Art History (ARHI)

This course offers a broad overview of the history of architecture and urbanism from antiquity to the present day. Global in its perspective, the course proceeds chronologically through a series of important historical moments and monuments. Lectures examine works as experiential wholes and within their specific contexts. In this way, the emphasis of the course is not on a history of styles but on buildings as complex cultural artifacts. To link examples across time, place, and culture, the course emphasizes themes like ritual and belief, the patron-client relationship, architecture's relationship to power, materials and construction techniques, the authority of historical models, the architect as artist and professional, and the rise of modern cities. In addition to developing a broad knowledge of major monuments, theoretical ideas, and figures in architectural history, the class will also develop skills for engaging more critically with the built environment. Through readings, writing assignments, and class discussions, students will learn how to analyze visual forms of evidence and to read, think, and communicate about architecture through a critical lens.

University seminars will address a variety of topics in the history of art depending on the interests of the professor. These courses require several short papers as well as a final written exercise appropriate to the material.

Taking a diverse, global view of art making from the Ancient to the Modern world, ARHT1001 will introduce students to key philosophical and methodological approaches in the field of Art History. As our experiences are increasingly mediated through a variety of visual platforms, this course will help students develop critical perspectives on visual communication. The development of professional skill sets will be a key focus. As such, the course serves as an essential introduction to Art History for those considering a career in the arts, education, or the museum and design sectors.

The Fundamentals of Art History III course aims to study Italian artistic production between the 15th and 16th centuries, based on plural thematic and methodological approaches that aim to observe the appearance of new intellectual discourses and interactions between major Italian centers (Florence, Rome, Venice). The questions of imitation of nature, reception of Antiquity, techniques, relationship with sponsors, will be explored through different artistic mediums (architecture, painting, sculpture, engraving) with particular attention to the context of creation of origin, both artistic and socio-political at a time when the history of art is essentially thought of in terms of exchanges.

Survey of Baroque, Rococo, and Enlightenment art in Europe and beyond. We begin with a study of seventeenth-century Italian art and architecture, discussing artists such as Gianlorenzo Bernini, Francesco Borromini, Annibale Carracci and Caravaggio. From Italy the focus shifts to Spain, Flanders, and Holland in order to explore portraiture, allegory and historical painting looking at artists such as Velazquez, Rubens, Van Dyck, and Rembrandt. We will also touch upon issues of artistic identity and the status of women artists during the period. A number of lectures are then dedicated to the parallel tradition of Islamic art, and the baroque beyond Europe's borders, extending our understanding of the Baroque diaspora to a global context. Following thematic lectures on collecting and printmaking, the focus shifts to art in France. The module ends with lectures on the classical tradition in British art and architecture and the Enlightenment. Although the primary focus of the module is on Western Europe, lectures also address how European art formed alongside non-Western traditions, including the important role played by religious missionaries, global trade and imperial conquest.

This course serves as an introduction to European art and architecture between 1600 and 1850. This was a period of extraordinary political, religious and social upheaval. These transformations, many of them inspired by Enlightenment principles, were reflected in the production and market for art. This is also a story of shifting artistic styles, from Baroque to Rococo to Neoclassicism to Romanticism. However, rather than looking at the period as primarily a succession of styles and pivotal artists, this module will take a more thematic and critical approach. Among the areas to be explored will be the rise of academies, the impact of the Counter Reformation, and the emergence of new pictorial genres

This course provides a comprehensive introduction to Korean art and visual culture. Artworks in diverse media, including murals, painting, sculpture, ceramics, calligraphy, and architecture, will be examined in their cultural and historical contexts. We will be investigating interrelationships between art, literature, religious philosophy, and politics. There will be some consideration of relationships in art between Korea and China and other cultural traditions. To learn to analyze and appreciate visual qualities, to learn more about the history and culture of Korea, to investigate a variety of art historical methodologies, including formal analysis and social art history, to improve ones writing, debating, and presentation skills.

This course examines the late eighteenth and early nineteenth century movement, Romanticism, as it manifested in specifically, France, Spain, Germany and England. The Romantic backlash against the political idealism of Enlightenment philosophy is introduced as the backdrop for an unfolding art historical drama in which artists are cast in the roles of both hero and villain. This course examines the late eighteenth and early nineteenth century movement, Romanticism, as it manifested in specifically, France, Spain, Germany and England. The Romantic backlash against the political idealism of Enlightenment philosophy is introduced as the backdrop for an unfolding art historical drama in which artists are cast in the roles of both hero and villain.

This course will examine the origins of western art and architecture, beginning with a brief look at the Bronze Age cultures of the Near East and Egypt, then focusing in detail on Greece and Rome, from the Minoan and Mycenaean world of the second millennium B.C.E. to the rule of the Roman emperor Constantine in the fourth century C.E. Among the monuments to be considered are ziggurats, palaces, and the luxuriously furnished royal graves of Mesopotamia; the pyramids at Giza in Egypt and their funerary sculpture; the immense processional temple of Amon at Luxor; the Bronze Age palaces of Minos on Crete--the home of the monstrous Minotaur--and Agamemnon at Aycanae, with their colorful frescoes and processional approaches; the great funerary pots of early Athens and the subsequent traditions of red and black figure vase painting; architectural and freestanding sculpture of the Archaic and Classical periods; the Periclean Acropolis in Athens, with its monumental gateway and shining centerpiece, the Parthenon; and finally, among the cultural riches of Rome, the painted houses and villas of Pompeii; the tradition of republican and Imperial portraiture; the Imperial fora; the exquisitely carved Altar of Peace of Augustus; the Colosseum; and the Pantheon of the Philhellene Emperor Hadrian.

This course will introduce you to the material culture of the ancient Roman world, from spectacular and familiar public monuments like the Colosseum and the Arch of Constantine to more intimately-scaled, private objects like silver dining services, jewelry, and family portraits. Breakthroughs in engineering, the invention of new materials (like concrete), and the Roman genius for marrying cultural assimilation with innovation resulted in an art that has left a formative legacy in artistic production to this day. We will investigate the ways in which major achievements in modes of making such as sculpting, painting, gem-carving, and building dialogued with contemporary developments in Roman politics, society, and religion. In addition to developing your skills in visual analysis, this course will focus on training you to be critical readers and writers. This class includes visits to campus collections and area museums. No prerequisites or prior knowledge of Art History are required for this course.

This course explores how the disciplines of chemistry and the history of art are connected. Experience in either of these discipline is not required to register. Students will engage in interactive solo and group activities in the classroom, the Raclin Murphy Museum of Art, and the chemistry laboratories in Jordan Hall of Science.

This course provides a comprehensive survey of architectural history from the fourth through the fourteenth centuries. Global in scope, its purpose is to introduce students to the formative ideas, major monuments, and characteristic experiences of different building cultures that emerged during this time-span across several continents.

This course will survey the major objects, images, and monuments from Europe, the Mediterranean, and the Near East between circa 300 AD and circa 1400 AD. It will begin with the first examples of Christian art in the Early Christian period and end with the precursors of the Renaissance. The course will cover a fascinating variety of art historical, theological, and cultural topics relevant to medieval art: the origins of modern painting; politics and monumental art; pilgrimage, relics, and the cult of the Saints; manuscript making and the origins of the book; Iconoclasm; and the Crusades, among others. By the end of the course, students will gain concrete knowledge of the vibrant and varied artworks, figures, and concepts that have shaped the visual imagination of Europe, the Mediterranean, and the Near East. Students will further acquire "visual literacy" skills that will allow them to interpret images and "read" visual objects and texts together.

This class explores the development of art and architecture in the medieval Mediterranean world (ca. 300 to 1300). In this survey, our goal will be to expand the conventional understanding of medieval art by studying moments and sites of artistic interaction between Western European, Byzantine, and Islamic cultures. In the course of the semester, we will explore artworks and monuments in places such as Dura Europos, Palermo, Rome, Baghdad, Damascus, Venice, Jerusalem, Cordoba, Constantinople, Thessaloniki, and Ravenna. Our discussions will cover a variety of themes, including the circulation of artifacts; the relationship between Christian basilicas and Islamic mosques; the problem of religious imagery; the rise of the cult of saints; and questions of cultural appropriation. Readings will include both primary sources in translation and secondary literature, and the class will introduce students to a variety of methodological approaches. The class will include visits to the Snite Museum, the Hesburgh Library Special Collections.

A study of the ways Christians and Jews represented their sacred stories in visual art throughout history. Examples include the decoration of worship spaces (churches and synagogues), tomb chambers and sarcophagi, liturgical vessels, pottery bowls and plates, gold glasses, and early illuminated books. Students will examine the differences and similarities between Jewish and Christian sacred art, noting the modes by which these two communities expressed their faith and reinforced their distinct religious identities, initially within the broader context of a pre-existing and polytheistic Roman culture and later in a dominantly Christian one.

When we think of the Renaissance today, we likely consider a few great artists – Michelangelo, Raphael, Leonardo. Early writers like Giorgio Vasari and Jacob Burckhardt codified the period (ca. 1400-1600) as a time of dramatic and sudden change from an earlier ‘dark ages’, which first bloomed in Italy and spread throughout Europe. This course offers a re-examination of the European Renaissance by reassessing standard media (painting, sculpture, drawing) and bringing to light overlooked forms (printmaking, landscape, textiles, ceramics). While the course will teach canonical artists and their works, it will also examine lesser-known and anonymous makers. In addition to expanding the canon of European Renaissance Art History, key themes of the course include the varied responses to Antiquity as well as the continuities and ruptures associated with different media histories. This course will include a visit to the Raclin Murphy Museum of Art.

This course provides an introduction to key works and themes in Western art from the Renaissance to the twentieth century. Focusing on a selection of key monuments, artists, and examples of art historical scholarship, and by looking back to classical values and models as well as forward to contemporary debates, we will explore various ways in which Western art has been made, used, and interpreted. The course will concentrate on building fundamental analytic skills necessary to the study of art, and will consider works of art both from an aesthetic perspective and in the context of the individual, cultural, social, and economic conditions of their production and reception. Topics will include an investigation of the history of the discipline, the use of objects, and a consideration of how the various practices and processes known as "art" have engaged society and the world. By looking at - and talking about - specific aesthetic phenomena, the course will survey the general history of modern representation and its alternatives.

Baroque Art (1600-1750) has long been derided as excessive, irrational, and grotesque. Many eighteenth- and nineteenth-century critics labelled the period as one of decline from the Renaissance, with its theatricality and ornamentation seen as over the top. This course seeks to present the period in a new light by looking at the diverse artistic traditions in Europe during this time, ranging from the Caravaggisti in Italy to Rembrandt and his followers in the Netherlands. We will examine major artists from the period, including Gianlorenzo Bernini, Annibale Carracci, Artemisia Gentileschi, Peter Paul Rubens, Diego Velázquez, and Johannes Vermeer. Other topics include the introduction of genre painting, responses to mannerism, and the Counter-Reformation’s impact on Baroque imagery. During the semester, we will visit the Raclin Murphy Museum of Art together. Grading will be based primarily on exams.

This introductory course focuses on crucial developments in European art and architecture of the “long” nineteenth century. Drawing on a diverse range of case studies—including painting, sculpture, architecture, print and the decorative arts—it will explore intersections between art and political upheaval, industrialisation and colonialism, changing attitudes toward religion and the natural world, the changing role of the artist in society and the emergence of art institutions (academies, museums, universities). We will also engage in conversations about the ways in which art has constituted and challenged ideas surrounding gender, sexuality, race, class and the environment. Students will examine major movements of the period through the work of renowned artists—such as Vigée Le Brun, Caspar David Friedrich, William Blake, J.M.W. Turner, Gustave Courbet, Claude Monet, Paul Gauguin, and Camille Claudel—as well as artists traditionally excluded from the canon. Although focused on European centres of artistic production, a particular emphasis will be placed on transcultural interactions between Europe and the wider world. Finally, the course will introduce students to the discipline of art history and its knowledge-making techniques including formal analysis, comparative analysis and critical contextualisation. This course includes visits to the Raclin Murphy Museum of Art and will be exam based.

In 1419, a Florentine goldsmith designed a building that changed the history of Western architecture. It was the first structure since antiquity to systematically apply the formal vocabulary of ancient Greco-Roman architecture. This new experiment with old ideas took Florence and then Europe by storm. In this course, we will investigate the revival—and transformation—of the classical architectural language, the emerging ideas about architectural authorship, the ability of architectural forms and materials to convey particular meanings to particular audiences, and the deployment of architecture as an instrument of power.

