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Course Criteria
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1.00 - 4.00 Credits
Group 4, 1 course Long regarded as a people obedient to the second commandment prohibiting graven images, the Jews have been seen as alienated from visual communication, a nation without art. Nothing could be farther from the truth. Throughout the centuries, Jewish communities have made the visual arts an integral part of the Jewish experience, and produced artists and architects who have played pivotal, if not transformative, roles in the mainstreams of art's history. This course introduces students to the great variety of monuments and masterpieces through which Jews have expressed their religious and cultural aspirations, their folk customs and rituals, identities and memories, both joyous and sorrowful. Among the topics are: the legacy of King Solomon's Jerusalem Temple in the architecture and decoration of the synagogue; illuminated Hebrew manuscripts for feast and prayer; Jewish-Christian relations; Jewish ceremonial art; the emergence of professional Jewish artists in the 19th century; the role of Jews in the European avant-gardes of the 20th century; Israeli and Zionist art; post-Holocaust art and postmodernism; and we conclude with the World Trade Center project, designed by Jewish architect Daniel Liebeskind.
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1.00 - 3.00 Credits
Group 3, 1 course This course is an introduction to Muslim visual culture from its Arabian origins, through the medieval period of its ascendance, to the Turkish conquest of Constantinople in 1453 and Mughal rule in India. An introductory section surveys the historical and geographical parameters of Islamic civilization, its religious worldview, forms of political authority and social organization. Through slide-based lectures and group discussions, students then encounter the astonishing beauty of monuments such as the Dome of the Rock in Jerusalem, the Great Mosque of Cordoba, the Alhambra Palace in Granada, the Taj Mahal in Agra, and examine their decoration in a variety of media (painting, mosaic, stucco, ceramic tile). The luxury arts' breathtaking carvings in ivory or gold, lavishly illustrated manuscripts, fine pottery and glasswork--are studied against the backdrop of Islamic attitudes towards the arts, the prohibition of figurative imagery, the preeminence of calligraphy and textiles, and the cosmological meaning of geometrical design. Throughout the course students are made aware of the process of creative assimilation from pre-Islamic or non-Muslim traditions, a process by which Islam gradually acquired its own distinct visual identity, and projected its own cultural ambiance far beyond the Middle East.
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1.00 - 4.00 Credits
Group 4, 1 course What was the role of images in women's experience in the Middle Ages This course seeks to answer that question through an examination of images made of, for and by women in this dynamic period of history. The course is framed by the legalization of Christianity (in 313) and Luther's declaration of Protestantism (in 1517), thereby focusing on the entire medieval tradition and its exploration of gender and image. The course seeks to understand the construction and subversion of gender roles through images. May be counted toward the Women's Studies and European Studies interdisciplinary minors.
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1.00 - 4.00 Credits
Group 4, 1 course This interdisciplinary course is organized both chronologically and thematically. It covers the period from the Renaissance to Fascism with ancient Rome being an overarching theme, since antiquity (its physical remains, how it was mythologized, conceptualized and fantasized in history, literature, travel writing and film) has been so integral to Roman identity through time and so much a part of the fabric of how others have conceptualized Rome as well. In dealing with Rome as a material entity, we cover primarily architecture, public sculpture and urban planning which were all driven by complex political, social, religious and aesthetic motivations that got encoded in the imagery. In dealing with Rome as an accumulation of 'mythic' narratives about the city, we look at poetry, short stories, novels, films, letters, journals and other forms of travel writing -- created by some of the many footloose pilgrims -- men and women of different time periods and nationalities--some famous and some not who have journeyed to Rome and been forever changed by the experience. The 'real' and the 'mythic' Romes are, in the end, impossible to pry apart, so interwoven is the dream of this urban landscape with its material reality.
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1.00 Credits
1 course An in-depth study of a particular topic in the history of art. It may be an examination of a specific artist, group or movement or an exploration of a particular theme or issue in art.
