Undergraduate Courses
ARTH200 Art of the Western World to 1300 (Professor Venit)
TuTh 9:30-10:20 + section (ASY 2203)
ARTH201 Art of the Western World after 1300 (Professor Pilaski)
MW 9-9:50 + section (ASY 2203)
ARTH250, Art and Archaeology of Ancient America (Professor Bernier)
TuTh 11-11:50 + section (ASY 2203)
ARTH275 Art and Archaeology of Africa (Professor Kedzierska)
MW 11-11:50 + section (ASY 2203)
ARTH290 Art of Asia (Professor Sarin)
MW 10-10:50 + section (ASY 2203)
ARTH290FC Art of Asia (Professor Sarin)
TuTh 6-7:15 (ASY 1213)
ARTH300 Egyptian Art and Archaeology (Professor Venit)
TuTh 12:30-1:45 (ASY 3215)
ARTH313 Early Medieval Art (Professor Kupfer)
TuTh 9:30-10:45 (ASY 3215)
ARTH321 Sixteenth-Century Northern European Art (Professor Martinez)
TuTh 11-12:15 (ASY 3215)
ARTH323 Fifteenth-Century Italian Renaissance Art (Professor Gill)
TuTh 9:30-10:45 (ASY 3211)
ARTH330 Seventeenth-Century European Art (Professor Colantuono)
TuTh 12:30-1:45 (ASY 3211)
ARTH346
Nineteenth-Century European Art from 1850 (Professor Crosson)
TuTH 2-3:15 (ASY 3215)
ARTH350 Twentieth-Century Art to 1945 (Professor Metcalf)
W 5-7:30 (ASY 3211)
ARTH360 History of American Art to 1876 (Professor Power)
TuTh 3:30-4:45 (ASY 3211)
ARTH370 Latin American Art and Archaeology before 1500 (Professor Bernier)
TuTh 2-3:15 (ASY 3211)
ARTH371 Latin American Art and Archaeology from 1500 (Professor Bland)
M 3-5:30 (ASY 3215)
ARTH384 Art of Japan (Professor Suzuki)
TuTh 11-12:15 (ASY 3211)
ARTH386 (PermReq) Experiential Learning; Individual Instruction Course
TBD
ARTH389A
Special Topics in Art History and Archaeology: Islamic Art (Professor Jordan)
M 6-8:30 (ASY 3215)
ARTH488A Colloquium in Art History (Professor Pressly)
TuTh 9:30-10:45 (ASY 3217)
ARTH488B Colloquium in Art History (Professor Shin)
TuTh 11-12:15 (ASY 3217)
ARTH488C
Colloquium in Art History: The Allure of the Exotic: Exoticism in Nineteenth-Century European Art (Professor Childs)
TuTh 3:30-4:45 (ASY 3217)
ARTH489A Special Topics in Art History: Contemporary Art Theory, Markets, and Collecting (Professor Cudlin)
TuTh 7-8:15 (ASY 3219)
ARTH498 (PermReq) Directed Studies in Art History I. Individual Instruction Course
TBD
ARTH499 (PermReq) Honors Thesis. Individual Instruction Course
TBD
HONR248T Honors Seminar: Reexamining the Harlem Renaissance (Professor Ater)
Tu 2-4:30 (ARC 1121)
Graduate Courses
ARTH 692: Methods of Art History
Professor Anthony Colantuono
Tuesday 3-5:40 (ASY 4304)
This course is designed as an introductory survey of fundamental art-historical methods, providing a basis for advanced graduate-level research. The course will deal primarily with a series of case studies in famous art-historical problems, examining how different scholars attempted to solve those problems. The course also deals tangentially with questions of historiography, disciplinary politics, macropolitical context and the intellectual biography of the art historian.
ARTH 719:
Seminar in Italian Renaissance Art
Michelangelo and the Poetics of the Body
Professor Meredith J. Gill
Thursday 12-2:40 (ASY 4304)
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.
ARTH 739:
Seminar in Seventeenth-Century Northern European Art
Rembrandt's Prints and Drawings
Professor Arthur Wheelock
Monday 3-5:40 (ASY 4304)
Rembrandt's prints and drawings are some of the most moving images ever created. In them he explored the world around him, whether scenes of daily life, landscapes, or portraits, not only of himself, but also of family members, colleagues and collectors. He also depicted biblical and mythological scenes with extraordinary sensitivity.
This seminar will look at the range of graphic art, paying particular attention to the experimental nature of his techniques. The class will meet on a regular basis at the National Gallery of Art, not only in the print room but also in the exhibition of Rembrandts prints and drawings that will be on view to help celebrate the 400th anniversary of his birth
ARTH 748:
Seminar in Eighteenth-Century European Art
Art of James Barry: Studies in his Bicentennial Year
Professor William Pressly
Tuesday 12-2:40 (ASY 4304)
The Irish painter James Barry is Britain's most important history painter. This course will examine his contributions to European Art of the late 18th century with particular attention being paid to the literature produced this year for the bicentennial of his death, including the exhibition catalogue James Barry 1741-1806 "The Great Historical Painter" and the papers for the international conference in Cork and London.
ARTH 758: Seminar in American Art
Nineteenth-Century American Landscape Painting in an International Context
Professor Frank Kelly
Thursday 3-5:40 (ASY 4304)
Many recent examinations of nineteenth-century American landscape painting have stressed its connections to contemporary national politics and social events. This seminar will not ignore those issues, but will also focus on locating American landscape painting within an international context for Romantic painting. In particular, the similarities, or dissimilarities, and the connections, or lack of connections, with British, French, Italian, Dutch, German, Scandinavian, Russian, and Australian landscape painting will be explored.
ARTH 759: Seminar in Twentieth-Century Art
EXPRESSIONISMS
Professor Steven Mansbach
Wednesday 3-5:40 (ASY 4304)
The seminar will explore and assess a number of artistic formations and related styles that may best be grouped under the rubric 'expressionism.' Although the several German expressionist groupings are perhaps the most widely known, other, equally inventive, engaged, and seminal "expressionist" formations took place throughout Europe, and most of these had profound implications for the development of a "modern" idiom and ideology. Participants in the seminar will be encouraged to investigate the breadth of expressionist movements of the first third of the twentieth century, as well as to consider their "progeny" from the second half of the century.
