SUMMER 2009 HISTORY OF ART COURSE

First Summer Session:
HART 111-01: History of Western Art II, Renaissance to Modern Art. MTWRF 10:10 AM-12:00 PM.
[3] Folgarait. (HCA)

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For the days and times that the following classes meet, please refer to the Schedule of Courses at:
https://webapp.mis.vanderbilt.edu/CourseListing

For more detailed information as to how these courses apply towards requirements for the History of Art major or minor, please refer to the undergraduate catalogue, a copy of which is available on-line at: http://www.vanderbilt.edu/catalogs/undergrad/artscience.html. Scroll down to "Courses of Study," and once the .pdf file loads, the History of Art department begins on pg. 302 (of the catalogue).

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FALL 2009 HISTORY OF ART COURSE OFFERINGS

HART 110-01: History of Western Art I.
History of Art 110 is designed as an introduction, through lectures and readings, to the extraordinary range of works of art produced in the first 30,000 years of Western civilization up to about 1400--from the Prehistoric through Ancient Near Eastern, Egyptian, Greek, Roman, and Medieval cultures.  The first goal of this course is to enable students to apply the methods and vocabulary of art history in their thinking and writing, so that they will be able to analyze and compare the formal qualities of works of art; making comparisons and dealing with unknown works will help sharpen these analytical skills.  The second will be to deepen our understanding of the works we study by reading selected primary sources contemporary with the works of art, to learn something of their social, religious, and cultural circumstances; exams and essays will offer a chance to discuss the works of art in context. [3] Moodey. (HCA)

HART 111-01: History of Western Art II (Early Renaissance to Modern Art).
History of Art 111 is a lecture course that provides a roughly chronological introductory survey of the major developments in Western Art, including painting, sculpture, and architecture, from the early 15th into the early 20th century, circa 1400-1940. The goal of this course is to introduce the student to the key movements and masters in Western Art, and to enable him or her to analyze and understand a variety of works, considering their subject, style, formal qualities, patronage and significance, as well as relate works of art to their respective cultural and historical contexts, including their connection with certain religious, social, and political issues. Students will learn and subsequently appropriate important terminology used in the field of art history when describing and interpreting works of art. Semester grades will be based on three exams weighted equally (90%) in addition to attendance and participation (10%). [3] Shaneyfelt. (HCA)

HART 111-02: History of Western Art II (Renaissance to the Present).
This course surveys the history of Western art from the 14th century to the present.  Lectures will introduce important artists, art works, and monuments, as well as major themes associated with the art of particular periods and cultures.  We will pay particular attention to the ways in which works of art have functioned as instruments of social, religious, and political power, or critiques of that power from the fourteenth century to the twentieth century.  No familiarity with art history is required. [3] O'Neill. (HCA)

HART 112-01: History of Western Architecture.
A survey of architecture from the early first millennium BCE to the present in Europe, western Asia, and North America. Analysis of form and function; historical, social and spatial contexts; architects and patrons. Lectures will offer a balanced account of the history of western architecture through a study of selected sites, monuments, and designers, ranging from ancient Greece through the 20th century. Together we will develop an understanding of major movements and styles, historical contexts of creation, and continued interpretation. Students will learn to recognize and identify key monuments as well as lesser-known buildings around us in Nashville; classes, readings, and exercises will teach students to analyze a building or site (or image thereof), to read parts and whole, to contextualize it (in terms of place, time, conditions of history, politics, religion and ceremony), and to communicate such understandings clearly. [3] Robinson. (HCA)

HART 115F-09: The Seven Wonders of the Ancient World.
Everyone has heard of the Seven Wonders of the Ancient World, but how many can name them, or place them in their original contexts? This seminar will address these ancient marvels in a series of case-studies. Topics will include archaeological and historical evidence for original designs, functions, and cultural circumstances; reflections in Classical art and literature (in translation); and later reception. Since the concept of “Seven Wonders” originated in the ancient Greek world, we shall begin there, studying archaeological and art historical methodology at the Sanctuary of Zeus at Olympia and the Temple of Artemis at Ephesos. Next, we shall skip to the three last original wonders to consider commemorative art and dynastic propaganda (at Halicarnassos, Alexandria, and Rhodes). Turning back to Giza, Egypt, we shall consider the pyramids in their prime and in later revivals, and at Babylon, Iraq, we shall seek traces of the Hanging Gardens and debate current issues in archaeological heritage management. Some-time and lesser-known wonders will be explored in additional lectures, discussions, and student research projects. [3] Robinson. (HCA)

