Art History Department

Undergraduate Courses, Spring 2005

Please note: The online course atlas (rather than the printed course atlas) is the most current version. Last update: January 11, 2004.

** IMPORTANT NOTICE: All Visual Arts courses, formerly worth 2 credit hours, are now worth 4 credit hours, starting with Spring Semester, 2002.

ARTHIST 102: Art and Architecture, Renaissance to Present

MW 11:45 AM - 12:35 PM ............ MAX: 252

Course Coordinator: Fletcher
Lecturers: Fletcher, Melion, Liebman, Evans, Poling, Kasfir, Chambers, Rohrer, McPhee, Meyer

CONTENT: A general art history survey course focusing on major art movements since the Renaissance in the West and elsewhere: the Baroque, Rococo, Neo-Classicism, Romanticism, Realism, Impressionism, Expressionism, Cubism, Surrealism, 19th c through contemporary art of the USA, art of Sub-Saharan Africa and the African Diaspora, and African-American art.

TEXTS:

• Stokstad, Art History, revised 2nd ed.;
• Pierce, From Abacus to Zeus: A Handbook of Art History;
• Readings on e-reserve

PARTICULARS: Two lectures and one small-group discussion meeting per week. Grading based on midterm and final exam, short response statements to some of the readings, a visual analysis, and participation in discussion sections.

Course is basic survey of art history but not a prerequisite for most period survey courses. Either ARTHIST 101 or 102 may be applied to the major in Art History. This course satisfies area IV.B of the GER. NOTE: This course is managed by BLACKBOARD, the university-wide web container application.

ARTHIST 103: Understanding Architecture

Rohrer.............MWF 9:35-10:25 AM...............Max: 20

Content: An introduction to architecture for those students planning to take upper level courses in architectural history as well as for students simply interested in understanding better the built environment they inhabit and experience daily. We will learn the terminology of architectural description, basic structural principles, material conditions that influence the look and distribution of buildings, and how to recognize historic styles and building types. We will examine various modes of architectural representation (drawings, photographs, models), address issues of space and "place," and learn how buildings actually get built through a series of negotiations and compromises. Larger critical issues such as those of social function, criteria for judging "good" architecture, and "meaning" in the built environment will also be explored.

Texts:

• Hazel Conway & Rowan Roenisch, Understanding Architecture
• Leland Roth, Understanding Architecture
• John Summerson, The Language of Classical Architecture
• Kent Bloomer & Charles More, Body, Memory, and Architecture
• John Baker, American House Styles
• John Blumenson, Identifying American Architecture

Particulars: Students will keep a weekly journal and several assignments will be given to measure progress in writing about architecture and to encourage explorations of Atlanta neighborhoods and downtown spaces. There will be midterm and final exams. Field trips to Atlanta architectural firms and sites in the area may be scheduled outside of class time. Permission of the instructor required; preference will be given to freshmen and sophomores.

ARTHIST 104: Drawing

Moore (visiting lecturer)--------------- M 6:00-9:00 PM ----------------- MAX: 12

Content: This course explores and develops skills in representational drawing, as a foundation for all disciplines, and as an art form in itself. Drawing from the model and a variety of other subject matters. Various drawing materials: silver point, ink, charcoal, graphite, etc.

Particulars: No prerequisite, suitable for beginners or intermediate students. Helpful to students wanting to put together a portfolio. There will be class and sketchbook assignments. Evaluation will be based on class participation and attendance, growth of understanding, execution of assignments, completion of a sketchbook and a final portfolio. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Approximately $55.00-$75.00 for cost of materials. Lab fee of: $20.00. There is an additional fee of $5.00 for a security card, which will be refunded upon the return of the card at the end of the semester

ARTHIST 105: Drawing and Painting I

Moore (visiting lecturer) --------------Tu 6:00 - 9:00 PM --------------- MAX: 12
Moore (visiting lecturer) --------------W 9:00 AM - 12:00 PM ---------- MAX: 12
Kjelgaard ----------------------------Th 1:00 - 4:00 PM --------------- MAX: 12

Content: An introduction to drawing and painting. Development of skills through experimentation with a variety of techniques, materials, and visual/aesthetic awareness. Historical and contemporary attitudes, concepts and styles will be explored with emphasis on personal development and mastery of basic skills.

