815 North Broadway
Saratoga Springs,
New York, 12866
SKIDMORE PHONE
518-580-5000
Art History
Chair of the Department of Art History: Katherine Hauser
Art History Faculty:
Professor: Penny Jolly
Associate Professors: Lisa Aronson, Katherine Hauser, Robert Linrothe
Assistant Professor: Mimi Hellman
Lecturer: Leslie Mechem
Affiliated Faculty:
John S. Weber, Professor of Liberal Studies; Dayton Director,
Frances Young Tang Teaching Museum and Art Gallery
Ian Berry, Lecturer in Art and Art History; Susan Rabinowitz
Malloy '45 Curator; Associate Director of Curatorial Affairs,
Frances Young Tang Teaching Museum and Art Gallery
Art history is distinctive in its direct engagement with art
objects through visual analysis and historical study. We use
art objects to understand history and culture, and history
and culture to understand art objects. Students earning a
bachelor of arts in art history explore the varied roles of
artists, their art, and their patrons across diverse cultural
and historical contexts. In addition, they experience the
creative process of making art. Students gain a breadth of
knowledge spanning both Western and non-Western subfields
of the discipline. Art history majors develop skills in analyzing
images and texts that are applicable to a wide range of personal,
civic, and professional endeavors; they may also go on to
graduate work in art history and professional work in art-related
fields.
THE ART HISTORY MAJOR: Each student major is required to take
a minimum of eleven courses according to the following guidelines.
Exploration (at least three courses): Besides the foundation
and breadth courses, each student must take a minimum of three
additional art history courses, including at least one seminar
but not including the senior thesis. (The senior thesis is
an option students may take beyond the eleven courses required
for the art history major.)
Because advanced research in any aspect of art history requires
foreign languages (generally French or Italian and/or German,
plus any language appropriate to your area, e.g., Chinese),
we recommend language study. We also recommend additional
art history courses (including independent studies, museum/gallery
internships, and the senior thesis) and/or courses in related
fields, such as literature, history, philosophy, anthropology,
religion, and studio art.
HONORS: In addition to meeting the College grade-point average for the
major, students wishing to qualify for honors in the program must
successfully complete an independent project that the art history
faculty judge to be outstanding. The project nominated by a member of
the art history faculty must go beyond the work required in our regular
art history classes. Examples of types of projects that could qualify
are Senior Theses and Independent Study or Internship projects, whether
written, in the form of an exhibition, or computer-based.
ART HISTORY MINOR:
Students electing to minor in art history are required to take
a minimum of five 3- or 4-credit courses (at least one at the 300 level)
and a total of no fewer than seventeen hours.
Students should consult the director of the Art History Program for approval.
(Please note: a total of six studio art and two art history
courses constitutes a minor in studio art.)
Note: Please refer to the Academic Information Guide
regarding double counting of courses between majors and minors.
Students may receive AP (Advanced Placement) credit in art
history. A score of 4 or 5 earns the student four college credits.
It is the program's
policy that the AP credits can count as
AH100
and may be applied toward a major or
minor in art history. A score of 5 will automatically receive
this credit; a score of 4 requires consultation with the director of
the Art History program before it is approved.
**Fulfills
breadth areas "b" or "c," NOT both ***Fulfills
breadth areas "c" or "d," NOT both AH 100. SURVEY
OF WESTERN ART 4
A survey of Western art from ancient times to the present that places
monuments of art in social, historical, and cultural contexts.
