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The Department of Art offers two independent but strongly integrated areas of study: studio art and art history. Each area offers a major and minor. The department provides students with the opportunity to delve deeply into visual culture. Broadly speaking, students study the role of art and architecture in shaping, embodying, and interpreting cultures from the dawn of human history to the present. More specifically, students study the creative means of discovery and self-expression, and have the opportunity to explore perceptual and conceptual problem solving. Students also learn research methods within an interdisciplinary approach to understanding historical context. Students are encouraged to take advantage of opportunities to study art and art history on semester abroad programs, to do internships in the field, and to do independent work at an advanced level. Both areas of study are designed to prepare students for continued education at the graduate school level.

In art history, students choose from an array of courses covering all periods of the art and architecture of America, Europe, Asia, the African diaspora, and the Islamic world. Advanced courses focus more intensively on specific disciplinary and interdisciplinary issues: the life of a major artist, the history of an important movement, gender in art, texts and images, ecology and contemporary art, and even exhibit planning and design.

In studio art, students take a rigorous set of foundations courses at the 100 level, and quickly move on to highly focused courses in painting, drawing, printmaking, sculpture, photography, and digital imaging. These are designed to help each student to explore a broad range of concepts, methods, and materials while developing individual ideas and a personal voice.

In both art history and studio art, students have the opportunity to finish their undergraduate careers with a highly rewarding honors program. The honors program in art consists of a year-long course of study which is developed and pursued in close collaboration with a faculty mentor.

disciplinary, 12 courses
Two courses from ARTH 101, ARTH 102, ARTH 103, or ARTH 110; one course in ancient or medieval art, one course in Asian art, one course in Renaissance or Baroque art, one course in American or modern art, a seminar (which may be ARTH 440), three additional art history courses or film courses from other departments, and two studio art courses.

disciplinary, 6 courses
ARTH 101, ARTH 102, ARTH 103 or ARTH 110; one 100-level studio art course; and four additional art history courses.

disciplinary, 12 courses
Three from ARTS 105, 114 or 115, 125, 165; four from ARTS 203, 204, 209, 214, 215, 225, 227, 245, 246, 248, 265, 266, 268; two from ARTS 305, 315, 345, 365; three Art History (ARTH) courses.

disciplinary, 6 courses
Two courses from ARTS 105, 114 or 115, 125, 165; two 200 or 300 level studio art (ARTS) courses; one additional studio art (ARTS) course; and one art history (ARTH) course

Art History
ARCH 311 History of Modern Architecture
ARCH 312 Theories of Modern Architecture and Urbanism
ART 100 Issues in Art
ART 101 Ancient to Medieval Art
ART 102 Renaissance to Modern Art
ART 103 East Asian Art Survey
ART 110 Visual Culture
ART 116 World Architecture
ART 201 African‑American Art
ART 208 Greek Art and Architecture
ART 210 Woman as Image and Image‑Maker
ART 211 Feminism in the Arts
ART 212 Women Make Movies
ART 218 Age of Chivalry
ART 220 Arts of China
ART 221 Early Italian Renaissance Painting
ART 222 Women in Renaissance Art and Life
ART 223 The Poetry of Color: Painting in Venice (1470‑1600)
ART 226 Northern Renaissance Art
ART 229 Women and Art in the Middle Ages
ART 230 The Age of Michelangelo
ART 232 Rococo Art and Architecture
ART 235 Art and Architecture of Baroque Rome
ART 240 European Painting in the 19th Century
ART 249 Islamic Art and Architecture
ART 250 20th‑Century European Art: Reality Remade
ART 252 Japanese Art and Culture
ART 253 Buddhist Art and Architecture
ART 256 Art of Russian Revolution
ART 270 1st Christian Millennium
ART 282 American Art of the 20th‑Century
ART 300 Michelangelo, Caravaggio and Bernini (taught in Rome)
ART 302 Arts of the Landscape and the Garden in China and Japan
ART 306 Telling Tales: Narrative in Asian Art
ART 308 Roman Art and Politics
ART 333 Contemporary Art
ART 340 American Architecture to 1900
ART 389 Rococo to Revolution
ART 401 Senior Seminar: Art Historiography--the History of Art History
ART 402 Senior Seminar: Design After Modernism
ART 403 Senior Seminar: Gender and Painting in China
ART 440 The Art Museum
ART 451 Senior Seminar: Art and Ecology
ART 467 Senior Seminar: Artemisia Gentileschi
ART 472 Senior Seminar: The Enigma of Caravaggio
ART 480 Senior Seminar: Art of the Pilgrimage Roads

