Art History Program
Course Offerings for Fall 2007

317B Bartlett Hall, 545-3595

100 – Survey: Ancient to Renaissance to Modern (La Follette)
(AT) MW Lecture 11:15 – 12:05 + Discussion Section

First half of a survey of art history from prehistoric times to the 20th century. Chronological and systematic approach; either a basis for more detailed study of individual periods in upper-level art history courses, or a solid general foundation for a heightened appreciation of the heritage of art. More professionally oriented than ARTHIS 115. Background for upper-level art history courses; required of majors. May register for Honors.

115 – Introduction to the Visual Arts (Denny)
(ATG) MWF 10:10 – 11:00

The discipline of art history and the tools of visual analysis it employs.  Focus on issues such as Classicism, “primitive” art, realism, and modernity, presented in roughly chronological order. Discussion of these issues in relation to contemporary visual culture. 

302 – Evaluating Greek Art: Ancient Culture, Scientific Technology & Modern Politics (La Follette)
TuTh 9:30 – 10:45

The visual arts against the cultural history of Greece. The origins, unfolding, and flowering of Greek painting, architecture and sculpture from roughly 900 to 100 B.C. Possible museum field trip. Prerequisite: ARTHIS 100, 115 or consent of instructor. May register for Honors.

305 – Early Medieval Art (Haney)
TuTh 11:15 – 12:30

The development of Christian art in Western Europe from the early Middle Ages to the beginning of the Romanesque period. Focus on Early Christian, Byzantine, Hiberno-Saxon, Carolingian and Ottonian periods and the related political, intellectual, and cultural developments. Prerequisite: ARTHIS 100 or consent of instructor.

310 – Art and the City-State in Early Renaissance Italy (Schmitter)
TuTh 1:00 – 2:15

Chronological survey organized by city, rather than artist to provide a stronger sense of the social context in which works of art were produced. How city-states develop distinctive artistic styles, and how different governmental systems favored various forms of patronage. Cities include: Naples, Rome, Siena, Florence, Milan, Mantua, Ferrara, Padua, Urbino, and Venice. Central themes: the revival of interest in classical antiquity and the development of the mathematical system of one-point perspective.

324 – Modern Art, 1880-1980 (Ontiveros)
MW Lecture 9:05 – 9:55 + Discussion Section

Introduction to directions and major issues in 20th century art. Focus on movements from Post-Impressionism, Symbolism, Expressionism, Cubism, Dada, Surrealism, to post-World-War II and contemporary directions from Abstract Expressionism to Post-Modernism. Prerequisite: ARTHIS 110 or 115 or consent of instructor.

342 – 19th Century Architecture: Reform, History & Technology (Rohan)
TuTh 4:00 – 5:15

This lecture class surveys the practice of architecture in Europe and America from 1750 to 1914. It looks at the economic, social and political forces that led to the creation of new building types, institutions and technologies peculiar to the nineteenth-century by focusing on figures and movements such as Schinkel, Ruskin, Viollet-le-Duc, Frank Lloyd Wright, Haussmann’s Paris, Olmsted’s Central Park, the Gothic Revival, Arts and Crafts, and Art Nouveau. A particular emphasis will be placed upon the architect’s role as a critic seeking social reform. Valuable for anyone concerned with design.

370 – Junior Year Writing Project (La Follette)
MW 2:30 – 3:5

Course projects which give practice in different types of art historical writing (catalogue entry, book or exhibition review, interpretive essay, technical report) combined with in-class exercises in the writing of analytical and explanatory prose. Topic focuses from semester to semester on a period, culture, and/or individual artist. Required of all art history majors in their junior year.

385 – Great Themes: Frank Lloyd Wright Houses (Rohan)
TuTh 11:15 – 12:30

During his long career, Frank Lloyd Wright (1867-1959) designed over three hundred houses that had a profound impact upon modern architecture. Examining Wright’s domestic oeuvre and the works of those influenced by him will allow us to think about issues such as the reform of the home, regionalism, mass-production, patronage, and others. Students from art history, architecture, interior design, landscape and other disciplines are welcome.

397A– Impressionism and Post-Impressionism (Solomon Kiefer)
TuTh 11:15 – 12:30

From Manet and the Impressionists to Gauguin, Munch, and the Symbolists, this course explores Modernist and other directions in late nineteenth-century European Art. Topics include: the Impressionist aesthetic; the women Impressionists; Cézanne and Identity; the myth of Van Gogh; Toulouse-Lautrec, the poster, and other aspects of printmaking; the impact of photography; the femme fatale; and the Belle Époque.