This course explores the evolution of intaglio printmaking, a technique used to create original works of art, reproductions, and illustrations beginning in the fifteenth century and continuing to today. Using the collection of prints from the Raclin Murphy Museum of Art, students will become acquainted with master printmakers, such as Albrecht Dürer, Rembrandt, Piranesi, Degas, Manet, Mary Cassatt, Whistler, and others to serve as inspiration and instruction of their own work. After an introduction to engraving (Albrecht Dürer's Knight, Death and the Devil), the focus will be on the development of etching in the seventeenth century exemplified by Rembrandt's prints; innovations of the medium (color) and its subsequent decline in the eighteenth century; its revival in the nineteenth century emulating Rembrandt as an emblem of the avant-garde; followed by a period of boundary-busting experimentation in the twentieth century. Informed by these historical examples, students will explore traditional intaglio approaches and end with more contemporary photographic techniques in the development of their own portfolio expressing their own artistic vision.

What is a work of art? And how can we use works of art to illuminate themes vital to the complex, messy, and profoundly joyful experience of being human? This introductory class examines 25 artworks spanning the breadth of the globe’s cultures as prisms to explore the fullness of the human experience in worlds past and present. We will learn how to think through art to probe big questions relating to themes like power and social justice, the relationship between art and science, cross-cultural encounters and exchanges, and the nature of identity. This class features multiple visits to the Raclin Murphy Museum of Art to foster skills in close observation, description, and visual analysis explored in class using real works of art. Fulfills WKAL; no prerequisites or prior knowledge of Art History are required for this course.

In this class, we will explore the urban topography of the city of Rome from the first century BC to the year 2000 AD, or roughly the period from the emperor Augustus to the projects by Richard Meier, Zaha Hadid, and others to celebrate the Jubilee at the end of the second millennium. In our discussion of how buildings shape and are shaped to form the city, we will consider contemporary drawings, prints, texts, maps, and a range of other evidence. Special focus will be placed on critical strategies for understanding urban sites. In addition to the city of Rome, this course will focus on developing your skills as critical readers and writers.

This course surveys the art of the world from prehistory to the present. It centers on a sequence of art objects from the Snite Museum, the Hesburgh Libraries' Special Collections, and elsewhere on the Notre Dame campus, linking them to well-known monuments of art history from the University's Global Gateways in Beijing, Chicago, Dublin, Jerusalem, London, and Rome. Students in the course will gain a familiarity with the history of art and develop skills in visual literacy and critical thinking.

This course offers a survey of South Asian art and architecture from prehistory to the contemporary moment. Students will examine both canonical and lesser-known works of art including examples of early Buddhist stupas and sculpture, Hindu cave temples, monumental architecture and miniature painting of the Mughal era, “Company” painting, art and architecture under the British Raj, modernism, and contemporary art. Special attention will be given to intersections between art and religion (Buddhism, Jainism, Hinduism, and Islam), art and conquest, gender and sexuality, transcultural exchange and hybridity, the impacts of colonialism and postcolonialism, and South Asian art in museums. Through a combination of close looking, critical reading, and class discussion, students will gain an understanding of the religious ideas, political events, and socio-cultural forces that have shaped the visual culture of South Asia across time. Finally, the course is designed to prepare students for more advanced courses in the department. Students will become familiar with the discipline of art history and its knowledge-making techniques including formal analysis, comparative analysis, and critical contextualisation.

Silk embroidery. Jade carving. Stone sculpture. Woodblock printing. Ink painting. Brush calligraphy. This course offers an introduction to the broad field of Asian art through its key artistic techniques, artworks, and historical contexts. The semester is organized into units covering fundamental art processes that reveal the closely intertwined development of arts and culture across Asia. Through hands-on making activities, classroom discussion, and close examination of objects, we will explore a span of nearly three thousand years in China, Korea, and Japan. Over the course of the semester, we will also discover the surprising ways in which the study of Asian art can be brought into meaningful dialogue with approaches to contemporary art and with broader debates throughout the fields of art history, Asian studies, and the history of religion.

This course will introduce students to the visual arts and expressive cultures of Africa and the African Diaspora. We will examine objects up-close at the Snite museum and use slides, videos, and musical recordings in class to root works more deeply in the historical and geographical context(s) of their production, display, and circulation. We will analyze canonical examples of monumental architecture, danced sculpture, and leadership regalia that define the field, while engaging with equal interest in the stuff of everyday life such as hairstyles, street fashion, even the music-blaring boom boxes of those often left at the margins of art history. Through the semester-long practice of looking at "African things" with curiosity and intention, this course will build students' skills in visual analysis, critical thinking, and comparative writing with the goal of increasing their awareness as global citizens and inspiring further engagement in cross-cultural experience no matter the context.

This course studies the art and architecture of Peru during the time of Inca dominance in the fifteenth century through the period of Spanish colonial rule in the sixteenth, seventeenth, and eighteenth centuries. It examines the ways in which the visual culture of the Inca was transformed in the wake of the Spanish invasion and conquest of Peru. It considers the persistence and transformation of indigenous American materials, techniques, object types and iconographies; the emergence of new iconographies and genres; and the foundation and development of Spanish colonial towns.

This course explores the art and architecture of the Aztecs, the Maya, and their predecessors in Mesoamerica -- a region that encompassed the territories of the modern nations of Mexico and Central America. It begins with an examination of the art of the Olmec, a culture that flourished around 1500 BC, and ends with a study of the built environment of Tenochtitlan, the capital of the Aztec Empire, in the early-sixteenth century. The course foregrounds the rich collection of pre-Columbian art from Mesoamerica in the Snite Museum.

How does art educate? What knowledge, ancient or new, is available to us in artifacts? This course is aimed at introducing practices of close-looking at art and artifacts in order to further understand them, individually and within their wider context, and unlock their wisdom. We will invite a broad understanding of pedagogical sources to consider how art and artifacts might "instruct" us as well as how we learn from them. Various art objects – paintings, sculptures, prints, and photographs – will be experienced and examined across the rich array of campus collections and archives. Through close-looking and visual and comparative analysis we will expand our learning and develop our practices of devotion to art in ways applicable to other mediums of wisdom as well as art.

This course surveys the history of Western art from ancient Greece and Rome to the present. Focusing on painting, sculpture, and contemporary art forms, it explains how art has developed in relation to changes in historical context, including politics, religion, science, economics, and society. Students will learn to recognize the basic techniques of western art, to identify major artistic styles and movements, and to interpret visual culture both visually and historically. No previous knowledge of art or art history is assumed.

This module presents a thematic overview of the global intersections and relationships of Western visual and material culture across a range of historically located examples. Topics are explored in this module under the broad themes of knowledge and discovery and empire building. Through these lenses lectures will explore topics as diverse as the Wunderkammer, Islamic Iberia and the space race and what they reveal about cultural transmission through the ages

Taught at a host institution. Portraiture is often seen as a particularly Roman genre, and had a significant influence on subsequent Western approaches to individualized representation. The strong link between image and individual meant that portraits could attain an almost magical quality as substitutes for the individual. The course will discuss approaches to portraiture in the Roman world, the formulation and impact of figure depictions, and how images were shaped, honoured, copied, changed - and punished. The course will provide students with an in-depth knowledge of key artworks and monuments, and their multifaceted connotations. The aim is develop a contextualized appreciation of the multifaceted visual and artistic culture within which portraiture is displayed. The course will familiarize students with portraits across a broad range of artistic media and develop the ability to analyze the impact of technique and material. The aim is for a nuanced understanding of the interests shaping the material culture of a complex visual world. The course will foster a firm understanding of developments and traditions in the history of late Republican to late Imperial Rome. The aim is to develop an awareness of cultural characteristics and an ability to analyze trends and changes. The course will familiarize students with the rhetoric of forms and styles, and the inherent narrativity of objects, and it will foster an understanding of the impact of viewing. The aim is for an awareness of portraits as dynamic intermediaries of social interaction. The course will present students with works of diverse patronage and consider the transmission of inspiration and influence. The aim is to further understanding of the impact of patronage and of social interaction in Rome.

The course focuses on one of the most iconic monuments of the Greek world - the Athenian Acropolis. The monument will be examined as a total site - that is, in its topographical, historical, social, and spatial contexts. Framed within a chronological arc from the Bronze Age to Late Antiquity, the emphasis will be on the dynamic engagement with this site as a location for dedicatory interests, political and civic concerns, and regional and international contexts.

This module offers an introductory survey of the development and major artistic achievements of Greek and Roman architecture, sculpture and painting from the Greek Bronze Age to the reign of the Roman emperor Hadrian in the early 2nd century AD. The module places art and architecture in its social, political and cultural context. It explores themes such as the representation of the human form, the use of narrative and mythology in art, urbanisation, and the development of architectural forms such as temples, theatres and Roman baths.

This three-week intensive seminar is based in the village of Ancient Corinth, 50 miles southwest of Athens, and is designed as a fully immersive cultural, international, and intellectual experience for students. Immersion in contemporary Greek village culture, and in the heart of active archaeological digs, will provide students an opportunity both for deep engagement with ancient art and architecture and for reflection on their own adventures in another culture and setting. They will have experience with the Greek villagers and the village, as well as archaeological sites and museums, in ways denied to tourists. Led by a Notre Dame faculty member who has spent much of his professional and personal life in Greece— specifically in Ancient Corinth—this program will include trips to major sites and museums in southern and central Greece.

Athens course # A362 - A course designed to give the student first-hand knowledge of sculpture of the Archaic, Classical, and Hellenistic periods; instruction in the National Archaeological, Acropolis, Kerameikos, Agora, and Piraeus museums, and on class trips to Delphi, Olympia, and elsewhere.

This course provides an overview of the development of art in Hong Kong from the colonial days to the early 21st century, including traditional Chinese painting, modern ink painting, and various art forms including socially engaged practices. It examines the uniqueness of Hong Kong's art in the context of its economic growth, cultural integration of international trends, and freedom in artistic creation, towards an evaluation of the achievements of Hong Kong's art in the twentieth century.

The course examines Roman funerary art and architecture from the first century B.C. to the late fourth century AD. The primary focus will be on monuments commissioned by the inhabitants of the ancient city of Rome and will include tombs commissioned by men and women of the Roman socialites, including the imperial family and those commissioned by the affluent middle classes, including freedmen and freedwomen. In-class lectures will be complemented by on-site visits to take advantage of the many Roman funerary monuments still extant in Rome.

AH 20070 Art & Architecture of Classical Antiquity at UCD; This course introduces students to the outstanding record of classical art and architecture and to an understanding of the principles, the techniques and the process of cultural diversity and assimilation that characterised the period of classical antiquity. The course begins with an overview of early beginnings in the Aegean before considering the geometric and archaic periods that led in turn to the classical period during the 5th century BC in Athens. The course also considers the achievements of the Hellenistic age, with a particular focus on monumental sculpture, public architecture and town planning. The rise of Rome is next considered in the context of Etruscan influences. There follows a detailed examination of the art and architecture of Republican and Imperial Rome. The manner in which Roman art was consciously fashioned on Greek models and myths and the distinct achievements of the Roman period are highlighted. This includes a study of how Roman art and spectacle reflected the patronage and power of the lives and personalities of the emperors who reigned from the time of Augustus to the fall of Rome. In addition, it will include a select appreciation of Roman portraiture, the Roman house and villa, Roman wall painting and Roman decorative arts.

This survey course focuses on the art, archaeology and architecture of the Mediterranean world, roughly between 2500 BC - AD 300. The course investigates the material culture of the diverse cultural groups that shaped this cosmopolitan world: Sumerians, Assyrians,Minoans Mycenaeans, Egyptians, Greeks, Etruscans, Persians, Italics and Romans. Special attention will be given to the interconnectivity anddynamic relationship of inspiration between these cultures. The aim is for a firm contextual understanding of the works examined, and of thecultural, political and historical aspects that shaped these. The course will also assist students in cultivating basic art historical skills, inparticular description, stylistic analysis, and iconographic and iconological analysis

This course contributes to the formation of the student in the field of art history, including the artistic and historical manifestations included in the Middle Ages and its repercussion on the styles that preceded it.

The museum is an important field of work for students of cultural studies. In this course diverse aspects of museum work will be brought to light through an interactive process. Having one s own experiences with the institution of the museum and making subjective value judgements are starting points for this course.

This module examines the developments that take place in European art from the mid-nineteenth century until the outbreak of the first World War. This is one of the most exciting periods in the history of art, when long established traditions are challenged and when art practice is affected by social and political considerations. The lectures with explore, for example, the building of the Crystal Palace in 1851, the world of the Impressionist painters, the individualism of artists like Van Gogh and Cézanne, and the beginnings of Modernism. Finally, the abandoning of subject matter in abstract art will challenge us to look at art in a new way.