Particulars: No pre-requisite; suitable for beginners or intermediate students. There will be class and sketchbook assignments. Evaluation will be based on class participation and attendance, growth of understanding, execution of assignments, completion of a sketchbook and a final portfolio. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Materials expense approximately $100. Lab fee of $20.00. There is an additional fee of $5.00 for a security card, which will be refunded upon the return of the card at the end of the semester.

ARTHIST 106: Photography I

Marshall-----------W 1:00 - 4:00 PM------------Max: 12
Marshall ----------W 6:00 - 9:00 PM-----------Max: 12

Content: An introduction to black and white photography and darkroom. Techniques such as camera handling, film exposure and development, printing of negatives, presentation will be covered. Students will be required to attend various photography exhibitions and lectures throughout the term. Course consists of informal lectures and discussion on aspects of the history of photography. Class meets for three hours once a week, additional six or more hours required for outside assignments and completion of photography and darkroom work.

Text:

• Black and White Photography, Henry Horenstein (required)
• Other readings as appropriate.

Particulars: In lieu of final, student will prepare and present a portfolio of twenty images representing the best of all assignments. Grading for course is on participation, growth of understanding, mastery of technique and craft.Student must have a 35mm camera with adjustable lens and shutter and 50mm lens preferred. A point and shoot or digital camera is not acceptable for this course. Lab fee of $45 covers costs of chemicals for the term. Student must purchase film and paper and miscellaneous supplies. $5 swipe card fee (refundable).

ARTHIST 108: Ceramics I

Kempler --------------M 2:00 - 5:00 PM ----------------MAX: 12

Content: This class will explore ceramics as a medium of creative expression. Basic methods of hand building will be taught, creating work of a personal and exploratory nature.

Particulars: No prerequisite. Grades will be based on weekly projects and on a substantial final project using various techniques. A minimum of four hours of studio work in addition to class time also required. There is a $45 materials fee. There is an additional fee of $5.00 for a security card, which will be refunded upon the return of the card at the end of the semester

ARTHIST 109: Sculpture I

Armstrong ---------------- Tu 6:00 - 9:00 PM ----------------- MAX:12

Content: Various approaches to 3-D design within a broader framework dealing with contemporary art in general.

Particulars: No pre-requisite. Evaluation will be based on the development of each student through completion of projects and independent research. The three-hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. There is a $30 lab fee. There is an additional fee of $5.00 for a security card, which will be refunded upon the return of the card at the end of the semester.

ARTHIST 190: Postminimalism

Meyer ---------------------- Tu 1:00-4:00 PM -------------------- MAX: 15

Content: Postminimalism flourished in New York in the wake of Minimal Art during the late sixties and early seventies. The term Postminimal, widely debated, encompassed various tendencies including Antiformal sculpture and Conceptual Art. This course will consider the major figures associated with Postminimalism, including Eva Hesse, Mel Bochner, Sol LeWitt, Robert Smithson, Barry LeVa, Richard Serra, Robert Morris, Dan Graham, Lawrence Weiner, Joseph Kosuth, Linda Benglis, among others; the related Italian tendency of the sixties, Arte Povera, will also be addressed. The weekly readings will focus on primary sources, such as artists' writings and criticism.

Readings: Texts by Donald Judd, Robert Morris, Mel Bochner, Sol LeWitt, Eva Hesse, Robert Smithson, Richard Serra, Joseph Kosuth, Lucy Lippard, Robert Pincus-Witten, and Rosalind Krauss, among others.

