Fall 2018 Courses

Undergraduate Courses

Graduate Courses

Undergraduate Courses

Undergraduate Catalog

ARTH200 Art and Society in Ancient and Medieval Europe to the Mediterranean (Professor Egan) 
MW 10-10:50 + section (ASY 2203)
Bust of NefertitiMosaic of Justinian ILove art but can’t draw? Interested in learning more about diverse cultures? Want to know why buildings and statues look the way they do today? Come explore the world of ancient and medieval Europe and the Mediterranean this fall in ARTH 200.  This introductory course in art history examines major achievements in sculpture, painting, and architecture from Old Kingdom Egypt to Gothic France. It considers fundamental concepts of content, form, and technique, while simultaneously exploring how past societies used visual culture to communicate ideas that remain fundamental to our modern experience.




ARTH201 Art and Society in the West from the Renaissance to the Present (Professor Shannon) 
MW 11-11:50 + section (ASY 2203)
Ellinton Robinson, Oath of the Imperialists, 2013Examines 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.




ARTH230 (SIP) Symbolic Images: The Theory and Practice of Iconography in European Art, 1400-1850 (Professor Colantuono)
TuTh 11-12:15 (ASY 3215)
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. The discipline of art history has developed a broad array of methods to fill this gap.  This course provides students with the opportunity to take command of these research methods and materials, addressing a genuine iconographic problem, researching the relevant literature, identifying the essential primary evidence, making contextually appropriate assumptions, and producing a valid result.

ARTH260 I-series Art and Activism: Can Art Effect Social Change? (Professor McEwen)
MW 9-9:50 + sections (ASY 2203)
Hand-colored photograph of massacred women and children on road in field, with text overlay: Q. And babies? A. And babies.How may we use the history of radical and avant-garde art to inform present-day movements and models of artistic and creative activism? Explore the modern and contemporary history of political art on local, national, and global scales. Consider questions of creativity and social efficacy, as well as the role of institutions and the public. Discover the nature and radicality of different media – including mural painting, TV, sound, performance, and the Internet.
You can expect to:

• Think critically about the forms and functions of art — how does art work? what can it do?
• Study and debate the history of activist and political art.
• Work in teams to plan and implement your own form of artistic activism.

For more information, e-mail Professor McEwen at mcewen@umd.edu

ARTH292 Discovering Japan: How the Arts Shaped a Nation (Professor Volk)
TuTh 11-11:50 + section (ASY 2203)
Torii gate with Cherry blossomsHokusai, Great Wave of Kanagawa, woodblock printJapanese art is characterized by striking diversity. Far from static or monolithic, the country we today call Japan has been the site of numerous and often competing cultures. Studying Japanese art helps us to recognize the plurality of these historic cultures, and to discover how the arts were instrumental in shaping them. Covering pre-history through the present-day, we will examine architecture, sculpture, painting, calligraphy, ceramics, gardens, prints, photography and other art forms in relation to the cultural contexts within which they were produced and used. Focusing on official, popular and minority cultures, among others, we will consider issues of aesthetics and philosophy, religion and ritual, patronage and art markets, and cross-regional and cross-cultural exchange (with Asia and Euroamerica) to help us understand how and why art objects came into being and how they helped to shape the societies in which they lived. We will augment our in-class analysis by studying artworks that we can see first-hand at the Art Gallery of the University of Maryland and the Freer|Sackler Galleries in Washington, DC.

ARTH305 Archaeological Methods and Practice (Professor Suriano)
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.

ARTH321 Sixteenth-Century Northern European Art (Professor Martinez)
TuTh 9:30-10:45 (ASY 3215)
Hans Holbein the Younger, "The French Ambassadors," 1533, National Gallery LondonThe demons and saints of Bosch and Grünewald; Bruegel’s peasants; the masterful prints of Dürer; stately portraits by Holbein--these are only some of the highlights of sixteenth century art north of the Alps. In this course we will explore the diversity of subjects and styles in the art of northern Europe in the era of Renaissance, Reformation, exploration, and long-distance trade.   The interplay between artists and their clients (whether royalty, clergy, scholars, or merchants) made possible the innovation or reinvigoration of many types of art: mythological works, scenes of everyday life, portraits, still life, landscape, and religious narrative.




ARTH324 Leonardo's World: Art and Experience in Renaissance Italy (Professor Gill)
TuTh 11-12:15 (ASY 3211)
We will examine the history of painting, sculpture, architecture, and the decorative arts in Italy from the late fifteenth through the sixteenth centuries.  We will consider themes such as the social function and domestic role of the art object; the investigations of Leonardo, Raphael, and Michelangelo and others into the human body, science, and nature; women in the visual arts; the revival of classical style and its flourishing in Mannerist art; and the ways in which artists expressed their patrons’ wishes for commemoration after death.  Class meetings include lectures and group discussion.