This class explores the development of art and architecture in the medieval Mediterranean world (ca. 300 to 1300). In this survey, our goal will be to expand the conventional understanding of medieval art by studying moments and sites of artistic interaction between Western European, Byzantine, and Islamic cultures. In the course of the semester, we will explore artworks and monuments in places such as Dura Europos, Palermo, Rome, Baghdad, Damascus, Venice, Jerusalem, Cordoba, Constantinople, Thessaloniki, and Ravenna. Our discussions will cover a variety of themes, including the circulation of artifacts; the relationship between Christian basilicas and Islamic mosques; the problem of religious imagery; the rise of the cult of saints; and questions of cultural appropriation.

Humans have always worn garments to shelter us from the elements, and as history has progressed these garments have become loaded with meaning. Today, fashion is essential in the creation of identity. We use dress to express our individuality or to fit in. Subcultures have specific looks, special occasions require a certain type of dress, and the media is always chasing the latest trend. In the course we will explore how fashion and dress can be interpreted. We will study the cultural history of fashion in depth (c. 1500-present), and the place of fashion in today's world, complemented by field studies. So join us on this journey through the ever-changing world of fashion.

This course will survey the major trends in the art of Italy and northern Europe from roughly 1300 to 1575. It will concentrate on such major figures as Giotto, Donatello, Masaccio, Botticelli, Raphael, Michelangelo, and Titian in Italy, and the Limbourg Brothers, Jan van Eyck, Rogier van der Weyden, Hieronymus Bosch, Albrecht Durer, Mathias Grunewald, and Pieter Brueghel in the north. It will consider such themes as artistic production and technique, public and private spirituality, naturalism, narrative, and the changing status of the artist.

A survey of art and architecture in Italy from the 14th to the early 16th century, this course will give primary emphasis to Florence as an artistic center while also including exploration of the contributions of Siena, Rome and Venice. The course is intended for students with little or no background in art history and will cover the principal artists and trends of the Italian Renaissance from Giotto to Michelangelo. Lectures and on-site visits, which include a trip to Florence, will help build a visual vocabulary of monuments in a general historical overview.

The course will focus on the relationship between artists and princely courts in Europe between the 16th and 18th centuries. Placed at the top of national organization networks in the political, economic, and cultural domains, European capitals offer a privileged place of observation to grasp the dynamics of this relationship. From their capitals, princes organized their political power through the implementation of a symbolic power that relied in particular on artistic production. Artists had the power to represent through images, to organize the spaces of power through architecture and to demonstrate rank through the pomp of the arts. The aim is to examine, through a series of case studies selected according to the period, the institutional context of the artists' attachment to the court and to show how they summon, in their art, the life and glory of their patron.

Ornamental gardens are complex, three-dimensional, organic art forms that for over 4,000 years have also acted as cultural barometers. Down the millennia and across the continent of every European civilization and nation has developed its own garden styles. Over time and place, these styles have evolved in tune with changes in the cultural, artistic, social, economic, technological, and political landscapes. From peristyle courtyards of Roman villas to ascetic Medieval monastic gardens to erotic and sensuous Moorish paradises; from Baroque opulence to Arts and Crafts partisanship to ultra-Modern functionality. Garden art and European culture has always been and continue to be profoundly interactive. Each simultaneously shapes the other. Garden art is therefore an intrinsic, integral and influential component of the zeitgeist.

This module focuses on the chief works of art created at the major sixteenth and seventeenth century European and Asian courts, as well as the impact that patronage had upon the production of art in these societies.

The course is for students of the Bachelor degree and intends to offer the features of the development of Italian art history from the beginning of the fifteenth century to the late eighteenth century (from the late Gothic to Neoclassicism), through the analysis of the work of the leading artists working in these centuries in Italy, and pictorial languages to which it gave birth. The study method will favor the historical interpretation and style of the art object; it is therefore essential to a visual knowledge of the works of individual artists. The course includes some introductory lectures on the methodology of the study of art history and on some general issues (for example, the periodization of the history of art, the use of critical historical categories such as the concept of Renaissance and of Baroque as they relate to style and so on). The course also provides insights on the path of individual artists and on the fundamental stylistic intersections of art history in the period under review.

This unit offers an introduction to the study of dress through the discussion of major theories and methodologies that inform current scholarship in the field. With a focus on designers, wearers and cultural practices of dressing the body, the unit will question how dress communicates as a form of visual expression. At the completion of this unit, you should be able to: LO1. develop the ability to identify and discuss key theories and practices relating to the study of dress across a variety of disciplines LO2. demonstrate a critical understanding of leading designers and designs, materials and practices LO3. develop new skills of critical thinking, problem solving and information literacy LO4. develop the skills to approach and discuss complex topics with sensitivity LO5. build skills related to offering feedback to peer.

This course on art history will focus on the contemporary period from the Revolution to the end of the 20th century, which will allow us to study the ruptures and changes which have operated since neo-classicism at the beginning of the 19th century to romanticism and on to the many other isms of the late 19th and 20th centuries.

This course examines the fascination exerted by Van Gogh and the different looks of this artist and his work. He is treated on in literary works of different genres (essay, story, poetry), but also the cinema (Pialat) and music (Dutilleux). This multiplicity of objects, distinct in their support, language and the aesthetic or political stakes that each confers on Van Gogh, shows the extreme fecundity of this figure but also its complexity. This course questions the way a myth is made. The effects of the work on its viewer and the way painting stimulates, challenges and shakes up literature, the arts and society. What do these psychiatrists who have judged to be him to be crazy reveal that posterity finally recognized as a "suprahuman" genius (Artaud)? How can we explore how to transpose a pictorial work through painting, filming the act of creation, or music? Through these works that renew or instead take their distance from the traditional forms of ekphrasis and subvert pictorial erudition, it is ultimately the opacity of the act of creation that is questioned. This course is an introduction to the interartistic approach. It proposes tools to analyze the different arts, questions the notion of intermediality and builds a reflection of comparative aesthetics.

The course lays the foundation for looking at, understanding and working in the visual arts. The material corpus that the course draws on is primarily Europe and North America from the late 18th century to the present day.

Twentieth century art consists of well-known Modernist and Postmodernist styles and movements such as Cubism, Futurism, Abstract Expressionism, Pop Art, installations and earthworks, to name a few. It also encompasses lesser-known movements such as the American urban realists, the Regionalists, Soviet Socialist Realism. But what does Modernism mean and how does it relate to the century's dramatic modernization of daily life, social organization, commercial development, political and cultural nationalism, and two World Wars? Through an analysis of the art, artists, and critical discourses in question, the course will consider the fundamental questions: what is art's relationship to the larger culture? What is the artist's role in society? What do aesthetic concerns have to do with life? While these questions are always pertinent, they demand particular attention in the century largely defined by the ideology of art's autonomy, pure creativity, and individual expression. Extensive visual analysis will be accompanied by attention to the critical discourses with which the aesthetics were defined, giving students the chance to develop an understanding of key 20th century styles but also to learn how these styles communicated historically.

This course examines surveillance art and aesthetics of voyeurism and exhibitionism. Explore why the theme and techniques of surveillance are increasingly present in contemporary art. Develop the skills to trace surveillance culture from early secret camera photography to modern artists working within a diverse range of media such as performance, video, collage, installations, and conceptual art.

Amateurism is a cultural ideal that has risen across various time periods and geographical contexts to create an extraordinary range of insurgent, unofficial,non-renumerated,andself-organized activities and cultural practices.This class will take a thematic approach to the concept of amateurism in the arts.To better understand the figure of the amateur in historical and comparative perspective, each week we will explore a new case study in amateur art practice.

the course proposes an introductory chronological path to the study of figurative documents with Christian commission, from the first half of the third century to the end of the sixth century. Content: 1) The origins of Christian figurative culture: symbols and signs; 2) The most ancient Christian art between symbolic perspective and narration; 2.1. The first pictorial decorations; 3) Christian funerary plastic; 3.1. From cd sarcophagi. 'paradisiacal' to the definition of the repertoire of the early fourth century; 4) The Constantinian 'turning point' and the reflection of the dogmatic definition in the figurative culture of the 4th century; 4.1. Iconographic reflections of theological questions in the figurative panorama of the fourth century: from the latest persecutions to the results of the Council of Nicaea; 5) The decoration of religious buildings in the 4th century: an open problem; 6) The fifth century and the great iconographic programs of Rome; 7) The 6th century and Ravenna.

The dynamic of a city is partly explained by the places taken over by young people. We will be interested in this workshop in places evocative of this youth. Each student will be asked to carry out a photographic work on a place that is evocative for him in Paris. The photographs will be taken outside of the workshop sessions and the restitution work will take place in progress. How to account for expression, codes, exchanges, social ties, in spaces invested by young people. The objective of this workshop is to learn to develop a critical eye, restore an aesthetic emotion, and build a photographic sequence with documentary value. From the study of a corpus of images produced by known photographers: August Sander (All), Raymond Depardon (Fr) and Larry Clark (USA) we will approach the documentary style which is a major current in photography, and we will question what makes 'art' in photography. Through the analysis of works by these renowned photographers and debates around their work, students will have the opportunity to put their achievements into perspective and become aware of the reading of contemporary works. An oral restitution exercise (in pairs) of a photograph proposed by the teacher in connection with a text chosen for its relevance to the work will also be requested as part of this workshop, and these restitutions will be organized throughout the semester. . An exhibition visit will be organized in connection with current events in Paris.

AH 10070 Dublin: Its Museums and Collections at UCD; Dublin is home to a rich variety of museums, whose collections survey the entire history of Irish art but also include outstanding examples of European and non-Western art. The purpose of this module is to create an enhanced appreciation of art among students who are not majoring in art history by fostering a direct engagement with these works of art and architecture. Two one-hour meetings a week incorporating both slide lectures and at least some discussion will focus upon art in Dublin museums and the architecture of the museums themselves.

Continuation of History of French Art I. Course is not approved for University Core Art Requirement in Paris, France (Diderot) because it is only 2 credits. Course is approved in Angers, France.

The course presents a chronological survey of western art from ancient Greece to the twentieth century. It is designed to help students gain a basic understanding of western art and enhance their appreciation for art.

Illustrated lectures on French architecture and related painting, sculpture and tapestry. Two different levels available - 237A is for students at a lower level of French proficiency, 237B for students at the intermediate level or above.

The module aims to introduce students to the ideas shaping architecture in the period 1500-1700, to examine the relationship of theory and practice and to consider how architectural ideas were presented. It will use material from the Early Printed Book collection and students will study both books and buildings.

Taught at a host institution. BCHA1 at TCD; The course is designed as an introduction to Irish visual culture dating from Pre-History to the end of the twentieth century. Lectures will include the identification of key works form Irish art and architecture, addressing fine, applied and popular artforms. Throughout the course, Irish visual culture will be discussed within its artistic, social and cultural contexts and will be cognisant of its place within a broader European perspective.

This module presents a thematic introduction to Irish art, architecture and design in its broader international context. Subjects will be connected across periods and styles- the focus not on presenting individualised summarised histories but rather considering how aspects of Irish visual history are connected and have evolved over time. Lectures will include the identification of key works from Irish art and architecture, addressing fine, applied and popular art forms. Throughout the course, Irish visual history will be discussed within its artistic, social and cultural contexts and will be cognisant of its place within a broader international perspective.

This module presents a thematic introduction to Irish art, architecture and design in its broader international context. Subjects will be connected across periods and styles - the focus not on presenting individualised summarized histories but rather considering how aspects of Irish visual history are connected and have evolved over time. Lectures will include the identification of key works from Irish art and architecture, addressing fine, applied and popular artforms. Throughout the course, Irish visual history will be discussed within its artistic, social and cultural contexts and will be cognisant of its place within a broader international perspective.

This course focuses on Chinese art and visual culture from the late imperial period to the 21st century against the backdrop of major socio-political and economic changes in China and the world. Through the study of material forms and the contexts in which they were created, we will look at the ways in which art, artists and their audiences responded to the challenges of modernity, reform, revolution, war, marketization and globalization. The phenomenon of Chinese contemporary art, its collection and connoisseurship, and the role of art schools, museums, biennales, galleries and auction houses will also be examined.

At present when we consider Chinese art and culture, we have ideas about objects we find in museums and collections. This course examines how some of these objects came to be regarded as art. More specifically some objects and styles of painting are associated with the literati, a highly educated group of scholars who established certain forms of culture as their own. By looking at the contexts of when ceramics, bronzes, calligraphy and some forms of painting were first assigned as art we can see the literati mind guides the process. This course examines the construction of such objects as literati art.