Studio Art
ARTS 105 Color and Composition
ARTS 114 Introduction to Sculpture
ARTS 115 Three Dimensional Design
ARTS 125 Introduction to Drawingbr
ARTS 165 Introduction to Imaging
ARTS 203 Representational Painting
ARTS 204 Abstract Painting
ARTS 209 Watercolor
ARTS 214 Metal Sculpture
ARTS 215 Sculpture (Modeling)
ARTS 225 Life Drawing
ARTS 227 Advanced Drawing
ARTS 265 Intermediate Imaging
ARTS 266 Time in Art
ARTS 268 Time in Art II: Video and Installation
ARTS 245 Photoscreenprinting
ARTS 246 Intaglio Printing
ARTS 248 Woodcut Printing
ARTS 305 Painting Workshop
ARTS 315 Sculpture Workshop
ARTS 345 Printmaking Workshop
ARTS 365 Imaging Workshop

100 Issues in Art This course takes a broad view of the visual arts, discussing them not in isolation but in the context of the contemporary thought and culture of which they form a part. The course focuses on the social, political, and economic issues raised by the art of our time. Issues discussed include: race, gender, class, censorship, patronage, ecology, activism, etc. Students look at a selection of works from the field of fine art—that is, the practices of painting, sculpture, drawing, photography, installation, performance, video and other mixed media as a basis for a discussion of the issues raised by contemporary art. Open to first-year students only. (Isaak)

101 Introduction to Art: Ancient and Medieval This course offers a chronological study of principal monuments and developments in paintings, sculpture, and architectures from prehistoric to medieval times in Europe, the Mediterranean, and the Islamic world. (Tinkler, offered annually)

102 Introduction to Western Art: Renaissance through Modern This course is a chronological study of principal monuments and developments in painting, sculpture, and architecture from Renaissance Italy to contemporary America. (Ciletti, Tinkler, offered annually)

103 East Asian Art Survey This course presents a chronological study, beginning in the Neolithic period and continuing through the nineteenth century, of the arts and architecture of China, Japan, and (to a lesser extent) Korea, with some comparisons to the arts of India, central Asia, and Europe. Students examine principal monuments and developments in a variety of media, including painting, sculpture, ceramics, prints, garden design, and architecture. There are no prerequisites, and no previous exposure to the arts of East Asia is necessary. (Blanchard, Spring, offered annually)

105 Color and Composition A perceptual approach to problems of color interaction and compositional dynamics, students work through a carefully structured series of problems designed to reveal empirically the nature of color interaction and relatedness and the fundamentals of good visual composition. Projects range from narrowly focused color problems to ambitious, expressive compositional inventions. Required for studio art major and minors. (Bogin, Ruth, offered each semester)

110 Visual Culture This course is an introduction to the history and concepts of art, architecture and visual culture. This course is offered in several sections by different art history professors with different areas of specialization, ranging from modern and contemporary, to Renaissance, medieval, non-Western or architectural.

114 Introduction to Sculpture A broad introduction to sculptural processes and principles. Traditional and experimental approaches to creative artistic expression in a variety of media are investigated including carving, clay modeling, casting and construction. Materials may include plaster, wood, clay, metal, and mixed media. The history of modern sculpture is incorporated into the course through readings and discussion, as well as slide and video presentations. Required for studio art majors: either ART 114 or ART 115. (Aub, offered annually)

115 Three‑Dimensional Design An introduction to three-dimensional concepts, methods, and materials with an emphasis on design. Project assignments involve investigations of organization, structure, and creative problem solving. Materials generally used in the course include cardboard, wood, metals, fabric, and plexiglas. Required for studio art majors: either ART 114 or ART 115. ART 115 is a required course for architectural studies majors. (Aub, Staff, offered each semester)

116 World Architecture A survey of key architectural monuments of the ancient to modern world. This course is organized chronologically and thematically around representative buildings—religious, domestic, civic, courtly—from ancient Greek and Roman to contemporary American. Individual buildings are analyzed in terms of their structural, stylistic, functional, and social meanings, and as cultural exemplars. (Mathews, offered annually)