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

ARTH359L Film as Art; Film Noir Style and Neo-Noir (Professor Metcalf)
W 3:30-7 (ASY 4213A)
Rachael from Blade RunnerFilm Noir supposedly ended in the 1950s however -- from Chinatown to Blade Runner, Memento to The Matrix and Blue Velvet to The Big Lebowski -- there have been more Noir style films made since then than there were original Noirs, perhaps because the beautiful anxiety and stylized critique of the American Dream continue to speak to us into the 21st Century. After surveying key themes of the classic Noir films we will spend the second half of the course considering the appropriation and reassertion of a Noir style in “post-Modern” times.



ARTH362 Twentieth-Century African-American Art (Professor Saggese)
TuTh 9:30-10:45 (ASY 3217)
Credit only granted for: ARTH362 or ARTH462. Formerly: ARTH462.
Romare BeardenThis course looks critically at African-American art, focusing particularly on the existing interpretations of artists and their work throughout the 20th century. Organized thematically and chronologically, this class will provide students with a more thorough understanding of this period of art, as well as the overall connection of visual material to the social, the political, and the aesthetic frames of its production. African-American visual culture in the United States will be discussed alongside literary and musical production of this era. Through a combination of lecture and class discussion, students will ultimately investigate the construction of race as a category for the interpretation of these works




ARTH369G Special Topics in Study Abroad III: Art Gallery Management

ARTH369P Special Topics in Study Abroad III: History and Workshop of Latin American Photography

ARTH386 Experiential Learning
Prerequisite: Permission of ARHU-Art History & Archaeology department.
Junior standing or higher.
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 2-4:30 (ASY 3217)
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.

ARTH389L Special Topics in Art History and Archaeology: Visual Cultures of Islam
Also offered as AAST298B, HIST219E, PERS298E, and RELS219E. Credit only granted for HIST219E, AAST298B, ARTH389L, PERS298E, or RELS219E
Visual Cultures of Islam is part of the Digital Islamic Studies Curriculum (digitalislam.umich.edu). This course is taught by renowned University of Michigan instructor, Christiane Gruber, an expert in the field of Islamic Art, and digitally shared with the University of Maryland. In this course, Professor Gruber explores definitions of "Islamic" art and investigates various visual cultures of Islam around the world from the 7th to the 20th century. The course meets twice a week in real time using video conferencing technology and students are able to enroll directly at Maryland for course credit.

ARTH389MSpecial Topics in Art History and Archaeology; Towards a History of the "Selfie": Artist's Portraits, Renaissance to Contemporary(Professor Georgievska-Shine)
TuTh 12:30-1:45 (ASY 3211)
Rembrandt, Self-portrait with a look of surprise, 1631Any history of portraits is, inevitably, also a history of artistic self-representation. Reflecting on this idea, Leonardo da Vinci apparently observed that “every painter paints himself.” Whether this anecdote is true or not, it highlights the centrality of the artist’s “self” in the creative process. This upper division course explores this subject by looking at the evolution of artistic personae or ways in which artists portrayed themselves: from the Renaissance, a period associated with the flourishing of the genre of self-portraiture, to our own, “selfie”-obsessed cultural moment.





ARTH389R Special Topics in Art History and Archaeology:World Science Fiction Film (Professor Kuo)
TuTh 11-12:15 (HBK 0302J)
(cross-list FILM359G)
Poster for the Movie Doomsday BookPoster for A Clockwork OrangeThe goal of this introductory course is, through intensive viewings, readings, and discussions of representative examples of world science fiction film (with an emphasis on major productions beyond Hollywood), to examine and understand the critical relevance of science and technology to human condition. Locations in which these films were produced may include China, India, Korea, Japan, Argentina, Australia, Czechoslovakia, Denmark, France, Germany, Peru, Poland, Russia, UK, US, and USSR. If necessary, English subtitles will be provided.




 ARTH488 Colloquium in Art History

ARTH488C Colloquium in Art History: Contemporary Chinese and Chinese American Cinema on Women (Professor Kuo)
TuTh 12:30-1:45 (HBK 0302J)
(cross-list with FILM429C and WMST498J
Poster for Crouching Tiger, Hidden DragonTransnational cinema is one of the most crucial aspects of contemporary world culture because transnational cinema engages with issues related to immigrant identities, transnational encounters, foreignness and citizenship, the politics of visibility, terrorism,
legality, race and racism. National borders emerge in transnational cinema as both
violent geopolitical constructs and abstractions related to ideas of difference, otherness, travel, migration, neo-liberal capitalism, neo-colonialism, and transcultural translation.