Taught as FAAS 1600 - 'Artistic Traditions in China' at a host institution. Using recent excavations, historical texts, and important master pieces in major collections, this course provides an overview of Chinese art over 5000 years. Through studying the art and culture of the pre-historic and Bronze Age, and painting, calligraphy, religious sculpture, architecture, jade, gold, silver, and ceramics throughout the centuries, students will understand the special characteristics and historical development of Chinese art and culture over the centuries. Artistic exchange between China and its neighbouring countries will be given special attention. Tutorial sessions involve practical workshop or the study of actual art objects at the Art Museum. **Course must be taken for at least 2.5 credits to count towards University Core Curriculum Art requirement.

This course examines the bourgeoning development of contemporary art in Peoples Republic of China in close relation to its shifting sociopolitical and cultural realities since the 1980s. Structured around a series of thematic studies, it introduces a wide range of visual art forms, including painting, sculpture, installation, photography, performance, and digital art, shedding light on varied perceptions and understandings of Chineseness in an ever more globalised circumstance.

This course surveys the art and architecture of the Islamic world from the 7th to the 13th centuries. The phenomenal rise and establishment of Islamic civilization in three continents- Asia, Africa and Europe- in this period is studied through monumental religious and secular architecture and its applied decoration from mosaics to stucco and wall paintings and through painted ceramics, carved wood and ivories, metalwork, illuminated manuscripts, and embroidered and woven textiles. The form and function of buildings and artifacts, their changing patterns of use and their evolving meanings are examined in their original social, political, religious, and cultural contexts. One of the primary aims is to become familiar with the regional diversity of medieval Islamic visual culture and so also to consider what issues are involved in studying a tradition that flourished in several geographical areas, encompassing a variety of cultures and national and ethnic identities. Two special areas of focus are the urban design and architecture of Islamic medieval centers such as Cairo and Islamic court culture which, often centered around royal palaces such as Madinat al-Zahra in Spain, produced some of the most outstanding luxury arts of the Middle Ages.

In this course the student will analyze the processes related to the appearance and development of distinct visual manifestations of art in Precolumbian America.

This course analyzes and traces the development of Greek architecture, painting, and sculpture in the historical period, from the eighth through the second centuries B.C., with some consideration of prehistoric Greek forebears of the Mycenaean Age. Particular emphasis is placed upon monumental art, its historical and cultural contexts, and how it reflects changing attitudes towards the gods, human achievement, and the relationship between the divine and the human.

This course examines the history of Irish art from the Great Famine to today. We’ll consider the major art movements in Ireland across the “modern” period, beginning with 19th century landscape painting and print culture and moving through the display of craft and industry at International Exhibitions in Ireland, Britain, and America. A major consideration will be the relationship between aesthetics and politics before and after the establishment of the Irish Free State. As we consider key questions of identity and representation across the last two hundred years of Irish history, our course will examine issues of historicism and revival, the notion of the west of Ireland in national myth building, and questions of stereotype, religion, environment, and technology. Our modules will cover major Irish artists and art movements—including figures such as Jack B. Yeats, Mainie Jellett, Sean Scully, Mary Swanzy, and Francis Bacon among others—but we will also have chance to question the formulation of a national canon for ourselves. This course will utilize collections in Chicago as well as Notre Dame’s Raclin Murphy Museum of Art and will teach core skills in visual analysis and historical critique. No background in Irish Studies or Art History is required.

Building on crucial insights of the “global turn” in art history, this course examines how the circulation of art and ideas, propelled by British expansionism, shaped cultural identities, artistic traditions, knowledge systems and arts institutions in Britain and its colonies from 1750 to 1950. Topics will include colonial collecting, period and contemporary debates around spoliation, cultural heritage, the formation of the British Museum and restitution, intersections between military conquest and landscape painting, relationships between colonial natural history, ecology and art, questions concerning race, representation and identity and the ways in which artists, including major figures like William Blake and J.M.W. Turner, grappled with empire and its deleterious effects. Although geographically and temporally focused on the British Empire, the course seeks to introduce methodologies that can be applied to different contexts and periods. Students are thus encouraged to think outside of the parameters of the course for their final projects (of which there is a choice between a formal research paper, a mock exhibition, or a creative work). This course includes visits to the Raclin Murphy Museum of Art.

This class explores the development of monumental mosaic and fresco in the Middle Ages through key monuments in places like Rome, Constantinople, Thessaloniki, Palermo, and Venice. A central goal for the course will be to understand the ways in which mural paintings and mosaics distinguish themselves from other visual media in the medieval world. We will consider the relationship between murals and their architectural setting and how the relative size of wall paintings and mosaics impacts the way beholders relate to and understand them. We will also examine the many different functions of medieval murals, as media for story-telling, as liturgical instruments, and as vehicles for the transmission of knowledge, theological doctrines, or political propaganda.

With Constantine the Great’s embrace of Christianity in 312 CE, the Mediterranean region underwent profound transformations. Yet the period of Late Antiquity (ca. 235–700 CE) entailed more than the rise of new world religions: it also saw mass movements of people, goods, and ideas and witnessed the collapse and creation of powerful political empires. This course investigates the equally dramatic changes in the visual and material cultures of the late antique Mediterranean as forms of monotheism, with urgent theological concerns to communicate and varying prohibitions on image-making in place, spread. It explores a wide range of creative expressions, from sacred manuscripts, mosaics, and architectural monuments to household textiles, dining silver, and glassware. We will also consider how confessional and ethnic identities, as well as political allegiances, shaped art and urbanism in the Mediterranean at this dynamic and at times volatile historical moment. No prerequisites or prior knowledge of art history are required for this course.

This survey course will take a critical studies approach to the aesthetic, historical and ideological issues in avant-garde art, film, and media. This course will be structured around major phases of experimental, independent and radical non-narrative/non-commercial cinema from the 1920s to the present. In addition to considering new modes of production, we will address alternative forms of distribution and exhibition. We will also examine how these historical moments speak to contemporary calls to provide more diverse and inclusive modes of representation. Students will be required to attend weekly class lectures and discussions as well as weekly lab screenings.

What do the paintings and sculptures in museums and the manuscripts and antique books in archives tell us about our collective past? What do they tell us about how value, importance, and worth have been ascribed across time? As users of these cultural collections, how might we address inequities and silences within them? This course provides an introduction to the history of cultural heritage collecting and addresses major issues and questions in the field. Students will apply a critical gaze to the collections held in our campus repositories - the Snite Museum of Art, Rare Books and Special Collections, and University Archives - and in museums and archives beyond the Notre Dame campus. Students will reflect on what they read and discuss and collaboratively will build an online exhibition around themes of diversity in our campus collections. This exhibition will be published on the Hesburgh Library's Digital Exhibitions and Collections page and students will be given curatorial credit for their work. Note: This course will include a full day of site visits tentatively scheduled for September 30, 2022.

Washington, D.C., is not only the seat of U.S. politics but also an extraordinary city for art, and this course will explore the relationship between the two. Through site visits to selected artworks, exhibitions, and monuments, we will examine the interplay of art and democracy, considering how artists have represented and challenged concepts such as citizenship, the nation, and social equality. Our objects of focus will range from presidential portraits and official memorials to contemporary video and installation art, and will touch on topics from westward expansion in the 19th century to recent social and political movements such as Black Lives Matter. The course will consider key questions: What makes a work of art, a monument, or an exhibition effective? How do artworks and monuments shape our understanding of history, and how do they influence our perspective on the present? Which stories and whose stories have been included in narratives of the nation? How do artists and works of art represent and put pressure on concepts of race, class, gender, religion, sexuality, and ethnicity? What is the role of a national museum or a national monument? And what role should a government play in relation to the arts? We will make regular class and independent visits to a range of museums, including the Smithsonian American Art Museum, the National Portrait Gallery, the National Gallery of Art, the Hirshhorn Museum, the National Museum of the American Indian, and the National Museum of African American History and Culture.

This course examines American visual and material cultures from the pre-colonial era to the present day. Providing a broad, historical account and considering a variety of media from paintings and sculptures to quilts, photographs, world's fairs, and fashion styles, this survey explores American art within the context of cultural, social, economic, political, and philosophical developments. In particular, it considers the role that American art has played in the formation of national identity and understandings of class, race, gender, and ethnicity.

This class examines architecture and urban planning in one of Europe's most dynamic eras. During that time, capital cities like Paris, London, St. Petersburg, and Madrid were created. Elites used palaces, country houses, and gardens to project their power and status. Astounding churches and monasteries were created to heighten the intensity of religious experience. Architecture in the form of theaters and observatories, libraries and universities, served the secular activities of the urban public.

This course will explore the history of art in the 20th century from a global perspective, focusing on several locations and movements that were crucial to the development of an avant-garde and its legacies including places such as Paris, Tokyo, Moscow, Berlin, Zurich, London, Rome, Buenos Aires, Rio de Janeiro, New York City, and Mexico City. The course will examine a wide variety of figures, movements, and practices within the visual arts, situating them within the social, political, and historical contexts in which they arose. The history of these artistic developments (e.g., abstraction, the readymade, conceptual art, feminist art) will be traced through the rise of mass-media technologies (such as photography and print media) alongside the aesthetic accomplishments of the avant-garde. Exploring the forces of feminism, capitalism, and urbanism, we will attempt to understand how artistic innovations fundamentally altered, negotiated, and framed the ways in which we understand and represent the world. Artists we will look at include Pablo Picasso, Henri Matisse, Georgia O’Keeffe, Dorothea Lange, Frida Kahlo, Jacob Lawrence, Jackson Pollock, Eva Hesse, and Andy Warhol. The curriculum will also include visits to the university museum. This course is largely taught in a lecture format and assessment is exam-based.

This survey course will introduce students to major developments in 20th-century art, primarily in Europe and the Americas. Emphasis will be placed on modernist and avant-garde practices and their tenets. The first half of the course will trace Modernism's unfolding in the avant-garde practices of the late- nineteenth and early twentieth centuries. The second half of the course will address art production as the neo-avant-garde attempted to construct continuity and repetitions of the heroic modernist legacies of the past. We will consider issues such as the self-criticism of art, the myth of the artist-genius, the reign of abstraction, spirituality in art, race and gender, art and class, and art's intersections with mass culture. Artists we will study include Pablo Picasso, Henri Matisse, Georgia O'Keeffe, Frida Kahlo, Jacob Lawrence, Jackson Pollock, and Andy Warhol. This course is a lecture format and grading is largely exam-based. The curriculum will also include visits to the university museum.

Building on recent ecocritical approaches to the discipline of art history, this course will explore human-environmental relations and changing ideas about the natural world from the industrial revolution to the present. Structured around four elemental modules and drawing on a diverse range of visual media including scientific ‘specimen’ prints, Romantic landscape paintings, contemporary photography, and installation art (with works by J.M.W. Turner, Thomas Cole, and Edward Burtynsky), we will discuss natural history, landscape gardening, and land art (earth), global maritime trade, colonial expansion, and its visual culture (water), climate and disease (air), and the impacts of industrialisation and the burning of fossil fuels (fire). Major themes will include interactions between science and art, the global movement of people, ideas, flora, and fauna through colonial networks, developments in environmental theory, indigenous perspectives, materiality (especially as it relates to natural resources), and art as a form of critical intervention. This course will include visits to the Raclin Murphy Museum of Art, the Museum of Biodiversity, and Rare Books and Special Collections. Finally, the course will introduce students to the discipline of art history and its knowledge-making techniques.

This course offers students an introduction to the theories and practices of contemporary art with a focus on artwork since 1980. We will investigate its varied, multi-faceted terrain, and examine key themes and ideas that have been explored in recent years. These include such topics as the artist as curator, the museum reconsidered, art and politics, the emergence of DIY approaches, and the rise of interest in new media and materials. Special attention will be paid to the way that new media and formats, like digital photography, sound, and installation, have changed the scope and reception of art now.

The 1950s, we're told, were America's "best" years: an idyllic era of suburban family togetherness, television shows like Leave it to Beaver, Disneyland (which opened in Anaheim in 1955), and really big cars. Magazine publisher Henry Luce and other mid-century American power-brokers promoted the postwar US on hegemonic terms: as a unified nation defined by a liberal political economy and by the expectations and desires of middle-class citizens united by the shared goals of upward social mobility and consumerism (white collar jobs, home ownership), college educations, family/suburban lifestyles, etc. This was called the "consensus model" of American identity. Not surprisingly, this ideal of America and these normative expectations about "being" American created a number of tensions in post-World War II America. First, the goals themselves were unattainable for some Americans due to the nation's persistent habits of racism, sexism, class preference, and homophobia. Second, some Americans felt restricted and restrained by expectations of middle-class conformity, among other things. This led to a number of counter-hegemonic cultural expressions: from art that came off the wall to artists who went on the road. This course examines those American artists and their rebellions, from artists like Jackson Pollock—who took his paintings "off the wall" and made them on the floor—to writers like Jack Kerouac, whose novel On the Road was published in 1957. It surveys American art from the Great Depression of the 1930s through the early 1970s, looking at art styles and movements including Regionalism, Abstract Expressionism, Beat, Funk, Pop, Minimalism, Conceptual art, Psychedelia, Earthworks, Feminist art, and the Black Art Movement. Themes include the "triumph of American painting" after World War II, links between art and politics, the development of postwar art theory, and intersections between the avant-garde, popular culture, and consumer culture. A special "Elvis Day" examines post-World War II youth culture and counter-hegemonic rebellion.

