Spring 2020 courses

Undergraduate Courses

Graduate Courses

Undergraduate Courses

Undergraduate Catalog

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 Mansbach) 
MW 9-9:50 + section (ASY 2203)
This course examines the visual arts of Europe (and to a lesser extent the United States) from roughly the year 1300 to the present.  Although the course is predicated chronologically on ARTH 200, there is NO pre-requisite and a student will find ARTH 201 self-sufficient as it introduces and analyzes major artistic monuments that continue to shape our vision and define our world.



ARTH230 Symbolic Images: The Theory and Practice of Iconography in European Art, 1400-1850 (Professor Colantuono)
TuTh 11-12:15 (ASY 3219)
Iconographic interpretation of visual narratives, signs and symbols has long been a topic of art-historical inquiry. In early modern European art, images were often conceived with the deliberate intent of posing a 'puzzle' or 'problem' for the beholder to solve; yet in most cases we have little or no evidence of how contemporary beholders solved such enigmas. Provides students with the opportunity to take command of these research methods and source materials, addressing a genuine iconographic problem, researching the relevant literature, identifying the essential primary source evidence, making contextually appropriate assumptions, and producing a valid result.

ARTH255 Art and Society in the Modern American World (Professor Korobkin)
MW 10-10:50 (ASY 2203)
This multicultural history of art and society in the modern American world will introduce you to art and material culture from the colonial period to the near present. What roles have portraiture, landscape painting, public monuments and performance art played in constructing social identities in the United States and Latin America? What can we learn from works of art about histories of colonialism, revolution, slavery, and the struggles for expanding civil rights in the diverse societies of the Americas? How did artists respond to industrialization, urbanization and the invention of photography and film? In considering these questions and others, we look closely at many forms of artistic production and develop interpretive approaches to illuminate their histories, politics and meanings.



ARTH305 Archaeological Methods and Practice (Professor Cloke)
MW 10-11:15 (ASY 4213A)
This course will discuss the theories, methods, and practice of archaeology. From week to week, faculty members from the University of Maryland campus and outside lecturers will present aspects of archaeology, from “how to dig” to ethical issues surrounding excavation and the acquisition of antiquities by museums. Participation in weekly
discussion, based on assigned readings, is expected of each student, and will contribute to the overall grade for the semester. Students will also be responsible for writing two short papers on specific issues analyzed in class. At the end of the semester, students will make presentations on the issues surrounding certain archaeological discoveries (further information on this aspect of the course is on the last page of the syllabus). There will also be a midterm and final exam.

A team-taught, interdisciplinary course discussing theories, methods, and ethical issues in the practice of archaeology.

Prerequisite: ANTH240, ARTH200, or CLAS180.
Cross-listed with ANTH305, CLAS305.
Credit only granted for: ANTH305, ARTH305, or CLAS305.

ARTH330 Seventeenth-Century European Art; The Age of Rubens (Professor Honig)
TuTh 3:30-4:45 (ASY 3215)
Peter Paul Rubens was one of the most extraordinary men of his time. An artistic superstar then as now, Rubens was also an important diplomat and scholar. Philosophers as well as monarchs considered him a friend and peer. This course considers what it meant for such a man to make art; how his art was integrated into his political and intellectual life; and how it spoke to the political and religious conflicts and the philosophy of his time. We will consider Rubens’s art within the broader visual culture of Europe, travelling (along with him) to the Italy of Caravaggio and the Spain of Velazquez, the England of Charles I and the France of Marie de’ Medici. We will also study the massive workshop Rubens ran in Antwerp, the production models he innovated, and his practice of working collaboratively with other master painters.


ARTH350 Twentieth-Century Art to1945 (Professor Mansbach)
M 1-3:30 (ASY 3215)
This course will consider the development of modern styles from the last decades of the nineteenth century through the years of World War II. The focus will be placed principally on the evolution of modernism in Europe and the United States. In addition to introducing key artists and their works, the course will explore the ideas and ideologies that motivated painters, sculptors, and architects, and that shaped their art and defined their audiences.