125 Introduction to Drawing A basic course in visual organization and visual expression, students focus on the relational use of the visual elements to create compositional coherence, clear spatial dynamics, and visually articulate expression. Students experiment with a range of drawing materials and subject matter. Required for studio art majors and minors. (Aub, Bogin, Yi, Ruth, offered each semester)

165 Introduction to Imaging An introduction to the methods, materials, and history of camera based image making. Lectures involve camera usage, lighting, darkroom technique, imaging software, digital printing, and pictorial composition. Weekly lectures on the history of photographically based imaging from 1839 to the present will illuminate the profound influence such methods have on the way we perceive reality. A 35mm, film SLR:type camera or digital SRL type camera. (Jones)

201 African‑American Art This course offers an exploration of the contributions of Black artists to American art, from the transplanting of African artisan traditions in the early 19th century to the fight for academic acceptance after the Civil War, from the evolution of a Black aesthetic in the 1920s to the molding of modernism into an expressive vehicle for the civil rights and Black pride movement of recent decades. Special attention paid to the Harlem Renaissance. Artists include Edmondia Lewis, Henry Tanner, Aaron Douglas, Jacob Lawrence, Faith Ringgold. (Ciletti, offered alternate years)

202 Art Collection Internship This internship involves researching pieces in the Colleges’ permanent collection of art and developing registration records and research components necessary for adequate exhibition and publication of those art works. Interns will be involved in cataloguing and researching several works of art over the course of a term. The intern will document the work in digital form by taking a digital photograph and arranging to have the work professionally photographed for future uses. The result of the internship would be museum collection training for the student. This is a half credit course. (Vaughn, P. Matthews, offered every term)

203 Representational Painting A sequel to ART 105, this course focuses on the problems of painting from a source, including still life, figure, and landscape. Students works to reconcile the insistent presence of objects with the need to create pictorial lights, space and compositional and expressive coherence. Prerequisite ART 105 (Bogin, Ruth, offered alternate years)

204 Abstract Painting A sequel to ART 105, this course focuses on the generation of an abstract pictorial vocabulary and on the investigation of a range of compositional and expressive possibilities for the pictorial use of that vocabulary. Prerequisite: ART 105. (Bogin, offered alternate years)

208 Greek Art and Architecture This course surveys the art of the Greeks and Romans from the historical origins to the middle imperial period (ca. A.D. 200). Students examine the Greek pursuit of naturalism and their turn to emotion in art. Students contrast Greek use of ideal human form with the Roman interest in the depiction of individuals. In architecture, students study the classic expressions of Greco-Roman architecture in their stylistic unity and variety, especially in the way the buildings serve different functions with a limited language of building parts. Prerequisite: previous art history or classics course or permission of instructor. (Tinkler, Fall, offered alternate years)

209 Watercolor An exploration of the fundamentals of painting with translucent color media. Western and Eastern traditions, as well as more experimental approaches, are investigated. Use of Gouache (opaque watercolor) may also be explored. Subject matter involves still life, figure, and landscape with excursions to rural and urban settings. (Yi, offered alternate years)

210 Woman as Image and Image‑Maker An investigation of women artists from the 16th to 19th centuries, with a brief nod to the 20th century, this course is concerned with the social and art historical settings, with placing both the situations and styles of women painters too long ignored. At the same time, it takes up some of the major female themes in Western art—Madonna, Venus, heroine, femme‑fatale—and places them in context. Special attention is given to Artemisia Gentileschi. This course may count toward a women’s studies major. Prerequisite: one course in either women’s studies or art history, or permission of the instructor. (Ciletti, offered alternate years)

211 Feminism in the Arts The impact of women artists on the contemporary art movement has resulted in a powerful and innovative reworking of traditional approaches to the theory and history of art. This course offers an interdisciplinary study of women’s position and potential in the signifying practice and looks at the work of the individual artist within the wider social, physical, and political world. (Isaak, offered alternate years)

212 Women Make Movies The mass media play a critical role in our society. They provide a context in which ideas and information shape our visions of ourselves. Historically, women and national minorities have had little input or influence in film and television. In this course, students learn that the past two decades have seen a new growth in media production by women. Increasingly, numbers of women in independent media have generated new subject matter and approaches to the exploration of cinematic form. Open to seniors only. (Isaak, Spring)