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1.00 - 4.00 Credits
Group 4, 1 course The course explores developments in the visual arts (primarily painting and sculpture) in 15th-and 16th-century Italy and includes such artists as Masaccio, Donatello, Sofonisba Anguissola, Botticelli, Leonardo and Michelangelo. It is partly a chronological survey and partly a thematic exploration of important issues--the social construction of the artist; the concept of humanism and its effect on creative developments; the problems of Renaissance historiography; the question of whether or not women had a Renaissance. The class is also concerned with the presuppositions on which art historians have based their interpretations of Renaissance art and culture and on the methods that they have applied to support these presuppositions. Emphasis is on primary readings. Class sessions will be mostly discussion. May be counted toward the European Studies interdisciplinary minor.
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1.00 - 3.00 Credits
Group 3, 1 course This course examines the major painters working in the Low Countries (present-day Belgium, Luxembourg and the Netherlands) during the dynamic era encompassing the later Middle Ages, Renaissance and Reformation. Our survey covers the early Flemish painters Robert Campin, Jan van Eyck and Rogier van der Weyden, and their brilliant line of followers, Hans Memling, Hugo van der Goes, Geertgen tot Sint Jans, Hieronymus Bosch and Pieter Brueghel. Through group discussions and illustrated lectures, students become engaged not only with the distinctive visual character of these marvelous works of art, but also with their cultic, devotional, social and political uses. Special topics include: the development of a northern European realist tradition, changing forms of patronage and aesthetic production, the rising social status and self-consciousness of the artist, the changing character of piety and religious experience, the impact of humanism and Reformation and evolution of secular imagery (portraiture, landscape, satire and more). May be counted toward the European Studies interdisciplinary minor.
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1.00 - 3.00 Credits
Group 3, 1 course Explores origins and developments of abstract painting. Look at, interpret, discuss, and differentiate between different kinds of abstract painting. Is it possible to recognize or find meaning in abstract art, and do different styles of abstraction mean different things Is it possible to distinguish between good and bad abstract art Is abstract painting a secret code, an exploration of design ideas and painting techniques, a record of an artist's interior life, or a blank slate onto which we project our own ideas What is the relationship between abstract painting and the political and social upheavals of the 20th century May be counted toward the European Studies interdisciplinary minor.
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1.00 - 4.00 Credits
Group 4, 1 course This course considers how art historians have conceptualized "Post Impressionism" and explores the institutions (Academy, Salon, Ecole des Beaux Arts) and market structure (dealers, auction houses, the apparatus of art criticism) that influenced or controlled how, for whom and under what conditions art in 19th- century France was produced and how, where and by whom art was consumed (that is, used, purchased or viewed). Other issues considered are the social and financial consequences of the artists' independence from traditional institutions in 19th-century France and how women artists did or did not fit into these institutional and market structures. The "Post Impressionist" artists studied will be used as springboards to discuss some larger themes about art, artists, critics and audiences in a particular historical moment. Readings include primary sources--artists' letters, journals, excerpts from contemporary novels and art criticism from specialized and mainstream journals of the late 19th-century. May be counted toward the European Studies interdisciplinary minor.
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1.00 - 4.00 Credits
Group 4, 1 course This course explores a range of visual genres which, for medieval and early modern Europeans, thematized ideas about sin and vice, guilt and penance, contempt for the world, death, burial and decay, the horrors of Hell, the quest for purgation and the hope of resurrection at the end of time. Panoramic Last Judgment scenes from church portals; gruesome depictions of saints' deaths and the Passion of Christ; tomb sculpture showing the deceased as a worm-eaten skeleton; visions of Hell and its torments; the "Dance of Death" and other macabre themes--all are studied in the cultural context of Christian theology, popular religion and devotions, the catastrophes of the Black Death era, radical millenarianism and the repression of dangerous minority groups (heretics, Jews, witches, homosexuals). Did the Middle Ages and Reformation period bequeath to us, as one-historian claims, a distinctly Western "guilt culture", and if so, how has the iconography of sin and death persisted in Western art up to the present day May be counted toward the European Studies interdisciplinary minor.
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