SPRING 2018 ARHI Courses

INTRODUCTORY SURVEYS

ARHI 2300 Art History I: Cave Painting to Michelangelo
[3 time-sections available]

ARHI 2400 Art History II: Baroque to Modern
[1 time-section available]

*ARHI2411H : Honors Art History II: Baroque to Modern [for Honors or by POD request]
Dr. Andrew. MWF 10:10-11am
This course provides an overview of predominantly Western art production circa 1600 to the later 20th century. It will examine a range of monuments, artists, traditions, innovations, and ideas, and lead students to understand the formal and cultural significance of artworks in their historical context. The skills that students develop in this course to look at, think, read, and write about works of art will be useful tools that they can be applied to other studies and future careers. The limited class size is especially conducive to conversations, museum or exhibition visits, and non-exam assignments.

UPPER-LEVEL UNDERGRADUATE TOPICS COURSES (3000-level)

ARHI 3004: Roman Art & Architecture (AREA 1)  
Dr. Abbe. TR 9:30-10:45am
Sculpture, architecture, and wall painting of ancient Rome and the lands governed by Rome from the beginning of the Iron Age (1000 BC) to the reign of Constantine (AD 330) in its historical, social, and cultural context. Critical methodological issues, recent important archaeological discoveries, and on-going debates are highlighted.

ARHI 3022: Art and Architecture of Byzantium - The Empire of the New Rome (AREA 1)
Dr. Kirin. TR 12:30-1:45pm
A survey of the art and architecture in the Byzantine world from the sixth to the sixteenth century.

ARHI 3030: Baroque Art I: Southern Europe (AREA 2)
Dr. Zuraw. MF 2:30-3:45pm
A survey of Baroque art and architecture in Italy, Spain, and France from ca. 1590 through 1675. Major artists to be considered include Caravaggio, Bernini, Velasquez, and Poussin.

ARHI 3056: 19th-Century European Art (AREA 3)
Dr. Luxenberg. MF 12:20-1:35pm
Examination of the artistic production in Europe during 1800-1890 when avant-garde art first appeared. The particular formal qualities, content, and historical context of major styles or movements - Romanticism, Realism, Impressionism, Neo-Impressionism - are studied individually, but connected by overarching themes - the roles of art exhibitions, critics, and market.

ARHI 3080: Contemporary Art (AREA 4)
Dr. Geha. MWF 10:10-11am
Examination of a series of significant examples of art and architecture, primarily in the United States and Europe, from 1960 to the present. Works of painting, sculpture, photography, video, and electronic media as well as architecture and urban design will be studied as evidence of important trends.

ARHI 3530: Modernist Photography (AREA 4)
Dr. Simon. TR 11am-12:15pm
This course attempts an overview of the development of modernist “art” photography from its beginnings in “pictorialism” through its absorption of cubist aesthetics, theories of abstraction, surrealist principles and mystical beliefs.  It will explore as well the revolutionary redefinition of documentary photography, the transformation of street photography and the appearance of avant-garde film in the 1920s-30s.  Rather than offer a superficial survey of fifty plus photographers with only an image or two by each, this course will focus on the seminal American figures in the formation of modernist photography and key European photographers who profoundly influenced their work and the development of twentieth century modernism.  Arranged around a selected group of major figures beginning with the French documentarian Eugene Atget and continuing to the art of Walker Evans, Cartier-Bresson, and Diane Arbus, the course will be essentially monographic but with an awareness that many of these photographers overlap chronologically and artistically.  The intersection between photography and the other modern arts will also be considered as we come to terms with what was understood as a modernist photographic aesthetic from the late 19th through the mid-20th centuries. The role of film on modernist photographers will also be considered. Students will learn to distinguish individual photographic styles and to understand how photography conveys profound meanings through the use of light, imagery, focus, cropping, and other techniques. Comparative art historical analyses of photographers will be an important component of this course as will the historical, social & political contexts of modernist photography—students will be expected to relate photographers and their work to the broader historical events of their creation. Two essay tests and a final exam. 

COMBINED UNDERGRAD/GRADUATE COURSES (4000/6000-level)

ARHI 4008/6008: Ancient Roman Sculpture (AREA 1)
Dr. Abbe. TR 12:30-1:45pm (POM)
Sculpture produced in Rome and the Roman Empire from 200 BC to AD 330 with an emphasis on portraiture, mythological statuary, and state reliefs. Topics of interest include materials and techniques, ancient display and function, literary descriptions of statuary, Roman viewers, and the modern historiography and reception of Roman marble statuary. Recent discoveries, current methodological approaches, and new research are critically examined.

ARHI 4050/6050: Icons in Byzantium: Theory and Practice (AREA 1)
Dr. Kirin. TR 3:30-4:45pm (POM)
Various issues of panel painting in the Byzantine Empire. The Byzantines not only mastered the production of such pieces of art but additionally they developed a highly sophisticated theory of images that was unique in the medieval world. This course explores the dynamics between the theory and the practice of creating, displaying, and venerating icons.

ARHI 4160/6160: Buddhist Visual Worlds: India, Nepal, and Tibet (AREA 1)
Dr. Morrissey. MF 11:15am-12:30pm (POM)
The historical developments of Buddhist ideas, practices, institutions, and visual culture are remarkably diverse. This course will explore various aspects of Buddhist Visual Culture influenced by Mainstream, Mahayana and Esoteric Buddhist doctrine, philosophy and ritual across the broad yet interrelated areas of India and the Himalayan region of Nepal and Tibet.

