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Course Criteria
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3.00 Credits
This is a concept based course in which the student is encouraged to employ a variety of imaging media to fully explore their creative potential in a workshop environment. Projects using large and medium format film cameras, alternative processes and digital image capture and output are required. Students may expand their exploration into more conceptual, process-oriented, video or web-based art. (Jones)
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3.00 Credits
course explores the tumultuous transformations in French art in the decades leading up to the upheavals of 1789 and during the revolutionary period. Stylistically, this means the overthrow of the rococo style (designated aristocratic and feminine) by the reputedly bourgeois, masculine idiom of neoclassicism. It considers the collisions of shifting ideologies of art, politics, class, and gender and their consequences for painters such as Fragonard, Greuze, Vigee Lebrun, and J.L. David. Attention is given to the theoretical programs and gender restrictions of the Royal Academy, to philosophers/critics, such as Rousseau and Diderot, to evolving taste at Versailles, and to visual propaganda during the French Revolution. Prerequisite: ART 102 or permission of the instructor. (Ciletti, offered occasionally)
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3.00 Credits
In this course, students study the history of art history, from its beginnings in artists' biographies to postmodernism and the New Art History, by reading a variety of art historical works. Each student chooses a particular artist, architect, or stylistic movement and follows the traces of art historians through time as they agree and disagree on what is to be said about art. (Tinkler , offered occasionally)
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3.00 Credits
This course examines critical theories of art, architecture, and design since the 1950s. Students explore the relation of structuralist and post-structuralist theories to architecture. In addition, students examine how these ideas and issues resonate within the whole of modern society, including such fields as art, music, literature, film politics, economics, science, and philosophy. (Mathews, Spring, offered occasionally)
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3.00 Credits
How are the feminine and masculine represented in art This course considers the role of gender in Chinese painting, focusing on the Song and Yuan dynasties (spanning the 10th to 14th centuries). Topics include the setting of figure paintings in gendered space, the coding of landscapes and bird-and-flower paintings as masculine or feminine, and ways images of women (an often marginalized genre of Chinese art) help to construct ideas of both femininity and masculinity. Throughout, students examine the differing roles of men and women as patrons, collectors, and painters. Prerequisite: permission of the instructor. (Blanchard, Fall, offered occasionally)
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3.00 Credits
This course provides an overview of the origin and history of the art museum, its various philosophies, and its contemporary operation. Current issues and controversies surrounding the museum are discussed. Field trips to local museums are an integral part of the course. The course culminates in the class selection, planning, and installation of a small didactic art exhibition in the Houghton House gallery. Enrollment is limited to upperclass art majors. Note: Since some field trips require an extended class meeting, students should not enroll in any class scheduled for the preceding class period. Prerequisite: permission of the instructor. (Staff, offered alternate years)
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3.00 Credits
Independent Study
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3.00 Credits
Ecology and the arts is an interdisciplinary and cross cultural study of art and nature. In this course students investigate the work of artists and writers who have dedicated themselves to creating problem solving works that address specific environmental situations, whose work is part of a recuperative project for ecologically degraded environments, or whose works have broadened public concern for environmental issues. Students explore a wide variety of discourses about the personal and public dimensions of environmental issues. The course is to be taken in the junior or senior year of the major. Permission of the instructor required. (Isaak, offered alternate years)
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3.00 Credits
Artemisia Gentileschi was one of the most striking painters of the Italian Baroque style. Her powerful art and unconventional life were controversial, since both violated prevailing late Renaissance expectations about women and their capacities. This examination of Gentileschi addresses such issues as the unfolding of her style and its roots in the work of Caravaggio, the situations of women artists in the 17th century, the iconography of female heroism she pioneered, and Gentileschi's influence upon her contemporaries. Prerequisite: permission of instructor. (Ciletti, offered occasionally)
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3.00 Credits
However considered, this greatest of Italian painters since the Renaissance is a puzzle. His brief life was violent, rebellious, haunted, yet his art reached heights (and depths) of religious truth shared only, perhaps, by Rembrandt. His dark, menacing paintings created a revolution in our understanding of light. His humble, proletarian style was constructed on rigorous, classical principles. The painter of dirty peasants was championed by cultivated prelates and princes. And so it goes. This seminar is dedicated to the luxury of studying Caravaggio's elusive art slowly, in as much depth as possible. Prerequisite: permission of the instructor. (Ciletti, offered occasionally)
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