HART 210-01: Early Christian and Byzantine Art.
An introduction to the art of Late Antique and early medieval Europe from ca. 300-ca. 1000.  We will begin with the later years of the Roman Empire, in Rome and then Constantinople, when the Christian Church was founded and began to develop its own art and architecture, and end with the Ottonian rulers in the 11th c., when the Western and Eastern branches of the Christian Church, increasingly divided by language (Latin for the West and Greek for the East) and by theological disputes, officially parted company.  The patronage of this period is overwhelmingly Christian, in its Western and Byzantine branches, but we will also consider the influence of the art that emerged with the coming of Islam in the seventh century.  [3] Moodey. (HCA)

HART 214-01: Fifteenth-Century Northern European Art.
This course surveys the visual traditions of the Burgundian Netherlands (1363-1477) and their immediate aftermath, examining canonical and non-canonical works in relation both to their historical context and to each other. Major artists considered will include Jan van Eyck, Rogier van der Weyden, and Hieronymus Bosch. The course also seeks to foster a critical awareness of the methods and practices of art history by drawing attention to the significant changes that have marked scholarship on Northern art from the fifteenth-century to the present. Students will be introduced to multiple interpretive strategies--from iconography to economic analysis, social history to historiography--with which to actively engage the diverse range of objects explored throughout the course. This course will count toward the Renaissance and Baroque area requirement for the HART major. Repeat credit for students who completed HART 212 prior to Fall 2008. [3] Bloom. (HCA)

HART 217W-01:  Early Renaissance Florence.
This seminar course will focus on the major masters and works from Early Renaissance Florence during the Quattrocento, i.e., the Fifteenth Century, ca. 1400-1500. We will primarily consider works of painting and sculpture that are part of larger decorative programmes, with the inclusion of architectural principles and monuments when appropriate to our topic of discussion. Key masters to be considered during the semester include Giotto di Bondone, Lorenzo Ghiberti, Donatello, Filippo Brunelleschi, Leonbattista Alberti, Masaccio, Fra Angelico, Paolo Uccello, Andrea del Castagno, Benozzo Gozzoli, Andrea del Verrocchio, Sandro Botticelli and Domenico del Ghirlandaio, time permitting. In class discussion, there will be particular emphasis upon stylistic progression and connoisseurship, iconographic interpretation and meaning, the role of patronage and audience, original physical and cultural context, and the Italian Renaissance workshop tradition. Our class sessions over the course of the semester will consist of approximately 1/3 lecture, 1/3 student-led discussion of scholarly readings, and 1/3 formal student presentations; the latter will be submitted toward the end of the term as research papers. Semester grades will be based on the following criteria, weighted equally, for a total of 100%: weekly seminar participation, leading of group discussion, formal presentation, final research paper. This course will count toward the Renaissance and Baroque area requirement for the HART major. No credit for both HART 217W and HART 218, due to some overlap in content. [3] Shaneyfelt. (HCA)

HART 218-01: Italian Renaissance Art to 1500.
This lecture course provides a survey of the major developments in Italian Renaissance Art, including painting, sculpture, and architecture, from the later 13th through the 15th century, circa 1270-1500. Our analysis of the period will progress roughly chronologically, as we consider specific artists and regional schools. We will focus on the art of Central Italy, principally that of Tuscany and Umbria. Our study will begin with the late Italo-Byzantine style, and Cimabue, Giotto, and Duccio in painting, Lorenzo Ghiberti and Donatello in sculpture, and the Tuscan Romanesque and Gothic styles in architecture. The course will conclude with later Quattrocento painting and sculpture, including Sandro Botticelli, Andrea del Verrocchio, and the very early Leonardo da Vinci. (Note: Students should be aware that Leonardo, Michelangelo, Raphael, and Titian are truly High Renaissance masters and are thus studied in the course that follows in the spring semester, HART 219, taught by Prof. Robert Mode.) In class, there will be particular emphasis upon artistic technique, regional stylistic progression, iconographic interpretation and meaning, the role of patronage and audience, original physical and cultural context, and the Italian Renaissance workshop tradition. Semester grades will be based on three exams weighted equally (90%) in addition to attendance and participation (10%). [3] Shaneyfelt. (HCA)

HART 222-01: British Art.
This is a course on the arts of England and the greater cultural sphere which is considered “British,” with its wider connections to Europe and beyond.  Major emphasis is given to historical developments, as well as the unique political and class consciousness of British society. From the age of Elizabeth I  to  Queen Victoria there are changes of patronage in private and public art which reflect changing taste, all of which will be presented against the backdrop of literary England (Defoe/Austen/Dickens) visualized with film treatments. Among the major artists that will be covered are Van Dyck and Hogarth, Blake and the Pre-Raphaelites.   In addition to a mid-term and final, there will be a research paper on a topic selected from a wide range of artists and themes up to the modern era.  Largely a lecture class, there will be discussions on subjects like the Grand Tour, or art collecting and display.  {3}  Mode. (HCA)