Assignments: 2 short papers (5 pages) and 1 research paper (10 pages).

ARTHIST 190: Portraiture

McPhee ----------------------M 1:00 - 4:00 PM-------------------- MAX: 15

Content: This seminar will focus on the theme of portraiture--visual and verbal, past and present. We will consider visual representations of the individual in ancient portraits, group portraits, and selfportraits drawn from the work of artists from Velazquez, to Rembrandt, to Houdon; and verbal portraits in literary works from Castiglione, to Aubrey, to Wilde.

Texts: TBA

Particulars: Short oral reports and a ten-page paper.

ARTHIST 205R: Drawing and Painting II

Kjelgaard ---------------------- Th 6:00 - 9:00 PM -------------------- MAX: 12

Content: Students in this class will undertake intermediate and advanced projects in Drawing and painting, including explorations of contemporary techniques. Emphasis will be placed on broadening the students' acquaintance with visual elements and materials, modern and historical practices, and personal development. Independent projects will supplement the in-class work.

Particulars : Prerequisite: ARTHIST 105 or equivalent. Students with AP credit or prior experience must acquire the permission of the instructor to enroll. Grades will be based on class involvement, growth of understanding, execution of assignments and final portfolio. The three hour class session will be complemented by outside assignments and individual consultation for the four credit hours in this course. Cost of materials may vary depending upon the individual projects (approximately $100). Lab fee of $20. Fee of $5.00 for security card, which will be refunded at the end of the semester.

ARTHIST 207 (Film Studies 373): Introduction to Documentary Filmmaking

Brown.............W 6:30 - 9:30 PM; Screening: M 8-10 PM...............MAX: 12

Contents: Class will consist of 3 hours of lecture/workshop and one film screening per week. Students will be expected to learn basic DV camera operation, interview techniques, basic lighting for documentary filmmaking, basic sound recording techniques, and basic editing on a non-linear Final Cut Pro editing system.

Texts: None

Particulars: This will be a hands-on course with weekly assignments that will be graded using the critique method. Students will present and defend work in front of the class. Digital production equipment will be provided. The class will meet in the video studio in the Visual Arts Building. In addition to weekly skill building assignments, students will be responsible for completing
and 10 minute documentary by the end of the semester.

NO PREREQUISITES

ARTHIST 208R: Ceramics II

Kempler -------------------- Tu 6:00 - 9:00 PM ---------------------- MAX:12

Content: This course is designed for students with previous hands-building experience. Emphasis will be placed on exploring creative expression in clay, paying attention to the details of form and surface quality.

ARTHIST 210: Contemporary Art Issues Workshop

Armstrong-------------------------T Th 2:00-3:30 PM-----------------------MAX: 12

Content: An exploration of the relationship between contemporary art issues, artist materials and methods.

Texts: Art on the Edge and Over, Linda Weintraub, Arthur Danto, Thomas McEvilley

Particulars: Fulfills requirements for studio minor. Students will be asked to approach the course from the vantage point of working artists. Course work will include making artworks, assigned reading and critical writing. Visiting artists and field trips to artist's studios, galleries and museums will augment presentations by the instructor.

ARTHIST 214: Ancient Egyptian Art, 1550-30 BC: From Hatshepsut to Cleopatra

Robins--------------MWF 2:00 - 2:50 PM ------------- MAX: 30

Content: ARTHIST 214 is designed as an introductory course to the art of ancient Egypt from the beginning of the New Kingdom to the conquest of Egypt by Rome. It will examine the basic principles by which Egyptian artists worked, together with the techniques and materials that they used, and will consider the various purposes, religious, political and social, for which Egyptian art was created during this period. The course will be structured chronologically, and will acquaint students with key works of art, placing them within the context of ancient Egyptian history and culture. The works will include the funerary temple of Hatshepsut, the tomb of Tutankhamun in the Valley of the Kings, the monumental temples dedicated to the gods, and the decorated tomb chapels constructed for elite government officials.

