105. INTRODUCTION TO ART HISTORY
Survey of major monuments and trends in the history of painting, sculpture, and architecture from pre-history to the Middle Ages.
This course is taught by Dr. John Kenfield and Dr. Erik Thunø.
Index | Section | Course Time/Place | Instructor |
| 20018 | 01 | MTH3 VH-105 and M2 VH-006D | Kenfield/Thunø | 20019 | 02 | MTH3 VH-105 and M4 VH-006D | Kenfield/Thunø | 20020 | 03 | MTH3 VH-105 and M4 VH-006E | Kenfield/Thunø | 20021 | 04 | MTH3 VH-105 and M5 VH-006D | Kenfield/Thunø | 24430 | 05 | MTH3 VH-105 and M5 VH-006E | Kenfield/Thunø | 20022 | 06 | MTH3 VH-105 and T2 VH-006E | Kenfield/Thunø | 24592 | 07 | MTH3 VH-105 and W2 VH-006D | Kenfield/Thunø | 20023 | 08 | MTH3 VH-105 and W3 VH-006E | Kenfield/Thunø | 20024 | 09 | MTH3 VH-105 and W3 VH-006D | Kenfield/Thunø | 20025 | 10 | MTH3 VH-105 and TH2 VH-006D | Kenfield/Thunø | 20026 | 11 | MTH3 VH-105 and TH5 VH-006D | Kenfield/Thunø | 20032 | 12 | MTH3 VH-105 and TH4 VH-006D | Kenfield/Thunø | 20027 | 15 | TTH4 VH-105 and M2 VH-006E | Kenfield/Thunø | 20028 | 16 | TTH4 VH-105 and T3 VH-006E | Kenfield/Thunø | 20029 | 18 | TTH4 VH-105 and T5 VH-006D | Kenfield/Thunø | 24593 | 19 | TTH4 VH105 and W2 VH-006E | Kenfield/Thunø | 20030 | 20 | TTH4 VH105 and W4 VH-006D | Kenfield/Thunø | 20031 | 21 | TTH4 VH105 and W4 VH-006E | Kenfield/Thunø | 23925 | 23 | TTH4 VH105 and TH3 VH-006E | Kenfield/Thunø | 24594 | 25 | TTH4 VH105 and TH5 VH-006E | Kenfield/Thunø | 26630 | 26 | TTH4 VH105 and M3 VH-006D | Kenfield/Thunø | 20033 | 30 | MTH2 ARH-200/Douglass | Estevez | 27110 | 40 | MW8 VH105 | Estevez | 26234 | 41 | S9:00-11:55 VH105 | Sare |
106. INTRODUCTION TO ART HISTORY
Survey of major monuments and trends in the history of painting, sculpture, and architecture from the Early Renaissance.
Index | Section | Course Time/Place | Instructor |
| 30047 | 01 | CAC W3F4 VH105 | Sablove | 20034 | 03 | CAC TTH8 VH105 | Sablove |
277. The Art of the Body: Visual Culture and Medicine
Index: 32555
CAC, TTH5, 2:50-4:10pm, ZAM MPR, Sheehan, Sidlauskas
This lecture course will explore the relationship between Western art and medicine in the modern period. We will consider representations of doctors, patients, disease, pain, and medical technologies in painting, prints, photography, early film, and new media. We will also explore the metaphorical uses of disease and deviance in the visual arts, ranging from the moralizing prints of British artist William Hogarth to the self-portraits of Dutch painter Vincent Van Gogh. Major monuments of Western painting, such as Thomas Eakins‘s "Gross Clinic," will be studied alongside nineteenth-century anatomical illustrations and the circa 1900 films of Thomas Edison. Images of gassed soldiers in World War I by American painter John Singer Sargent will provide a counterpoint to the "medical performances" of contemporary artists; and early photographic portraits of the insane will be considered in light of today‘s medical imaging.
293. TOPICS AND ART HISTORY: MEXICAN AND MEXICAN-AMERICAN ART
Index: 35143
CAC, MW5, 2:50-4:10 pm, VH104, Flores
This course examines the modern and contemporary art of Mexico and by Mexican-American artists in the United States. Topics to be examined include prints and popular culture, the rise of muralism and social realism, Surrealism and the fantastic, photography, modernist architecture, feminism and performance, the Chicano movimiento and post-Chicano aesthetics, neo-Mexicanism, the conceptual turn, and the place of Mexico in the international art world. Cross-listed with 595:312:01
302. INTRO TO CONTEMPORARY ART
Index: 25815
Prerequisites: 01:082:105 & 106 or permission of instructor
CAC, MTH3, 11:30am-12:50pm, MU 301, Marter
Developments in the visual arts since 1945. Classes include field trips to galleries and museums in New York City.