(Fulfills humanities requirement.) K. Hauser, M. Hellman, P. Jolly
AH 103. THE ARTS
OF AFRICA, OCEANIA, AND THE AMERICAS 4
A survey of the arts of Africa (south of the Sahara), Oceania
(the South Sea Islands), and native North, Central and South
America. This course examines a variety of styles, techniques
and socioreligious functions of the arts and architecture
of these non-Western cultural areas. (Designated a non-Western
culture course; fulfills humanities requirement.) L. Aronson
AH 105. SURVEY
OF ASIAN ART: SOUTH AND SOUTHEAST ASIAN AND HIMALAYAN 4
An overview of the art and material culture of India, Southeast Asia, and Tibet. Works of art
and culture will be examined with an emphasis on style as
cultural expression, the meaning of the arts in a religious
context, and the impact of cross-cultural exchange. (Designated
a non-Western culture course; fulfills humanities requirement.) R. Linrothe
AH 106. SURVEY
OF ASIAN ART: EAST ASIA 4
Survey of the art and material culture of China, Korea, and
Japan. Works of art and culture will be examined with an emphasis
on style as cultural expression, the meaning of the arts in
a religious context, and the impact of the cross-cultural
exchange. (Designated a non-Western culture course; fulfills
humanities requirement.) R. Linrothe
AH 111. INTRODUCTION
TO ART 3
A focus on a variety of monuments and traditions of art and
architecture, with the goal of exploring issues concerning
style, function, technique, and meaning. Attention will be
paid to topics such as creativity, the artist and society,
sacred and secular art, gender and art, crafts and popular
art vs. the fine arts, and the body in art. May not be counted
toward a major in art or art history. (Fulfills humanities
requirement.) Summer only. Art
History Faculty
AH 200. HINDU ART 3
An introduction to the arts of Indian Hinduism as expressions of religious ideas and experiences.
The course emphasizes the evolution of ritual practice, devotional
narratives, symbols and architecture of Hinduism, taking note
of the religious underpinnings of the tradition, its popular
manifestations and images of the goddess (Devi). The interdisciplinary
nature of the course will highlight the necessity to understand
the religious experience behind the works of art, and witness
the translation into visual expressions of abstract ideas
and religious emotions. (Designated a non-Western culture
course; fulfills humanities requirement.) R. Linrothe
AH 203. NATIVE
AMERICAN ART 3
A study of the prehistoric, historic, and contemporary arts
of Native American peoples of North America. This course will
study the arts of mainly Southwest, Woodlands, Great Plains,
and Northwest Coast cultures with particular attention to
their historiography, style, technique, symbolic meaning,
and place in ritual. A wide range of media will be covered
including sculpture, painting, architecture, pottery, textile
arts, jewelry, and body decoration. Recommended:AH103
(Designated a non-Western culture course; fulfills humanities
requirement.) L. Aronson
AH 204. JAPANESE
ART 3
A chronological survey of Japanese arts (painting, prints,
sculpture, ceramics, textiles, architecture, and gardens)
from the neolithic period to the present. The course emphasizes
historical, religious, and aesthetic contexts. Special attention
will be given to the stimulus of contacts with China and Korea
in the evolution of Japanese visual art, and to Buddhist art.
(Designated a non-Western culture course; fulfills humanities
requirement.) R. Linrothe
AH 207. AFRICAN
ART 3
A survey of the arts of sub-Saharan Africa. Focusing on selected
groups from the sub-Saharan region, this course considers a wide range of media giving primary
attention to sculpture and masquerades but also including
ceramics, metallurgy, textiles, body arts and architecture.
These arts will be examined in terms of their styles, symbols, technologies, histories,
and socioreligious importance. (Designated a non-Western culture
course; fulfills humanities requirement.) L.
Aronson
AH 208. ART AND THE ENVIRONMENT
IN ANCIENT MESOAMERICA AND SOUTH AMERICA 3
A survey of selected art traditions in ancient Mesoamerica and Andean
South America from 2000 BCE to 1600 CE, focused around the theme of
nature and the environment. The course covers art and architecture of
the Olmec, Maya, Aztec, Chavin, Moche and Inca, and the people of
Teotihuacan, looking particularly at how nature and the environment
have informed and shaped their styles, meanings, functions, and
underlying ideologies. Prerequisite:AH103 recommended. (Designated a
non-Western culture course; fulfills humanities breadth requirement). L.
Aronson
AH 209. ISLAMIC
ART 3
Survey of the history of visual arts in Islamic cultures.
The course will examine architecture, painting, ceramics,
and textiles in Arab, North African, Turkish, Persian and
Indian contexts. Special consideration will be given to the
interaction between local visual traditions and Islamic values.
(Designated a non-Western culture course; fulfills humanities
requirement.) R. Linrothe
AH 210. CHINESE
PAINTING 3
Chronological survey of Chinese painting from fourth century
B.C. to eighteenth century A.D. Topics may include technical
issues, ornament and pictorialism, figure painting, landscape,
calligraphy, ink painting and its relationship with Chan (Zen),
social backgrounds of artists, painting and poetry, and Chinese
critical writings. (Designated a non-Western culture course.) R. Linrothe
AH 211. TIBETAN
ART 3
A survey of Tibetan Buddhist art, from its origins in the
eighth century to the present. Attention is given to Indian
Buddhist art which provided the foundation for Tibetan integration
of formal and ritual influences from a number of Asian cultures.
