia, Africa, Europe, and South America.

ARTH465 The Landscape in Modern and Contemporary Art (Professor Shannon)
Tu 12:30-1:45 (ASY 3215)
Prerequisite: ARTH201.
Credit only granted for: ARTH465 or (ARTH489B taken in Spring 2008 or Spring 2009).
Formerly: ARTH489B.
A consideration of the representations of outdoor spaces since 1850. Focuses on the ways in which artists have understood and tried to make sense of modern and postmodern cities, suburbs, and rural areas.



ARTH488B Colloquium in Art History; Mexican Muralism: Nation, Race, Revolution (Professor McEwen)
TuTh 12:30-1:45 (ASY 3217)
A survey of Mexico’s mural movement, this course examines the work of “Los Tres Grandes”—Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco—and their contemporaries in Mexico and the United States between approximately 1920 and 1960.  Their work will be studied in the context of Mexico’s Revolution and period discourse on state modernization, national identity, and Pan-American politics.  We will also consider parallel expressions of Mexican modernity, including photography and film, and the role of women artists, including Frida Kahlo and María Izquierdo.  The seminar includes visits to the exhibition Tamayo: The New York Years, at the Smithsonian American Art Museum, and to the Mexican Cultural Institute.

ARTH488I Colloquium in Art History; Orientalism in Cinema (Professor Kuo)
TuTh 12:30-1:45 (HBK 0302J)
Also offered as FILM429I. Credit granted for ARTH488I or FILM429I.
The course will use critical insights from cultural studies, psychoanalysis, post-colonialism, genre criticism, and feminism to examine the politically charged and ideologically biased cinematic representation of the peoples and cultures of North Africa and Asia.

ARTH488V Colloquium in Art History; Vermeer and the Masters of Genre Painting (Professor Wheelock)
M 3-5:30 (ASY 3215)
This course will explore the exciting world of Dutch Seventeenth-Century Genre Painting through the lens of a major international exhibition, Vermeer and the Masters of Dutch Genre Painting.  This ground-breaking exhibition, which includes 10 paintings by Vermeer, examines his relationships with other major artists, including Gerard ter Borch and Gerrit Dou, by juxtaposing paintings with similar thematic and stylistic approaches. A number of the class meetings will be held in the exhibition galleries at the National Gallery of Art.


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

ARTH499 (PermReq) Honors Thesis. Individual Instruction Course

Graduate Courses

ARTH 692: Methods of research and criticism applied to typical art-historical problems; bibliography and other research tools.
Professor Joshua Shannon
Thursday 3:00-5:40 p.m.
ASY 4304
This graduate colloquium, for new students in the department, provides a comparative introduction to the intellectual topics and strains now dominating the discipline of art history.  Each week we will read an important book published in the last forty years, each one exemplifying a currently pressing topic or problem.  In our treatment of the books, we will be concerned above all with method: what is most important to each author and why?, how does each author use evidence, and what role do works of art play in the account? what scholarship has been influential to each author; what items appear in the footnotes and why?  In short, we will consider the various aims of today’s prominent art historians and the means they use to achieve those aims.  Discussion of each week’s book will be accompanied by one or two presentations on the history and state of a relevant method or topic.

For all non-Art History and Archaeology majors, permission of the department is required.

ARTH 708: Seminar in Ancient Art and Archaeology; The Athenian Acropolis
Professor Emily Egan
Tuesday 3:00-5:40 p.m.
ASY 4304
High above the city, the Acropolis of Athens serves as a visual and cultural landmark in the topography of Greece. Utilizing evidence from ancient texts and modern archaeological investigations, this course traces the development and use of the site from the Neolithic through early modern periods, with an emphasis on the spectacular achievements of the 6th and 5th centuries BC. A Bronze Age fortress, an Archaic and Classical civic sanctuary, a Hellenistic and Roman venue for flaunting dynastic and imperial achievements, and the site of Christian and Islamic monuments in the Medieval and early modern eras, the Athenian Acropolis embodies a dynamic definition of Greek art and architecture, which this class explores in concert with longstanding issues of cultural heritage and archaeological ethics.