304. ARCHITECT AND SOCIETY IN ENGLAND
Index: 34709
Prerequisites: 01:082:105,106 or permission of instructor
CAC, TTH4, 1:10-2:30pm, VH-104, Marder
Architecture and the development of the profession in England from the Renaissance through the eighteenth century, emphasizing the diffusion of classical tradition.
306. ROMAN ART
Index: 26631
Prerequisites: 01:082:105 & 106 or permission of instructor
CAC, MW4, 1:10-2:30pm, VH104, Small
The art of Rome will be the focus of this course. The late Roman Republican and early Imperial periods will be especially emphasized as formative for the problems that are pursued by later imperial artists. Topics will include Greek and Etruscan antecedents, portraiture, wall painting, historical relief sculpture, funerary art, urban planning especially at Pompeii and Rome. Requirements: 3 short formal, essays; mid-term; slide quiz; reconstruction of Pliny‘s villa; no final.
322. SURVEY OF JAPANESE ART
Index: 34170
Prerequisites: None Listed
CAC, TTH6, 4:30-5:50pm, VH104, Bower
This course introduces the wealth of painting Japanese artists created during the period 1000-1800. I will focus on the aesthetic taste of aristocratic patrons, of affluent middle class townspeople as well as prominent followers of Zen Buddhism. Using hand-scrolls, hanging-scrolls, and screens, I will underline the following typically Japanese characteristics: the singular relationship of artists to nature, to their native literature, their mixing of contradictory (if not antithetical) psychological components, the preference for unassuming and seemingly spontaneous effects, the propensity for indirect reference or allusion, and lastly the use of asymmetry and void in space. I urge majors of Japanese language and literature to attend this course.
328. Modern and Contemporary Visual Culture in the Islamic World
Index: 76652
Prerequisites:
CAC, TTH5, 2:50-4:10, MU-301, Kahlaoui
This course will examine the contemporary histories of visual culture including architecture, painting, sculpture, photography, and cinema in the Islamic world with a special focus on the Arabic, Turkish, and Persian spheres. Beginning from the 19th century we will overview how the visual culture became increasingly present and reflective of the general debates defining the contemporary Islamic world.
The recent Danish cartoons crisis and the destruction of Bamiyan’s Little Buddha are only the most known examples of the public debates shaping the Islamic visual culture. With the wide and fast spread of modern media in the Islamic world beginning from photography in the 19th century to the information revolution by the end of the 20th century visual culture has been constantly changing in this part of the world. Images are an integral part of contemporary Islam political and cultural discourses. Yet the same issues seem to be debated. Visual self-representation is at the heart of visual production. The conflict over cultural identity and reaction to modernity are the main themes of artistic production.
This course also fills the requirements for an elective course within the Program in Cultural Heritage and Preservation Studies (CHAPS).
341. VENICE
Index: 30048
Prerequisites: 01:082:105 & 106 or permission of instructor
CAC, TF2, 9:50-11:10am, MU 301, Paul
City and art of Venice considered in context of social/cultural history as reflected in masters such as Bellini, Titian, Palladio; their interpretation of favored Venetian themes: sensuality, religion, politics.
343. LATER GREEK ART
Index: 35001
Prerequisites: 01:082:105
CAC, MW5, 2:50-4:10pm, MU301, Kenfield
An examination of Greek art and culture of the Classical and Hellenistic cultural phases.
354. ITALIAN RENAISSANCE SCULPTURE
Index: 34171
Prerequisites: 01:082:105, 106 or Permission of Instructor
CAC, MW5, 2:50-4:10pm, ZAM-MPR, McHam
An examination of Italian sculpture from the mid-13th through the 16th century, including the Pisani, Donatello, Ghiberti, Leonardo, Michelangelo, and Giambologna. One field trip.
371. ARTS OF WEST AFRICA
Index: 29208
CAC, TTH5, 2:50-4:10pm, VH104, Brett-Smith
This course will provide an overview of the arts of West Africa. It will begin with a discussion of Western artists’ discovery of African art in the late 19th and early 20th centuries, it will review the methodologies used in studying African art, and then it will move to the arts of the Guinea coast and progress, culture by culture, from West to East, stopping with the grasslands cultures of Cameroon. The following cultures will be covered in depth: Baga of Guinea, Bamana and Dogon of Mali, Djenne archaeological material in Mali, Senufo and Baoule in the Ivory Coast, architecture of the Batammaliba in Togo, Yoruba arts in Nigeria, archaeological cultures of Nok, Ife, and the historical culture of Benin in Nigeria. The course will have the following themes; the role of the arts in the initiations of young men and women, the relationship between the worlds of the living and the dead, body art and textiles, the historical dimension of the African arts, the social role of the art object.
