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Course Criteria
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3.00 Credits
The course examines selected topics in the history of European painting from the 1780s to 1900. It will explore a range of aesthetic, cultural and social issues through the work of major figures from David, Goya, and Turner to Manet, Seurat and Cezanne. This is a no laptop, no e-device course. Discussion Section Required.
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3.00 Credits
The course will examine a variety of figures, movements, and practices within the entire range of 20th-century art-from Expressionism to Abstract Expressionism, Constructivism to Pop Art, Surrealism to Minimalism, and beyond-situating them within the social, political, economic, and historical contexts in which they arose. The history of these artistic developments will be traced through the development and mutual interaction of two predominant strains of artistic culture: the modernist and the avant-garde, examining in particular their confrontation with and development of the particular vicissitudes of the century's ongoing modernization. Discussion section complement class lectures. Course is a prerequisite for certain upper-level art history courses. Discussion Section Required.
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4.00 Credits
Prerequisites: the department's permission. Students must sign-up in 826 Schermerhorn. Introduction to different methodological approaches to the study of art and visual culture. Majors are encouraged to take the colloquium during their junior year.
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4.00 Credits
This course considers the creative production of African Americans primarily in California in the 19th and 20th centuries. Themes pertinent to the course include: how are African American identities and cultural production imbricated with concepts of what is considered "western" or trends of west coast artmaking?; what can these artists tell us about notions of space, place, and migration in the African American imagination?
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4.00 Credits
This seminar explores the issues of art and sacrfice in the Aztec empire from the points of view of the 16th century and modern times.
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4.00 Credits
Explores various ways in which the West has made sense of Andean Art from the 16th century to the present.
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4.00 Credits
African art history reached a new maturity and sophistication in the 1990s through an intense interdisciplinary dialogue on the visual arts in the Congo. Prominent historians, anthropologists, political scientists, philosophers, artists, and art historians debated the history of Congolese art and changed its future through active patronage. The seminar will cover a wide variety of these texts and will examine the unprecedented role for museum exhibitions in disseminating new interpretations for African art.
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4.00 Credits
Prerequisites: Reading knowledge of French Renaissance art in France rarely receives the same attention as its counterpart in Italy. The beginning of the French Renaissance is usually defined by the influx of Italian artists and objects during the course of the military campaigns in Italy by Charles VIII as well as Louis XII and/or the reign of Francis I (1515-1547). Suggesting a different view on the French Renaissance, this seminar aims to investigate the history of French art from Jean Fouquet (fl. c. 1450-1480) to Henry II (r. 1547-1559), emphasizing the diversity of French artistic production of this period and suggesting a continuity usually not acknowledged. A focus will be on illuminated manuscripts and painting, but the course will also address other media, such as objet d'art, stained glass, tapestries, wall painting and architecture. This class will include visits to Columbia's Rare Book & Manuscript Library, the Pierpont Morgan Library, the Metropolitan Museum of Art, and The Cloisters. Reading knowledge of French is strongly recommended.
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4.00 Credits
Exploration of the multiple aspects of patronage in Indian culture -- religious, political, economic, and cultural. Case studies focused on specific monuments will be the subject of individual lectures.
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4.00 Credits
(F. de Angelis) and is conceived as a travel seminar, taking students to Rome during Spring Break.
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