 |
 |
 |
 |
 |
 |
| Spring, 2003 Undergraduate Courses ARTH
100, Introduction to Art (Professor Withers) ARTH 200, Art of the Western World to 1300
(Professor Venit) ARTH
250, Art and Archaeology of Ancient America (Professor
Pillsbury) ARTH 290, Art of Asia (Professor Kuo) ARTH 307, Late Roman and Early Christian
Art and Archaeology (Professor Spiro) ARTH 320, Fourteenth- and Fifteenth-Century
Northern European Art (Dr. Martinez) ARTH 335, Seventeenth-Century Art in the
Netherlands (Dr. Georgievska-Shine) ARTH
345, Nineteenth-Century European Art to 1850 (Ms. Childs)
ARTH 350, Twentieth-Century Art to 1945
(Professor Metcalf) ARTH 370, Latin American Art and Archaeology
before 1500 (Professor Pillsbury) ARTH 371, Latin American Art and Archaeology
after 1500 (Dr. Bland) ARTH
375, Ancient Art and Archaeology of Africa (Professor
Eyo) ARTH 384, Art of Japan (Professor Kita)
ARTH 457, History of Photography (Dr. Stapp)
ARTH 485, Chinese Painting (Professor Kuo)
ARTH 488A, Colloquium: Twentieth-Century
Latin American Art ARTH 488C, Colloquium: Secular, Jewish,
and Christian Mosaics and their Architectural Contexts
(Professor Spiro) ARTH 488D, Colloquium: African Art and
Archaeology (Professor Eyo) ARTH 489A, Film between the Wars: Montage,
Expressionism, Surrealism (Dr. Metcalf) ARTH 489B, Special Topics in Art History:
Major Figures in American Art, 1750-1950 (Professor Kelly)
Each class meeting will focus on two major painters, sculptors, or architects--including John Singleton Copley, Thomas Cole, William Sidney Mount, Frederic Edwin Church, Martin Johnson Heade, George Inness, William Harnett, Horatio Greenough, Augustus St. Gaudens, Thomas Eakins, Henry O. Tanner, Winslow Homer, James A. M. Whistler, John Singer Sargent, Mary Cassatt, H. H. Richardson, Louis Sullivan, Frank Lloyd Wright, George Bellows, Marsden Hartley, Stuart Davis, Arshille Gorky, Thomas Hart Benton, and Jackson Pollock.
ARTH 496, Methods of Art History and Archaeology
(Dr. Georgievska-Shine) ARTH 499, Honors Thesis. Contact Instructor for Permission to Enroll. Graduate Courses Colloquia ARTH 649: Studies in Nineteenth-Century
European Art This spring will be the centennial of the death of Paul
Gauguin (1848-1903), He was, in many ways, the man you love to hate–egocentric, male chauvinist, colonialist–any number of pejorative adjectives can be applied. He could also be a devoted friend, sensitive listener, and advocate for the vulnerable. His sentimental side is almost incredible given his irascible persona. But he was an extraordinary, inventive, and thoughtful artist, who made significant contributions to the art of his time and after. Painting, sculpture, graphics, and decorative arts were all within his purview. Moreover, he authored hundreds of letters, essays, and meditations, as well as half a dozen book-length manuscripts that speak to his experiences, religious beliefs, aesthetic philosophy, his own art, other artists, and the art world, all of which enrich our perspectives on his creations. This seminar will investigate the length of his career,
examining not only his art and that of his Symbolist milieu,
but also exploring his personal life and his extensive
writing from various perspectives–such as theosophy
and spiritualism, exoticism, gender issues, post-colonial,
and revisionist. Because of the one hundredth anniversary
of his death, this year will see an abundance of new publications.