Texts:

• Gay Robins. The Art of Ancient Egypt. Cambridge, Mass.: Harvard University Press, 1997;
• Selected readings on reserve.

Particulars: class attendance required; visits to the Carlos Museum to study ancient Egyptian works on display; midterm exam; final exam; a term paper on an object in the Carlos Museum.

ARTHIST 222: ART AND ARCHITECTURE OF ANCIENT ROME
(cross-listed with CL 222)

Dickson----------------TuTh 1:00 - 2:15PM-----------------MAX 30

Content: Roman civilization, from the Republican through the Imperial periods, transformed the art and architecture of the ancient Mediterranean. Innovations in engineering and technique, the introduction of new materials (like concrete), and the Roman genius for cultural assimilation all combined to create an art which was exciting as well as eclectic. Indeed, Roman art has
often been characterized as the first truly modern art. The course will investigate ways in which major achievements in sculpture, painting, numismatic and glyptic art, as well as architecture often reflected contemporary developments in Roman politics, society and religion. In addition, the course will explore the relationship of works of art and architecture erected in the city of Rome to those in the provinces, the interaction of public and official art to domestic art, as well as the impact of art commissioned by imperial and elite patrons on that commissioned by non-elite patrons.

Texts:

• J.R. Clarke, The Houses of Roman Italy, 100 B.C.-A.D. 250
• E. D'Ambria, ed., Roman Art in Context
• D.E.E. Kleiner, Roman Sculpture
• J.J. Pollitt, The Art of Rome, Sources and Documents
• J.B. Ward-Perkinds, Roman Imperial Architecture

Particulars: Midterm; final exam; paper.

ARTHIST 231: Early Medieval Art, 200-900: Cult, Icon, Relic & Word

Pastan--------------MWF 11:45 AM - 12:35 PM------------MAX 20

Content: The period that witnessed the fall of the Roman Empire was also a time of tremendous development. During this time the arts underwent a major shift as the book as we know it became a major form of artistic expression, and debates about the power of imagery resulted in major upheavals in the choice of media and visual language. We will begin with an investigation of the world of late antiquity including the arts of pagans, Jews, the so-called mystery cults and the early Christians. From these diverse beginnings, we will explore the rise of major Christian cultural centers in Ravenna, Byzantium, the British Isles, and the court of Charlemagne, as well as the great vitality of Muslim expression in Damascus, Baghdad and Nishapur.

Text: TBA, and e-reserves.

Particulars: Weekly reading questions, in-class discussions and three tests.

ARTHIST 252: European Painting 1600-1800

Melion-------------MWF 9:35 - 10:25 AM----------------Max: 22

Content: Introduction to the study of European painting, focusing on masters such as Caravaggio, Rubens, Rembrandt, Poussin, Watteau, Fragonard, Greuze, and David.

Texts: Texts TBA

Readings on reserve and e-reserve.

Particulars: Three lectures each week.  Grading based on midterm exam, final exam, and two papers on assigned topics.  Course is introductory, but Art History 101 or 102 recommended as prerequisites.

ARTHIST 259: Historical Perspectives on European Art

Campbell---------------MWF 12:50 -1:40 PM --------- MAX:35

Content: This course will examine the art and architecture of Italy and northern Europe in the period between approximately 1270 and 1470 primarily in Italy. We will examine the historiographic traditions of the nineteenth and twentieth century that have shaped the field of study, as well as contemporary approaches to the understanding of relationships between art and society in the context of institutions, from the microcosm of the family to the macrocosm of the state. The course will feature such well-known artists and architects as Giotto, Brunelleschi, Jan Van Eyck, Piero della Francesco, Donatello and Mantegna, and such great stages of art production as the City Hall in Siena, the square of the Duomo in Florence, and the Ducal Palace in Urbino.