373. EARLY MEDIEVAL ART
Index: 30050
Prerequisites: 01:082:105 & 106 or permission of instructor
CAC, MW4, 1:10-2:30pm, ZAM-EDR, Miyamoto
European Art from Constantine to ca. A.D. 1000, with emphasis on transformation of classical image of physical man to medieval image of spiritual man.
387. REALISM
Index: 28679
Prerequisites: 01:082:105 & 106 or permission of instructor
CAC MW4, 1:10-2:30pm, ZAM-MPR, Taube
This course will focus on the emergence and development of a realist approach to art during the nineteenth century. It will explore broad artistic movements and styles, such as Romanticism, Realism, and Orientalism, as well as representative works by primarily French, German,
British, and American painters and photographers, including David,Géricault, Courbet, Gérôme, Daguerre, Friedrich, Menzel, Turner,Constable, Millais, Talbot, Cole, and Brady. Among the topics to be addressed are the complex interaction between idealism and realism; the
politics of the body, from the fall of the revolutionary hero to the rise of the ordinary citizen; landscape and its embodiment of national identity; the impact of science and technology on the making and interpretation of art; and the representation of race and the racial theories and anxieties that informed it.
430. SEMINAR IN CULTURAL HERITAGE PRESERVATION
Index: 27554
CAC, M67, 4:30-7:30pm, AL -SEM, Harvey
This course addresses major and timely issues in regard to the preservation of cultural property, specifically the monuments, sites, artifacts and works of art that are our worldwide cultural heritage. While the built environment is a primary focus, its aim is to place specific historic preservation issues within the broader practical and theoretical framework of cultural heritage conservation and preservation worldwide. The material is multidisciplinary and transcultural in nature. Major goals are to expand the students’ preservation experience by giving it an international dimension, and to make students aware of the global intellectual and practical network available to those who pursue careers in this field. The issues addressed hold as much interest for the future historic preservationist, architect, archaeologist, anthropologist, museologist, historian, art historian, sociologist, political economist, and criminologist, as for the future lawyer.
441. SPECIALTOPICS IN HISTORIC PRESERVATION
CAC, T67, 4:30-7:30, VH001, Daniels
NATIONALISM, COSMOPOLITANISM, AND CONTESTED CULTURAL HERITAGE
This course examines how nationalism and cosmopolitanism frame debates about ownership, universalism, and the display of cultural heritage. Contemporary debates about cultural heritage are often divided into competing "national" or "cosmopolitan" perspectives. What do these terms mean? How are they employed? What are their political and ethical consequences? What import do they have upon the future of museums and collections? This seminar will give students the opportunity to understand how museum practitioners, art historians, anthropologists, and archaeologists have conceived of their professional and moral responsibilities to local constituencies, political structures, and universal ideals. Our aim is to understand how ideas like "nationalism" and "cosmopolitanism" are related to each other, and the stakes they represent in a global debate that touches upon every dimension of museum policy and curation. Students will engage a series of critical readings that frame the contemporary arguments about the disposition of art, heritage, and cultural property. Seminar participants will have the opportunity to apply seminar discussions to their own area of interest and expertise.
444. STUDIES IN ARCHITECTURAL PRESERVATION
Index: 76085
CAC M67 4:30-7:30 VH001, Cruicess
STUDIO IN PRESERVATION: THE CEMETERY AT FIRST REFORMED CHURCH, NEW BRUNSWICK, NEW JERSEY
This studio focuses on four major concepts: background research, writing historical narratives, inventory of significant elements in the cemetery, and a conditions assessment of the grave markers in the cemeteries. The goal of the course is to provide students with real-world experience in utilizing archives and local repositories for background research and writing background histories for sites and individuals. The students will research the design (including carvers/artists) and iconography of the grave markers in the cemetery. For the final focus area, lectures will focus on architectural conservation as it pertains to the materials found within the cemetery. Finally, the studio will culminate in the design and implementation of a survey of the cemetery. The survey will record current photography, art historical information, biographical information, conditions of grave markers, and treatment recommendations.
The studio course will be followed by a summer field school. The field school will be divided into two sections. The first will focus on creating a database for the cemetery that incorporates the photography and data collected during the studio. The second will focus on a pilot program to implement sample treatment recommendations within the cemetery.
447. INTERNSHIP IN HISTORIC PRESERVATION
Index: 27556
Prerequisites: Permission required
n/a, n/a
Supervised internship in the field of cultural heritage conservation and preservation at an approved institution. For special permission number see department staff.
