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  • ARTH 155: American Images

    3.00 Credits
    Georgetown University

    This new course introduces the methods of Art History as tools for the study of cultural history. By selecting a familiar culture as our focus, we can concentrate on how we interpret and respond to elements of our culture, and how we recognize distinct American identities within this broad framework. We will examine the ways in which art has expressed a range of varied American experiences over the course of our history. The course is not a survey, though it is organized historically, but rather a selective study that both underlines the diversity of American art (in terms of ethnic, socio-economic, and other categories) and emphasizes pervasive themes that have validity and urgency across social categories and historical periods. These include concepts of independence and civic responsibility, the thrall of the wilderness, regional pride, immigrant identities, stresses of urban life, responses to war and violence, and changing social values. Required visits to area museums will be an important part of this course. As this is a writing-intensive and discussion-intensive course, the interests of the class members will determine some specific topics, but a syllabus listing the basic units of the course will be provided when it is ready. The class is open to students at all levels, and some places are reserved for incoming first-year students.
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  • ARTH 171: Buddhist Art

    3.00 Credits
    Georgetown University

    This course will survey the Buddhist art and architecture of Asia through selected case studies of artworks and sites in South Asia, Southeast Asia, and East Asia. Among the topics to be studied include: representations of the historical Buddha's life, rock-cut architecture, monastic complexes, painted mandalas, Zen portraits, as well as the roles played by patronage, pilgrimage, and ritual. Our focus upon the Buddhist art and architecture of Asia will allow us to think through not only the historical development of the religion and its visual and architectural forms, but also issues of cross-cultural transmission. In the process, students will gain familiarity not only with the religious and historical context of the artworks and sites and with the basic iconography of Buddhist deities, but also with methods of visual analysis that form the basis of art historical methodology. No prior knowledge of Asian art or religions is required or assumed.
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  • ARTH 228: Northern Renaissance Art

    3.00 Credits
    Georgetown University

    The course surveys painting, prints, and sculpture in the Netherlands, Germany, and France c. 1300-1580. This includes art produced for courts, churches, civic bodies, and private patrons among the growing middle classes in the cities of Western Europe. Rather than presuming a "Northern style" defined in contrast to the art of the Italian Renaissance, we will aim to understand regional and individual tendencies on their own terms. With emphasis on the work of major figures such as Van Eyck, Bosch, Dürer, Holbein, and Bruegel, we will consider changing circumstances of the production, function, iconography, patronage, and commerce of art in the period. As we read a range of scholarly approaches to the material, the works of art themselves will remain our prime targets of inquiry and reflection. We will have two class visits to the National Gallery of Art. Prerequisite:    ARTH 101 or 102 or permission of instructor
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  • ARTH 402: Seminar: On Painting: Idea, Object, Interpretation

    3.00 Credits
    Georgetown University

    On Painting: Idea, Object, Interpretation This seminar wonders why and how arrangements of pigment on a surface have been woven so intimately-and often urgently-into human experience and thought since antiquity. Rather than concentrating on any single period or style, we will examine the very phenomenon of painting as an idea, a cultural force, a physical fact, and more. Each week introduces a single broad angle of approach, which we will pursue with close analysis of individual paintings and a variety of readings. Several of our meetings will be in Washington museums. Prerequisite:    9 credits in art history or permission of professor
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  • ARTH 460: Great Exhibitions in Modern Art

    3.00 Credits
    Georgetown University

    This seminar will explore great 19th- and 20th-century exhibitions of that changed the course of art history and the way we think about art. This is primarily a story of the avant-garde. Beginning with Gustave Courbet's Pavilion of Realism in 1855 and the Salon des Refusés in 1863, we will proceed to the Eight Impressionist Exhibitions dating from 1873 to 1886, and study how Impressionism evolved from representing a radical new aesthetic to becoming part of the art establishment. When the Autumn Salon opened in Paris in 1905, the Fauvist artists frightened viewers with their wild brushstrokes and bold colors. The Armory Show, which shocked New York in 1913, introduced the most advanced modern art to the United States and America was never the same again. These exhibitions and others will lead up to the notorious Degenerate Art Exhibition, which opened in Munich in 1937, and which, in the hands of the Nazis, attempted to pillory and negate all that avant-garde art had yet achieved. We will end the class with a look at the Sensation exhibition, famous for the painting with elephant dung, held at the Brooklyn Museum of Art in 1999.
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  • ARTH 465: Modern Art in Asia