215 Sculpture Modeling An investigation of sculptural tradition and personal expression through figure and head studies observed from life. Projects are modeled in clay and cast into plaster. This course takes an interdisciplinary approach that melds science with sociology and art as we seek understanding of the human form ranging from the physical embodiment to cultural perceptions. In addition to a vigorous investigation of anatomy through lectures, readings, and drawing, students will also explore art historical context, the politics of body image, and the psychology of portraiture. Prerequisite: ART 114 or ART 115. (Aub, offered annually)

218 Age of Chivalry (Tinkler, offered occasionally)

220 Arts of China This course takes an interdisciplinary approach to the arts of China from the Neolithic period through the 20th century. Students consider examples of different media (including painting, calligraphy, woodblock prints, bronze vessels, lacquer ware, sculpture, ceramics, architecture, and garden design) in the context of Chinese literature, politics, philosophies, and religions, with attention to dialogues with other cultures. Broader topics include notions of artists’ places within specific social groups, intellectual theories of the arts, and questions of patronage. When appropriate, students read and analyze Chinese primary sources in translation. Prerequisites: previous art history or Asian studies course. (Blanchard, Fall, offered alternate years.)

221 Early Italian Renaissance Painting This course is an exploration of the extraordinary flowering of the arts in 14th‑ and 15th‑century Florence. Artists include Giotto, Masaccio, Fra Angelico, Botticelli, and Leonardo. The course considers the development of individual styles, the functions of art, the culture of humanism, and the dynamics of patronage. (Ciletti, offered occasionally)

222 Women in Renaissance Art and Life It was once assumed that men and women enjoyed perfect equality in the Renaissance and that the beautiful representations of Venus and the Virgin Mary in Renaissance art signaled the esteem in which women were held. Recent research suggests otherwise, finding instead increasing subordination of women. This course explores this question by considering the interrelationships between images of women in Renaissance painting, social realities of women’s actual lives, the phenomenon of successful women artists, church dogma about women, and the period’s literature by, for, and about women. It focuses primarily, but not exclusively, on Italy in the 15th and 16th centuries. Prerequisite: one course in either art history or women’s studies or permission of the instructor. (Ciletti, offered alternate years)

223 The Poetry of Color: Painting in Venice 1470‑1600 This course explores the development of the sensuous styles of Venetian painting, from its first flowering in the late 15th century through its Golden Age in the 16th, in the work of such artists as Bellini, Titian, Veronese, and Tintoretto. It considers the impact on the arts of a variety of phenomena: the invention of oil paint, the rise and fall of Venice’s economic and political fortunes, its gender arrangements, the unique social organization of the city, and its organs of patronage. (Ciletti, offered alternate years)

225 Life Drawing A study of the formal dynamics and the expressive potential of figure drawing. Students explore a variety of wet and dry media. Prerequisite: a 100-level studio art course or permission of instructor. (Aub, Bogin, Ruth, offered annually)

226 Northern Renaissance Art This course is a study of art in Northern Europe from the 14th to 16th centuries. The primary concern is the emergence of a distinctively Northern pictorial tradition, as seen in Franco‑Flemish manuscript illuminations and Flemish and German paintings and prints. The course traces the contribution of such 15th‑century artists as Campin, van Eyck, and Bosch in transforming the character of late medieval art, and the role of Dürer, Holbein, and Bruegel in creating a humanistic, Renaissance style during the 16th century. (Offered occasionally)

227 Advanced Drawing A continued study of visual dynamics and visual expression. The focus in this course is on the development of individual drawing projects. A variety of subject matter and concepts are used, as well as a variety of drawing materials. Prerequisite: ART 125 or ART 225, or permission of the instructor. (Bogin, offered annually)

229 Women and Art in the Middle Ages This course ranges broadly in chronology and approach to consider women and art in the middle ages in three ways: woman as art maker, woman as art buyer, and woman as art subject. Students study the changes in the relationships, which are active throughout the middle ages. To understand medieval society the course uses two histories—a modern secondary history of the period, and a collection of primary sources. Prerequisite: previous art history or women’s studies course or permission of the instructor. (Tinkler, offered occasionally)

230 The Age of Michelangelo This course is dedicated to the art of the High Renaissance and Mannerism in Florence, Rome, and a few North Italian cities. Students explore the evolution of the two styles in the work of painters and sculptors, such as Raphael, Pontormo, Correggio, Cellini, and Anguissola, with special emphasis on Michelangelo. Attention is also given to the new ideologies of art as Art and to the cult of genius, as well as the propagandistic aesthetics of the court of Cosimo I de’ Medici in Florence. (Staff, offered every three years)