There will be several big exhibitions, including one in
Boston, that we may try to visit as a class. ARTH 689A: Selected Topics in Art History This course explores the development of the field of African American art history from the early 20th century tot he present. Examining the key early texts by Alain Locke, James Porter, and Cedric Dover, we discuss the ways in which a “black aesthetic” became the major paradigm for understanding African American cultural production. Why did such a formulation come into being? Is it a useful intellectual construct for understanding African American artists? How has it been used historically to justify the promotion/exclusion fo certain black artists? On a more fundamental level, can we or should we racialize the concept of “aesthetics?” The course follows the historical and critical promotion of a black aesthetic as well as the debates about the legitimacy of such a construction. We will look at recent survey texts including Romare Bearden and Harry Henderson’s History of African-American Artists, Sharon Patton’s African American Art, and Richard Powell’s Black Art and Culture in the 20th Century. This course ends with a discussion of identity politics and multiculturalism as represented in Whitney Museum of American Art’s 1990 exhibition “The Decade Show” and a consideration of Thelma Golden’s idea of post-black art,” which she promoted in her 2000 exhibition “Freestyle” and where she asserts that race and aesthetics no longer mingle. Seminars ARTH 708: Seminar in Ancient Art and Archaeology Monumental decorated tombs are known in Egypt since the Bronze Age and in Western Asia since at least the sixth century BCE. Found in Greece only after its incorporation into the Macedonian Empire in the late fourth century BCE, they become a major burial form throughout the Hellenistic World where they remain such well beyond the Roman conquest. This seminar will consider the development and typology of the monumental tomb in Greece (mainly Macedonia), Egypt, and the Near East from the late-fourth century BCE through the third century CE. Its focus, however, is on the eschatological content of the architecture and painted and sculpted decoration of selected monumental built and rock-cut tombs and the information these elements provide for status, ethnicity, funerary ritual, and beliefs of the persons buried within them.. Brief general bibliography: J. Fedak, Monumental Tombs of the Hellenistic Age. Toronto:
Toronto University Press, 1990 M. Parker Pearson, The Archaeology of Death and Burial. Phoenix Mill, Goucestershire: Sutton Publishing Limited, 1999 (McK GT3150.P43 1999). La peinture funéraire antique IVe siècle
av. J.-C.–IVe siècle ap. J.-C. Actes du VIIe
Colloque de l’Association Internationale pour la
Peinture Murale Antique (AIPMA) 6–10 Octobre 1998.
Saint Romaine-en-Gal - Vienne (under the direction of
A. Barbet). Paris: Editions Errance, 2001
The issue of continuity and disjunction between premodern and modern cultures has been of particular concern to ethnoarchaeologists and ethnohistorians in examining material remains and cultural practices. For art historians, whose training emphasizes cultural disjunctions through temporal and geographical divisions of world art, the use of modern practices to interpret premodern art is practically taboo. This methodology, promoted by a lively group of anthropologists, has been applied to the interpretation of excavated artifacts from ancient and medieval sites, but is the use of ethnographic data also appropriate to the study of premodern art? What are the risks and benefits of this methodological approach? In this seminar, we will examine ethnographic reports of rural societies in order to determine attitudes toward death, healing, birth, social relations, village planning and house design. In individual presentations, students will investigate representations and classes of objects associated with gossip, infertility, and healing, excavations of graves, houses, and villages, and archaeological and artistic traces of vampires and witches to theorize about the practical application of studies of traditional, modern cultures to the deeper understanding of medieval art, archaeology, and society. Depending on the topic chosen, this seminar may satisfy either the pre-1300 or the 1300-1750 requirement. Research for this course must be undertaken at the Dumbarton Oaks library as well as the Library of Congress. Participants are encouraged to attend a session that will be held at College Art Association (Friday): "Ethno-Art History? Understanding the Art of Pre-Modern Cultures through Ethnography and Ethnohistory."
The relationships between the Netherlands and Italy are many and complex, not only for Rubens and Van Dyck, but also for Dutch artists who travelled to the south, including the Utrecht Caravaggisti and Dutch Italianate landscapists. Italian artistic traditions, however, were also important for Dutch artists who never traveled outside the country, including Rembrandt. This seminar will examine how these relationships between north and south affected the character of seventeenth-century Dutch and Flemish painting.
This course will sketch London’s growth from the time of the Roman legions until today. The primary focus, however, will be on how the city was perceived by artists and by “map makers” from Wenceslaus Hollar’s panoramas through the creation of 18th-century Georgian London. A good place to begin for background reading is Roy Porter’s London: A Social History.
This seminar is offerred in conjunction with the development of an exhibition of Ukiyo-e woodblock prints at the University of Virginia and of books at the Walters Gallery of Art. The seminar will provide the background for working with Ukiyo-e and practical experience in how to do so.
|
|
|
 |