Painting and sculpture will be considered, both as markers
of cultural and period style, and as expressions of Buddhist
ideals. (Designated a non-Western culture course.) R. Linrothe
AH 217. AMERICAN
ART 3
A survey of art produced in the United States from the Colonial
period to the present. Recurring themes will include the roles
of artists in American society, the relationship of U.S. and
European cultures, the contrast and connection between popular
and elite artistic traditions, the building of an infrastructure
of art institutions, and government involvement in art patronage. Art History Faculty
AH 221. PRACTICES OF
ART HISTORY 4
A survey of the practices and methods of the discipline of art
history, intended for majors or potential majors. Examines the key
questions, interpretive approaches, institutional structures, and
modes of dissemination that shape the work of the art historian.
Students develop skills that are essential to advanced art historical
study, such as visual literacy, research, critical reading, and
writing. Should be taken by the end of second year; only offered
spring semester. Prerequisite: one AH course. Art History Faculty
AH 222. GREEK ART
AND ARCHAEOLOGY 3
An exploration of the major developments in architecture,
sculpture, and painting from Minoan and Mycenaean civilizations
through the Hellenistic period. Attention is given to the
influences on Greek art from the East and to the influence
of Greek art on other cultures. (Fulfills humanities requirement.) L. Mechem
AH 223. ROMAN ART
AND ARCHAEOLOGY 3
An examination of architecture, sculpture, and painting beginning
with the Villanovan and Etruscan cultures and continuing through
the Republic and Empire (fourth century A.D.). Topics covered
include wall painting, narrative sculpture, and city planning.
(Fulfills humanities requirement.) L.
Mechem
AH 232. LATE ANTIQUE,
EARLY MEDIEVAL, AND BYZANTINE ART 3
An examination of the origins of Christian art in the Late
Antique world and its subsequent development in the Byzantine
world and early Medieval Europe. Areas studied include the
Early Christian catacombs, Ravenna mosaics, the animal style
and Hiberno-Saxon manuscripts, Carolingian Europe, and Byzantine
mosaics, icons and decorative arts. Prerequisite:AH100 or 111
or permission of instructor. P. Jolly
AH 233. ROMANESQUE
AND GOTHIC ART 3
European art from the tenth through the fourteenth centuries,
with a focus on painting, manuscript illumination, sculpture,
stained glass, and the decorative arts. Prerequisite:AH100 or 111
or permission of instructor. P. Jolly
AH 241. RENAISSANCE
EUROPE 3
Renaissance art in fifteenth- and sixteenth-century Italy,
Flanders, and Germany. Artists include Masaccio, Donatello,
Botticelli, Michelangelo, Leonardo, Raphael, Jan van Eyck,
Bosch, Dürer, and Bruegel.
(Fulfills humanities requirement.) P. Jolly
AH 251. SPECIAL TOPICS IN ART
HISTORY 1–4
A topically organized course, with the specific topic varying according
to program. Course may be repeated for credit on a different topic.
(AH251N is designated a non-Western culture course.) Art
History Faculty
AH 253. SEVENTEENTH-CENTURY
EUROPEAN ART 3
An examination of the production and reception of art in Europe
during the century traditionally known as the baroque period.