232 Rococo Art and Architecture This course traces the evolution of Rococo style from Parisian salons to Bavarian churches, looking to its rejection of the grandeur of Louis XIV, its freedom, and its expression of both aristocratic hedonism and peasant faith. Attention is paid to the French Royal Academy, the rise of art criticism in Paris, and the intersection of aesthetic and social values. (Ciletti, offered alternate years)

233 Renaissance Architecture This is a survey of Renaissance architecture in Italy from 1250 to 1550, covering work by known architects as well as generic building types. Although the presentation is chronological, its focus is thematic in terms of both culture and aesthetics. Themes include architecture’s relationship to sculpture and painting; city planning and the problem of walled cities; the city as a stage for festivals, processions and the theater; changing ecclesiastical demands for architecture; private commissions and palaces; the political meaning of architecture; contemporary theories; the practice and business of architecture as seen through Michelangelo vs. accounts books, etc. (Bennett)

235 Art and Architecture of Baroque Rome An investigation of the grandiose developments in Italian art in the 17th century, in the work of Caravaggio, Gentileschi, Bernini, Borromini, and other artists in Rome, this course explores such topics as papal patronage, the Counter‑ Reformation, and the need for art as religious propaganda and illusionism. (Ciletti, offered every three years)

240 European Painting in the 19th Century This course traces transformations of the practice, function, and social and political meanings of the art of painting throughout the 19th century in France. Moving from David’s images of revolution and empire, to the Impressionists’ renderings of the world of bourgeois pleasures, to Cézanne’s redefinition of the nature of pictorial form, it considers such issues as the role of the academy, the changing notion of the artist, the function of theory and art criticism, and the relationship between painting and the new art of photography. (Isaak, offered alternate years)

245 Photo Silkscreen Printing An introduction to the basic technology of photoscreenprinting, which can use both photographic and drawn images. Equal attention is given to issues of color and composition. Prerequisite: ART 105 or ART 125. (Yi, offered alternate years)

246 Intaglio Printing An exploration of the basic techniques of intaglio printing, including drypoint, etching, and aquatint. Equal attention is given to composition and the effective use of visual form. Prerequisite: ART 125. (Yi, Bogin, offered alternate years)

248 Woodcut Printing An introduction to the fundamental processes of woodcut printmaking. Traditional and experimental techniques are investigated. Formal dynamics and visual expression are the most important emphases of this course. Prerequisite: ART 125. (Yi, offered alternate years)

249 Islamic Art & Architecture Students examine Islamic art and architecture from its beginnings in classical Mediterranean media and forms to the expression of autonomous stylistic developments and the impact of colonialism and post colonialism. They consider the myth that Islam prohibits imagery and examine the use of the abstract decorative technique often dismissed in western criticism as the “arabesque.” The western colonialist response to the Islamic world, the subsequent Islamic response to western art styles, and the contemporary search for an authentic Islamic style in art and architecture conclude the course. (Tinkler, Spring, offered alternate years)

250 20th‑Century European Art: Reality Remade Beginning with the naturalist tendencies of the Impressionists in the 1860s and 1870s, this course follows the progression of art toward constantly new methods of expression: expressionism, cubism, constructivism, surrealism, Dadaism, etc. The purpose is to come to an understanding of the change that occurred in the practice and theory of art during the first half of this century. The intention is to explore the foundations of modern art when art no longer mirrored reality, but took to analyzing its role in the construction of reality. (Isaak, offered alternate years)

252 Japanese Art & Culture This course takes an interdisciplinary approach to the arts and culture of Japan from the Neolithic period through the twentieth century. Students consider examples of visual media in the context of Japanese literature, history, society, and religions. Topics include Shinto architecture, Buddhist art (including Pure Land and Zen), narrative picture scrolls, traditional and western-style paintings, shoin architecture, gardens, tea ceremony ceramics and ukiyo-e prints (“pictures of the floating world”). Students read primary sources in translation, including Shinto myths, Buddhist texts, and selections from literature. Prerequisite: previous art history or Asian studies course. (Blanchard, Spring, offered alternate years)

