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  • Art History 195: Monuments of Asian Art

    4.00 Credits
    Bard College

    Asian Studies An introduction to the great cultures of India, China, and Japan. The major artistic monuments, paintings, and sculptures are discussed in terms of their unique characteristics. Religious traditions include Hinduism, Buddhism, and Islam in India; Daoism, Confucianism, and Buddhism in China; and Shinto and Buddhism in Japan. Secular artistic traditions-pictorial and literary-are also studied.
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  • Art History 201: Greek Art and Architecture

    4.00 Credits
    Bard College

    Classical Studies The development of Greek sculpture, vase painting, and architecture is traced from the geometric period through the Hellenistic age. Topics include the development of the freestanding, life-size nude from Egyptian sources; the depiction of myths and daily life in painting; and the political alliances and institutions that shaped Greek architecture. The stylistic vocabulary and iconography set forth not only expressed contemporary beliefs, attitudes, and policies, but also laid the foundation for future Western art and architecture.
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  • Art History 210: Roman Art and Architecture

    4.00 Credits
    Bard College

    Classical Studies This course follows the development of Roman art and architecture from the founding of the city by Romulus in 753 B.C.E. to the transfer of the capital to the east by Constantine in 330 C.E. Lectures and discussions explore how Rome incorporated and synthesized the styles and achievements of conquered peoples (including Etruscans, Greeks, and Egyptians) to produce something entirely new that not only communicated the nature of the empire but also established a common artistic vocabulary throughout the Mediterranean basin. The ability of art and architecture to communicate political policy and the conversion of the classical into the Christian are among the themes of the course.
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  • Art History 211: Sightseeing:Vision and the Image in the Early Modern Period

    4.00 Credits
    Bard College

    STS This course examines the complex relationship between theories of vision and the production and reception of images in European art and culture of the early modern period (circa 1500-1750). Areas of study include visual technologies (optical devices such as the camera obscura, telescope, and "peepbox"); perspective systems andtheir distortion; the curious and the connoisseurial eye; visions of the divine; the ways in which vision and imagery were associated with desire; evidentiary theory; and the representation of sight.
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  • Art History 212: The Handmaiden's Tale 19th Century Photography and Fine Art

    4.00 Credits
    Bard College

    STS The semester begins with the debate over realism in art that forms the "back story" for the complicatedreception of photography and then works forward to the pictorialist movement at the end of the 19th century. Along the way, students address such topics as photography's status as "thebastard child of art and science," "passing (i.e.,how to make photographs that look like art)"; photography and art pedagogy; photography's role in the "liberation" of painting; and the 20thcenturyrepudiation of 19th-century photography's art aspirations. Significant weekly readings. .
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  • Art History 213: The Classical Tradition in Western Architecture

    4.00 Credits
    Bard College

    Classical Studies A lecture-based examination of classicism in public architecture from its beginnings in ancient Greece to its presence in contemporary America. After defining the formal vocabulary, monuments, and symbolic associations of classicism, the focus shifts to the Italian Renaissance and its revival of the classical vocabulary through archaeology, architectural treatises, and the adaptation of classical types to Christian functions. Also explored are the impact of the Enlightenment, the discovery of Pompeii, and the role of classical architecture in America from Jefferson to postmodernism.
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  • Art History 216: Leonardo's Last Supper and the Reception of Renaissance Iconography

    4.00 Credits
    Bard College

    Italian Studies, STS This seminar situates Leonardo's recently restored Last Supper within the Renaissance tradition of "Last Suppers" and depictions of thelife of Christ. Various interpretations of the painting are studied, including Leo Steinberg's Leonardo's Incessant Last Supper and his controversial Sexuality of Christ in Renaissance Art and in Modern Oblivion. Other readings include works by Vasari, Leonardo, Goethe, Freud, Panofsky, Clark, Kemp, and Pedretti. Students are expected to have read Dan Brown's The Da Vinci Code, in order to consider the validity of its assertions. Some knowledge of Renaissance art, literature, or culture is helpful. Prerequisite: permission of the instructor.
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  • Art History 218: 20th Century Sculpture

    4.00 Credits
    Bard College

    A survey of modern sculpture, beginning with Rodin in the late 19th century and ending with installation art in the late 20th. The class examines the various media, styles, and subjects investigated by Picasso, Brancusi, Giacometti, David Smith, the minimalists, and othermajor sculptors.
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  • Art History 219: Art of the Northern Renaissance

    4.00 Credits
    Bard College

    A survey of painting in Flanders, the Netherlands, and Germany during the 15th and 16th centuries. The course first examines the remarkable innovations of Flemish and Dutch artists working abroad, primarily under the patronage of the French court. It then shifts to the emergence, in the north, of new forms of painting in the work of Hieronymus Bosch, Pieter Bruegel, Albrecht Dürer, Hans Holbein, Jan van Eyck, and Rogier van der Weyden. Developments in landscape and portraiture, the use of oils, and changing patronage are also studied, as is the influence of various philosophical and religious movements, including nominalism, the Devotio moderna, and mysticism.
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  • Art History 220: Early Medieval Art and Architecture

    4.00 Credits
    Bard College

    Classical Studies, Medieval Studies An examination of art from the age of Constantine to 1000 C.E., including catacomb painting, the early Christian basilica and martyrium, the domed churches of the East, and Byzantine mosaics and icons. The class explores the contrasting aesthetic of the migrations, the "animal style" in art, the Sutton Hoo and Vikingship burials, the golden age of Irish art, the Carolingian "renaissance," treasures of theOttonian empire, and the art of the millennium.
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