Texts:

• Paoletti and Radke, Art in Renaissance Italy
• Readings on reserve.

Particulars: In addition to attending lectures and participating in weekly discussion sessions, students will be expected to write two analytical papers, a midterm, and a final examination.

NOTE: This course satisfies area V.B of the GER.

Art History 266: Contemporary Visual Arts

Course cancelled.

ARTHIST 329: Roman Houses in Context--Pompeii, Ostia and Beyond
( Crosslisted with CLASSICS 329)

Muntasser-----------------Tu/Th 2:30 - 3:45 PM-----------------Max: 18

Content: This course introduces students to methodologies for studying domestic architecture in the Roman world. Pompeii and Herculaneum will provide examples of early Roman domestic space, introduce students to typological issues and to recent scholarly interpretations of the way space and decoration serve the social institution of patronage. Ostia will be used to examine how these social rituals might have affected the design of apartments in multiple-dwelling complexes of the High Empire and how the same rituals evolved and contributed to the changes in spatial relationships and decoration in late antiquity.

Texts: TBA

Particulars: TBA

ARTHIST 329: ANCIENT GREEK SANCTUARIES
(Crosslisted with CL 329)

Wescoat---------------- T/Th 10:00 - 11:15 AM-----------------Max: 20

Content: A large part of ancient Greek life was framed within a sacred context, but the gods were most emphatically honored and worshiped within sanctuaries, specially designated spaces dedicated to a particular god or gods. In this course we will examine the sacred spaces of ancient Greece, with particular emphasis on the early emergence of cult sites, on the diverse ritual practices and sacred festivals associated with different divinities, on the range and importance of votive dedications as religious offerings as well as works of art, and on the development of monumental architecture to meet the needs of ancient Greek worship. Our investigation will include the great Panhellenic sanctuaries at Olympia, Delphi, Isthmia, and Nemea, civic sanctuaries such as the sanctuary of Athena on the Akropolis in Athens, the Asiatic sanctuaries of Ephesos, Samos, and Didyma, the mystery cults of Demeter at Eleusis and the Great Gods on Samothrace, with the aim of exploring the role of Greek sanctuaries in the religious, social, and artistic culture of ancient Greece. As art historians and archaeologists we will work chiefly with architecture, visual imagery and the archaeological record, but students will have the opportunity to examine specific places, rites, or practices from an historical, political, religious, social or literary perspective.

Reading from:

• W. Burkert, Greek Religion.
• J. Hurwit, The Athenian Acropolis: History, Mythology and Archaeology from the Neolithic to the Present.
• A. W. Lawrence, Greek Architecture, revised edition.
• Mind and Body (Greek exhibition)
• J. Neils, Goddess and Polis; Worshiping Athena.
• R. Haag and N. Marinatos, eds. Greek Sanctuaries, New Approaches.
• W. Rashke, ed. The Archaeology of the Olympics.
• E. Simon, Festivals of Attica; An Archaeological Commentary.
• Articles placed on course reserve.

Particulars: Written requirements for the class include a short quiz, midterm, and final; and a research project. Grading based on written work and class discussion.

ARTHIST 359:   Italian Baroque Architecture (cross-listed with Italian Studies 376)           

McPhee -------------- TuTh, 4:00 - 5:15 PM ------------------MAX: 15 (Art History, 5 Italian Studies)

Content: This course will survey the architecture and urban planning of seventeenth-century Italy. We will consider the careers of such architects as Gianlorenzo Bernini, Francesco Borromini, Pietro da Cortona, and Giambattista Piranesi. We will examne the patronage of the popes, follow the transformation of Rome into a modern capital, track the diffusion of the Baroque style in cities such as Naples, Venice, Turin, and Lecce, and explore the interactions between artistic production and political, religious, and scientific developments in seventeenth-century Italy.