American ruins are increasingly visible today, from images of urban decay and piles of debris in Detroit and Gary to movies and novels (The Book of Eli, The Road) depicting post-apocalyptic "ruinscapes" of abandoned towns, derelict factories, crumbling monuments, and deserted shopping malls, variously populated by zombies, vampires, and survivalists. Ruins typical signify "disaster," "failure," "defeat," and "the past." Why, then, in a nation that has repeatedly defined itself in terms of promise, progress, and success-the American Dream-are visions of ruin, real and imagined, so prevalent today? This class explores the history and meaning of American ruins, relating contemporary fascination with ruins ("ruin porn") to currently held attitudes about modernity, technology, citizenship, consumerism, the rule of law, and the environment. Course materials include novels, films, and photographs; coursework includes fieldtrips (to Detroit and Gary), essays, and discussion.

Public art is a major facet of modern and contemporary American culture and is often controversial: in the 1980s, the Vietnam Veterans Memorial was criticized by some for being anti-American, in the 1990s, the Smithsonian cancelled an exhibit on the atomic bombing of Hiroshima after certain members of Congress said it was not patriotically correct, in the 2000s, the design and construction of the national September 11 Memorial (dedicated in New York in 2011) was beset by protests. This course examines the politics and aesthetics of public art in American from the perspectives of its producers and audience. What is public art? Why is it made? Who is it for? How and why does it embody tensions in American culture and society regarding identity, authority, and taste? Specific topics to be explored include American memorials and remembrance rituals, the development of the public art industry, community art projects (such as murals), national arts programs and policies, landscape architecture, tourism, museums, and national fairs. Our objectives are to recognize how public art shapes and directs local and national understanding of history and memory, self and society, in the United States. Course includes field trips; students will develop their own Wiki Public Art pages.

This course will take as its starting point nearby art collections and exhibitions in Chicago and the surrounding areas. This semester we will look primarily at paintings, sculptures, photographs, and installations at the Art Institute of Chicago. Drawing heavily on its strong holdings in modern and contemporary European and American art, each class session will be devoted to the careful research and analysis of one or two objects in the collection. We will read art historical texts that contextualize each work, allowing us to practice engagement at the visual, critical, and art historical levels. We will focus on looking at and writing on visual subjects, so discussion, writing, and participation will be essential components of the course. Some of the artists on whom we will focus include Monet, Cassatt, Picasso, Matisse, Mondrian, O'Keeffe, Pollock, Warhol, and Sherman. At least one trip to Chicago will be a required part of the course.

This course surveys art made in Chicago from the nineteenth century to the present. We will examine the rise of Chicago as an art capital through the founding of art academies and museums, the hosting of World Fairs, and the era of modern architecture after the Great Fire of 1871. We will analyze iconic artworks from Chicago’s diverse art scene which became home to the Black Arts Movement, Chicano Art Movement, Feminist Art Movement, and one of the country’s most ambitious public art programs. Students will develop skills in research, writing, and visual literacy.

For more than 170 years, Notre Dame has been collecting objects. Paintings, footballs, geological specimens, religious relics, stuffed birds, and Native American clothing can all be found on our campus. By looking closely at an object - who made it, how it was made, who bought it, how it was used, and how it ended up at Notre Dame -- we will seek to understand the history of knowledge. This class will work intensively with objects from the Snite Museum and the Hesburgh Library, among other campus repositories.

Art and visual culture have shaped our conceptions of ourselves and others. This course examines contemporary art in a variety of media in order to understand how art contributes to, reflects, affirms, or critiques specific stereotypes of roles and values. It will feature work and theoretical writing that is engaged with issues related to identity in all of its various forms. Some topics include standards of beauty; gender and sexuality; race and identity; performance and multiculturalism; and class, social justice, and ethics. Many of the objects that are examined explicitly challenge conventional notions of "good" art, so aesthetic standards of value will be a key topic as well. No specific prerequisites are necessary, but it is useful to have some background in cultural studies, art, or visual culture. Assignments include exams and short papers.

PhotoFutures is a collaborative collecting group at the Raclin Murphy Museum of Art that acquires contemporary photography for the University of Notre Dame. This is a zero-credit course. Designed for students of any major, this seven-session co-curricular program combines issues related to museum collecting, contemporary photography, and socially-engaged artistic practice. Students will critique individual photographs and evaluate artists' portfolios, and also engage in critical discussions with the artists themselves, Raclin Murphy curators, and select faculty whose expertise provides different lenses through which to consider the photographs. Ultimately, students will develop their own collecting criteria to choose a photograph for acquisition that adds value to the permanent collection of the Raclin Murphy Museum and supports the mission of the University. The topic for PhotoFutures will be announced at the beginning of the fall semester. 0 credits

Have you ever put together a collection? Sea shells, Pokemon cards, or something of more value? What drives our desire to accumulate, order, and display objects in a systematic way? This course examines the social phenomenon of collecting objects in broad terms, but centers on the particularly complex European and American practice of collecting and exhibiting Africa—its objects, peoples, and animals—in a variety of exhibitionary complexes across time and space including: wonder cabinets, ethnology museums, art museums, World's Fairs, zoos, theme parks, and Hollywood films.

This course provides an overview of the historical development of Japanese civilization and culture from the prehistoric era up through the 19th Century. Students will acquire a basic knowledge of Japanese geography, historical periods, changing class structure and political organization. The main emphasis, however, is on the development of the fine arts, such as painting, architecture, gardens, and sculpture. The course also introduces students to the important and continuous influence of Chinese art, literature, Buddhism and Confucianism. Through readings of selected literary works (prose fiction, poetry, essays on aesthetics), students will learn how shared aesthetic values changed over time in relation to their social and political context.

This course traces the developments of contemporary art practice in the U.S.-Mexico borderlands, and subsequently expands beyond this physical location to include global borders and artworks that reflect on living in between cultures, races, and languages. Students will develop a toolkit for analyzing the way borders shape culture and identity (race, gender, sexuality, class, religion, and ethnicity) in transnational points of contact. With an emphasis on printmaking, performance, photography, and film, the course will dwell on borders that respond to paradigms of fear and desire, contagion and containment, utopia and dystopia. Students will enhance their skills in visual analysis and writing, and refine their ability to conduct original research. No pre-requisites or prior knowledge of Art History and Latinx Studies is required for the course.

This course surveys works of art produced by artists in Latin America during the 20th century. We will trace the development of the field through major figures and movements in the cosmopolitan centers of Argentina, Brazil, Chile, Colombia, Cuba, Mexico, among others. One of the objectives of the course is to debate the geopolitical construct of Latin America, but also to understand the productive use of a category like Latin American art. Throughout the course we will be attentive the different national and colonial histories that have shaped artistic production in this region. We will examine painting, sculpture, installation, photography, and performance through various social lenses including identity, racial formation, class difference, gender inequality, state violence, and U.S. intervention.

This survey traces the developments of photographic practices in Latin America and its US-based diasporas. We will look at the origins of photography in the region (from early explorers to portraitists and artists) and how the medium helped shape ideas on nationalism, modernity, cosmopolitanism, internationalism, and migration. Students will develop a toolkit for analyzing photographs from various social lenses attentive to the workings of race, class, and gender from the nineteenth century to the present. Students will enhance their skills in visual analysis and writing, and refine their ability to conduct original research. No prerequisites or prior knowledge of Art History is required for the course.

This lab is the required corequisite to the course ARHI 30351: Avant-Garde Art and Film. In this lab, students will view weekly screenings of films associated with the curriculum in ARHI 30351.

We usually think of field work and excavation as being the essence of archaeology, but much of what we know about the past is learned in the laboratory, where we study the artifacts brought in from the field. A rough rule of thumb states that two hours of lab time are needed for every hour spent in the field, so in reality, lab work may be even more important than field work in archaeology. This course is a laboratory class that will use many different activities to teach you about how archaeologists organize, preserve, and study archaeological artifacts to learn about the past. This class provides an in-depth introduction to basic laboratory methods for the organization, curation, and analysis of pottery, stone tools, metals, soil samples, and floral and faunal remains. By the end of the semester, you will engage in a hands-on application of course principles by conducting a research project on materials from Notre Dame's archaeological collections.

Museums are not only caretakers of cultural artifacts; they are also microcosms that reflect a society’s beliefs about the order of the world and, in turn, teach us about our place within it. This seminar considers the museum from its origins in individual collections and cabinets of curiosity to the rise of the modern public museum and its role in the present day. We will investigate how these institutions—including art, ethnography, natural history, and local history museums—have preserved, constructed, and erased cultural memory, identity, and knowledge. We will pay particular attention to recent efforts to reckon with the imperialist legacy of museums, including repatriation, artists’ interventions, and the inclusion of narratives, objects, and voices traditionally excluded from museum spaces. This course includes visits to campus and area museums and discussions with museum professionals.

This course focuses on archaeological and ethnographic ceramic collections and studies to explore how people make, use, discard, and understand ceramic objects in their lives. Ceramics offer tactile and material expressions of culture, and signify and embody complex intersectional ideas about what it means to be human. Through hands-on projects with archaeological and ethnographic ceramic collections from ND professors’ research projects, students will engage in experiential learning about gender, race, class, sexuality, political power structures, and identity. All peoples’ identities are grounded in intersectional axes of difference, and ceramics offer a tangible tool for exploring how people use material culture and technology to be themselves, interact with others, and build personhood in the past and present. Because ceramic remains are abundant in many archaeological sites, the study of pottery has a long history in archaeology. Analysis and interpretation of ceramics allows archaeologists to accomplish varied ends: to establish a time scale, to document interconnections between different areas, sites, or groups of people, and to suggest what activities were carried out at particular sites. How archaeologists study the connection between ceramics and people, today and in the past, is the focus of this course, and we will be using contemporary, prehistoric and historic archaeological collections from Jordan, Ghana, and the United States to enable students to explore the linkage between people and their ceramic material culture.

Japan is renowned for its modern comic book genre "manga," but humorous and action-packed visual-verbal stories populate its literary history. This course examines a specific period where the urban culture of Edo (modern Tokyo) is colorfully expressed in playful literature and woodblock-prints. We will examine questions of status and class, sexuality, materialism, and the role of technology in shaping the book. As a hands-on project, we will learn Edo period woodblock carving techniques and, as a class, publish our own comic book!

This course analyzes and traces the development of Greek architecture, painting, and sculpture in the historical period, from the eighth through the second centuries B.C., with some consideration of prehistoric Greek forebears of the Mycenaean Age. Particular emphasis is placed upon monumental art, its historical and cultural contexts, and how it reflects changing attitudes towards the gods, human achievement, and the relationship between the divine and the human.

CC3102 Course Description Black and Red Figured pottery vessels are among the most distinctive and enduring artefacts that survive from the Classical Greek world. Such vessels survive in large numbers and are prominently displayed in many major museums. These types of pottery have been extensively studied, particularly because the scenes depicted upon them provide information on daily life in ancient Greece and beyond, as well as detailed scenes of a mythological nature. The attractive scenes are often used to illustrate books on the ancient world and help fuel an international market for the sale of vases. Although Athenian figured pottery is by far the most famous, there were other production centres across the Greek world and beyond and the module will make use of evidence from some of these other productions. The module will consider how and why Black and Red Figured pottery is studied, the different approaches - traditional and modern used as well as what this kind of pottery can tell us about ancient modes of production and ancient society in general. How this kind of pottery was made and used will be highlighted. In addition, the module will consider modern controversies, such as the looting of ancient sites and the faking of antiquities.

Taught as A366 - ': Ancient Greek Architecture from the Archaic to the Roman Times as Reflected in the Monuments of Athens' at a host institution. A study of the major architectural currents in the ancient Greek world from the 6th century BC to the 2nd century AD as these manifest themselves in the surviving architectural monuments of Athens. In order that students may profit as greatly as possible from first-hand, visual contact with the monuments that are the object of their study, almost all sessions of the course are held on the Acropolis, the Agora and other major Athenian sites.

