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Course Criteria
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1.00 Credits
1 course Designed to introduce the elementary teaching majors to the purposes and methods of art education at the elementary level. (This course is a study of the philosophy of education.) Practically, the course introduces the various media available to the classroom teacher and the role of art education in the grades. Prerequisite: junior or senior classification.
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1.00 - 3.00 Credits
Group 3, 1 course This course surveys the major developments in art and architecture from the Paleolithic period through the high Middle Ages. Emphasis falls on the ancient civilizations of the Near East, Egypt, the Aegean, Greece and Rome, the early Christian world, Byzantium, Islam and the Middle Ages in Western Europe. The approach is at once historical, in that visual forms and types of images are studied in their development over time and across cultures, and anthropological, in the sense that cultures are studied at isolated moments as a way of better understanding the significant roles art and architecture play within them. May be counted toward the European Studies interdisciplinary minor.
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1.00 - 3.00 Credits
Group 3, 1 course A survey of Western art from the Renaissance to the present. This course is taught with different narrative structures in alternate semesters. One structure takes a historical overview. It tracks the changes in the place of art in society, its subject matter, patronage and audience. In alternate semesters, the class explores a limited number of art works which are treated as "case studies;" this leaves time for a deeper interrogation of specific historical and cultural issues. With each "case study" (these are organized chronologically) we look at a particular theme or "problem"--art and labor; the narrative tradition in art; the artist as cult figure--and then examine how a similar problem/issue/theme is played out in a modern (late 19th-20th century) work. In either narrative structure, the operating assumption is that art produces and shapes meaning in the culture and does not simply "reflect" it. Both courses consider how visual images function in the culture; look at the conflicts inherent in the practice and reception of art; and examine the ideological investments of art history's practitioners. May be counted toward the European Studies interdisciplinary minor. Not open to students with credit in ARTH 142.
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1.00 - 3.00 Credits
Group 3, 1 course What is art Why is it important How and what do works of art mean How does art help us both shape and make sense of our world These are the overarching questions that the course will address as we thread our way through the examination of various genres of art--from traditional (landscape, portraiture) to contemporary (video, performance art); as we explore art in its economic, social and political dimensions (looking, for example, at public art and identity politics or at controversial art and the First Amendment); and as we examine the role art can play in our public and private consciousness. We will be mindful throughout of how the production of meaning in art involves a complex collaboration of artist, viewers and artwork. In this discussion-based course, we will be active viewers and analytical thinkers--reading, writing and looking, in a critical way, at images in slides, at actual works of art, and at films and videos. Not open to students with credit in ARTH 132.
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1.00 Credits
1 course A seminar focused on a theme related to the study of art history. Open only to first-year students.
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1.00 - 3.00 Credits
Group 3, 1 course The course introduces the major painters and sculptors (Rembrandt, Rubens, Vermeer, Caravaggio, Bernini, Artemisia Gentileschi, Velazques and others) of 17th-century Europe by exploring a few major themes. Using, as an overarching concept, the Baroque as the "age of the Marvelous" allows us to view intersections among the worlds of art, science, theater, printing, mechanical engineering, religion and the occult. The course examines the visual arts in relation to various contexts--economic, historic and domestic--as well as institutions--the Church, the monarchy and academies of art. It investigates the development of certain subjects that emerged as independent genres in the 17th century: still life, landscape and genre painting. The course also looks at how artists perceived themselves and were perceived (some would say "constructed") both by their contemporaries and by subsequent writers up to the present day. May be counted toward the European Studies interdisciplinary minor.
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1.00 - 4.00 Credits
Group 4, 1 course This course examines the stunning variety of images (paintings, sculptures, prints) that served as catalysts to religious devotion for Christians in the Middle Ages, Renaissance and Reformation. How did the practice of venerating holy images take shape in early Christianity, why was it attacked as idolatry , how was it defended, and what impact did this have on the tradition of picture-making in both Byzantium and the West How did miraculous images of the holy persons--images that answered prayers, comforted the sinner or healed the sick with effusions of tears, blood or milk--become invested with their powers What did it mean when, according to pious legend, Jesus authorized his own portraits (as in the Veronica or the Shroud of Turin) What are the cultural-political implications for the image controversies of today Drawing on psychology, anthropology, social history and the history of religions, we examine how the makers of devotional art created and shaped certain kinds of viewing practices and how, in social terms, new audiences for the new genres were created.
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1.00 - 3.00 Credits
Group 3, 1 course Art and architecture of India and Pakistan, also Afghanistan, Cambodia, 250 BC to the present. Concentrates on sacred art (Buddhism, Jainism, Hinduism, Islam): sculpture and architecture and some painting, also modern (postcolonial) and contemporary art, architecture, and especially film. Theological, economic, political and historical conditions will be considered. Develop a critical and formal vocabulary for the major art forms reviewed (sculpture, architecture, painting and film), and develop an understanding of different artistic styles, schools, and traditions, as well as their specific religious, political and cultural contexts.
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1.00 - 4.00 Credits
Group 4, 1 course This course explores the spectacular visual culture of European society during the High and Late Middle Ages (roughly 12th-15th centuries). In this period the tremendous growth of cities and urban culture, along with economic expansion and social differentiation, created dynamic new forms of interaction between audiences and emerging genres of art.Through selected case studies of architecture, monumental sculpture, stained glass, reliquaries and altar pieces, illuminated manuscripts, luxury ivory carvings and other devotional images (including early graphic arts), students encounter medieval culture and society in all its dazzling diversity.Issues for investigation include: the rise of devotional art and lay spirituality; the impact of miracle tales, relic cults, pilgrimage and other forms of associational worship; the rise of the cult of the Virgin, Mary's role as heavenly intercessor, bridal mysticism and devotion to the Rosary; the culture of chivalry, the impact of the crusades and epic poetry; new forms of social violence, crime and punishment, as well as new models of sexuality and love. May be counted toward the European Studies interdisciplinary minor.
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1.00 - 3.00 Credits
Group 3, 1 course Surveys the history of European and American art of the 20th century and the present, paying attention to changes in the artists' goals and understanding of what art is, as well as changes in materials, subject matter, audience and marketing. Some topics covered are: non-naturalistic representation and abstraction; rejection of traditional standards of quality and beauty; abandonment of painting and sculpture for new formats; role of the artist in society; mass culture and politics; issues of gender; colonialism; ideals of sincerity and authenticity as they motivated artists and their audiences.
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