ARHI 4410/6410: Early American Art: American Art From Colonial To Antebellum America (AREA 3)
Dr. Simon. TR 2pm-3:15 (POM)
The colonial settlers who ventured to the shores of what would become these United States brought with them a European heritage; yet they struggled to create their own unique culture.  We will examine the effects of that cultural enterprise and how the major achievements of American art from its colonial beginnings through Jacksonian and Antebellum America participated in the more complex creation of an "American self"-- of a system of values we now associate with American nationalism.  We will take a cultural history approach in our explorations as we examine American artistic expression from Puritanism to Enlightenment to Romanticism. Although the course will focus on individual achievements primarily in painting (from colonial portraiture of the Limners, Smibert and Copley, to history painting of West, Peale, Allston and Quidor through the landscapes of Thomas Cole), a variety of artifacts including sculpture, prints, popular illustrations, critical reviews, and aesthetic treatises will be considered for their contribution to an understanding of early American culture and society. Through the visual image we will examine America's perpetual mythmaking, its sense of divine mission, preoccupation with morality, idealistic realism, shifting conceptions of nature, assimilation of European styles, and changing attitudes regarding the role of art in society. This will be a course exploring the history of ideas in America, not just the history of American art. Required reading will include Margaretta Lovell, Art in a Season of Revolution: Painters, Artisans and Patrons in Early America (U of Pennsylvania Press, 2005), selections from the primary document sourcebook,  American Art to 1900: A Documentary History by Sarah Burns and John Davis (U of California P, 2009), numerous scholarly articles and book chapters. There will be a major take home and slide essays and a cumulative final exam.

ARHI 4570/6570 (WIP): Modern Art in the Realm of Dance (AREA 4)
Dr. Andrew. MF 1:25-2:40pm (POM)
The history of 20th -century art cannot be told without addressing the concerns of the body, of movement, space, the ephemeral, and the performative. Yet early-20th century histories of art seldom venture far from the material and formal confines of ‘medium.’ The aim of this course is to open a dialogue between avant-garde painting and sculpture of the early-20th century and the movement-arts of dance, music and film. By considering modern art's ties to media that involve the body and its multiple senses, we will question key theories in the history of modernism, from the formalist trajectory of medium-specificity to the suggestion of formlessness or anti-medium, widening the scope of the art “object” and its formal analysis. Attempts to understand human experience of the art object have been supported in the last century by concepts of empathy, synesthesia, kinesthesia, somaesthetics and embodiment. We will read a range of these philosophical and critical frameworks for art and its reception as we examine correspondences across the disciplines at the time of the historical avant-garde and the development of modernist abstraction. 

ARHI 4800 (Undergrad only): Senior Seminar: Goya
Dr. Luxenberg. Wed. 9:05-12:05 (POD)
The senior seminar in art history is meant to introduce undergraduate students to the various resources and methods in the discipline. In order to understand better the contributions of these different resources and methods of interpretation, we will concentrate on the work of a single artist, the Spaniard Francisco Goya (1746-1828). Bridging two centuries and the period that saw a shift from traditional monarchies to new republics, Goya is considered a significant figure in the history of art, and by some, the first truly modern artist. His large, diverse oeuvre – paintings, drawings, and prints - has received a wide range of interpretations, from the qualitative comparisons of connoisseurship to multivalent iconographic explorations or the deconstructing of systems of power by feminism. Through careful reading, looking, and discussion, students will come to a deeper understanding of how research is undertaken and scholarly arguments constructed. Weekly class readings and discussions, followed by research papers and presentations.

GRADUATE-ONLY COURSES (8000-level) See above for 6000-level as well

ARHI 8950: Contemporary SEMINAR: Art since 1990
Dr. Wallace. Wed 3:35-6:35 (POD)
This seminar considers significant trends within contemporary practice and aims to interpret of works of art for which there is not a received meaning or interpretive framework. In so doing, we will often turn to texts from other disciplines -- semiotics, philosophy, film studies, anthropology, psychoanalysis history of science — and group works according to weekly themes, problems, and logics.

ARHI 8580: Renaissance SEMINAR: Love and Death in Early Modern Europe (15-17th century)
Dr. Zuraw. Mondays 9:05-12:05 (POD)
The topic of this seminar focuses on the universals of life—birth, marriage, love (order flexible), and death. By considering these issues—not the more traditional subjects associated with power and authority—the seminar will inevitably concentrate on domestic, rather than public life. This is not, however, a consideration limited to women. Both men and women had important roles to play in the domestic realm. This seminar will consider some of the following themes: building and furnishing the home; birth and children--objects and subjects; the erotic in the private sphere; objects of domesticity; brides and marriage; portraits of the family; illustrated manuals on domesticity; woman at court; sleep and death; death in the family; and preserving memory. Since this seminar covers almost three centuries and much of Europe (concentrating for reasons of bibliography as much as anything else on Italy and the Netherlands), the structure of the seminar will reflect available readings. Each student will present their research in a final seminar report, but before those begin, weekly sessions will involve the collective presentation of both readings and ideas.