Rome course number AH 290 - Documents the city's extraordinary transformation from a modest hilltop settlement into the artistic and political capital of the Mediterranean world. Examines Rome's extant archaeological remains and traces the basic development of the city, from its foundation in the 8th century BC through the Republican, Imperial, and Early Christian periods.

Rome course number AH 190 - This course examines Roman visual culture in Italy from c. 800 B.C. to c. 400 AD by focusing on the most important surviving sites in Rome and its environs and in the areas hit by the eruption of Vesuvius in 79 A.D. A focus throughout the course is development of Roman cities and towns, their plans and topography, their public monuments and their political, economic, social, and religious institutions. We will also study private architecture: from the aristocratic city-house to the country villa to middle class homes. In addition to formal descriptions of the structures, there is a strong emphasis on the role of the monument in ancient society. The course will be conducted entirely on site. There is a mandatory week-end field trip to Pompeii and Herculaneum (equivalent to 3 class meetings).

The course is designed to introduce students to the history of museums and to curating practices. Classes will discuss the cultural position of the museum, the evolution of its function, the different forms of display, the historical developments of the act of collecting, the position of the visitor and the role of the curator. The primary purpose of the course is to provide students with a critical vocabulary for understanding how museums produce knowledge and structure the ways in which history, geography, cultural difference, and social hierarchies are mapped. Through a series of richly detailed case studies related to ancient and contemporary Rome museums, collections and institutions, classes will investigate the differences between the roles, the missions, the objectives, and the policies of conservation and exhibition-making in spaces, relating to modalities of thought. The course also intends to introduce the figure of the curator and its development from conservator and classifier to creative, critical protagonist of contemporary art culture. The course concludes with an overview of current debates around the contemporary need for museums, and large scale exhibition (such as Biennials and Triennials) and their perceived social functions. RE - Rome, Italy - JCU The course is designed to introduce students to the history of museums and to curating practices. Classes will discuss the cultural position of the museum, the evolution of its function, the different forms of display, the historical developments of the act of collecting, the position of the visitor and the role of the curator. The primary purpose of the course is to provide students with a critical vocabulary for understanding how museums produce knowledge and structure the ways in which history, geography, cultural difference, and social hierarchies are mapped.

This course will provide an introduction to the visual arts of the period c. AD 300 to c. AD 1300. In the course of the semester, we shall devote much time to considering the possibility of a history of Medieval art, as the objects and practices of the Middle Ages will be shown to make our assumptions about the nature of art history problematic. Working from individual objects and texts we will construct a series of narratives that will attend to the varieties of artistic practices available to the Middle Ages. From these, it will be shown that art was a vital, complex, lucid and formative element in the societies and cultures, both secular and sacred, that shaped this period.

Athens course numbers A364 and A464- The course surveys the development of Byzantine art from the Late Antique Period through the Palaeologan periods. Architecture provides the framework from which the other arts, especially mosaic, fresco, panel painting, and manuscript illumination are examined. These works are looked at in terms of their formal characteristics, but the emphasis of the course is placed on exploring the meaning of this art beyond its formal aspects, and on appreciating its function in Byzantine society, particularly as a reflection of both the theological concerns and the political realities that the Byzantine Empire confronted. Readings introduce a range of approaches to this art in current scholarship, and class trips to a number of monasteries and museums, allow personal investigation of some of the most important and beautiful examples of Byzantine Art that have survived.

This course will explore the ways in which Rome has been envisioned by photographers and filmmakers from the early photography of 1850's to the digital culture of the contemporary period. Our main focus will be the tension between the touristic and artistic impulses that have shaped the visual culture of Rome across the past three centuries. How does Rome come to us already mediated? How do we envision our Rome out of that vast reservoir of images? We can begin to answer to those questions only by creating our own intersections between histories of visual culture, museum studies, urban theory, and digital critical studies.

In our classes, students will come to understand the difference between the movements of farming people and horse-riding people (unifying force and centrifugal force), fundamental postures (the difference in types of walking depending on the role), the appearance of the fan in Japanese culture (portraying its multi-layered nature). They will wear kimono and actually dance to music.

The first half of a two-part study of art and architecture in central Italy (Rome, Florence and Siena) covering the period from the 14th to the mid-15th centuries. While attention is given to the ambiance from which Giotto developed in the Trecento and the International Gothic style at the turn of the Quattrocento, major consideration is given to the momentous changes brought about in the first half of the Quattrocento by Brunelleschi, Alberti, Donatello, Ghiberti, Masaccio and others. On-site visits in Rome and a required trip to Florence are included.

An extension of the study of Italian art and architecture in the Renaissance through the second half of the 15th century into the first three decades of the 16th. The works of Botticelli, Ghirlandaio, Pollaiuolo and others will be studied, along with works by those whose innovations initiated the High Renaissance style: Leonardo da Vinci, Michelangelo, Bramante and Raphael. Numerous on-site visits in Rome are included, as well as a required trip to Florence. Rome, Italy (RE): Michelangelo was one of the most famous and influential artists in his own time and has continued to be ever since. This seems reason enough to examine his work in detail as it forms an essential facet for understanding not only Italian Renaissance art but art in general, as many of the issues involved in trying to comprehend his imagery are applicable throughout art history. The course will have a global monographic approach, meaning that the artists entire output will be discussed and analyzed from an array of historical, thematic and methodological points of view. The aim is to arrive at an understanding of Michelangelos visual thinking and communicative processes and their development and influence.

Examines the fundamental architectural elements and underlying theories contributing to the development of 15th and 16th Century architecture. The principle centers of Renaissance architecture on Italian soil will be referenced.

This course aims to illustrate the relationship between Italian art and politics from the fourteenth to the fifteenth century through the analysis of some specific areas. The focus on the political, cultural and artistic background will enable students to understand the work of art especially as a representation of power.

Taught as AH 294 at host institution. This course will provide the student with a clear grasp of the Renaissance city and the artwork produced in Rome from the end of the Great Schism (1417) to the beginning of the Council of Trent (1545). The majority of contact hours will be on-site and therefore a primary aim of this course is to develop skills of visual analysis. In-class lectures will introduce historical context and theory allowing the student to understand artworks studied conceptually and place commissions of painting and sculpture within a socio-historic framework. Ultimately, the student will become intimately acquainted with the topography, urban makeup and history of the city and its monuments; and will acquire the theoretical tools needed to examine, evaluate and critically assess city form, design and architecture.

Looking particularly at experimental, avant-garde film, and video traditions and how they inform music videos, this course will encourage students to analyze media phenomena in a manner that is theoretically grounded, context-specific, and historically-situated, as articulated objects constituted in and through communication. By the end of the course students will be able to engage a variety of critical methodologies for the analysis of music videos and their often conflicting images, sounds, and messages. They will also explore the ways in which the production and reception dynamics of the media process shape meaning. Through readings, discussion, written assignments, and screenings students will learn to utilize a number of analytical approaches to the form's visual and auditory materials and will apply these analytical skills to a wide variety of music influenced media.

Development of Spanish painting studied in the works of five of Spain's greatest artists: El Greco, Velazquez, Goya, Picasso, and Dali. Visits to the Museo del Prado and the Museo de Arte Contemporaneo, Madrid.

Washington, D.C., is not only the seat of U.S. politics but also an extraordinary city for art, and this course will explore the relationship between the two. Through site visits to selected artworks, exhibitions, and monuments, we will examine the interplay of art and democracy, considering how artists have represented and challenged concepts such as citizenship, the nation, and social equality. Our objects of focus will range from presidential portraits and official memorials to contemporary video and installation art, and will touch on topics from westward expansion in the 19th century to recent social and political movements such as Black Lives Matter. The course will consider key questions: What makes a work of art, a monument, or an exhibition effective? How do artworks and monuments shape our understanding of history, and how do they influence our perspective on the present? Which stories and whose stories have been included in narratives of the nation? How do artists and works of art represent and put pressure on concepts of race, class, gender, religion, sexuality, and ethnicity? What is the role of a national museum or a national monument? And what role should a government play in relation to the arts? We will make regular class and independent visits to a range of museums, including the Smithsonian American Art Museum, the National Portrait Gallery, the National Gallery of Art, the Hirshhorn Museum, the National Museum of the American Indian, and the National Museum of African American History and Culture.

The aids crisis is a major turning point in contemporary history, as well as in art. Divided into two parts, one lecture part, and the other reserved for discussion, this course seminar will focus on its impact on American and European artists and activists, from the first census of cases of the disease, in 1981, to the the therapeutic revolution, in 1997. Based on numerous visual representations inhabited by everything that worked in societies at the time of the epidemic, the reflection will aim to construct a political, economic and social history of this era haunted by catastrophe. In doing so, we will develop questions and issues specific to the history of art, by calling on the human and social sciences, and by mobilising and crossing disciplines.

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

This seminar course offers an introduction to the history of contemporary artistic movements, practices, and experiences in Europe and North America from the post-World War II period to the 2000s, exploring their diverse forms and mediums. Following a chronological perspective and based on a selection of works considered turning points in the history of "contemporary" art, this seminar will examine the period through a set of key questions that reflect the major transformations affecting these movements, practices, and experiences, as well as the developments in art history and theory. In doing so, we will question the function of art in our societies; the stakes of contemporary creation in its diverse manifestations; and the role of artists confronted with the brutality of war, the violence of a fractured world, revolutionary events, rising protests, feminist struggles, civil rights movements, rapid modernization, consumer society, and the culture of spectacle, among others. This seminar course offers an introduction to the history of contemporary artistic movements, practices, and experiences in Europe and North America from the post-World War II period to the 2000s, exploring their diverse forms and mediums. Following a chronological perspective and based on a selection of works considered turning points in the history of "contemporary" art, this seminar will examine the period through a set of key questions that reflect the major transformations affecting these movements, practices, and experiences, as well as the developments in art history and theory. In doing so, we will question the function of art in our societies; the stakes of contemporary creation in its diverse manifestations; and the role of artists confronted with the brutality of war, the violence of a fractured world, revolutionary events, rising protests, feminist struggles, civil rights movements, rapid modernization, consumer society, and the culture of spectacle, among others. This seminar course offers an introduction to the history of contemporary artistic movements, practices, and experiences in Europe and North America from the post-World War II period to the 2000s, exploring their diverse forms and mediums. Following a chronological perspective and based on a selection of works considered turning points in the history of "contemporary" art, this seminar will examine the period through a set of key questions that reflect the major transformations affecting these movements, practices, and experiences, as well as the developments in art history and theory. In doing so, we will question the function of art in our societies; the stakes of contemporary creation in its diverse manifestations; and the role of artists confronted with the brutality of war, the violence of a fractured world, revolutionary events, rising protests, feminist struggles, civil rights movements, rapid modernization, consumer society, and the culture of spectacle, among others.

The course will explore the essential features of European art of the modern age by means of a comparative method and by focusing on the paradigms of travel and exchange, on the codes and evolution of the genres, on the dynamics of the patronage and reception, on the instances of convergence and divergence of the iconographic and stylistic registers.

Studies the main contemporary artistic movements; aesthetic conception of these movements and analysis of the processes of representation and production of language in their cultural contexts. The impact of mass communication on the aesthetics of the artistic and symbolic goods of the contemporary world. The visual forms of representation of culture and its adaptation to the context of the technological society.

Co--requisite service-learning sessions for students taking London as Art Capital. Students engage actively with London communities by working as volunteers on the pioneering museum education and outreach programs run by Dulwich Picture Gallery. By contributing to these projects, students gain an intimate insight into the ways in which the arts can support education, health and wellbeing, and combat social isolation and economic disadvantage within the city. Co-requisite ARHI 34489 London as Art Capital London Program permission required.

With its outstanding permanent collections of historic and modern art from around the globe, thousands of exhibitions opening annually, its contemporary art scene, commercial galleries and auction houses, London is one of the liveliest and most important cities in the world for the presentation of old and new visual art. London as Art Capital is an immersive course, encouraging students to develop an understanding of how artists, art markets, museums and galleries operate in this major metropolis. Students visit art museums and contemporary art galleries to consider their impact in relation to the varying parts of London where they are situated; they analyze issues of display, conservation, and acquisitions; they consider public art commissions and street art; they explore auction houses and the changing fortunes of the art market; and consider the work of contemporary artists in London. Students gain a broad understanding of recent developments in theoretical thinking, particularly in relation to the control and consumption of cultural capital. They also gain insight into the ways in which the arts can support education, health, and wellbeing, and combat social isolation and economic disadvantage within the city. There has never been a more exciting time to focus on the London art world. This is an opportunity to get in-depth insight into the developments and innovations currently taking place in the cultural sector as UK-based artists and art institutions shape future priorities.

