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

ART 203 REPRESENTATIONAL PAINTING
A sequel to ART 105, this course focuses on the problems of painting from a source, including still life, figure, and landscape. Students works to reconcile the insistent presence of objects with the need to create pictorial lights, space and compositional and expressive coherence. Prerequisite ART 105 (Bogin, Ruth, offered alternate years)
Typical readings: Matisse, Notes of a Painter; Goodman, selection from Languages of Art

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

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

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

ART 210 WOMAN AS IMAGE-MAKER
An investigation of women artists from the 16th to 19th centuries, with a brief nod to the 20th century, this course is concerned with the social and art historical settings, with placing both the situations and styles of women painters too long ignored. At the same time, it takes up some of the major female themes in Western art— Madonna, Venus, heroine, femme-fatale—and places them in context. Special attention is given to Artemisia Gentileschi. This course may count toward a women’s studies major. Prerequisite: one course in either women’s studies or art history, or permission of the instructor. (Ciletti, offered alternate years)
Typical readings: Broude and Garrard, Feminism and Art History; Chadwick, Women, Art, and Society

ART 211 FEMINISM IN THE ARTS
The impact of women artists on the contemporary art movement has resulted in a powerful and innovative reworking of traditional approaches to the theory and history of art. This course offers an interdisciplinary study of women’s position and potential in the signifying practice and looks at the work of the individual artist within the wider social, physical, and political world. (Isaak, offered alternate years)
Typical readings: Broude and Garrard, Feminism and Art History, The Power of Feminist Art; Parker and Pollock, Old Mistresses; Isaak, Feminism and Contemporary Art: The Revolutionary Power of Women’s Laughter; Witzling, Voicing Today’s Visions

ART 212 WOMEN MAKE MOVIES
The mass media play a critical role in our society. They provide a context in which ideas and information shape our visions of ourselves. Historically, women and national minorities have had little input or influence in film and television. In this course, students learn that the past two decades have seen a new growth in media production by women. Increasingly, numbers of women in independent media have generated new subject matter and approaches to the exploration of cinematic form. Open to seniors only. (Isaak, Spring)
Typical readings: Erens, Issues in Feminist Film Criticism; Humm, Feminism and Film; Carson et al, Multiple Voices in Feminist Film

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

ART 216 MEDIEVAL MONUMENTS
This course is a survey of selected monuments in medieval architecture, sculpture, painting, and treasury arts. The semester is divided into the Romanesque period and the Gothic period. After lectures on the historical cultural background and material, students examine a specific monument though slides and texts in order to understand the monument. One presentation in the Romanesque half and one in the Gothic half are required, as well as an end of the semester project. This project may be a group or individual project with the instructor’s permission. Prerequisites: previous art history course or permission of the instructor. (Tinkler, offered occasionally)

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

ART 221 EARLY ITALIAN RENAISSANCE PAINTING
This course is an exploration of the extraordinary flowering of the arts in 14th- and 15th-century Florence. Artists include Giotto, Masaccio, Fra Angelico, Botticelli, and Leonardo. The course considers the development of individual styles, the functions of art, the culture of humanism, and the dynamics of patronage. (Ciletti, offered occasionally) Typical readings: Baxandall, Painting and Experience in 15th-Century Italy; Vasari, Lives of the Artists; Hartt, History of Italian Renaissance Art; Bondanella, Renaissance Reader

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

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

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

ART 226 NORTHERN RENAISSANCE ART
This course is a study of art in Northern Europe from the 14th to 16th centuries. The primary concern is the emergence of a distinctively Northern pictorial tradition, as seen in Franco-Flemish manuscript illuminations and Flemish and German paintings and prints. The course traces the contribution of such 15th-century artists as Campin, van Eyck, and Bosch in transforming the character of late medieval art, and the role of Dürer, Holbein, and Bruegel in creating a humanistic, Renaissance style during the 16th century. (Offered occasionally) Typical readings: Snyder, Northern Renaissance Art; Panofsky, Early Netherlandish Painting; Huizinga, The Waning of the Middle Ages

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

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

ART 230 THE AGE OF MICHELANGELO
This course is dedicated to the art of the High Renaissance and Mannerism in Florence, Rome, and a few North Italian cities. Students explore the evolution of the two styles in the work of painters and sculptors, such as Raphael, Pontormo, Correggio, Cellini, and Anguissola, with special emphasis on Michelangelo. Attention is also given to the new ideologies of art as Art and to the cult of genius, as well as the propagandistic aesthetics of the court of Cosimo I de’ Medici in Florence. (Staff, offered every three years)
Typical readings: Freedberg, Painting of High Renaissance in Florence and Rome; Sherman, Mannerism; Vasari, Lives of the Artists; Cellini, Autobiography

