ART 301 MICHELANGELO, CARAVAGGIO & BERNINI
This course studies the work of Michelangelo, Caravaggio and Bernini, the dominant masters of the Roman Renaissance and Baroque periods on site in Rome. Painting, sculpture and architecture are considered. Students look to the nature of the works, the patrons and commissions which brought them into being, and the stylistic interrelationships among the three artists. Side trips to Florence and other cities supplement the Roman works. (Ciletti, offered occasionally)
Typical readings: Partridge’s The Art of Renaissance Rome, Hibbard’s Michelangelo and Bernini, Langdon’s Caravaggio, Montagu’s Roman Baroque Sculpture: The Industry of Art, Hsia’s The World of Catholic Renewal

ART 301 PHOTOGRAPHY WORKSHOP
The course attempts to refine the student’s use of photography as a means of visual expression. Weekly and biweekly photo projects involve both aesthetic and technical concerns. The use of alternative films, papers, and printing techniques is discussed. The second half of the course concentrates on color photography using digital technology. Demonstrations in the use of medium and large format cameras are presented. Prerequisite: ART 234. (Jones, offered alternate years)

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

ART 305 ROMAN IMPERIAL ART AND POLITICS
In this course students consider the use Roman politicians made of art and architecture to shape public understanding of Roman imperial ideologies—to make Romans of the whole Mediterranean world. The course concentrates on three periods—the time of Augustus, the adoptive Antonine dynasty, and the Late Empire—and three art types—the imperial portrait (including the portraits of imperial family members), commemorative monuments (triumphal arches, columns and temples), and the Roman colony cities throughout the Empire. Prerequisite: permission of instructor. (Tinkler, offered alternate years)

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

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

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

ART 330 MODERNISM IN ART AND LITERATURE
Modernism— in its preoccupation with form and the breaking of the laws of aesthetic perception— established for the first time a genuine connection between the visual and verbal arts, making any approach to it by necessity interdisciplinary. This study includes those philosophic, social, and scientific developments which inform the aesthetic product of the period. The primary interest is in cubism, futurism, Dadaism, surrealism, suprematism, constructivism, productivism, imagism, and vorticism. Prerequisite: at least one course in modern art or modern literature. (Isaak, offered occasionally)
Typical readings: prose and poetry by Pound, Eliot, Stein, Joyce, Stevens, Lewis, Crane, Cummings, and Williams; some works in translation by Brecht, Ball, Tzara, and Marinetti; works by Picasso, Braques, Malevich, Boccioni, Stella, Carra, Mondrian, Magritte, Duchamp, and others

ART 333 CONTEMPORARY ART
This course focuses on the art of the 1960s to the present day. The course includes movements such as Conceptual Art, Minimalism, Pop Art, Color Field Painting, New Image Painting, Neo-Expressionism, and Post-Modernism. The approach is topical and thematic, drawing upon works of art in various media including: video, film, performance, earthworks, site-specific sculpture, installation, etc. Individual works of art are discussed in the context of the theoretical writing informing their production. (Isaak, offered occasionally)
Typical readings: Michael Archer, Art Since 1960; Barrett, Criticizing Art; Fineburg, Art Since 1940

ART 340 AMERICAN ARCHITECTURE TO 1900
A survey of American architecture from its Colonial beginnings until the late 19th century, this course studies the major historical styles of this period—Georgian, Federal, Greek Revival, Queen Anne, etc.—by investigating key architectural monuments in their social and functional contexts. Of equal concern is the expression of these styles in the design of everyday houses and public buildings. Local field trips are an integral part of the course. Prerequisite: ART 102. (Staff, offered alternate years)
Typical readings: Pierson, American Buildings and Their Architects; Fitch, American Building: The Historical Forces That Shaped It; McAlester, A Field Guide to American Houses

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

ART 389 ROCOCO TO REVOLUTION
This course explores the tumultuous transformations in French art in the decades leading up to the upheavals of 1789 and during the revolutionary period. Stylistically, this means the overthrow of the rococo style (designated aristocratic and feminine) by the reputedly bourgeois, masculine idiom of neoclassicism. It considers the collisions of shifting ideologies of art, politics, class, and gender and their consequences for painters such as Fragonard, Greuze, Vigee-Lebrun, and J.L. David. Attention is given to the theoretical programs and gender restrictions of the Royal Academy, to philosophers/critics, such as Rousseau and Diderot, to evolving taste at Versailles, and to visual propaganda during the French Revolution. Prerequisite: ART 102 or permission of the instructor. (Ciletti, offered occasionally)
Typical readings: Levey, Rococo to Revolution; Leith, The Idea of Art As Propaganda in France, 1750-1800; Brookner, David; Vigee-Lebrun, Memoirs; Keener, 18th-Century Women and the Arts; Crow, Painters and Public Life in 18th-Century Paris