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  • ARHI 30202: The Contest of Word and Image in Early Medieval Art

    3.00 Credits
    University of Notre Dame

    This course will introduce students to the architecture of the Middle Ages (ca. 300-1400). This introductory course will begin with early Christian architecture and culminates in the great Gothic Cathedrals of northern Europe. Students will not only be invited to consider the development of the architectural forms of the church building, but will also be able to consider the degree to which the changing nature of the church building reflects broader issues in the history of Christianity in the Middle Ages.
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  • ARHI 30210: Late Antique and Early Christian Art

    3.00 Credits
    University of Notre Dame

    Art in late antiquity has traditionally been characterized as an art in decline, but this judgment is relative, relying on standards formulated for art of other periods. Challenging this assumption, we will examine the distinct and powerful transformations within the visual culture of the period between the third and the eighth centuries AD. This period witnesses the mutation of the institutions of the Roman Empire into those of the Christian Byzantine Empire. The fundamental change in religious identity that was the basis for this development had a direct impact upon the visual material that survives from this period, such that the eighth century witnesses extensive and elaborate debates about the status and value of religious art in Jewish, Moslem, Byzantine, and Carolingian society. This course will examine the underlying conditions that made images so central to cultural identity at this period.
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  • ARHI 30213: Art into History: Byzantine

    3.00 Credits
    University of Notre Dame

    Byzantine art has often been opposed to the traditions of Western naturalism, and as such has been an undervalued or little known adjunct to the story of Medieval art. In order to develop a more sophisticated understanding of this material, we will examine the art produced in Byzantium in the period from the 9th to the 12th century, a period that marks the high point of Byzantine artistic production and influence. Stress will be placed upon the function of this art within the broader setting of this society. Art theory, the notions of empire and holiness, the burdens of the past, and the realities of contemporary praxis will be brought to bear upon our various analyses of material from all media. How we, as art historians, can write the history of this rich culture will be a central issue in this course.
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  • ARHI 30220: Kingdom, Empire and Devotion: Art in Anglo-Saxon and Ottonian Europe

    3.00 Credits
    University of Notre Dame

    Although the Anglo-Saxon Kingdom and Ottonian Empire overlap in time during the 10th and 11th centuries, the images and objects produced by both cultures manifest the different political, social, and religious identities being deliberately constructed. By the mid-11th century, the Normans had invaded England, the Salian emperors had succeeded the Ottonians, and European art is more cohesively and problematically labeled as Romanesque. This class will examine Anglo-Saxon and Ottonian art as individual visual traditions. We will explore various cultural, political, and religious issues as they are worked through and revealed in the images and objects that survive from these regions.
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  • ARHI 30240: Romanesque Art

    3.00 Credits
    University of Notre Dame

    This course examines sculpture, architecture, manuscript illumination, and mural painting along with the arts produced for church and court treasuries in western Europe during the 11th and 12th centuries. Pilgrimage to the holy shrines, the veneration of saints, and crusades to Jerusalem are among the issues discussed in relation to the arts. Monastic and ecclesiastical reform, heresy, and renewed interest in antiquity are also considered.
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  • ARHI 30250: Gothic Art and Architecture

    3.00 Credits
    University of Notre Dame

    The first monument definitively labeled as "Gothic" is the Abbey church at St. Denis, yet no correlating monument or object exists to mark the finale of Gothic art. The term "Gothic" carries a wide range of connotations and it is applied to European art and architecture from the mid-12th century to roughly the 15th century. In examining the architecture, sculpture, manuscripts, metalwork, wall-paintings and textiles from these centuries, this class will compare the implications historically ascribed to "Gothic" with the ideas promoted by the cultures and individuals actually creating these objects. Although the focus of this course will be France, comparative material from Germany, England, Austria, and Italy will be included.
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  • ARHI 30311: Fifteenth-Century Italian Art

    3.00 Credits
    University of Notre Dame

    This course investigates the century most fully identified with the Early Renaissance in Italy. Individual works by artists such as Brunelleschi, Donatello, Ghiberti, Botticelli, and Alberti are set into their social, political, and religious context. Special attention is paid to topics such as the origins of art theory, art and audience, Medician patronage, and art for the Renaissance courts of northern Italy and Naples.
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  • ARHI 30312: Venetian and Northern Italian Renaissance Art

    3.00 Credits
    University of Notre Dame

    This course focuses on significant artistic developments of the 16th century in Venice with brief excursions to Lombardy and Piedmont. Giorgione, Titian, and Palladio, the formulators of the High Renaissance style in Venice, and subsequent artists such as Tintoretto and Veronese are examined. An investigation of the art produced in important provincial and urban centers such as Brescia, Cremona, Milan and Parma also provide insight into the traditions of the local schools and their patronage.
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  • ARHI 30313: Art of the High Renaissance in Florence and Rome

    3.00 Credits
    University of Notre Dame

    Leonardo, Michelangelo, Bramante, and Raphael provide the basis for a study of one of the most impressive periods of artistic activity in Italy - the High Renaissance in Florence and Rome. It was Leonardo da Vinci's revolutionary example that imposed extraordinary artistic and intellectual changes on an entire generation of painters, sculptors, and architects. Ludovico Sforza, Duke of Milan, the new Republic of Florence, and the imperial papacy of Julius II recognized that the genius of Leonardo, Bramante, Michelangelo, Raphael, and others, could be brought into the service of the State. Under Julius, the Papal State became the supreme state in Italy, and for the first time in centuries, the papacy ranked as a great European power. With the ceiling of the Sistine Chapel, St. Peter's (redesigned on a colossal scale by Bramante), the Vatican Palace (its city facade and Belvedere by Bramante, and papal apartments decorated by Raphael), and the Papal tomb (designed by Michelangelo), Rome, for the first time since the time of the Caesars, became the center of Western art.
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  • ARHI 30320: Northern Renaissance Art

    3.00 Credits
    University of Notre Dame

    This course traces the development of painting in northern Europe (France, Germany, and Flanders) from approximately 1300 to 1500. Special attention is given to the art of Jan Ven Eyck, Rogier van der Weyden, Heironymous Bosch, and Albrecht Dürer. Through the consideration of the history of manuscript and oil painting and the graphic media, students will be introduced to the special wedding of nature, art, and spirituality that defines the achievement of the Northern Renaissance.
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