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Course Criteria
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3.00 Credits
A historical and cultural examination of the architecture, sculpture and allied arts of the ancient Andes and Mesoamerica. Spanning the first millennium B.C.E. to the time of the Spanish Conquest, this course considers the role of the arts in the establishment and maintenance of pre-Columbian political/religious authority. (R. Tripp Evans)
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3.00 Credits
An introduction to the art, architecture and allied arts of native North American peoples. Students will consider cultural periods from the prehistoric to the present and regions from the Eastern Woodlands to the Pacific Northwest, with special emphasis placed upon artistic production following European contact. Required museological study involving local collections. (R. Tripp Evans)
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3.00 Credits
An examination of the visual arts in North America from the 17th century to the era of the Civil War, considering their role in the formation of national identity. In addition to class readings and lectures, students will study original works and extant structures in Boston, Providence and Newport. (R. Tripp Evans)
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3.00 Credits
This course explores the contribution of African American artists to the visual culture of the United States, from the work of 18th and 19th century enslaved and free blacks to the production of contemporary African American artists. Students examine the various strategies that African American artists have used to establish an independent artistic identity and to provide a political voice for their audiences. (R. Tripp Evans) Connections: Conx 23010 Black Aesthetics
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3.00 Credits
The development of woodcut, engraving, etching, lithography, etc., from the 15th century to the present. Special attention to the work of Dürer, Rembrandt, Daumier, Whistler and Cassatt. Religious, social and/or political aspects of their work are also considered. Print collections at Wheaton and the Museum of Fine Arts, Boston, are highlighted. This course culminates in the organization and mounting of an exhibition of prints drawn from Wheaton's collection of 1,000 impressions. (Evelyn Staudinger Lane) Connections: Conx 20020 The Art of the Print
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3.00 Credits
An investigation of the art and architecture of the Greek world from the Aegean Bronze Age cultures to the Hellenistic period. Taught chronologically, but from a sociocultural perspective, particular attention is paid to the role and representation of gender in Greek society. (Department)
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3.00 Credits
After a brief consideration of Etruscan art, the course concentrates on Roman art and architecture with particular emphasis on the cultural role played by visual art in Roman society. Etruscan and Roman holdings in the Rhode Island School of Design Museum, Boston Museum of Fine Arts and the Wheaton Collection are spotlighted. (Evelyn Staudinger Lane)
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3.00 Credits
A survey of European painting and sculpture from the eve of the French Revolution to the mid-19th century. Emphasis on concurrent developments in France, England and Germany, with Italy and Spain also considered. Works of art are examined in terms of style, content and theory and in relation to the social and political context. (Ann H. Murray)
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3.00 Credits
An examination of Impressionist and Post- Impressionist painting in France. Works of art are considered in terms of style, theory, content and social context (e.g., the transformation of Paris in the Second Empire). Emphasis on painting, although sculpture and the decorative arts are included as time permits. (Ann H. Murray)
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3.00 Credits
Buddhist art, architecture and ritual have reflected and forged connections among the linguistically and culturally diverse societies of South, Central and East Asia. This course examines changes and continuities in Buddhist art and architecture from developments after the death of the historical Buddha in the 5th century B.C.E. through modern times. Our historically and culturally structured examination of Buddhist material and visual culture will be informed throughout with thematic questions. What do material, visual and ritual culture contribute to the religious experience How can we reconcile Buddhism's doctrinal rejection of material and visual reality with its rich artistic legacy To what extent can we understand devotional objects as "art" Howhave secular and religious agendas intersected in the spread of Buddhism How has Buddhist art, architecture and ritual accommodated itself to widely differing cultural and historical contexts How have the iconography and aesthetic of Buddhist art both reflected and influenced prevailing notions of social status, gender and sexuality (Sean McPherson)
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