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Course Criteria
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3.00 Credits
PQ: Any 10000-level course in art history or visual arts. The works of Giovanni Bellini, Giorgione, Titian, Tintoretto, and other major figures are studied in the context of the distinctive Venetian version of the Renaissance. We explore the patterns of patronage, iconography, and practice as they are impacted by the Venetian cult of the state, the role of the great charitable institutions in Venetian society, the conservative Venetian guild, and workshop organization. Some of the major art-historical themes include the understanding of Giorgione and Giorgionism as a decisive turn towards modernity in European art; the complex place of the long-lived Titian throughout the entire period; the role of drawing in an art most noted for its light, color, and touch; and the complex interaction of Venetian and Tusco-Roman visual cultures throughout the Renaissance. C. Cohen. Winter.
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3.00 Credits
PQ: Consent of instructor. This seminar explores artistic interaction between Japan and the West in the late nineteenth century. Topics include changing European and American views of Japan and its art, the use of Japanese pictorial "sources" by artists such as Manet and Van Gogh , Japan ? invocation by decorative arts reformers, Japanese submissions to t he world 's fairs, and new forms of Japanese art made for audiences within Japan. Class sessions and a research project are designed to offer different geographical and theoretical perspectiveand to provide evidence of how Japonisme appeared from late nineteenth-century Japanese points of view. C. Foxwell. Winter.
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3.00 Credits
PQ: Any 10000-level ARTH or ARTV course, or consent of instructor. This course studies in detail the invention of the photographic system as a confluence of art practice and technology. The aesthetic history of photography is traced from 1839 through the present. Special emphasis is placed on the critical writing of P. H. Emerson, Erwin Panofsky, Alfred Stieglitz, Lewis Mumford, Susan Sontag, and Michael Fried. J. Snyder. Autumn.
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3.00 Credits
PQ: Consent of instructor. Prior knowledge of art history required; prior knowledge of twentieth-century art recommended. Class limited to twenty students. This class centers around the different ways of understanding abstraction in the paintings, sculptures, installations, photographs, and moving images produced in Western art in the course of the twentieth century. We examine the role of the notion of utopia, phenomenology, non-composition, decoration, identity, and reproductive media, among others. Artists include Lucio Fontana, Eva Hesse, Wassily Kandinsky, El Lissitzky, Piet Mondrian, Blinky Palermo, Jackson Pollock, Hans Richter, and Sophie Taeuber. C. Mehring. Autumn.
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3.00 Credits
This general survey of Roman material culture uses the archaeological evidence complementary to literary sources in order to delineate the development of Roman society from the Early Republic down to the first sacking of Rome in 410 CE. In relationship to the political and social processes that shaped their formal development, we discuss urban planning; public monuments; political imagery; and the visual world of Roman cities, houses, and tombs. E. Mayer. Winter.
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3.00 Credits
The focus of classical archaeology is on the visual culture of Rome's wealthy Mediterranean provinces. But the work of archaeologists in Britain, Gaul, and Central Europe has yielded a rich and interesting sample of Roman art in a variety of social settings. These materials reflect the interaction between local and Mediterranean culture, thereby allowing for a better contextualization of Roman visual culture. This, in turn, helps to improve our understanding of ancient art in general. E. Mayer. Spring.
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3.00 Credits
PQ: Third- or fourth-year standing. This course does not meet requirements for the biological sciences major. Taught by an imaging scientist and an art historian, this course explores scientific, artistic, and cultural aspects of imaging from the earliest attempts to enhance and capture visual stimuli through the emergence of virtual reality systems in the late twentieth century. Topics include the development of early optical instruments (e.g., microscopes, telescopes), the invention of linear perspective, the discovery of means to visualize the invisible within the body, and the recent emergence of new media. We also consider the problem of instrumentally mediated seeing in the arts and sciences and its social implications for our image-saturated contemporary world. P. La Riviere, J. Elkins. Winter.
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3.00 Credits
PQ: Consent of instructor. This course presents the history of photographic practices in the United States, beginning in the late nineteenth century and extending into the 1980s, that were aimed at gaining an audience for photographs within museums of art. Issues include the contention over claims about medium specificity, notions of photographic objectivity, peculiar photographic esthetics, and the role of tradition and canon formation in the attempted definition of the photographic medium. Photographers include Alfred Stieglitz, Edward Steichen, Gertrude K sebier, Paul Strand, Edward Weston, Berenice Abbott, Man Ray, Robert Frank and Diane Arbus. Texts include essays by Stieglitz, Strand, T. S. Eliot, Edward Weston, Elizabeth McCausland, Walter Benjamin, Beaumont Newhall, John Szarkowski, and Douglas Crimp. J. Snyder. Spring.
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3.00 Credits
PQ: Consent of instructor. Class limited to fifteen students. This course examines seminal formations in the historical conceptualization and representation of modernity and postmodernity. Texts, discussions, and student research considers the implications of artistic and curatorial practice in addition to art theory and philosophical writings. Students are encouraged to conduct research on both historical and conceptual problems. D. English. Spring.
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3.00 Credits
Required of third-year students who are majoring in art history; open to nonmajors with consent of instructor. The aim of this seminar is to deepen an understanding of art history as a discipline and of the range of analytic strategies art history affords to students beginning to plan their own BA papers or, in the case of students who are minoring in art history, writing research papers in art history courses. Students read essays that have shaped and represent the discipline, and test their wider applicability and limitations. Through this process, they develop a keener sense of the kinds of questions that most interest them in the history and criticism of art and visual culture. Students develop a formal topic proposal in a brief essay, and write a final paper analyzing one or two works of relevant, significant scholarship for their topics. This seminar is followed by a workshop in Autumn Quarter focusing on research and writing issues for fourth-year students who are majoring in art history, which is designed to help writers of BA papers advance their projects. Winter.
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