253 Buddhist Art & Architecture This course examines the arts and architecture associated with Buddhism from its beginnings in India to its dissemination to Southeast Asia and along the Silk Road to East Asia. The organization of the material is primarily chronological, tracing significant developments in Buddhist practice in each region, with an emphasis on major monuments of architecture, painting, and sculpture. When appropriate, students read Buddhist texts in translation. Prerequisite: previous art history or Asian studies course. (Blanchard, Fall, offered alternate years)

256 Art of the Russian Revolution One of the most exciting movements in 20th‑century art, Russian art of the Revolution, radically reassessed the role of the artist and of his/her work in society and has had reverberations in Western art which continue today. This course begins with the Russian futurists and traces the manner in which new formal vocabularies and new attitudes towards materials were harnessed after the 1917 Revolution by artists like Popova, Goncharova, Rosanova, Tatlin, Rodchenko, Malevich, etc., to develop a full and multidimensional philosophy for the design of functional objects for the new socialist society. (Isaak, offered alternate years)

259 Chinese Painting, Tang to Yuan Dynasties This course explores painting practice from the beginnings of China’s “Golden Age” in 618 through the end of Mongol conquest and rule in 1368. Painting is regarded as one of the premier art forms in the earliest Chinese histories of art, second only to calligraphy. Material is presented chronologically, but broader topics include popular subject matter in early painting, including figural topics and landscapes; early theories on painting and the development of art criticism; notions of artist’s places within specific social classes; questions of patronage and collecting; and relationships between painting, calligraphy and poetry. (Blanchard, Spring, offered alternate years)

265 Intermediate Imaging This course expands on themes introduced in ART 165 with additional emphasis on Photoshop digital imaging techniques. Attention will be given to refining technical skills while expanding the student's artistic horizons to produce images with powerful content. The critique process is an important part of the course structure. Classes are geared to the creation of an open, yet critical environment that fosters each student's emerging visual sensibility. (Jones)

266 Time in Art This course is an introduction to the creation of time-based art. Areas covered include stop-motion animation, sound art, and video art. Projects will emphasize non-narrative forms and explore the relationship between visual and conceptual elements. Students will create original works of art that will be challenged and enriched by the critique process. In addition, students will consider the history of sound and video art and consider contemporary examples of these art forms. Prerequisite: Any 100 level studio art course. (Chin, offered annually)

268 Time in Art II Time in Art II: Video and Installation. Building off of Time in Art, this course will continue an exploration of time-based art, with emphasis on further exploration of digital video and the possibilities of time-based media in space (installation). Additional tools used may include sound, performance, electronics, and photography. Emphasis will be placed on creating conceptual works that engage artists and audience in a deeper understanding of current issues and human experience. Students will create original works of art that will be challenged and enriched by the critique process. In addition, students will consider the history of video, installation, and interactive art, as well as other issues in contemporary art. Prerequisite: ART 266 (Chin, offered alternate years)

270 1st Christian Millenium This course covers the beginnings of Christian art and architecture in the cities of Rome and Constantinople and follows the diffusion of forms into the fringes of the Mediterranean world. The course is organized chronologically around the adaptation of classical forms for new purposes and the invention of new forms for the new religion. Of primary concern for architecture is the interaction between use and design, typified by the development of liturgy. Special attention is paid to the importance of the icon, its role in society, the subsequent politically‑driven destruction of holy images during iconoclasm, and the final restoration of the cult of the image. Prerequisite: previous art history course or permission of the instructor. (Tinkler, offered alternate years)

282 From the Ash Can to the Campbell Soup Can—American Art of the 20th Century This course is a study of American art from the turn of the century to its ascendancy as the center of international art. (Isaak, offered alternate years)

300 Michelangelo, Caravaggio & Bernini This course studies the work of Michelangelo, Caravaggio and Bernini, the dominant masters of the Roman Renaissance and Baroque periods on site in Rome. Painting, sculpture and architecture are considered. Students look to the nature of the works, the patrons and commissions which brought them into being, and the stylistic interrelationships among the three artists. Side trips to Florence and other cities supplement the Roman works. (Ciletti, offered occasionally)

302 Arts of the Landscape and the Garden in China and Japan In China and Japan, the natural landscape becomes a primary theme of artistic expression, and the cultivated garden is perceived as a related entity. This course examines East Asian traditions of landscape painting, pictorial representations of gardens, and the historic gardens (often understood as microcosmic landscapes) of Suzhou and Kyoto. Students explore how these diverse works of art play upon the dichotomy between nature and artifice and consider their social, political and religious implications. Students read landscape and garden texts from both cultures in translation, as well as selections from the secondary literature dealing with these themes. (Blanchard, Fall, offered alternate years)