602 – Evaluating Greek Art: Ancient Culture, Scientific Technology & Modern Politics (La Follette)
TuTh 9:30 – 10:45

The visual arts against the cultural history of Greece. The origins, unfolding, and flowering of Greek painting, architecture and sculpture from roughly 900 to 100 B.C. Possible museum field trip.

605 – Early Medieval Art (Haney)
TuTh 11:15 – 12:30

The development of Christian art in Western Europe from the early Middle Ages to the beginning of the Romanesque period. Focus on Early Christian, Byzantine, Hiberno-Saxon, Carolingian and Ottonian periods and the related political, intellectual, and cultural developments. Prerequisite: ARTHIS 100 or consent of instructor.

610 – Art and the City-State in Early Renaissance Italy (Schmitter)
TuTh 1:00 – 2:15

Chronological survey organized by city, rather than artist to provide a stronger sense of the social context in which works of art were produced. How city-states develop distinctive artistic styles, and how different governmental systems favored various forms of patronage. Cities include: Naples, Rome, Siena, Florence, Milan, Mantua, Ferrara, Padua, Urbino, and Venice. Central themes: the revival of interest in classical antiquity and the development of the mathematical system of one-point perspective.

624 – Modern Art, 1880-1980 (Ontiveros)
MW Lecture 9:05 – 9:55 + Discussion Section

Introduction to directions and major issues in 20th century art. Focus on movements from Post-Impressionism, Symbolism, Expressionism, Cubism, Dada, Surrealism, to post-World-War II and contemporary directions from Abstract Expressionism to Post-Modernism. Prerequisite: ARTHIS 110 or 115 or consent of instructor.

642 – 19th Century Architecture: Reform, History & Technology (Rohan)
TuTh 4:00 – 5:15

This lecture class surveys the practice of architecture in Europe and America from 1750 to 1914. It looks at the economic, social and political forces that led to the creation of new building types, institutions and technologies peculiar to the nineteenth-century by focusing on figures and movements such as Schinkel, Ruskin, Viollet-le-Duc, Frank Lloyd Wright, Haussmann’s Paris, Olmsted’s Central Park, the Gothic Revival, Arts and Crafts, and Art Nouveau. A particular emphasis will be placed upon the architect’s role as a critic seeking social reform. Valuable for anyone concerned with design.

697A– Impressionism and Post-Impressionism (Solomon Kiefer)
TuTh 11:15 – 12:30

From Manet and the Impressionists to Gauguin, Munch, and the Symbolists, this course explores Modernist and other directions in late nineteenth-century European Art. Topics include: the Impressionist aesthetic; the women Impressionists; Cézanne and Identity; the myth of Van Gogh; Toulouse-Lautrec, the poster, and other aspects of printmaking; the impact of photography; the femme fatale; and the Belle Époque.

711 – Problems in Italian Art: The Enigma of Giorgione (Schmitter)
SEM MON 2:30 – 5:15

Few renowned artists are as profoundly enigmatic as Giorgione. Scanty documentation, problems of attribution and dating, ambiguous iconography, and a very short life of legendary fame conspire to make Giorgione one of the most discussed and controversial figures in the history of art. Although from very early on he was credited with revolutionizing Venetian painting, the exact nature of his innovations and influence are still debated. This course examines Giorgione’s oeuvre as the site of a number of methodological and theoretical problems in the discipline of art history. We will begin with the most basic issues of documentation, attribution, and dating. From there we move on to considering social-historical context, iconography, and other methods of interpretation. Particular attention is given to the new genres Giorgione is believed to have established—the pastoral landscape, the reclining nude, and the half-length portrait-like image—and to the contention that Giorgione invented a new kind of painting specifically intended for private collectors. Finally we will consider the impact of these innovations on the next generation of artists and patrons. The seminar is open to all graduate students. Seminar members are expected to participate in weekly discussions, to make an oral presentation of work-in-progress and to write a term paper. Some background in Italian art is advisable, but not absolutely essential. Reading assignments will be in English, but reading knowledge of French, German, and/or Italian is very helpful for research.

725 – Problems in Contemporary Art: 1970s to Present (Ontiveros)
SEM WED 2:30-5:15 .

781 – Methods in Art History (Haney)
SEM TH 1:00-3:45

Intended for M.A. Candidates in Art History, this seminar deals with major developments in the discipline of art history in the 20th century: connoisseurship, stylistic analysis, iconography, etc. There are readings in classic methodology (Berenson, Wolfflin, Panofsky) plus a number of other more recent works, many taken from the text ArtHistory and its Methods, Ed. by Eric Fernie. Students will keep a critical journal of these readings, write a comparative analysis of two catalog entries, and a longer 20-page state of research paper in a particular field, problem, artist. The state of research paper will also be presented to the class.