Artists discussed will include Caravaggio, Bernini, Velazquez,
Poussin, Rubens, Rembrandt, and Vermeer. Special attention will be
paid to Counter-Reformation spirituality, patronage, conceptions of
the artistic process, and the ways in which art engaged ideas about
power, gender and social identity. Prerequisite:
AH100 or
111. M. Hellman
AH 254. EIGHTEENTH-CENTURY
EUROPEAN ART 3
An examination of the production and reception of art in Europe at the
beginning of the modern era. Special attention will be paid to the ways
in which visual representation both expressed and actively shaped the
aesthetic, social, political, economic, and intellectual preoccupations
of the period. Artists discussed will include Watteau, Chardin,
Gainsborough, Reynolds, and David. Themes explored will include shifting
conceptions of public and private life, engagements with nature and
antiquity, the status of the artist, and the role of portraiture in the
construction of identities. Prerequisite:AH100 or 111
or permission of instructor. M. Hellman
AH 257. NINETEENTH-CENTURY
EUROPEAN ART 3
An examination of critical moments and monuments in the history of
European art during a century of radical cultural change. Artists
discussed will include Ingres, Delacroix, Friedrich, Turner, Courbet,
Manet, Monet, van Gogh and Cezanne. Special attention will be paid
to shifting conceptions of the artistic enterprise and the ways in
which the production and circulation of art engaged issues of
history, modernity, politics, nationality, spectatorship, gender and
social identity. Prerequisite:
AH100 or
111. M. Hellman
AH 261. TWENTIETH-CENTURY
ART 3
A survey of European and American modern and contemporary
art beginning in the late nineteenth century and concluding
with contemporary trends. We will consider a range of movements
including postimpressionism, cubism, surrealism, abstract
expressionism, minimalism, and conceptual art in their cultural
and art historical contexts. Prerequisite:
AH100 or 111
or permission of instructor. K. Hauser
AH 265. HISTORY
OF MODERN DESIGN 3
A history of modern design from 1750 to the present, with
an emphasis on design movements in the twentieth century.
We will focus on modern European and American design, surveying
objects made from a wide range of materials, including textiles,
metals, ceramics, and the print media. We will situate movements
such as Arts and Crafts, Art Nouveau, and Bauhaus in their
cultural and art-historical contexts. Recommended preparation:AH100 or 111.
(Fulfills humanities requirement.) K. Hauser
AH 268. AD/DRESSING THE BODY:
EUROPEAN FASHION, RENAISSANCE TO THE PRESENT 3
A survey of the stylistic evolution and meaning of dress, hair and
body accessories in Europe and America from c. 1400 to the present.
Through analysis of both artifacts of material culture and
representations of dress and hair in works of art, this course focuses
on the role of men's and women's fashion in constructing identity, for
example, to signify gender, political ideals, and social class.
Further, it investigates the religious, economic, and political
institutions that work to shape fashion. Additional themes, such as
the relationship of fashion design to the fine arts and to craft, the
rise of haute couture, the undressed body, and the history of specific
items of dress such as the corset, the periwig, and the suit will be
explored. Prerequisite:AH100
or permission of instructor. P. Jolly
AH 310. THE ARTS
OF NIGERIA 3
An in-depth study of the arts of Nigeria (West Africa) from
its earliest archaeological sites through the post-Colonial
period. The course considers the breadth and range of Nigeria's
artistic traditions from traditional masquerades, textiles,
ceramics, and body arts to contemporary urban trends in painting,
printmaking, and sculpture. Prerequisite: AH103
or 207 or permission of instructor. (Designated a non-Western culture
course.) L. Aronson
AH 311. BUDDHIST
ART OF EAST ASIA 3
Buddhist art (sculpture, painting, architecture, calligraphy,
graphic arts, and ritual implements) between the third and
fifteenth centuries in East Asia. The course examines the
religious and aesthetic principles underlying Buddhist art
of East Asia, and analyzes works of art as expressions of
Buddhist values interacting with local cultures. Special attention
is paid to the site of Dunhuang, and to three modes of Buddhist
art: Esoteric, Pure Land, and Zen Buddhist. Prerequisites:
AH105 or 106
or 210 or HI241
or permission of instructor. (Designated a non-Western culture
course.) R. Linrothe
AH 312. ANCIENT
CHINESE ART 3
A focused study of a small number
of Chinese archaeological sites distributed between the Neolithic
(ca. 3000 B.C.E.) and the end of the Han dynasty (220 C.E.). The
sites and the works of art found in the sites will be placed
within their aesthetic, social, and political contexts. These
sites are mainly newly discovered tombs, and special attention
will be paid to the evolving attitudes to the afterlife in
ancient China. Prerequisites: AH106
or 210, HI241,
or permission of instructor. (Designated a non-Western culture
course.) R. Linrothe
AH 314. BUDDHIST
ART OF SOUTH ASIA 3
A study of the evolution of Buddhist art in its original context
of India. The course will survey the primary sites of Buddhist
art production, with an emphasis on sculpture within architectural
settings. Issues include aniconism, patronage, the impact
of ritual practice on artistic format, pilgrimage, narrative,
internationalism, and the relationship between texts and images.