Dulwich Picture Gallery is the world’s first purpose-built public art gallery, founded in 1811. Today the Gallery is a vibrant cultural hub nestled in leafy South London, hosting some of the UK’s leading exhibitions alongside its collection of Baroque masterpiece paintings. The Gallery also hosts a wide-ranging programme of public events and community engagement. This 1-credit service learning opportunity enables students who are not able to take the 3-credit London Art Capital Service opportunity, or who cannot make the time commitment of a 3-credit internship, to engage with the London community through the arts, through a combination of volunteering and class work. After an introduction to the unique position the Dulwich Picture Gallery holds in London’s art world, and some of the principles which motivate their outreach efforts, students will spend 3 to 4 days or 6 to 8 half days contributing to Dulwich Picture Gallery Schools studio workshops. These artist-led workshops for children aged 5-11 open with looking at a small, themed selection of paintings in the Gallery to initiate enquiry-based dialogue and conversation. The children are then supported to experiment with a variety of materials, processes and skills while continuing to consider the workshop theme. By contributing to these projects, students gain an intimate insight into the ways in which the arts can support education, health and wellbeing, and combat social isolation and economic disadvantage within the city. On completion, students give a presentation relating their volunteering experience to the context and principles explored in the classroom.

This course considers the discipline of Art History and the development of ideas within a historical, philosophical and socio-political context related to specific parts of London. It also explores the ideas behind art practices and how perceptions are generated in relation to visual culture. As well as emphasising location, this course focuses on engagement. Students visit, listen to guest speakers, dialogue and debate. They are encouraged to focus on, analyse and understand issues of context and history, definitions of art through the ages, diverse socio-cultural needs and expectations of art creators and consumers within a UK environment – particularly in London. In addition, art historical theory and literature relating to the purpose of art history, the politics of displaying art objects and theoretical perspectives will be woven into these considerations of time and place.

This course explores the rich, international artistic and cultural heritage of St Ives, which has attracted artists and writers since at least the early 19th century. The town had been a fishing village since the 15th century and as the fishing and mining industries in the region declined, this rocky peninsula, which is framed by cliffs and moorland provides a fascinating context of study. The rugged granite landscape, harsh winds and bright Atlantic light have given St Ives a unique position in British art history, particularly around the Second World War in what has been termed St Ives Modernism. The course also focuses on research and analysis, bringing together practical inquiry and mindful reflection. Students are required to engage methodically with a subject of their choice within the broad creative context of St Ives, to research and communicate that research in the most relevant, ethical and compelling way. Interaction and exchange with student peers, with the course instructor and also with working artists in the field form an important part of the methodology of this London Seminar course.

Introduction to the most significant artistic monuments and trends of European art and architecture. They are designed both for the student with no previous art history background, and for the student with some experience seeking a general historical overview.

Christian Art has always been an essential dimension of the Roman Catholic tradition, faith and worship; this includes visual art (iconography), sculpture, decorative arts, music, applied arts and architecture. This class introduces students to the history and the development of early Christian Art since the period of catacombs, analysing the importance of the proclamation of religious toleration with the Edict of Milan in the Roman Empire that contributed significantly to the emergence and development of Christian Art. This course explores and interprets Christian Art from a theological perspective, examining the Catholic Doctrine on sacred images and religious art, focusing in particular on the decisions of the 2nd Council of Nicaea, the Council of Trent and the Second Vatican Council, showing that Christian Art is as important to the Catholic tradition as textual sources. Students will be introduced to primary sources - including sermons, Church documents, works of art, field trips and films - as well as secondary sources by historians that are important for their understanding of Christian Art. The rich resources found in London make this course an exciting and vibrant exploration of primary material.

Archaeology and heritage are fascinating disciplines that allow us to time travel into the past, and to look forward to the future while offering us an insight into our attitudes toward culture and heritage in the present. In this course, we address key ethical questions currently being asked of the past as we navigate our way through the present. These include: Who owns the past? Why is archaeology and heritage a primary target and focus in contemporary conflict? Do ancient human remains have human rights? What is ‘dark tourism’? What is the role of replicas in the construction and reconstruction of histories? Is there an authentic experience of an archaeological site? Should museums own their collections? Our coverage will be through the practical dimensions of modern archaeology and heritage studies, drawing upon a range of international case studies and problems. We will consider the relationship between archaeology and the public, archaeology and the media, international and national approaches to archaeological heritage management, local and global perspectives, contested sites and artifacts, the antiquities market, archaeology and the museum, archaeology as a profession and archaeological education. This includes the current call for the repatriation of the Benin Bronzes back to Nigeria, the removal of statues in public spaces, the display and repatriation of human remains and the relationships between heritage, archaeology and contemporary art in the construction of identities (past and present). You have the opportunity to work on your own research project for your final paper (guidance on research topics, research methods and academic literacies will be given throughout the course), as well as writing critical real world analyses of big issues based upon your field visits which focus on the management of UNESCO World Heritage Sites and the ethics of modern museum practice.

The course examines the dynamic and culturally vibrant period linked to the reign of Romes first emperor, Augustus. It examines how the change from a Republic to a Principate was articulated in contemporary visual culture: from public works, to luxury goods, to funerary and domestic imagery. Fundamental is the examination of the change in value systems and the radical redefinition of Roman moral, cultural and artistic identities that characterizes this period.

The art and archeology of the three cultures which determined the national character of Spain today are studied in and around Toledo, Spain.

Rome course number AH 298 - An on-site course that enables the student to visit many of the major and minor monuments of Baroque Rome - churches, palaces, piazze, etc. - and thus to study firsthand important works by such artists as Bernini, Borromini, Caravaggio and Pietro da Cortona, among others.

This is an introduction to photography as both a historical and contemporary form of art and communication. While essential to the understanding of modern art, the history of photography also illuminates fundamental aspects of the image-dominated culture

Offered as A331 at host institution. A survey of the art and archaeology of Greece from prehistoric times to the end of the Classical period: its purpose is to introduce the student, using whenever possible the primary sources (monuments, arts and artifacts), to the ancient civilizations of the Aegean and Greece: Minoan, Mycenaean, and Classical Greek. The schedule of class visits to sites, monuments and museums is coordinated as much as possible with school and class trips. Classroom lectures and the readings provide the historical context into which to set the monuments and artifacts.

Contemporary art is defined as the art movements that emerged in the post WWII era, c. post 1945. From expressionism to performance art, installations and video art, to NFTs from the Venice Biennale of 1895 to a plethora of offshoots around the globe in the 2020s from the legitimation of street art as a gallery-worthy form of art to popup and guerilla shows from national collections to art fairs and an omnipotent market for contemporary art around the globe.

Masterpieces: Making and Meaning focuses in turn on 12 individual "masterpieces" of European art in London art collections, by celebrated artists including Constable, Hogarth, Holbein, Manet, Rembrandt, Rubens, Titian, Turner, Van Gogh and Velazquez. Each work is studied in depth, giving students a detailed understanding of the artists' key concerns and the cultural context in which they were produced. A first-hand experience of works of art is a major feature of the programme. The emphasis is on a direct engagement with art, making full use of the magnificent collections of the National Gallery, the National Portrait Gallery, the Courtauld Institute, Tate and V&A. Visits to the collections are combined with a critical reading of relevant texts, classroom lectures and student discussions. The works to be studied are grouped in five themes to promote cross-period comparisons and raise awareness of larger issues: Art and Politics; Art and Myth; Art and Society; Art and Landscape; Art and the Artist. Students also undertake an individual research project focusing on a contemporary artwork of their choice (created since 2000) on display in London, that connects with the main themes of the course.

What are the current debates and issues driving Australian art, film and visual culture? In interrogating present-day cultural perspectives, this unit examines, analyses and reinterprets the relationship between colonial and contemporary imagery through screenings, on-site gallery visits and the study of works held in university and other local art and film collections.

This module is a general survey of the history of art in China, from its earliest manifestations in the Neolithic-period to the contemporary period. Major art forms to be studied include ceramics, jade, architecture, painting and calligraphy. The social and cultural contexts of important art works from different periods in Chinese history will also be discussed. There is an emphasis on looking and handling real objects, understanding material and media, and acquiring visual literacy skills. The course is thus divided into two sections respectively on material and visual culture. It is intended for all students who are interested in Chinese art and culture. At the end of the course, students should be able to: 1. recognize the different forms and media that are found in Chinese art and understand their historical meaning and contexts; 2. understand basic art-history concepts like style, iconography, aesthetics and design; 3. conduct visual analysis of works of art, and write about them in a structured articluate manner; 4. develop a framework for appreciating historical art. **Course must be taken for at least 2.5 credits to count as University Core Art requirement.

This course will introduce Japanese visual and performing arts from the Jomon period to the present. We will explore painting, sculpture, calligraphy, architecture, landscaping and performance, examining the critical factors of the work's creation: how it was created, the historical and sociocultural context in which it was created, who created it and for whom it was created. A variety of related topics will be discussed, ranging from changing theories of aesthetic expression, the influence of alternating periods of internationalization and isolation, the integration of religious thought into artistic production, the role of patronage, and the relationship between traditional and modernist sensibilities.

This class will offer an in depth exploration of painting and prints from Japan's Edo period (1603-1868). Topics to be covered include the making of a painting or print, artist lineages as construed then and now, the impact of foreign visual cultures such as those from China and Europe, and the relationship between representations and the world ostensibly portrayed.

This three-week intensive course introduces students to the art and architecture of Mexico from its Ancient Mesoamerican foundations to the present. Designed around iconic Mesoamerican objects, colonial churches, world-renown murals, and museums, the course exposes students to the vast cultural infrastructure of Mexico City, while providing an in-depth overview of the history that makes this city one of the most important and historical art capitals of the western hemisphere. Students will broaden their global perspective by engaging and interacting with artists, gallerists, and critics working in the latest international trends. Taught by Notre Dame art history and studio art faculty, the course will provide students with a deeper understanding of the art and culture of Mexico, refine their writing skills, and introduce them to diverse creative practices.

The course suggests an inquiry into the world of curating art in the 21st century. The course combines theory and history of curating with hands on experience in curating a project with the guidance of the instructor.

This class explores medieval representations of scientific ideas and mythological stories.

This course will introduce students to Christian visual art from its evident beginnings (ca. 200), attend to its transformation under imperial patronage, and consider the aftermath of controversies regarding the veneration of icons during the eighth and ninth centuries. Working with both objects and texts, core themes include the continuity between Christian and pagan art of Late Antiquity, the influence of imperial ceremonies and style, the emergence of holy icons, the development of Passion iconography, and the divergent styles, motifs, and theological perspectives on the validity and role of images from the Byzantine East to the early Medieval West.

Our species is unique because it is the only species that deliberately buries its dead. Mortuary analysis (the study of burial patterns) is a powerful approach that archaeologists use for the study of prehistoric social organization and ideology. This course explores the significance of prehistoric human mortuary behavior, from the first evidence of deliberate burial by Neanderthals as an indicator of the evolution of symbolic thought, to the analysis of the sometimes spectacular burial patterns found in complex societies such as ancient Egypt and Megalithic Europe. We will also examine the theoretical and practical aspects of the archaeology of death, including the applications of various techniques ranging from statistics to ethnography, and the legal and ethical issues associated with the excavation and scientific study of human remains.

Paintings, sculptures, books, and buildings were instrumental in evangelization the Americas in the wake of the Spanish invasion - and conquests of Aztec Mexico and Inca Peru. In addition to introducing new kinds of objects and images to the native peoples of the Americas, evangelization in early-colonial Spanish America set forth new conceptualizations of how objects and images operated. Students in this course will study Aztec, Inca, and Spanish colonial visual culture, exploring the ways in which works of art and architecture gave shape to systems of religious belief.

A broad survey of purpose-built spaces for Christian worship, from the beginnings to the present. The course will attend to questions of form and aesthetics and the functionality of these spaces for liturgy or other church activities. Finally, the course will consider the social, economic, and political dimensions of church building projects. The class project will be a collaborative one: to build a website that includes various kinds of data (plans, photos, drawings, texts, etc.) that describe a set of twelve ancient buildings and their function.

A study of the place of the image in religious practice, beginning with pre-Christian critique of images and continuing through the broad Christian tradition. Topics include the role of images in Greco-Roman religion, philosophical censure of representational art, Jewish attitudes toward pictorial art, Christian repudiation of idolatry, the emergence of portrait icons, the iconoclastic controversies in the 8th and 9th centuries (both East and West), the theological defense of image veneration, and the various Reformation perspectives on the role of visual art in Christian worship and devotional practice.

Students in this course study digital art as a category of artistic production, digital art history as a set of research methods and modes of disseminating research outcomes, and the tools that offer new possibilities for creative practice and visual engagement with visual culture.

