AH 100. SURVEY OF WESTERN ART
4
Survey of Western art from ancient times to the present that places
monuments of art in social, historical and cultural contexts.
K. Hauser, M. Hellman, P. Jolly
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
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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 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 permission
of instructor. P. Jolly
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
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15th- TO 18th-CENTURY ART
IN THE WEST:
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.
Recommended preparation: AH100 or 111 . (Fulfills humanities requirement.) P.
Jolly
AH 252. BAROQUE AND ROCOCO
ART 3
A survey of European art of the seventeenth to mid-eighteenth centuries.
Through an examination of artists such as Bernini, Velazquez, Rembrandt,
and Hogarth, the course aims to develop an understanding of the
historical and social conditions and stylistic features that characterize
the diverse artistic manifestations of the period. Prerequisite:
AH100 or 111 or permission of instructor.
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. M. Hellman
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.
(Fulfills humanities requirement.) 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 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 permission of
instructor.
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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.
AH 256. NEOCLASSICISM TO
IMPRESSIONISM 3
A survey of European art, from the mid-eighteenth through the nineteenth
centuries. Through an examination of artists such as David, Delacroix,
Constable, Courbet, Monet, and Van Gogh, this course will explore
artistic responses to the social, political, and economic changes
of the period. We will discuss such topics as neoclassical portraiture,
romantic landscape painting, art displays at world's fairs, and
the origins of the "avant-garde." Prerequisite: AH100
or 111 or permission of instructor.
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. HISTORY OF DRESS
IN THE MODERN WEST 3
A survey of costume and fashion in Europe and America, 1750 to the
present. This course examines men's and women's clothing in the
context of economic, political, and cultural change in the modern
period. We will consider dress as one aspect of a rich visual culture
that also includes the fine, popular, and decorative arts with which
art history students are familiar. Our sustained thematic focus
will be costume as a maker of individual identity in terms of social
class, political ideals, gender, and sexuality. Prerequisite: AH100
or permission of instructor. (Fulfills humanities requirement.)
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 3
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 353. ART AND REVOLUTION 3
A study of the visual culture of the revolutionary decades 1770-1820
in Europe and America. This course seeks to explore such themes
as the meaning and role of political art, the emerging ideals of
modern subjectivity and the Romantic artist, the origins of political
caricature, and the differences in status and ambition between such
"public" artists as Jacques-Louis David and "private"
artists such as William Blake. Prerequisite: AH100 or 111 or 256
or permission of instructor.
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 261 or permission
of instructor.
AH 364. CONTEMPORARY ART 3
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: AH100,111, 217, 261, or 263 . K.
Hauser
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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 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 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: AH 103 recommended. (Designated
a non-Western culture course, fulfills humanities breadth requirement).
L. Aronson
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 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
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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 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.) R. Linrothe
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 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 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 BCE) and the end of
the Han dynasty (220 CE). 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
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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 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.
Art History Faculty
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. Art History Faculty
AH 369. WOMEN IN THE VISUAL
ARTS 3
A consideration of women as artists and as subjects in the visual
arts, mainly in the Western world but also in non-Western cultures.
Viewed from a sociohistorical perspective, the course considers
such issues as art vs. craft, art as a construction of gender, female
vs. male aesthetic, and why women artists have traditionally been
excluded from the art history canon. Prerequisite :AH100 or 111
or permission of the instructor. Art History
Faculty
AH 371, 372. INDEPENDENT
STUDY 3, 3
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
An in-depth study of an area of the visual arts. Specific tops,
varying from year to year, may be offered in one or more of the
following areas.
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. Prerequisites: Senior standing as an art
history major. Art History
Faculty
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.
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The Senior Thesis is a year-long project (during
which students enroll in AH371 Fall, and AH381 Spring) culminating
in a lengthy paper of approximately 25-50 pages. In some cases,
enrollment in AH381 may follow intensive work students have completed
in a 300-level course other than AH371. This endeavor is an important
learning experience carefully mentored by faculty advisors. Writing
a Thesis is not an entitlement but a privilege. A potential advisor
should thoroughly evaluate students in terms of ability, commitment,
preparation, and appropriate match between advisor and student before
accepting a student. Generally, the student should have taken at
least one course with the advisor. The Thesis is necessarily a unique
process for each student and her/his advisor, and it must be customized,
often by trial-and-error during the process itself.
JUNIOR YEAR, SPRING
Students meet with faculty to identify a Thesis advisor and topic;
register for AH371. Advisors alert students to available funds and
deadlines – Student Opportunity Funds and the Harry Gaugh
Fund.
SENIOR YEAR, FALL
first week of classes students
· confirm with advisors their intent to proceed
· in consultation with their advisors, draft a schedule for
readings and meetings
· begin bibliographic research
during the semester students
· continue substantial research to gather relevant material
and identify the thesis of the Thesis
· meet regularly with advisors to discuss their progress
by the end of the semester students
· complete a comprehensive annotated bibliography
· identify a thesis and present it in a written proposal
· register for AH381
· discuss with advisors an acceptable Thesis format, including
thesis, introduction, transitions between sections or chapters,
conclusion, and scholarly form
NOTE: if a student decides not to complete the Thesis s/he needs
to renegotiate with her/his advisor the nature of the final project,
due in December
during winter break students
· begin drafting the Thesis
SENIOR YEAR, SPRING
first week of classes students
· meet with advisors to confirm intent to proceed
· consult advisors about selecting the second reader
· in consultation with their advisors, plan a writing schedule,
identifying revision due dates for sections/chapters
· will be informed by their advisors that they should have
a completed draft by the prize deadline, on or about April 1
during the semester students
meet regularly with advisors to discuss writing progress
April 1 st
· when deemed appropriate by advisors, students turn in the
final draft of the Thesis for prize consideration; Art History faculty
write responses to papers
All students (whether or not they submit their Thesis for a prize)
will revise their Theses until the end of classes, incorporating
feedback from advisors, second readers, and possibly other faculty.
Students turn in the final draft to their advisors and second readers
by the end of the semester.
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