Fall 2016 Courses

Undergraduate Courses

Graduate Courses

Undergraduate Courses

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 10-10:50 + 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.

ARTH250 Art and Society in the Ancient American World (Professor Bland)
MW 11-11:50 + 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.

ARTH302 Greek Art and Archaeology (Professor Egan)
TuTh 2-3:15 (ASY 3211)
Sites and monuments of painting, sculpture, architecture, and the minor arts from the Geometric through the Hellenistic period with emphasis on mainland Greece in the Archaic and Classical periods.

ARTH305 Archaeological Methods and Practice (Professor Bravo)
MW 11-12:15 (KEY 0116)
Prerequisite: ANTH240, ARTH200, or CLAS180. Also offered as: ANTH305, CLAS305. Credit only granted for: ANTH305, ARTH305, or CLAS305.
A team-taught, interdisciplinary course discussing theories, methods, and ethical issues in the practice of archaeology.

ARTH320 Fourteenth- and Fifteenth-Century Northern European Art (Professor Martinez)
TuTh 9:30-10:45 (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 12:30-1:45 (ASY 3215)
Major trends from Neo-Classicism to Romanticism through an interdisciplinary perspective with an emphasis on historical context.

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.

ARTH359I Film as Art; Kubrick, Lynch and Greenaway: Artists Making Film (Professor Metcalf)
W 3-6:30 (HBK 0302J)

ARTH360 History of American Art to 1876 (Professor Ater)
TuTh 11-12:15 (ASY 3211)
Painting, sculpture, architecture, and the decorative arts in North America from the colonial period to 1876.

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 3215)
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.

ARTH389C Special Topics in Art History and Archaeology; The Art of Seeing (Professor Gerogievska-Shine)
TuTh 9:30-10:45 (ASY 3211)
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.

ARTH389D Special Topics in Art History and Archaeology: Demons, Ghosts and Monsters in Japanese Art (Professor Suzuki)
TuTh 11-12:15 (ASY 3215)
Supernatural beings and people’s fascinations for them exist in every culture. Yet, every society imagines these creatures in different ways, revealing both universal and culturally specific concerns to make sense and meaning of mysterious, fearful, and anomalous phenomena.  This course will examine artistic representations of “monsters” as beings who inhabit physically liminal and ontological spaces, challenging and blurring traditional categories of understanding. We will begin by studying cultural studies theories on “monsters and the monstrous” as useful interpretive tools for examining the visual materials. The course will also consider the ways in which Japan’s long history of animism, Shinto, Buddhism and traditional folklore, shaped Japanese conceptions of supernatural entities and their relationship to humans. We will then examine visual representations of these mysterious beings in various artistic formats, including medieval horizontal picture scrolls, premodern wood-block prints, and modern posters.

ARTH484 Modern Chinese Film and Visual Culture (Professor Kuo)
TuTh 11-12:15 (HBK 0302J)
Credit only granted for: ARTH484; ARTH489F in F2012, F2011, F2008, or S2009; or ARTH488F in S2010, S2008, or F2009 or FILM426. Formerly: ARTH489F in F2012, F2011, F2008, or S2009; or ARTH488F in S2010, S2008, or F2009.
Modern Chinese culture, society, and history studied through examples of art, film, and visual culture. Also offered as FILM426

ARTH488C Colloquium in Art History: Contemporary Chinese and Chinese-American Cinema on Women (Professor Kuo)
Tu 12:30-1:45 (HBK 0302J)
Through a transnational study of major filmmakers from mainland China to Hong Kong, Taiwan, and the Chinese diaspora, the course is intended to consider  issues of female cinematic authorship, gender and sexuality in cinematic representation, power and knowledge,  negotiations of local and global cultural politics. Also offered as FILM429C and WMST498J. Credit granted for ARTH488C, FILM429C, or WMST498J.

ARTH488S Colloquium in Art History; True Love and Erotic Fantasy in European Art, 1200-1725 CE (Professor Colantuono)
M 12-2:30 (ASY 3217)
The problems of the nature of love and sexual desire are extensively addressed in the visual arts from the later Middle Ages through early modernity (for the purposes of this course, ca. 1200 to 1725 CE).  In medieval and Renaissance Europe, when works of art were seen as a means of communicating moral, religious and even natural-philosophical principles, artists were called upon to illustrate, allegorize, diagram and visually explicate love and sexuality in all their aspects: the possibilities of chaste, Platonic love, the workings of aphrodisiacs and witchcraft, the sensuous pleasures and the moral dangers of sex, the place of love in the judgments of Christian morality and in everyday secular experience—and even the physiological and medical manifestations of amorous desire.  This seminar surveys and analyzes the imagery of love and erotic desire in major works of art by such artists as Hieronymus Bosch, Sandro Botticelli, Michelangelo, Agnolo Bronzino, Titian, Rembrandt van Rijn, Gianlorenzo Bernini, Peter Paul Rubens, Johannes Vermeer, and Antoine Watteau—among many others. Students will take turns presenting primary source texts as well as modern scholarly literature in order to inform and guide creative discussion of these famous works. A term paper to be presented both orally and in written form will explore an original research topic, to be selected and developed in consultation with the instructor.