    3.00 Credits
    Georgetown University

    This seminar course will analyze art in Asia from the late 19th century to the present-day in a variety of media including painting, print-making, photography, sculpture, installation, and performance art. Our explorations will take us throughout South Asia and East Asia, and we will also consider the work of Asian émigré artists. Among the artists, thinkers, and artistic movements we will analyze are: Okakura Kakuzo, Rabindranath Tagore, Satyajit Ray, Lu Xun, nihonga, Mavo, Socialist-Realism, the Progressive Artists' Group, the '85 Art Movement, and Xu Bing. Some of the questions we will ask are: how were artists in Asia exposed to new ideas and ways of making art? How did art-making engage with larger issues of political and social change? How was art transformed by debates regarding the value of traditional art styles and techniques? How did changes in art education and art patronage emerge? What was the nature of the dialogue not only between Asian artists and Western concepts of aesthetics and the arts, but also between artists and thinkers from different Asian nations? Do certain patterns emerge when engaging in a comparative study of modern art in various Asian nations? Lastly, was the development of modern art in Asia comparable to its development in Europe and the United States? Classroom discussions of readings and artworks will be supplemented by visits to local museums and film screenings. Familiarity with Asian art will be helpful, but not required or assumed, for this course.
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  • ARTH 470: Museum Internship

    3.00 Credits
    Georgetown University

    Students who have completed at least 9 credits in art history may receive art history credit for an internship at a local museum. Undergraduate Internship Proposal forms are available in the department. The internship must be under the supervision of a curator or other regular staff member; it must include a tangible research project comparable to a paper for a class, and the student's internship description must be approved by a faculty member. (An internship may fulfill a major requirement for 400 level courses, provided the student takes two seminars.) Prerequisite:    9 credits of art history; permission of department
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  • ARTS 103: Three-Dimensional Design

    3.00 Credits
    Georgetown University

    Three-Dimensional Design, organizing form and space is an introduction to concepts and methods designers use to order tangible form and space in a visually exciting way. Its goal is to develop an appreciation of structures, and an awareness and understanding of the building processes and materials that go into their formation. Assignments address abstract concepts, such as communicating through design elements and principles, and practical issues including craftsmanship, material choices and structural integrity. Projects are completed using lightweight materials: paper, cardboard, sticks, string, wire, etc. The course is taught through hands-on projects, class discussions and lectures. Trips to local museums and galleries augment class work. No prerequisite. Fall and Spring. Students enrolled in Studio courses must devote a minimum of 4 - 6 hours per week outside of class to develop and complete assignments. These times are flexible and adjustable depending on the assignment.
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  • ARTS 110: Drawing I: Visual Language

    3.00 Credits
    Georgetown University

    The various disciplines, techniques, and theories of drawing will be studied as the student learns to train his or her hand, eye and imagination in the assigned practical problems of drawing. Students enrolled in Studio courses must devote a minimum of 4 - 6 hours per week outside of class to develop and complete assignments. These times are flexible and can be rearranged with the instructor. No prerequisite. Fall and Spring.
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  • ARTS 120: Intro to Printmaking

    3.00 Credits
    Georgetown University

    This course is designed for beginning to advanced students who wish to experience traditional "hands on" printmaking methods and materials. The course is excellent for studio and art history majors. The basic printmaking techniques covered include; Intaglio, the favorite of Rembrandt, which covers etching and drypoint on copper and zinc, Lithography on stone, as Whistler and Picasso practiced, and Relief on linoleum and wood in the manner of Rockwell Kent and Hiroshege. Students will do assigned test prints in each technique and develop their own personal imagery using the method of their choice. Museum and Gallery visits are required. No prerequisite
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