305 Painting Workshop For advanced students, the focus of this workshop is on the generation and development of individual painting ideas. Emphasis is on the creation of a process of painting that draws on a multitude of sources, inspirations, influences, and ideas and the way that work emerges from this matrix of pictorial possibilities. Prerequisite: ART 203, ART 204 or permission of the instructor. (Bogin, Ruth, offered annually)

306 Telling Tales: Narrative in Asian Art The relationship between text and image assumes primary significance in the arts of Asia. Of especial import is the use of visual narrative, or the art of storytelling. This course traces the role of narrative in the architecture, sculptures, and paintings of India, central Asia, China, and Japan. The course is designed as a series of case studies, through which students examine the special visual formats developed in Asia to facilitate the telling of tales and the specific religious, political, and cultural contexts in which narrative is deployed. Prerequisite: permission of the instructor. (Blanchard, Spring, offered occasionally)

308 Roman Imperial Art and Politics In this course, students consider the use Roman politicians made of art and architecture to shape public understanding of Roman imperial ideologies—to make Romans of the whole Mediterranean world. The course concentrates on three periods—the time of Augustus, the adoptive Antonine dynasty, and the Late Empire—and three art types—the imperial portrait (including the portraits of imperial family members), commemorative monuments (triumphal arches, columns and temples), and the Roman colony cities throughout the Empire. Prerequisite: permission of instructor. (Tinkler, offered alternate years)

315 Sculpture Workshop An open studio for a small, independent group, this course includes individual problems and criticism as well as group discussions. All media and processes may be investigated, including modeling, carving, welding, and plaster or bronze casting. Prerequisite: ART 215. (Aub, offered annually)

330 Modernism in Art and Literature Modernism—in its preoccupation with form and the breaking of the laws of aesthetic perception—established for the first time a genuine connection between the visual and verbal arts, making any approach to it by necessity interdisciplinary. This study includes those philosophic, social, and scientific developments which inform the aesthetic product of the period. The primary interest is in cubism, futurism, Dadaism, surrealism, suprematism, constructivism, productivism, imagism, and vorticism. Prerequisite: at least one course in modern art or modern literature. (Isaak, offered occasionally)

333 Contemporary Art This course focuses on the art of the 1960s to the present day. The course includes movements such as Conceptual Art, Minimalism, Pop Art, Color Field Painting, New Image Painting, Neo‑Expressionism, and Post‑Modernism. The approach is topical and thematic, drawing upon works of art in various media including: video, film, performance, earthworks, site‑specific sculpture, installation, etc. Individual works of art are discussed in the context of the theoretical writing informing their production. (Isaak, offered occasionally)

340 American Architecture to 1900 A survey of American architecture from its Colonial beginnings until the late 19th century, this course studies the major historical styles of this period—Georgian, Federal, Greek Revival, Queen Anne, etc.—by investigating key architectural monuments in their social and functional contexts. Of equal concern is the expression of these styles in the design of everyday houses and public buildings. Local field trips are an integral part of the course. Prerequisite: ART 102. (Staff, offered alternate years)

345 Printmaking Workshop This workshop is for students who have taken either ART 245, ART 246, or ART 248. It is designed to enable students to do more advanced work in a chosen area of printmaking as well as explore new related areas of printmaking. (Yi, offered alternate years)

365 Imaging Workshop This is a concept based course in which the student is encouraged to employ a variety of imaging media to fully explore their creative potential in a workshop environment. Projects using image capture are required, either with film or digital still cameras or time-based capture tools such as sound recorders or video cameras. Students will be encouraged to explore the visual and conceptual foundations of their work through the critique process. (Jones, Chin, offered alternate years)

389 Rococo to Revolution: Painting in France 1760‑1800 This course explores the tumultuous transformations in French art in the decades leading up to the upheavals of 1789 and during the revolutionary period. Stylistically, this means the overthrow of the rococo style (designated aristocratic and feminine) by the reputedly bourgeois, masculine idiom of neoclassicism. It considers the collisions of shifting ideologies of art, politics, class, and gender and their consequences for painters such as Fragonard, Greuze, Vigee‑Lebrun, and J.L. David. Attention is given to the theoretical programs and gender restrictions of the Royal Academy, to philosophers/critics, such as Rousseau and Diderot, to evolving taste at Versailles, and to visual propaganda during the French Revolution. Prerequisite: ART 102 or permission of the instructor. (Ciletti, offered occasionally)