ARTH489C Special Topics in Art History; Art and Mindful Practices (Professors Ater and Suzuki)
TuTh 2-3:15 (ASY 3215)
This team-taught course explores the intersection of the visual arts and mindfulness practices. Arranged thematically, the course considers how artists and cultures have engaged mindfulness and contemplative practices. We take a cross-cultural and cross-temporal approach to the arts, examining painting, sculpture, monuments, gardens, and multimedia and installation works. Students are required to participate in a range of mindfulness practices in the classroom including meditation, journaling, bodily movement, and art making. In addition to weekly lectures and discussions, this course includes visits to local museums, gardens, and other sites. 

Students should sign up for either Dr. Ater’s 2701 section or Dr. Suzuki’s 0801 section for ARTH489C. The class will be team-taught at the same time in the same classroom.

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

ARTH499 (PermReq) Honors Thesis. Individual Instruction Course

Graduate Courses

ARTH 619B: Studies in Italian Renaissance Art: Magic Possessions: The Spirit World of Early Modern Italy
Professor Meredith Gill
Tuesday 12:00-2:40 p.m.
ASY 4304
This colloquium will focus on magical consciousness, alchemy, and the occult in Renaissance art and visual culture.  We will be working at the intersections of art history, intellectual history, metaphysics, and the history of religion, examining the Kabbalah and the Hermetic tradition, as well as primary treatises and chronicles on themes such as demonic possession, witchcraft, and prophecy.  We will consider how the visual arts, in the most inclusive sense, engaged magical and talismanic practices in representing spirit possession, for example, and exorcism.

We will investigate how artists and theorists modeled their views about inspiration, technical mastery, and invention on concepts attending both the angelic and the demonic.  We will read the writings of figures such as Giovanni Pico della Mirandola (1463-1494) and Giordano Bruno (1548-1600).

ARTH 692: Methods of Art History
Professor Joshua Shannon
Thursday 12:00-2:40 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 739C: Seminar in Seventeenth-Century Netherlandish Art. Drawings for Paintings in the Age of Rembrandt
Professor Arthur Wheelock
Monday 3:00-5:40 p.m.
ASY 4304
This seminar will be held in conjunction with an exciting exhibition that will be at the National Gallery this coming fall.  It will examine the role of drawings in Dutch art, and specifically how these artists used drawings in the painting process.  A wide range of drawings are in this show, including compositional sketches, figure drawings and construction drawings.  Underdrawings will also be featured. Among the artists featured will be Hendrick Avercamp, Aelbert Cuyp, Rembrandt van Rijn, and Pieter Saenredam.  This class will meet regularly at the National Gallery.

ARTH 749C: Seminar in Nineteenth-Century European Art. Academy to Avant-Garde
Professor June Hargrove
Thursday 3:00-5:40 p.m.
ASY 4304
The Creative Process: From the Academy to the Avant-garde.

This seminar will explore the creative process across the long nineteenth century in Europe through a variety of approaches. Instead of examining the concept in a systematic or chronological framework, the intention is to examine it from diverse practical and philosophical perspectives. For example, we can examine traditional academic practices in painting and in sculpture, perhaps veering into how those processes were radically transformed later in the century. another topic would be the role of memory (à la Lecoq de Boisbaudran and after); the Imagination – Baudelaire to Mallarmé/Delacroix to Redon; Attitudes about masculinity and creativity—from Girodet to Gauguin. Two sessions will be devoted to trips—one on prints and another on what we have learned from conservation.

Students will be expected to participate actively in the class sessions. This includes a variety of undertakings, such as discussion and reports on readings, short presentations, debates, and oral reports. In addition to some lectures, this course requires several readings a week, which are the basis for the class discussions. These discussions are supplemented by pertinent images that you have researched and put on a class Wiki page connected with Canvas. Each participant will be a discussion leader at least once during the semester, for which s/he will choose and post the readings at least one week prior to their session and prepare images and discussion points for that day. All of the participants are expected to come with questions/responses/ideas that pertain to the readings and the images that are posted on the Wiki. Everyone will give an oral report on the topic of his/her choice relevant to the scope of the class. It will be followed by discussion with the class of the ideas and presentation, which should help to shape the written version. This 15-page research paper is due one week after the report in class.

(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.