Prerequisites: AH105
or 106 or 210
or HI241
or permission of instructor. (Designated a non-Western culture
course.) R. Linrothe
AH 315. CONTEMPORARY
AFRICAN ART 3
An in-depth study of African art since the early twentieth
century. Focused mainly on the sub-Saharan region, the course
begins by examining the impact that colonialism, with its
appropriation, exploitation, and reshaping of Africa, had
on the arts in Africa. It then analyzes a broad spectrum of
modern and contemporary African art forms (painting, printmaking,
sculpture, textiles, photography, performance, and film) and
related literary works from the 1950s to the present, with
an emphasis on such issues as patronage, the commodification
of art, urbanism, national consciousness, and the effects
of globalization. Prerequisite:AH100 or 103
or 207 or permission of instructor. (Designated a non-Western culture
course.) L. Aronson
AH 321. HISTORY
OF PHOTOGRAPHY 4
An introduction to the history of the medium from its "invention"
in 1839 to the present. This course looks at such forms of
photography as pictorialism, straight-photography, montage,
documentary, and photojournalism, situating them in their
social, cultural, and art-historical contexts. A significant
theme of the course will be how, or even whether, photographs
depict reality. Prerequisite:AH100 or 111. K.
Hauser, M. Hellman
AH 322. INSIDE
THE MUSEUM 4
An examination of the history, theory and practice of modern museums
from the turn of the century to the present day, with a focus on the
relationship between living artists and the museum. Students will gain
experience in many aspects of museum operation including exhibition,
education, and conservation. Guest speakers will join with the Tang
Museum staff to present case studies and facilitate discussions on a
variety of topics such as architecture, audience, tourism and
administration. Prerequisite:AH100. I. Berry
AH 330. LATE GOTHIC
SCULPTURE AND PAINTING 3
Sculpture and painting in fourteenth-century Europe, with
special focus on the "Proto-Renaissance" painters
in Italy and manuscript illumination and sculpture in France
and Germany. Topics include the revolutionary art of Giotto,
the rise of late Medieval devotional art, Art and the Black
Death, and the Limbourg Brothers and International Gothic
art. Prerequisite: AH100
or 111 or 233. P. Jolly
AH 342. ART OF
EARLY RENAISSANCE ITALY 3
An exploration of the origins of Italian Renaissance art in
the fifteenth century, from Ghiberti, Masaccio and Donatello,
to Botticelli and the Bellini. Prerequisite:AH100 or 111
or 241. P. Jolly
AH 345. ROCOCO ART AND DESIGN 3
An examination of a controversial artistic style that generated heated
debate among artists, critics, and consumers in eighteenth-century
Europe. With their sensuous forms and pleasing motifs, rococo images
and artifacts were appreciated by many elites, but they were also
widely criticized for their non-classical style, eroticism, and
associations with femininity, fashion, and decoration. The rococo
idiom continued to be disparaged throughout the modern period, and is
only beginning to be taken seriously as a significant mode of visual
expression. Students will explore how this style engaged the social
values of eighteenth-century elites; why it generated a legacy of
negative responses; and what its critical fortunes can tell us about
the shifting values of artists, viewers, and art historians between
the nineteenth century and the present. Prerequisite:AH100 or
111 or
254. M. Hellman
AH 347. NORTHERN
RENAISSANCE PAINTING 3
Painting in France, Flanders and Germany in the fifteenth
and sixteenth centuries, with particular emphasis upon the
art of Jan van Eyck, Rogier van der Weyden, Dürer and
Bruegel. Prerequisite:AH100
or 111 or 241. P. Jolly
AH 348. SEVENTEENTH-CENTURY
DUTCH PAINTING 3
A study of the images produced during the "golden age"
of Dutch painting and the social, economic, and cultural conditions
from which these images spring. In examining the lives and
works of artists such as Rembrandt, Vermeer, Hals, and Ruisdael,
the course seeks to understand the relationship between Dutch
painting and Dutch society. Prerequisite:AH100 or
111 or
252 or
253 or
permission of instructor. M. Hellman
AH 351. TOPICS IN ART HISTORY 1–4
A topically organized course that addresses problems and issues of
special interest at the advanced level. Course may be repeated for
credit if on a different topic. (AH351N is
designated a non-Western culture course.) Art History Faculty
AH 354. NINETEENTH-CENTURY
ART: LONDON AND PARIS 3
A study of the artistic cultures of the two capitals of imperial
power in the nineteenth century, London and Paris. We will
focus on artistic developments that both supported and critiqued
this imperialist age, including the art competitions at the
world's fairs of 1855 and 1889, the fashion for orientalism,
the medieval nostalgia of the pre-Raphaelite brotherhood,
and the self-conscious modernity of the Impressionists. Prerequisite:AH100 or
256 or
257 or
261
or permission of instructor. M. Hellman
AH 355. VISUAL CULTURE OF THE FRENCH REVOLUTION 3
A study of visual culture in France between 1785 and 1815, with a
focus on the French Revolution. Students will explore how visual
representation contributed to the development of revolutionary
ideologies and the nature of social and political experience during a
turbulent period of radical change. Students will examine paintings,
caricature, and designs for festivals and clothing, giving particular
attention to the display and dissemination of art and design; modes of
spectatorship; issues of class, gender, and citizenship; and the role
of the artist in revolutionary culture. Prerequisite:AH100 or
111 or
254. Art History faculty
AH 361. TOPICS IN GENDER AND VISUAL CULTURE 3
A study of the role of gender in the images, artifacts, or built
environments of a particular culture, area, or time period. Students
explore the construction of gender identities through factors such as
artistic training, subject matter, style, patronage, collecting,
display, spectatorship, and/or theoretical discourses on art. Content
of the course will vary depending on the specialty of the instructor.