ART 232 ROCOCO ART & ARCHITECTURE
This course traces the evolution of Rococo style from Parisian salons to Bavarian churches, looking to its rejection of the grandeur of Louis XIV, its freedom, and its expression of both aristocratic hedonism and peasant faith. Attention is paid to the French Royal Academy, the rise of art criticism in Paris, and the intersection of aesthetic and social values. (Ciletti, offered alternate years)
Typical readings: Levey, Painting and Sculpture in France; Millon, Baroque and Rococo Architecture; Rand, Intimate Encounters

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

ART 234 PHOTOGRAPHY
An introduction to the methods, materials, and history of black and white photography. Lectures involve camera usage, lighting, darkroom technique, and pictorial composition. Weekly lectures on the history of photography from 1839 to the present attempt to illuminate the profound influence the medium has had on the ways in which we perceive reality. The course involves the use of both traditional film and digital technology for image capture and output. Students may use 35mm film cameras or a digital SLR-type camera. Prerequisite: ART 125 or 105 or permission of the instructor. (Jones, offered each semester)

ART 235 ART & ARCHITECTURE OF BAROQUE ROME
An investigation of the grandiose developments in Italian art in the 17th century, in the work of Caravaggio, Gentileschi, Bernini, Borromini, and other artists in Rome, this course explores such topics as papal patronage, the Counter- Reformation, and the need for art as religious propaganda and illusionism. (Ciletti, offered every three years)
Typical readings: Hibbard, Bernini; Blunt, Borromini; Wittkower, Art and Architecture in Italy, 1600-1750

ART 239 DIGITAL IMAGING
An investigation into the use of computers for the making of fine art. Students in this course learn how to explore the organization of visual form using the software Adobe Photoshop. Projects and assignments help students build on their knowledge of the use of visual elements, reconsider photography in the age of digital manipulation, and explore the combination of image and text. Students use perceptual and conceptual approaches to image making, and also learn basic bookmaking and web design techniques as methods of presenting their work. Prerequisite: ART 105 or 125; 234 also recommended. (Ruth, offered annually)

ART 240 EUROPEAN PAINTING IN 19TH CENTURY
This course traces transformations of the practice, function, and social and political meanings of the art of painting throughout the 19th century in France. Moving from David’s images of revolution and empire, to the Impressionists’ renderings of the world of bourgeois pleasures, to Cézanne’s redefinition of the nature of pictorial form, it considers such issues as the role of the academy, the changing notion of the artist, the function of theory and art criticism, and the relationship between painting and the new art of photography. (Isaak, offered alternate years)
Typical readings: Nochlin, Realism; Friedlander, David to Delacroix; Clark, The Painting of Modern Life

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

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

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

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

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

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

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

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

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

ART 270 ART AND ARCHITECTURE OF THE 1ST CHRISTIAN MILLENIUM
This course covers the beginnings of Christian art and architecture in the cities of Rome and Constantinople and follows the diffusion of forms into the fringes of the Mediterranean world. The course is organized chronologically around the adaptation of classical forms for new purposes and the invention of new forms for the new religion. Of primary concern for architecture is the interaction between use and design, typified by the development of liturgy. Special attention is paid to the importance of the icon, its role in society, the subsequent politically-driven destruction of holy images during iconoclasm, and the final restoration of the cult of the image. Prerequisite: previous art history course or permission of the instructor. (Tinkler, offered alternate years) Typical readings: Thomas Matthews, Byzantium: From Antiquity to Renaissance; Roger Collins, Early Medieval Europe 300-1000 (2nd Ed.); Richard Krautheimer, Early Christian and Byzantine Architecture; Michael White, The Social Origin of Christian Architecture

ART 282 20TH CENTURY AMERICAN ART: From the Ash Can to the Campbell Soup Can-American Art of the 20th Century
This course is a study of American art from the turn of the century to its ascendancy as the center of international art. (Isaak, offered alternate years)
Typical readings: Homes, Stieglitz and the American Avant-Garde; Rose, American Art Since 1900; Rose, Readings in American Art Since 1900; Guilbaut, How the New York School Stole the Idea of Modern Art