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.

This course is an academic exploration and it aims at enriching your educational experience and critical thinking through visual images in relation to written texts.

ARTH488E Colloquium in Art History: The Dutch Maritime Empire During its Golden Age (Professor Gregory)
M 3-5:30 (ASY 3215)
Hendrick Cornelisz. Vroom, "The Arrival of Frederik V von der Pfalz in Vlissingen"In the seventeenth century, the Dutch Maritime Empire stretched across the globe, not only with its mighty warships but also with its massive fleet of cargo ships from the East India and West India Companies.  Trade also extended into the inner reaches of Europe through a vast network of rivers and canals.  The wealth of the Dutch Republic was built on the success of this trade, which is evident in the paintings produced by Dutch artists. In their works one finds exotic shells and flowers, rare porcelains, fine fabrics, and foods and wines brought to the Netherlands from Asia, Africa, and Brazil.  

This colloquium will look at the ship building industries and the economic underpinnings of this maritime empire, as well as the impact trade had on the artistic productions of the period, particularly in still life paintings, genre scenes, and portraits. This course will take advantage of the exciting Marine Painting show being held at the National Gallery next fall, which will include paintings, prints and drawings by artists as diverse as Hendrick Vroom, William van de Velde II, and Rembrandt van Rijn.  A special feature of this exhibition will be a number of seventeenth-century ship models. A number of class meetings will be held at the National Gallery.

ARTH489E Special Topics in Art History; Race, Sexuality, and Gender in Early Modern Italian Art (Professor Rudolphi)
TuTh 12:30-1:45 (ASY 3217)
Gentileschi, Susanna and the EldersFezContemporary America is witnessing a resurgence of social justice movements spearheaded by marginalized minorities. The clarion calls of the Women’s March/#MeToo/Time’s Up movement, Black Lives Matter, the survivors of school shootings, and the LGTBQ community have energized women, people of color, the youth of this country, and its minorities in sexual orientation and gender identity, and underscored sharply that their struggles for greater visibility, social change, and acceptance are a shared struggle. In order to accomplish these lofty goals, the named movements have frequently and to great effect focused on the human dimension, bringing to the fore stories of individuals with whom members of the majority can identify and sympathize. A similar, though more challenging, project is underway in the comprehension and interpretation of the personalities of artists and patrons, and the appearance of such figures in works of early modern Italian art. Frequently, past considerations have reduced the issue of alterity, whether as patron, artist, or subject, to neat, unproblematic platitudes, like a period desire for exotica/erotica, or the inherent eccentricities of the artistic temperament. This course will challenge students to think deeply and critically about these standard modes of interpretation, hopefully widening the scope of consideration. Working in three units, we will investigate the issues of race, sexual orientation, and gender, considering what terms constitute how we identify these categories in works of art, their patrons, and their creators; in what kinds of scenes and contexts representations of these kinds of figures appear; what social realities shaped the lives racial, gender, and sexual orientation minorities in the period; and how these realities changed, along with representations, throughout the period.

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
Monday 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 708C: Seminar in Ancient Art and Archaeology; Painting the Wine-Dark Sea: Mural Traditions in Bronze Age Greece
Professor Emily Egan
Monday 12:00-2:40 p.m.
ASY 4304
This course explores the earliest traditions of wall painting in ancient Greece, focusing on the period from 1600 to 1100 BC. Productions from Crete, the Cyclades, and the Greek mainland will be examined in detail and situated in their original archaeological contexts. Discussions will focus on the iconography of humans, flora and fauna, architecture, objects, and patterns, and will address how such representations can inform us about the diverse social, political, and religious characteristics of Aegean societies in the absence of explanatory ancient texts. Comparable pictorial traditions in other media will be examined, and we will query the transmission and translation of images and ideas between different art forms and between prehistoric Greece, Egypt, and the Near East. Alongside the study of imagery, we will investigate the tools and techniques used to produce wall paintings, examine evidence for the organization of ancient artisans, and assess the strengths and weaknesses of connoisseurship and the identification of “workshops” or “schools.” Finally, the tradition of modern restoration and reconstruction of prehistoric murals, made famous by such artists as Émile Gilliéron and Piet de Jong, will be autopsied with the goal of evaluating how these artists have contributed to popular conceptions of Bronze Age Greece.

ARTH 779C: Seminar in Japanese Art; Meiji's Modernity: History and Revolution in the Japanese Visual Arts
Professor Alicia Volk
Tuesday 12:30-3:00 p.m.
ASY 4304

(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.