May be repeated for credit with permission of the department.
A. Ancient and Medieval Art in the West
B. 15th to 18th Century Art in the West
C. Modern and Contemporary Art in the West
D. Arts of Africa and the Americas
E. Asian Art
F. Special Comparative Topics Prerequisite:
One Art History course or permission of the instructor. M. Hellman
AH 364. CONTEMPORARY
ART 4
Recent developments in American and European art from the
1960s to the 1990s. We will situate a range of contemporary
art movements and practices, including pop, earthworks, performance,
video, and the more traditional forms of painting, sculpture,
and photography, in their cultural and art historical contexts.
The course will explore such issues as the status of art institutions,
the connections between high art and popular culture, theoretical
readings of art works, and the new trend toward artists' self-conscious
expression of an identity politics. Prerequisite:AH100 or 111 or
217 or 261. K. Hauser
AH 371, 372. INDEPENDENT
STUDY 1–4
Guided by the instructor, the student does independent reading
and research in a specific area of art history. Permission
of the instructor required. Art History Faculty
AH 375. SEMINAR 4
Advanced courses where students explore specialized topics in depth.
Seminars rely predominantly upon the discussion of challenging readings,
with students bearing primary responsibility for their own achievements
in the classroom. Typically, seminars include both oral and written
components; require individualized, substantial research projects; and
rely on extensive independent work.
A. Ancient
B. Medieval
C. Renaissance
D. Baroque
E. Modern
F. Africa, Oceania, and/or Americas
G. Asian
H. Special Topics in Art History Prerequisite: Open to
junior and senior majors or minors in studio art or art history.
All others by permission of instructor. Art History Faculty
AH 380. CAPSTONE
IN ART HISTORY 1
The culminating experience of the art history major. Students explore
potential career paths, develop pre-professional skills, engage
current issues in the art and art history world, and complete the
required senior portfolio. Must be taken S/U. Must be taken spring
semester, senior year. Prerequisite: Senior standing as an art
history major. The Department
AH 381. SENIOR
THESIS IN ART HISTORY 3
An advanced research and writing project for qualified senior
art history majors, on any topic of special interest within
the discipline of art history, supervised by a member of the
art history faculty and a second reader. The student will
further develop and refine a substantial research project
that he or she had previously begun in a 300-level art history
course. The final project should be a rigorous critical analysis,
incorporating original research and/or insights. Recommended
for those working toward graduate study in the field of art
history. Those students interested in pursuing a senior thesis
should obtain further information from the Art History office.
Prerequisite: Approval of the faculty sponsor and the
director of Art History.
AH 399. PROFESSIONAL
INTERNSHIP IN ART HISTORY 3 or 6
Professional experience at an advanced level for juniors and
seniors with substantial experience in art history. With faculty
sponsorship and department approval, students may extend their
educational experience into such areas as museums, art galleries,
art auction houses, private art collections, arts administration,
art conservation, and architecture and historic preservation.
Unless prior permission is given by the department, only three
credits will count toward a major in art history. Prerequisite:AH100 plus adequate preparation for the proposed internship through
advanced course work in the history of art.
