Undergraduate Courses
ARTH200
Art of the Western World to 1300 (Professor Kornbluth)
MW 10-10:50 + section (ASY 2203)
ARTH201 Art of the Western
World after 1300 (Professor Hargrove)
TuTh 9:30-10:20 + section (ASY 2203)
ARTH 250, Art and
Archaeology of Ancient America (Professor Pillsbury)
MW 9-9:50 + section (ASY 2203)
ARTH275 Art and Archaeology of Africa (Professor DeCarbo)
TuTh 11-11:50 + section (ASY 2203)
ARTH290 Art of Asia (Professor Kuo)
MW 11-11:50 + section (ASY 2203)
ARTH300 Egyptian Art and Archaeology (Professor Venit)
TuTh 11-12:15 (ASY 3215)
ARTH314 Gothic Art (Professor Sails)
TuTh 12:30-1:45 (ASY 3215)
ARTH320 Fourteenth and Fifteenth-Century Northern European
Art (Professor Martinez)
TuTh 9:30-10:45 (ASY 3211)
ARTH324 Sixteenth-Century Italian Renaissance Art (Professor
Joost-Gaugier)
TuTh 11-12:15 (ASY 3211)
ARTH350 Twentieth-Century Art to 1945 (Professor Mansbach)
TuTh 12:30-1:45 (ASY 3211)
ARTH351 Twentieth-Century Art from 1945 (Professor Metcalf)
M 6-8:30 (ASY 3211)
ARTH360 History of American Art to 1876 (Professor Kelly)
Th 3:30-6 (ASY 3215)
ARTH376 Living Art of Africa (Professor DeCarbo)
TuTh 2-3:15 (ASY 3215)
ARTH386 (PermReq) Experiential Learning; Individual Instruction
Course
TBD
ARTH389A Special Topics in Art History and Archaeology: Modern Latin-American Art (Professor Bland)
W 3-5:30 (ASY 3215)
ARTH488B Colloquium in Art History: Greek Painted Pottery and its Social Context (Professor Venit)
TuTh 2-3:15 (ASY 3217)
ARTH489A Special Topics in Art History: European Photography between the Wars (Professor Grossman)
Th 3:30-6 (ASY 3211)
ARTH496 Methods of Art History and Archaeology (Professor Georgievska-Shine)
M 6-8:30 (ASY 4306)
ARTH498 (PermReq) Directed Studies in Art History I. Individual
Instruction Course
TBD
ARTH499 (PermReq) Honors Thesis. Individual Instruction
Course
TBD
HONR248A Honors Seminar: Art Biography in Seventeenth-Century Spain (Professor Colantuono)
Th 3:30-6 (ASY 3217)
Graduate Courses
ARTH
618: Colloquium in Medieval Art
Saints, Relics, and Reliquaries
Professor Genevra Kornbluth
Wednesday 3-5:40
The cults of saints and relics are among the most important manifestations of religious thought and practice in medieval Europe . They influenced the development of painting, sculpture, and architecture, and precipitated such major social phenomena as pilgrimage and the Crusades. This colloquium will focus on reliquaries, the art works most closely associated with the cults of saints and relics. Research projects will center on objects accessible for first-hand study in major local collections.
ARTH 658: Studies in Chinese Art
Modern Chinese Painting/Special Topics in Modern Chinese Painting
Professor Jason Kuo
Friday 12-2:40
Modern Chinese painting has been reviled and denigrated by many Chinese reformers since the beginning of the twentieth century; it has also been neglected by mainstream scholars in the West until a few years ago. Yet, modern Chinese painting actually embodies the heroic story of constant renewal and reinvigoration of Chinese civilization amidst rebellions, reforms, and revolutions, even if the process may appear confusing and bewildering. It also demonstrates the persistence of tradition and the limits of continuities and changes in modern Chinese culture.
This course will focus on the following issues in modern Chinese painting: tradition versus modernization; Chinese responses to Western art; Japanese influences on modern Chinese painting; historical, social, and political aspects of painting in mainland China , Taiwan , Hong Kong since 1949; and other topics of interest to members of the course. This course will attempt to answer the following questions: How extensively can cultural tradition be reinterpreted before it is subverted? At what point is creative re-invention an act of betrayal of tradition? How has selective borrowing from Chinese tradition and foreign culture enabled modern Chinese artists to sustain themselves in the modern world?