Texts:    TBA

Particulars: TBA

ARTHIST 369: Postwar Paris

Poling---------------------Tu/Thur 1:00 - 2:15 PM-----------------------Max: 22

Content: Art in Paris during the decade following World War II, treating responses to the war and its aftermath by Picasso and other modern artists, the emergence of “new images of man,” in opposition to abstract art, and the place of art in the existentialist context of the period, focusing on Sartre’s discussion of artists such as Giacometti. Other topics include artists’ interest in Asian art and the art of the insane and other “outsiders.” Statements by the artists and texts on art by writers of the period will be examined in relation to the art, along with recent scholarship. An extra session each week will be offered, with the participation of Dr. Anne Kelley, for students wishing to do additional reading, in French, and to receive an additional course credit as part of the Language Across the Curriculum program.

Texts: On-line reserve readings

Particulars: Class discussions of readings, two short papers, in-class presentations, and research paper.

ARTHIST 369: Making Sense of Genre Painting

Liebman----------------Tu/Th 2:30 - 3:45 PM----------------- Max: 22

Content: This lecture and discussion course approaches the broad range of early modern European genre painting in order to probe aspects of sense experience, sentiment, and sensibility. We will view genre painting in contexts of the art academy and market and in the careers of individual artists. If the popular “minor genres” only copied mere nature in prosaic detail, they nonetheless put pressure on the ideals of history painting in the critical discourses of art. The success of genre painting in the second half of the eighteenth century rose with the investigations of material phenomena, psychology, and moral science. Thus paintings of contemporary life offered data to dramatists, novelists, moralists, and naturalists who aimed to understand and to explain the material operations of human sensation and emotion. The course will focus on the art of eighteenth-century France and England, with readings in art history, fiction, natural history and social science.

Texts: TBA

Particulars: Students will write two research papers, make individual presentations, and will submit a log of course readings.

ARTHIST 379: African American Art of the Mid 20th Century
(Crosslisted with AAS 379)

Chambers-----------------Tu/Th 11:30 AM - 12:45 PM------------------Max: 17

Content: This class will focus on the period of 50 years or so in the middle part of the 20th century that began with the 'Harlem Renaissance' of the 1920s and 1930s and ended with the 'Black Arts Movement' of the mid 1960s to mid 1970s. The work of a number of significant African American artists will be considered, from Aaron Douglas through to Dana Chandler.

Text:

• Richard J. Powell, Black Art and Culture in the 20th Century, Thames and Hudson, 1997. (Reissued as Black Art: A cultural; History, Thames and Hudson, 2002.
• Weekly readings, to be distributed by lecturer.

Particulars: Three lectures each week. Grading based on weekly response papers plus end of term special study paper.

Art Hist 390: Seminar for Majors

Evans---------------F 12:00 - 3:00 PM-----------------Max: 12

Content: This seminar is designed only for junior and senior majors who intend to go on in art history as a career. It provides a basic foundation in methods of art historical research, particularly in preparation for graduate school but also for continuance in the field. The department advises students to take this course, if possible, in the junior year.

Texts: TBA

Particulars: Taken with permission of the instructor. There will be several oral reports and short papers concerned with using or critiquing the major methods in use today.

ARTHIST 393: Introduction to Graphics and Computer-Aided Design

Shpuza ---------------- W 11:00 AM – 2:00 PM ----------------MAX: 6

Content : This course is designed to provide students interested in architecture with a basic understanding of computer-aided design and graphic analysis. Emphasizing a hands-on approach, the course is structured around a group project which is designed to let students explore the potential of the computer, not merely as a drafting and presentation instrument but as an active analytical and design aid.

Texts : TBA

Particulars : TBA

ARTHIST 397R: Internships

Internships are a valuable complement to art history courses. Students may apply to work in art-related institutions in the community including the Michael C. Carlos Museum at Emory, the High Museum of Art, commercial art galleries, architectural firms, auction houses, arts preservation agencies, and art publications. Through consultation with the internship coordinator, internships may be arranged both in Atlanta and elsewhere. These internships, when approved by the department and supervised by the personnel of the cooperating institutions under established guidelines, carry academic credit (4 hours per semester). For the internship guidelines and contact information for the internship coordinator, students can come by or call the Art History Department, 404-727-6282.