In this course we'll explore how smart-phones, ereaders, tablets, and laptops have changed the ways we engage films, television series, books, music, museums, and videos. We'll focus on how the production of art and entertainment is now shaped by the omnipresence of devices which can function, at any given moment, as personal stereos, movie screens, bookstores, TV sets, cameras, or photo-archives. How does that media adjacency within the box impact the relationship between what used to be distinct media but are now transmediated endlessly, for fun and profit. How has curation - practiced by artists, conglomerates, and amateur fans -- become a supra-medium which subsumes watching, reading, listening, and taking pictures into one of the most widely practiced forms of popular entertainment in the twenty-first century? How do we sort out the complicated interplay between media technology, consumerism, and identity formation in those devices? Featured phenomena: Recommendation mania and the listverse, The Song of Achilles and BookTok, the photos in your smart-phone, Wes Anderson and Accidentally Wes Anderson, Lost Children Archive, Questlove, algorithm culture, Once Upon a Time in Hollywood, COVID and the "Make Yourself a Masterpiece" craze, WandaVision, playlisting as a way of life (not just a list of songs), The Carters "Apeshit" video, JR's La Ferita...

This course is intended for undergraduate majors in art history, but it is also open to other interested students by permission of the instructor. It focuses on the principal research methods and theoretical bases of art history, including connoisseurship, formalism, iconography and iconology, cultural and social history, and gender and race studies.

Coco Chanel once claimed that “Luxury is a necessity that begins where necessity ends.” This seminar explores the nature of that necessity through the ancient Roman world’s many material expressions of luxury. Examining works ranging from gem-studded jewelry to ivory furniture adornments, from shimmering silver dining services to pleasure gardens planted with exotic species, we will consider a breadth of visual culture that both expands our understanding of Roman art beyond the canon of architecture, painting, and sculpture and raises important ethical questions. How could material luxuries express imperialist ideologies? Were the Romans concerned by the environmental costs of acquiring the latest status symbol? These questions will be explored alongside themes such as identity construction and spatializing power. Class sessions will be devoted to exploring case studies while developing skills in visual analysis and critical reading and writing. Fulfills WKAL; no prerequisites or prior knowledge of Art History are required for this course.

This class will explore the relationship between art and science in the Middle Ages. In particular, we will examine the ways in which medieval painters, sculptors, and architects engaged with the cultural phenomenon of "encyclopedism" by creating artworks that sought to capture all the world's knowledge in a single visual program. In our exploration of this topic we will consider a wide range of works, from medieval maps and scientific manuscripts to large-scale tapestries and the architectural programs of the great Gothic cathedrals. Central themes include text-image relationships and the role of pictorial techniques, such as allegory, personification, and analogy for visualizing complex ideas. We will also examine the representation of knowledge in medieval poetry and see how medieval authors employed ekphrasis to create visual artworks within their texts to serve as placeholders for encyclopedic learning. 3 credits

Conversations about environmental disaster, sustainability, and resilience that are everywhere in our news feeds today also shaped the buildings and cities from the Renaissance period in profound ways. How was nature conceptualized in the early modern world? And how did architects, engineers, and city-planners confront environmental forces like floods, earthquakes, and viral plagues? With a focus on Italy, this elective course explores how cities like Rome, Florence, Ferrara, and Venice historically dealt with its natural environments. We will begin by asking how "nature" was understood in the Renaissance period in relation to art and architectural history. Looking at primary sources like period texts, drawings, prints, buildings, and cities, we will trace themes like sustainability, environmental justice, and resource management. The goal for this course is to provide a framework for understanding how early modern societies faced environmental stresses, managed their natural resources, and addressed issues like sustainability.

Consideration of the theoretical and practical background of traditional architecture through a careful reading both of primary theoretical sources (including Vitruvius, Alberti, Serlio, Palladio, Vignola, Claude Perrault, and others) as well as influential pattern books; and the pertinence of both to contemporary architectural discourse and practice.

This is a topics course on special areas of modern art. The specific areas of study vary from section to section and from semester to semester.

This seminar concentrates on art made within the last forty years and looks at the everyday as it relates theoretically, materially, and historically to such practices. By examining artwork that takes the everyday as its source, subject, or material point of departure, we will consider how that realm is useful for its position as a place outside of the sphere of professional artistic practices. Looking at the use of amateur and domestic materials and objects in art, as well as works that mimic daily routines (eating, housekeeping, childrearing, playing, etc.) will play a large role in our investigations. Additionally, we will examine theories of the everyday and those problems that accompany attempts to concretize abstract ideas such as routines and habits. In so doing, we will aim to question those biases that conventionally accompany everyday experience that often deem it to be altogether mundane and apolitical, and look at how artists counter such notions by mining its common experiences for its politicized potential. Some of the artists we will look at include Louise Bourgeois, Robert Gober, Anna Maria Maolino, Amalia Mesa-Baines, Ree Morton, Martha Rosler, Do Ho Suh, and Rikrit Tiravanija.

This seminar reconsiders 19th-century Western European painting within the context of the social, political, and intellectual ferment that shaped the continent - primarily, the political revolutions and the rise of industrial capitalism and the middle class in France, England, and Germany. Each week we will examine a specific set of concepts, historical ruptures, and major figures whose work ushered in the modernist era. These include artists associated with Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, and Symbolism. The themes of the course will thus address the relationships between tradition and formal innovation; gender and representation; the public and private spheres; and notions of the center and the periphery. Course requirements include a museum visit to The Art Institute of Chicago and the DVT Planetarium on campus.

In the wake of post-modern, theory heavy days of 1980s art production, artists took a pointed turn toward finding materially-driven ways to challenge and disrupt the conventions of art and its institutions. This seminar investigates three developments and diverging trends that take hold in the art of the 1990s: the loaded embrace of failure and resignation; the casting of a critical eye on the institutions of art; and the impulse to reintroduce handcraft into the process of making. A consideration of the Gen X context and social movements of the decade will frame our exploration, and aid in our thinking about how such different impulses could coincide to drive a new form of investigation of the parameters and politics of fine art. While amateurism uses the language of hobby culture and fandom to invade the professional territory of the museum, institutional critique transforms the artist into a curator and critic who turns the museum against itself. Meanwhile, the adoption of traditional forms of craft and skill, such as embroidery, beadwork, and weaving, fuels feminist-driven confrontations to the hierarchy of values of fine art traditions and renders the makers movement a charged and activist program. Looking across these different approaches will allow us to revise our understanding of art as a political act and vehicle for change. Some artists we will study include Mike Kelly, Cady Noland, David Hammons, Fred Wilson, Andrea Fraser, Renée Green, Elaine Reichek, Ann Hamilton, Anna Maria Maiolino, Shazia Sikhander, Do Ho Suh, and Sarah Sze.

The Elective Course introduces students to Cuba's cultural heritage and the magic and poetry of its Architecture and Urbanism and its cross-cultural, European influence, and immediate regional background. The course explores the formation of a multiracial nation, and particularly the history and urban evolution of Havana, the country's capital city, and considers the key role of architecture in its ever-changing construction. Through a holistic approach, the students will learn and understand the distinct features, similarities, differences, and synchronicities? in the fields of art, architecture, and urbanism in Cuba, and examine how cultural identity has been a central organizing paradigm. A series of presentations will allow students to identify, recognize and discern the main features of Cuban architecture and urbanism and relate them to the universal culture. The Course will introduce students to the concept of cultural landscapes. Critical thinking will allow the students to relate research and theoretical content with historic preservation themes as well as practical design knowledge. The Course will focus on the study of Havana, Cuba's capital city and it will encompass the study of its past, its present and will even provide a vision for the future of Havana. The chronological study of Havana and its history and urban evolution will provide a comprehensive understanding of its rich heritage and cultural identity.

This seminar examines the relationship between art and social movements in Latinx communities from the civil rights era to the present. The course will focus on graphic art media that negotiates relations of power, constructs multiple publics, and fuels many of the debates around the politics of identity. We will consider notions of authorship (collective/individual), activism, display, dissemination, consumption, collecting, and technology. Students will learn to think critically and empathetically about how these collective modes of art-making foreground the politics of representation: what we see, how we see, who gets to control our image, and how can printed multiples challenge those narratives. Students will enhance their skills in visual analysis and writing, gain experience in collaborative printmaking, and refine their ability to conduct original research.

This optional, one-credit class is intended for junior and senior art history majors who are writing or considering (though not yet committed to) writing a senior thesis. This seminar-style workshop will feature a systematic approach to the various processes involved in writing a long research paper; this principally includes developing a topic, collating and sharing research, and comparing and critiquing writing methods and techniques. It will offer a variety of opportunities based on the individual's stage of development, which range from initiating a project and applying for funding for research to drafting a project outline and completing a chapter. Assignments will revolve around presentations and papers.

The course aims to bring an overview of different aspects of Flemish Art in a European perspective based on the book The Story of Art by E.H. Gombrich. The course starts at the Italian Renaissance to give context and then goes through the history of art in the low countries. It focuses on how artistic styles developed and changed through time. The course looks at various art throughout time, including paintings, sculptures, and architecture. The course includes a visit to a museum in Antwerp.

Independent study in Renaissance/Baroque art history under the direction of an individual faculty member.

Specialized reading related to the study of art history under the direction of an individual faculty member.

This course investigates the present state of design in Scandinavia, the New Nordic, as it currently unfolds. Focusing on architecture and design at all scales-from service design, product design, furniture and fashion to architecture, urban design, and infrastructure design-the course relates these areas to local traditions and cultures. It also acknowledges the importance of global connections and describes how we express and organize ourselves and our communities in the Nordic region at the beginning of the 21st century. The course will focus on Finnish, Swedish, Norwegian, Icelandic, and Danish design and architecture. We will critically evaluate the relevance of regional design characteristics in the globalized world of today. Furthermore, the course will dive into the formative beginnings of design in Scandinavia in the late 19th century and the world renowned "Golden Age" of democratic Scandinavian Design in the post-World War II era from the 1950s to 1970s. Studying these eras will help to frame a better understanding of the present state of design in Scandinavia-the New Nordic. Throughout the course we will investigate the distinction between 'making'-how cultural products like architecture, design, literature, film, and food come about-and 'identity-what these cultural products mean to individuals, communities, and society. We will read and study texts on architecture and design issues, and also visit architecture and design sites in and around Copenhagen to use as case studies. We will meet practitioners involved in architecture and design and learn about how they view the world. We will work on assignments that try to bridge the gap between the world of thinking and the world of making.

This course is intended for students in the art history program who assist professors with their research.

Specialized reading related to the study of Medieval art history under the direction of an individual faculty member.

Specialized reading related to the study of modern art history under the direction of an individual faculty member.

This project, to be coordinated with and approved by the DUS, is intended to demonstrate some evidence of in-depth engagement with conservation or associated fields such as: collections care, registrar, curatorial, exhibition design, gallery management, artist’s assistant, or materials analysis.

Independent study in ancient art history under the direction of an individual faculty member.

Independent study in Latin American art history under the direction of an individual faculty member.

The honors thesis, normally between 20 and 30 pages in length, is done under the direction of one of the regular art history faculty, who serves as an advisor. It is expected to demonstrate the student's ability to treat an important historical topic in a manner that shows his or her writing skills and methodological training. It is expected that the thesis will be suitable for submission as a writing sample for those students intending to apply to art history graduate programs.

The Senior Thesis, normally between 20 and 30 pages in length, is done under the direction of one of the regular art history faculty, who serves as an advisor. It is expected to demonstrate the student's ability to treat an important art historical topic in a manner which shows her/his writing skills and methodological training. It is expected that the thesis will be suitable for submission as a writing sample for those students intending to apply to art history graduate programs.

The Senior Thesis, normally between 20 and 30 pages in length, is done under the direction of one of the regular art history faculty, who serves as an advisor. It is expected to demonstrate the student's ability to treat an important art historical topic in a manner which shows her/his writing skills and methodological training. It is expected that the thesis will be suitable for submission as a writing sample for those students intending to apply to art history graduate programs.

The Senior Thesis, normally between 20 and 30 pages in length, is done under the direction of one of the regular art history faculty, who serves as an advisor. It is expected to demonstrate the student's ability to treat an important art historical topic in a manner which shows her/his writing skills and methodological training. It is expected that the thesis will be suitable for submission as a writing sample for those students intending to apply to art history graduate programs.

The Senior Thesis, normally between 20 and 30 pages in length, is done under the direction of one of the regular art history faculty, who serves as an advisor. It is expected to demonstrate the student's ability to treat an important art historical topic in a manner which shows her/his writing skills and methodological training. It is expected that the thesis will be suitable for submission as a writing sample for those students intending to apply to art history graduate programs.