ARTH357 History of Photography (Professor Grossman)
F 1-3:30 (University of Maryland Center for Art and Knowledge at The Phillips Collection)

Credit only granted for: ARTH357 of ARTH457

An exploration of the historical, social, aesthetic, and technological developments of the photographic medium and its relationship to other modes of visual representation in the creation of the modern world. Course meets at Phillips Collection, 1600 21st St. NW, Washington, DC.

ARTH359V Film as Art; Seeing Through Film: How Film Means (Professor Metcalf)
W 3:30-7 (ASY 4213A)
This course explores how Hollywood entertainment films have meanings beyond their plots. Students will learn how to analyze the totality of a film and its context, how a film tells its story, as they explore the way directors use film form and film conventions to create films with multiple meanings, films that undermine their overt stories, films that critique film genres and star personae, films created out of other films, films that explicate philosophical ideas, and films that change meanings depending upon the culture and expectations of the audience.

ARTH386 Experiential Learning
Prerequisite: Permission of ARHU-Art History & Archaeology department.
Junior standing or higher.
Supervised internship experience in diverse areas of art historical, archaeological, and museological work.
Contact department for information to register for this course.

ARTH389A Special Topics in Art History and Archaeology: The Art of Drawing: A Left and Right Brain Experience (Professor Bland)
W 10-12:30 (ASY 3219)
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 of 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.

ARTH389D Special Topics in Art History and Archaeology; Humanists on the Move (Professor Honig)
TuTh 11-12:15 (ASY 4213A)
Humanism was the intellectual movement that defined Europe’s Renaissance. Originating in Italy, Humanism rapidly became a revolutionary way of thinking that crossed national boundaries, joining people in a common way of valuing humanity. Great figures as diverse as Leonardo da Vinci, Henry VIII, Isabella d’Este, Martin Luther, Albrecht Dürer and Copernicus were all, in some way, connected with humanist ways of thinking. This course uses digital methods to explore these and other humanists as individuals who travelled, studied, argued, wrote, built and painted within the humanist movement. Each student will take on a single figure, and will gather data on their movements and on their connections to other humanists. You will learn how to refine and visualize your data using digital tools like Palladio, OpenRefine, Gephi, and Cytoscape. We will also read and discuss original texts and visual artworks by many of these humanists.

ARTH389F Special Topics in Art History and Archaeology; Classical Mythology in Renaissance Art (1400-1700) (Professor Georgievska-Shine)
M 2-4:30 (ASY 3211)
One of the most significant facets of the “rebirth” of antiquity during the early modern era was the renewed interest in the meaning of classical myths among philosophers, theologians, men of letters, and visual artists. The most influential classical authority throughout this period was the Roman poet Ovid (Publius Ovidius Naso) whose fifteen-book poem The Metamorphoses served as a veritable “Pagan Bible” for painters and poets alike. This course explores the ways in which the stories contained in this “perpetual poem” were represented in the European visual arts between 1400 and 1700. Students will gain an understanding of the main Ovidian themes in Renaissance and Baroque art and greater proficiency in “reading” paintings and sculptures in general. By analyzing different styles and symbolic meanings in visual renderings of pagan myths, they will become more conversant with the changing perspectives on the world of
antiquity during the early modern period.

ARTH389J Special Topics in Art History and Archaeology; Aztec to Inca: Art and Archaeology from the Ancient Americas (Professor Bland)
W 2-4:30 (ASY 3215)
This lecture course is a selective, historical survey of ancient art and architecture in Mesoamerica and Andean America. The course examines the artistic advances in Mexico and Peru up to the Conquest of Mexico and Peru. The focus will include works created by the Olmec, Zapotec, Maya and Aztec people in Mesoamerica and the Chavin, Paracas, Moche and Inca cultures in Andean America.