ARTHIST 398: Supervised Reading and Research

Reading and research projects decided upon between the student and a member of the faculty, with final approval from the chair. May be repeated for credit.

ARTHIST 470WR: Making Art: Materials, Technologies, and Workshops

Campbell and Robins--------------M 9:00 AM - noon ------ MAX: 7

Content: This course will explore the materials and technologies of art making in the two cultures of ancient Egypt and Renaissance Italy. We will examine the workshop as a place where artists were trained, practiced their craft, and responded to the commissions of their patrons. We will also consider the social needs that shaped the making of art.

Texts: Selected readings on reserve.

Particulars: Participation in class discussion; short assignments; informal presentations; research paper; visits to the Carlos Museum. The course fulfils area 1 in the art history major. It is the same as ARTHIST 475, which fulfils area 2 in the major.

ARTHIST 470: Studies in Civic Identity and Romanization: Ephesos and Leptis Magna
(Crosslisted with Classics 487)

Muntasser---------------F 9:00 AM - noon -----------------Max: 6

Content: This course would use the architectural, artistic and epigraphic benefactions of a city’s local elite as the means to investigate dynamics between so-called “Romanization” and civic identity in two provincial cities of the Roman Empire. Ephesos and Leptis Magna will provide case studies for clarifying the concept of “Romanization,” a term that is both useful and problematic. The physical and symbolic dimensions of the urban landscape will be examined, including the power of foundation myths and local gods in the creation of a civic identity. Topographical relationships and processional patterns will form part of the investigation into the dynamics of power relationships between the center and the periphery.

ARTHIST 475WR: Making art: materials, technologies, and workshops.

Campbell and Robins----------M 9:00 AM-12:00 -----------MAX: 7

Content: This course will explore the materials and technologies of art making in the two cultures of ancient Egypt and Renaissance Italy. We will examine the workshop as a place where artists were trained, practiced their craft, and responded to the commissions of their patrons. We will also consider the social needs that shaped the making of art.

Texts: Selected readings on reserve.

Particulars: Participation in class discussion; short assignments; informal presentations; research paper; visits to the Carlos Museum. The course fulfils area 2 in the art history major. It is the same as ARTHIST 470, which fulfils area 1 in the major.

ARTHIST 475: History of Early Modern Printmaking

Melion------------- M 2:00 - 5:00 PM--------------- Max: 8

Content: Seminar on the three modes of mechanical reproduction--oodcut, engraving, and etching--that fundamentally changed the theory and practice of pictorial imitation between 1400 and 1700.  Among the topics to be considered are the relation between traditional media and the new print technologies; the propagation of new kinds of pictorial image--emblematic, meditative, demonstrative; the rise of print publishing houses and, allied with this, of new methods of making and marketing pictures; and the character of the printed image--portable, multiple, affordable--as this impinges on established notion of invention, manner, and authority.  Printmaker to be examined closely include Martin Schongauer, Albrect Du"rer, Marcantonio Raimondi, Giogio Ghisi, Hendrick Goltzius, and Rembrandt.

Texts:

• Landau and Parshall, The Renaissance Print
• Ivins, Prints and Visual Communication
• Readings on reserve and e-reserve

Particulars: Seminar meets once a week. Grading based on class participation, presentations on assigned topics, and research paper.

