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  • ARHI 30340: Survey of Baroque Art

    3.00 Credits
    University of Notre Dame

    This course will examine the art of Europe during the 17th century. The first third of the semester will be devoted to the work of Counter-Reformation Italy and the work of individual artists such as Caravaggio and Gian Lorenzo Bernini. The second third of the term will focus on Spanish painting, particularly the work of Francisco Zurbaran and Diego Velazquez. The final section of the course will consider painting in the Low Countries looking at the art of Rubens, Rembrandt, Vermeer, and others. Among the issues that will be addressed are art and spirituality, shifting modes of patronage, art and politics, and definitions of gender.
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  • ARHI 30350: Survey of Italian Baroque Art: From Caravaggio to Guarini

    3.00 Credits
    University of Notre Dame

    This course surveys Italian painting, sculpture, and architecture of the 17th and 18th centuries, a period that also witnessed the foundation and suppression of the Jesuit Order, the Counter-Reformation, absolute monarchy, and democratic nations. Thus, the course begins with the "new Rome" of Pope Sixtus V, which attracted pilgrims and artists from all over Europe, and ends with the early years of the Enlightenment. From northern Italy came Caravaggio and the Carracci, artists who were responsible for creating a new style based upon High Renaissance principles and a new kind of naturalism derived from the study of life. There was Bernini, whose architectural and sculptural monuments almost single-handedly gave Rome its Baroque character. Other artists and architects of this era under discussion include such diverse personalities as Borromini, Guarini, Algardi, Artemisia Gentileschi, and the great ceiling painters Pietro da Cortona, Baciccio, Pozzo, and Tiepolo.
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  • ARHI 30360: The Age of Rembrandt: Northern Baroque Painting

    3.00 Credits
    University of Notre Dame

    Epitomized by the self-conscious art of Rembrandt, northern Baroque painting and printmaking not only became a domestic commodity sold in a more modern-looking marketplace, it also continued to serve its traditional political, moral, and spiritual functions. This course will concentrate on paintings and prints produced in Flanders, Spain, and the Dutch Republics during the 17th century, an era of extraordinary invention. The work of artists such as Rubens, van Dyck, Velazquez, Zurbaran, Leyster, Hals, and Rembrandt will be considered in the context of a number of interrelated themes including the business of art, the status of the artist, art in service of the state, the rise of genre, gender stereotypes, allegory, and art and religion and spirituality.
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  • ARHI 30415: Art of the African Diaspora

    3.00 Credits
    University of Notre Dame

    This course will allow students to consider how the term Diaspora is used to describe the dissemination of peoples of African descent that started with the trans-Atlantic slave trade, and how such movements have impacted their art making. The African Diaspora has created religions, prompted the formation of political movements, and has coined ideologies: from Ethiopianism, the Harlem Renaissance, Negritude, to the Black Arts Movement, and the post-black era. The course will interrogate these important markers in history and examine their roles in the art of the African Diaspora. Although the course is designed around the concept of the Black Atlantic, we will also consider traditional art forms of Sub-Saharan Africa and investigate the ways in which they influenced artists in Europe and the Americas.
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  • ARHI 30417: English Art and Society

    3.00 Credits
    University of Notre Dame

    This course focuses on the dynamic between art and society in the period in which the Industrial Revolution shaped the face of modern Britain. We will examine paintings and architectural monuments that register the devastating human consequences of modernization during this one hundred-year period. As we survey the response of British society to the forces of industrialization, our themes will be the worship of science and progress; the Romantic discovery of nature, the imagination, and the exotic; images of the rural and urban poor; the new constructions of masculinity and femininity; and the return to the Middle Ages for sources of national identity and social reform. The principal artists discussed will be Joseph Wright of Derby, William Blake, John Constable, Joseph Mallord William Turner, Edwin Landseer, the Pre-Raphaelites, and William Morris.
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  • ARHI 30420: Nineteenth-Century European Painting

    3.00 Credits
    University of Notre Dame

    This survey of 19th-century painting treats the major figures of the period within the context of the social, political, and intellectual ferment that shaped the culture--primarily, the political revolutions and the rise of industrial capitalism and the middle class in France, England, and Germany. Among the artistic movements discussed are neoclassicism, romanticism, realism, pre-Raphaelitism, impressionism, and symbolism. The major themes of the course address the relationships between tradition and innovation, and between gender, sexuality, and representation, as well as the meanings of the terms "modern," "avant-garde," and "modernism."
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  • ARHI 30441: Twentieth-Century Art I: 1900-55

    3.00 Credits
    University of Notre Dame

    This course focuses on early 20th-century art and cultural politics in Europe, Russia, and the United States In the early modern period, many of the most ambitious and innovative artists strove to destroy old models of art, often replacing them with models that advocate revolutionary forms for a new, imaginary society. At other times, artists have employed art to undermine accepted norms of bourgeois culture and to liberate art and experience from convention. These are themes addressed in this course, along with the contradictory reality in which the art arose: an era defined by massive wars, racist ideologies, and violent suppressions. Among the selected artists analyzed are Pablo Picasso, Henri Matisse, Piet Mondrian, Marcel Duchamp, Hannah Hoch, Lyubov Popova, Salvador Dali, Walter Gropius, Diego Rivera, and Jackson Pollock.
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  • ARHI 30480: Topics in Contemporary Art: Art Now

    3.00 Credits
    University of Notre Dame

    This course will examine contemporary artistic developments in order to begin to address the multi-faceted, international field that is contemporary art. Focused on a series of case studies that stretch across the diverse media used today-digital film, installation, painting, photography, video, and sculpture-this course will address those themes that gained currency as the driving forces of modernism waned, such as aesthetic activism, pastiche, simulation, the return of the readymade, and the reinterpretation of genre. Special attention will be paid to the way that new formats and media change the scope, audience, and reception of art now.
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  • ARHI 30481: Art After Video

    3.00 Credits
    University of Notre Dame

    The introduction of video as an artistic medium in the late 1960s revolutionized the ways in which artists could address their audience. It also brought a newly literal dimension to artists' relationship with their own projected images. Much of the early literature in artists' video references its self-reflexive element: the "feedback loop" that was initially intrinsic to the medium itself. This course examines video art as it expands from these beginnings. The objects of its inquiry are not strictly bounded by definitions of medium; rather, this course will consider video in addition to other durational media, such as TV and film, which were influenced by artists' video practices. Artists working in video posed a series of thought-provoking questions in the medium's first decades: what is the relationship between performance and document? How is the mediated nature of video inflected by the art market's emphasis on luxury commodities? How do the qualities of a medium affect its content in a postmodernist period? This course will address such questions by drawing upon aesthetic theories of temporality, site-specificity, identity, performance, and institutional critique - as well as by screening numerous artists' videos dating from 1967 until recent times. It has a substantial reading and writing component.
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  • ARHI 30485: American Art and Culture 1945-1970

    3.00 Credits
    University of Notre Dame

    This course covers art and culture in the United States of America from prew-World War II through the early 1970s, focusing on art styles and movements ranging from Regionalism and Abstract Expersssionism to Earthworks and early Feminist art. The "triumph of American painting" in the post World-War II era, links between art and politics, development of American art theory, intersections between the avant-gard, popular culture, consumer culture, and institutionalization of art museums and markets will be analyzed in detail.
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