ARTH389W Special Topics in Art History and Archaeology; Professional Writing in Art History (TBA)
TuTh 3:30-4:45 (ASY 3217)
Through weekly colloquia and workshops, students will hone their skills in professional writing, with particular attention paid to clarity and effectiveness in articulating an argument or point of view. Additonally, they will learn from museum and heritage professionals about crafting grant proposals, press releases, social media and marketing plans, and exhibition wall texts and labels.

ARTH488B Colloquium in Art History; "Representing the Other" (Professor Saggese)
TuTh 2-3:15 (ASY 3217)
This course offers a comparative and thematic approach to studying the representation of otherness in art and visual culture from the eighteenth century to the present. First, it works to expand the definition of otherness, which has come to mean non-white difference, to include ideas of sexuality, gender, and ability. Students will then consider the roles that ethnicity, nationality, and politics play in representations of otherness across various continents and chronologies. Via a combination of reading assignments, lectures, and discussions we shall undertake contextualized examinations of image-making strategies and of power differentials mediated across communities of artists and viewers. Throughout the semester, we will be concerned with the intersections of visual culture and the concepts of multiculturalism, identity politics, and post-race that have dominated the reception of otherness in the late 20th and early 21st centuries.

ARTH488X Colloquium in Art History; Contemporary Transnational Chinese Cinemas and Art (Professor Kuo)
Tu 2-4:30 (ASY 4213A)
Through critical screenings, viewings, readings, and discussions, we will examine cinemas and art by directors and artists in Greater China (PRC, Taiwan, Hong Kong), “cultural China,” and the Chinese diaspora. Students will consider representative works by directors such as Ang Lee, Ann Hui, Chen Kaige, Feng Xiaogang, Hou Hsiao-hsien, Wong Kar-wai, and Zhang Yimou, and artists such as Ai Weiwei, Cao Fei, Gao Xingjian, Gu Wenda, and Xu Bing, as a way to cross-examine the concepts of the contemporary and the transnational.

Also offered as FILM429L


ARTH489J Special Topics in Art History; Death in the Biblical World (Professor Suriano)
Tu 4-6 (JMZ 1123)
Contact Instructor or department for details.

Death, burial and concepts of the afterlife in the ancient Mediterranean cultures with a particular focus on ancient Israel and early Judiasm. Source material, both texts and artifacts, will be examined within the contexts of the ancient Near East (Egypt and Mesopotamia) and the
Classical World (Greece and Rome).

ARTH489K Special Topics in Art History; Art and the Museums World (Professor Georgievska-Shine)
F 2-4:30 (ASY 3217)

Learn about ways in which you can use your fine arts and art history background in a variety of contexts – from museums and galleries to governmental and non-governmental art organizations. Our weekly meetings will address various professional paths including curatorial work, collection management and preservation, installation, and educational and outreach programs that promote a more meaningful relationship between museums and their audiences.

Some sessions will take place on campus, but most of them will be held in museums and other art institutions. Many of them will involve conversations with professionals and/or guided tours. This course is open to students from variety of backgrounds including, but not limited to studio arts and art history, journalism, architecture, classics, computer science, government and politics, or business and communications.

ARTH489N Colloquium in Art History; Can Art Museums Be Decolonized? A History of Modern Art Display in America (Professor Boyd)
W 2-4:30 (ASY 3217)
Students will study how collectors, curators, patrons, artists and architects collaborated to display modern art from the late 19 th century to the present, particularly in the United States. The course focuses on specific exhibitions and museums (for example the Phillips Collection, MoMA, Barnes Foundation, and Maryland Historical Society) to explore historical contexts for and theories of the display of art. Local museums will serve as an extension of our classroom as we analyze current exhibitions at the Renwick Gallery and the Phillips Collection to understand how
museums function as spaces of knowledge building, identity formation, and politics. At the end of the course, we will study how artists have engaged with these spaces with site-specific art works and practices of institutional critique. As a final project, students will propose a new installation of a museum’s permanent collection that reimagines what its works of art can do and and what they can mean.