491. JUNIOR/SENIOR SEMINAR IN ART HISTORY
Prerequisites: Majors Only/ Required for Majors/For Spec. Perm. Number See Dept. Staff
Section 01: Art Now
CAC, W23, 9:50am-12:50pm, VH108, Flores
This course immerses students in the contemporary art world through analysis of works of art, discussions of critical readings, conversations with artists, and visits to museums and galleries. It assesses the role of the art market, cultural institutions, critics, curators, and collectors in framing art today. The impact of globalization and the role of international biennials, art fairs, and other exhibitions will also be of primary interest. Field trips to New
York City are a required component of the course.
Section 02: Pompeii
CAC, W23, 9:50am-12:50pm, AL-SEM, Small
This course will focus on the Roman site of Pompeii from its founding through its destruction in 79. It will consider all aspects of a Roman city: architecture, including planning and design, public areas (forum, theaters and amphitheater, streets, shops, baths and water supply), and private sections (houses with their splendid wall paintings and gardens). In addition other major sites destroyed by Vesuvius, such as Herculaneum and Boscoreale, will also be considered. Requirements: an annotated bibliography for a research paper, which will first be given as an oral report. In addition there will be a slide identification quiz and two reading assignments for which one-page summaries are required. Class discussion is important. No final.
Section 03: Michelangelo: the Man and the Myth
CAC, W23, 9:50am-12:50pm, VH001, McHam
Michelangelo is the only artist hailed as divine in his own lifetime. His artistic and literary production have been venerated ever since. Although he claimed sculpture as his art, Michelangelo was equally skilled as a painter, draughtsman, architect and poet. He was closely associated with Leonardo da Vinci and Raphael during his early career, but more than they, he dominated Italian art for decades; even after his death his influence was deeply felt by artists as diverse and famous in their own right as Giambologna, Bernini, Caravaggio, and Rodin. Michelangelo’s literary skills and self-awareness drove him to shape his own reputation and legacy through ghost-written biographies with the historians Ascanio Condivi and Giorgio Vasari. His self-fashioned account shaped perception of artists’ status for centuries and even promoted specific myths that came to define the artist during the nineteenth century. The seminar will focus on readings that develop these aspects of Michelangelo’s life and career that will be discussed and debated in class. Students are expected to take a theme from these discussions and readings to present as an oral report. That report should subsequently be expanded as a research paper with notes and bibliography.
Section 04: The Architecture of Colleges and Universities in the US
CAC, W23, 9:50am-12:50pm, ZAM EDR, Yanni
The seminar will address the architecture of American universities from the colonial period to the present. The course will be taught from a social historical perspective, taking into account changing educational theories and the relationship of those theories to architectural design and planning history. American colleges will be compared to British precedents and contrasted with relevant building types such as hospitals, lunatic asylums, and prisons. Turning points in the history of American higher education will guide the topics of each seminar: the establishment of colonial colleges, the Morrell Act and the rise of land grant universities, the G.I. Bill and the expansion of state universities after World War II. Students will learn about architectural research techniques, visit university buildings, make photographic surveys, and read historic documents. The course will be conducted as a seminar, and students are expected to keep up with readings and participate in class discussion. The weight of the final grade will rest on a presentation and paper, but quizzes and in-class writing assignments may also be included.
493. INDIVIDUAL STUDY ART HISTORY
Index: 20035
Prerequisites: by permission of department staff
n/a, n/a
495. INTERNSHIP ART HISTORY
Index: 27557
Prerequisites: This course is ONLY open to Junior & Senior Art History majors
For each three credits the student must put in 14 days of work at the chosen institution. The student keeps a journal – a brief account, day by day, or work done, etc., and also submits a two- to three-page summary of his/her activities. These should be handed in to the Art History Undergraduate Advisor by the last day of classes – preferably a week or so before. (Those enrolled in the course retroactively, in the fall semester, for a summer internship may hand in the journal & report close to the end of the fall semester).
The intern is not paid by the host institution, which may offer money only for transport and meals. Most host institutions will consider commuting time as part of the day, but the student must negotiate this individually.
The student’s supervisor at the host institution will be requested to provide an evaluation on a standard form, which will be sent out shortly before the end of the semester. For a student doing an internship in the summer, requirements are the same except that as there are no provisions for 495, 496 in the summer, the student will do the internship and then register for the relevant course(s) the following autumn.
The student is responsible for identifying internship opportunities and negotiating with the host institution. A list of available internships is available in the lobby of the Art History Department; but the student is also free to locate and arrange his/her own internship, subject to approval by the Undergraduate Director.
497. HONORS IN ART HISTORY
Index: 20036
Prerequisites: by permission of department staff
(Prerequisite: 01:082:105 & 106; Art History majors only. For special permission number see dept. staff)
499. ADVANCED SEMINAR IN ART HISTORY
Index: 68334
Prerequisites: SENIOR MAJORS with 3.0 GPA or 3.5 Art History GPA need perm. of instructor
TBA, TBA
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