ARTHIST 480: The Architecture of Gaudí in Context

Rohrer--------------Monday 1:00 - 4:00 PM ----------------Max: 8

Content : This is an advanced undergraduate/graduate seminar for students with some knowledge of the history of modern architecture. We will study the work of the polyfacetic Catalan architect, Antoni Gaudí, not only within the context of the development of his theory and practice, but also within the cultural, artistic, and socio-economic-political contexts of his time. We will study the evolution of his production with relation to 19 th century eclecticism, turn-of-the-century Art Nouveau, and the modern movement in architecture, considering the contexts of a Barcelona undergoing major urban and cultural transformation, the politics of Catalan nationalism, and the particularities of the Catholic devotion that informed his work. We will study his formal and structural innovations with regard to their reception by Surrealists, Expressionists, Modernists and Post-modernists in an effort to understand the formation of architectural reputation.

Texts :

• Van Hensbergen, Antoni Gaudí
• Bergósi Mass b , Gaudí: The Man and the Work
• Others TBA

Particulars: The seminar will be based upon weekly readings and discussions; each student will prepare a research paper that will be presented, in abbreviated form, to the seminar orally at the end of the term. LAC credit may be possible for those who wish to do a substantial part of the reading in Spanish. Permission of the instructor required.

ARTHIST 480: Picturing Natural Histories 1700-1900
(Crosslisted with IDS 385)

Liebman--------------Th 9:00 AM - noon --------------Max: 10

CONTENT: This seminar studies the visualization of subject areas that have been generally grouped under the familiar heading of “Natural History:” botany, geology, zoology, anthropology, ethnography, cosmology, medicine, scientific exploration and technology. We will examine the role of visual representation and display in the definition of both “nature” and “history” across the eighteenth and nineteenth centuries. Objects of study will include paintings, prints, books, public and private collection and exhibition, commercial and educational projects. No prerequisites.

Texts: TBA

Particulars: Students will present readings for discussion, and give an oral version of the final research paper of 20 pages.

Art History 485: Museological Approaches to Shamanism in the Americas

Stone-Miller-------------W 9:00 AM - noon--------------Max. 10

Content: This advanced undergraduate/graduate seminar explores how visionary spirituality is reflected in the artistic record of the ancient and traditional modern Americas from Mexico southward. As a group we will continue to plan the future Carlos Museum exhibition “Beyond the Portal: Shamanic Art and Healing in the Americas.” Principal themes will be contemporary practices that relate to the past, gendered images of shamans, and conveying the attributes of trances.

Texts:

• Harvey, G., ed. Shamanism: A Reader
• Stone-Miller, R. Seeing with New Eyes: Highlights of the Michael C. Carlos Museum Collection of Art of the Ancient Americas
• Schultes, R. and A. Hofmann, Plants of the Gods
• Xeroxed articles

Particulars: Students will be responsible for: readings for each three-hour meeting per week: a project concerning a particular room in the exhibition (final written c. 25-page projects to include final selection of objects, contact information, labels, case designs, and research summaries of select objects); and a one -hour presentation of project in class.

ARTHIST 485S: Visual Arts of the English-Speaking Caribbean

Chambers---------------M 9:00 AM - noon ---------------Max: 6

Content: This class will focus on the 20th century development of visual arts of Caribbean countries such as Jamaica, Trinidad, Barbados and Guyana. In tandem, it will look at the work of Caribbean artists practising within countries such as the US, Canada and the United Kingdom. It will cover a period beginning with the 1920s/30s, through to the latter decades of the 20th century. The work of a number of significant artists will be considered, from Edna Manley through to Aubrey Williams and Albert Chong.

Text:

• Veerle Poupeye, Caribbean Art, Thames and Hudson, 1998.
• Weekly readings, to be distributed by lecturer.

Particulars: One lecture and discussion each week. Grading based on weekly response papers, end of term special study paper and participation in weekly discussions.

ARTHIST 495: Honors

Open to candidates for honors in the senior year. In addition to the undergraduate course offerings, the Art History Department offers graduate courses toward the master of arts degree and the doctoral degree, to which undergraduates may be admitted. For information consult the appropriate section in the Graduate School of Arts and Sciences catalog.

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