ARTH498 (PermReq) Directed Studies in Art History I. Individual Instruction Course
Audit. Contact department for information to register for this course.

ARTH499 (PermReq) Honors Thesis. Individual Instruction Course 
Audit. Contact department for information to register for this course.

Graduate Courses

ARTH 708D: Seminar in Ancient Art and Archaeology; The Ancient Portrait
Professor Maryl Gensheimer
Thursday 12:30-3:00 p.m.
ASY 4304

This seminar will engage issues of connoisseurship, iconography, iconology, and semantics in order to analyze and understand Egyptian, Greek, and Roman portraits in their ancient contexts. This course emphasizes the historical, religious, political, social, and cultural contexts of the works studied; the relationship of the works of art to the society that created them; and the interrelationships of these societies as seen through their material and visual culture.






ARTH 758L: Seminar in American Art: Art and Visual Culture in the 1930s
Professor Tess Korobkin
Wednesday 3:00-5:30 p.m.
ASY 4304

How did artists respond to the economic, political, and social turmoil that defined the Great Depression era in the United States? How can art historians plumb the historically-specific meanings, possibilities and limits of media and materials in analyzing works of art and visualculture? Guided by these two questions, this seminar will explore artistic production in 1930s America. In addition to close analysis of traditional media such as painting and sculpture, we will consider the role of intermediality in thirties constructions like the photobook as well as
unconventional materials—soil, radio, pedagogy—in defining the arts of the era. Throughout, we will question the explicit and implicit politics of works of art and elucidate the formations of race, class, gender, and sexuality that underpin them. Among the many figures we will consider: Berenice Abbott, Walker Evans, James Agee, Thomas Hart Benton, Aaron Douglas, Alain Locke, Augusta Savage, Malvina Hoffman, Isamu Noguchi, King Kong and Charlie Chaplin.


ARTH 768A: Seminar in Latin American Art and Archaeology: Critical Historiographies of Latin American Modernism
Professor Abigail McEwen
Monday 12:30-3:00 p.m.
ASY 4304

This seminar devotes itself to an historiographical study and appraisal of postwar Latin American art history, beginning at mid-century and continuing through the revisionist critiques of the present day.  Major critics and theorists are discussed in the context of canon formation, the geopolitical dynamics of inclusion and exclusion, and the tensions between national, regional, and global identities.  The course spans North and South America as well as the Caribbean and considers the relationships between writers and artists as well as parallel histories of modernism, both in the United States and in the Global South.  Students will have access to the José Gómez Sicre archives at the Art Museum of the Americas | Organization of American States.

ARTH779D Seminar in Japanese: The Japanese Diaspora in America: Art, Race, Incarceration
Professor Alicia Volk
Tuesday 12:00-2:30 p.m.
ASY 4304

Artists from Japan practiced in the United States in the early twentieth-century despite racially based restrictions on immigration and exclusion from citizenship. Even under harsh conditions of racial discrimination, a surprising number of these artists attained professional success, at least before the Second World War and the Japanese-American Incarceration all but extinguished their practice. Today these Japanese artists are marginal figures or are largely forgotten, their artworks having fallen through the cracks of art historical study. Art History’s
long-entrenched approach to disciplinary categorization, which distinguishes “Asian art” and “Japanese art” from both “modern art” and “American art,” works to perpetuate a racial bias against Asian artists who were active in the United States in the twentieth century, both before and after the war. In order to address this disciplinary problem, and on the occasion of the major exhibition “Obata Chiura, An American Modern” at the Smithsonian American Art Museum, this seminar aims to bring perspectives from multiple subfields to bear on the global nature of Japanese artists’ practice in the American diaspora. We will assess the challenges and potential of such material to the discipline, and chart new strategies and methods for scholarship.

Shimizu Toshi, At the Chop Suey Restaurant, 1921

(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.

(Perm Req)
Doctoral Dissertation Research
Contact department for information to register for this course.