401 Seminar: Art Historiography – the History of Art History In this course, students study the history of art history, from its beginnings in artists’ biographies to postmodernism and the New Art History, by reading a variety of art historical works. Each student chooses a particular artist, architect, or stylistic movement and follows the traces of art historians through time as they agree and disagree on what is to be said about art. (Tinkler, offered occasionally)

402 Seminar: Design After Modernism This course examines critical theories of art, architecture, and design since the 1950s. Students explore the relation of structuralist and post-structuralist theories to architecture. In addition, students examine how these ideas and issues resonate within the whole of modern society, including such fields as art, music, literature, film politics, economics, science, and philosophy. (Mathews, Spring, offered occasionally)

403 Seminar: Gender and Painting in China How are the feminine and masculine represented in art? This course considers the role of gender in Chinese painting, focusing on the Song and Yuan dynasties (spanning the 10th to 14th centuries). Topics include the setting of figure paintings in gendered space, the coding of landscapes and bird-and-flower paintings as masculine or feminine, and ways images of women (an often marginalized genre of Chinese art) help to construct ideas of both femininity and masculinity. Throughout, students examine the differing roles of men and women as patrons, collectors, and painters. Prerequisite: permission of the instructor. (Blanchard, Fall, offered occasionally)

440 The Art Museum: Its History, Philosophy and Practice This course provides an overview of the origin and history of the art museum, its various philosophies, and its contemporary operation. Current issues and controversies surrounding the museum are discussed. Field trips to local museums are an integral part of the course. The course culminates in the class selection, planning, and installation of a small didactic art exhibition in the Houghton House gallery. Enrollment is limited to upperclass art majors. Note: Since some field trips require an extended class meeting, students should not enroll in any class scheduled for the preceding class period. Prerequisite: permission of the instructor. (Staff, offered alternate years)

450 Independent Study

451 Senior Seminar: Art and Ecology Ecology and the arts is an interdisciplinary and cross‑cultural study of art and nature. In this course students investigate the work of artists and writers who have dedicated themselves to creating problem‑solving works that address specific environmental situations, whose work is part of a recuperative project for ecologically degraded environments, or whose works have broadened public concern for environmental issues. Students explore a wide variety of discourses about the personal and public dimensions of environmental issues. The course is to be taken in the junior or senior year of the major. Permission of the instructor required. (Isaak, offered alternate years)

467 Seminar: Artemisia Gentileschi Artemisia Gentileschi was one of the most striking painters of the Italian Baroque style. Her powerful art and unconventional life were controversial, since both violated prevailing late Renaissance expectations about women and their capacities. This examination of Gentileschi addresses such issues as the unfolding of her style and its roots in the work of Caravaggio, the situations of women artists in the 17th century, the iconography of female heroism she pioneered, and Gentileschi’s influence upon her contemporaries. Prerequisite: permission of instructor. (Ciletti, offered occasionally)

472 Seminar: The Enigma of Caravaggio However considered, this greatest of Italian painters since the Renaissance is a puzzle. His brief life was violent, rebellious, haunted, yet his art reached heights (and depths) of religious truth shared only, perhaps, by Rembrandt. His dark, menacing paintings created a revolution in our understanding of light. His humble, proletarian style was constructed on rigorous, classical principles. The painter of dirty peasants was championed by cultivated prelates and princes. And so it goes. This seminar is dedicated to the luxury of studying Caravaggio’s elusive art slowly, in as much depth as possible. Prerequisite: permission of the instructor. (Ciletti, offered occasionally)

480 Seminar: Art of the Pilgrimage Roads This seminar explores the art and architecture surrounding one of the most important medieval journeys: the pilgrimage. Theories of pilgrimage are discussed. as well as the physical journey which medieval pilgrims took to Santiago de Compostela, Rome and Jerusalem. The bulk of the course focuses on the reliquary arts, architecture, and sculpture which the pilgrim experienced on his/her journey to these sacred places. (Tinkler, offered occasionally)

495 Honors

Preparing Students to Lead Lives of Consequence.