ARTH 738: Seminar in Seventeenth-Century Southern European Art
Early Modern Drawing in Theory and Practice: Italy, France and Spain
Professor Anthony Colantuono
Tuesday 3-5:40
This seminar begins with a survey of and readings in recent work on the
theory and practice of drawing in early modernity, including later
medieval and Renaissance background and emphasizing the sixteenth and
seventeenth centuries. Topics to be covered will include the functions
of drawing, the problems of connoisseurial methodology and stylistic
chronology, the early critical and theoretical terminology used for the
analysis of drawing, the use of drawings as evidence for the study of
pictorial invention and iconography, the history of drawing collections,
etc. Readings will include recent publications by David Rosand,
Genevieve Warwick, Carmen Bambach and Francis Ames Lewis.
ARTH 739: Seminar in Seventeenth-Century Northern European Art
Classical Ideals in Dutch and Flemish Art
Professor Arthur Wheelock
Monday 3-5:40
This seminar will examine the ways Classical ideals were expressed in the works of seventeenth-century Dutch and Flemish artists. The class will focus on the work and impact of Pieter Paul Rubens, who not only traveled to Italy to study classical sculpture and architecture, but who also was intimately familiar with antique literary sources and interpreted them in his drawings and paintings. Rubens' influence in this respect was particularly strong in the Northern Netherlands , and helped inspire the classically-inspired paintings of such artists as Hendrick Goltzius and Jan de Bray.
The class will occasionally meet at the National Gallery of Art to discuss works in its collection. It will also take advantage of the major exhibitions of Rubens drawings at the Metropolitan Museum of Art and the exhibition of Jan de Bray and the Classical Tradition at the National Gallery.
ARTH749: Seminar in Nineteenth-Century European Art
Symbolism in France: 1880-1900
Professor June Hargrove
Thursday 12-2:40
The movement of Symbolism flourished in Paris during the last two decades of the nineteenth century, fueled by reactions against the positivist thinking that had earlier generated realism and naturalism in the arts. The poets, who were first to respond to the changing sensibilities in the wake of Baudelaire, stimulated a new trend that privileged the subjective over the objective. The creative atmosphere born of the symbolist experiments in literary circles soon engaged a broader milieu across the arts, taking the initial explorations of the interior and the subconscious into visual and aural realms. Rather than a representation of exterior reality, the Symbolist work of art constitutes an aesthetic objet that communicates an internal state. Paradoxically, these tendencies were reinforced by scientists who were concomitantly investigating the inner recesses of the mind, notably Jean Martin Charcot and subsequently Sigmund Freud. The Symbolist movement in art spread throughout the Western world, and it can be associated with a wide variety of styles. The focus of this seminar, however, will be on those artists who were instrumental to its genesis and propagation in France, even if s/he was not French. (For example, the influence of Burne-Jones and the Aesthetic Movement on the French is within the scope of the class, whereas importance of the Irish manuscript for Beardsley is not.)
Each participant in the seminar will lead one discussion of readings (which s/he assigns for the class) on a predetermined topic as well as present an oral seminar report. A research paper, the subject of which is determined by the participant in consultation with the professor, is due by the last day of class.
ARTH758: Seminar in American Art
Situating Visual Culture Studies: Objects, Definitions, Historiography, Methods, Theory
Professor Sally Promey
Thursday 12-2:40
Increasingly, in departments of art history (and elsewhere) scholars describe certain objects of investigation as “visual culture” and certain approaches to many kinds of objects of investigation as “visual culture studies.” This seminar will examine the emergence of visual culture studies, understandings of its situation in the academy and, especially, its relation to the discipline of art history. The two principal goals of the course will be: in the first half of the semester, to gain familiarity with the recent literatures of visual culture studies; and, in the second half of the semester, to present original research that approaches images or objects of the student's choice from a visual culture perspective.
ARTH768: Seminar in Latin American Art and Archaeology
Funerary Traditions in the Ancient Andes
Professor Joanne Pillsbury
Monday 12-2:40
Much of what survives of ancient Andean art once formed part of funerary complexes. Whether made specifically for interment with the dead or used in daily life and then deposited in burials, the elaborate metalwork, textiles and ceramics have most often come to us from such contexts. This seminar will explore Andean concepts of dying and the afterlife, and the relationship of these beliefs with specific mortuary complexes from the central Andean region. Drawing upon broader theoretical works about funerary traditions, we will consider the placement of burials within settlement patterns, the architecture of tombs, and the creation and iconography of grave goods. The goal of the seminar is to gain a clearer understanding of the funerary aspects of Andean art, and to analyze Andean art within a cross-cultural framework of mortuary complexes worldwide.