ARTH 738: Seminar in Seventeenth-Century Southern European Art; On the Verge of Modernity: The Problem of Artistic Novelty from Renaissance to Baroque in Italy, France, and Spain
Professor Anthony Colantuono
Monday 3:00-5:40 p.m.
ASY 4304
In Catholic southern Europe, the sixteenth and seventeenth centuries witnessed the efflorescence of a sophisticated artistic culture informed by a profound theoretical critique of earlier Renaissance art, and shaped by strikingly novel literary developments, new patterns of patronage, radically changing social and religious discourses, decades of war, and the later Renaissance philosophical frameworks of skepticism and the new science.  This seminar seeks to survey and explore the startling range of new artistic ideas—and the resultant problems of historical interpretation— that emerged in this age of upheaval.

By the early sixteenth century the problem of novelty is explicitly established as a major area of art-theoretical speculation and diacritical perception.  Its importance only grows throughout the ‘early modernities’ of the later Renaissance and Baroque.  How can we define this taste for artistic novelty in historical terms?  Is the concept of ‘novelty’ itself really ‘new’ in early modern humanistic culture, or does it in fact have medieval or even antique roots?  How might this historical phenomenon relate to the endless sequence of novelties and innovations that seems to define our own contemporary ‘modernities’?  Following a series of introductory lectures and readings in the pertinent methodologies and (translated) primary sources, seminar readings and discussions will examine a broad array of artists, theorists and critical writers addressing this insistent, often aggressive quest for ‘the new.’  Issues to be explored may include the nature, purpose and paradoxical ‘modernity’ of the new antiquarianism; the development of new artistic techniques; the profusion of new graphic forms; the aesthetics of the bizarre and the capricious in devotional images and the portrayal of sacred history; the problematics of Baroque ‘naturalism’ and the notion of the ‘Idea of beauty;’ the notion of ‘shock value’ and the origins of artistic provocation; the subordination of pictorial invention to new literary genres and stylistics; and innovations in display and reception—to name just a few of the possibilities.

In addition to the presentation and discussion of readings throughout the semester, students will select and develop an original topic to be presented both orally and as a written research paper.

ARTH 779: Seminar in Japanese Art; Avant-Garde Art in Japan
Professor Alicia Volk
Monday 12:00-2:40 p.m.
ASY 4304
This seminar will focus on avant-garde art in twentieth-century Japan, giving roughly equal emphasis to pre-1945 and post-1945 developments. An overarching aim will be to examine avant-garde artists, projects, products and audiences in their varied socio-political, cultural and artistic contexts. We will be sensitive to the hermeneutical baggage of the (originally French) term avant-garde, to the complexities of the term’s adoption into Japanese, and to the Japanese avant-gardes’ sometimes complicated relationship and interaction with non-Japanese avant-gardes. We will see how Japan’s fraught relationship to an imagined native past and a modern (Westernized) present—as well as the third space of imperial Japanese colonies—complicated Japanese avant-gardes’ construction of and relationship to an “establishment” against which to rebel or react. Some questions we will ask include: How did Japanese avant-gardes seek to transform, critique or otherwise interact with existing cultures, structures or establishments? In what ways and via which forms did they endeavor to shape, intervene in, or otherwise affect cultural, social, and political norms and givens? We will also seek to understand how notions of gender and cultural identity and difference inflected the formulation and strategies of Japanese avant-gardes, and examine the role of geopolitics in the reception and framing of Japanese avant-gardes by multiple (domestic and foreign) audiences.

(Perm Req)
Directed Graduate Studies in Art History
Contact department for information to register for this course.

(Perm Req)
Master's Thesis Research
Contact department for information to register for this course.

(Perm Req)
Pre-Candidacy Research
Contact department for information to register for this course.