HART 224-01: Eighteenth-Century Art.
The history of European painting, sculpture, and printmaking from the Late Baroque era to the rise of Neoclassicism (1675-1775). Geographical focus on Italy and France. Artists include Maratti, Rusconi, Carriera, Tiepolo, Watteau, Chardin, Fragonard, and others. This course will count toward the Modern area requirement for the HART major. FALL [3] Johns. (HCA)

HART 231-01: Twentieth-Century European Art.
A survey of major movements and artists, with examples from painting, architecture, prints, sculpture, performance, conceptual, music, and cinema.  Emphasis is placed on a close examination of the stylistic elements of the artworks, with that analysis contextualized within the social, political, and economic dynamics of the time in which they were made.  Instruction places a heavy emphasis on the ideological nature of art and on its role as a major indicator of its time and place. [3] Folgarait. (HCA)

HART 233-01: The History of Photography.
This course investigates the pre-history, discovery, and proliferation of the photographic medium from the nineteenth century to the present, with particular emphasis on its role in the United State and Europe.  This class will provide an introduction to photography and to various ways of thinking about the medium.  In particular, our discussion will examine the contested status of the photograph in relation to reality and authenticity as well as discourses of power: who was taking the photograph and why? The goals of this class are to introduce the student with an array of well-known photographs, to provide strategies for interpreting photographs, and to gain insight into critical issues connected with the medium.  This course will also necessarily confront the status of photography as a separate discipline in relation to the larger history of art.  The course will take advantage of the following exhibition at the Frist Center for the Visual Arts, "The City in Twilight: Surrealism, Photography, and Paris 1924–1939" (September 10, 2009–January 3, 2010). This course will count toward the Modern area requirement for the HART major. [3] O'Neill. (HCA)

HART 257-01: Archaic and Classical Greek Art & Architecture.
Archaic and Classical Greek Art and Architecture, 1000 to 400 B.C. This course explores the development of Greek art and architecture from about 1000 B.C. to the late fifth century B.C. Special emphasis will be placed on the social and cultural contexts of Greek material and visual culture, including vase-painting, sculpture, and architecture, as well as more mundane artifacts. Topics to be considered include: the origins of Greek art and architecture, including influences of the Ancient Near East and Egypt; problems of reconciling textual and material sources; the ritual functions of Greek art and architecture; the role of visual and material culture in the transformation of ancient Athens from aristocracy to democracy; and constructions of gender in Greek art.  In-depth study of the Periclean building program on the Athenian Acropolis will be supplemented by a class visit to the Nashville Parthenon.  Students will be required to recognize and interpret visual images in two hour exams and a final, and to submit a final term paper.  Serves as repeat credit for students who completed CLAS 204 prior to Fall 2009. [3] Lee. (HCA)

HART 262W-01: Gender and Sexuality in Greek Art.
This seminar explores constructions of gender and sexuality in Greek figurative art from the Archaic through the Hellenistic periods. Students will learn to read the iconography of Greek vase-painting and sculpture, especially poses, gestures, and dress, to decipher changing Greek attitudes towards courtship, marriage, rape, prostitution, and homosexuality. Readings will include ancient texts as well as modern scholarship. Special emphasis will be placed on methodological approaches and modern comparanda. Note: This course deals with some challenging material, including explicit depictions of human sexuality in ancient Greek art. If you are uncomfortable viewing and discussing such images, please consult with the instructor before taking this course. Semester grades will be based on the preparation and submission of a research paper, including an oral presentation of your findings, a separate, shorter writing assignment on a work in the Vanderbilt Gallery, and class participation. This course will count toward the Ancient area requirement for the HART major. [3] Lee. (HCA)

HART 263-01: The Greek City.
The example of ancient Athens. The stoa, the theater, the house, and fortifications. Institutions such as the courts, the public assembly, and the family. Literary, historical, archaeological, and philosophical sources. Repeat credit for students who completed CLAS 211 prior to Fall 2009. [3] Tsakirgis. (SBS)

HART 288-01: Artists Progress: Rise of the Modern.
Presented as a seminar with initial presentations by the instructor, this course is designed mainly to follow the rise of artists (in professional terms, as seekers of status and of identity) from the Renaissance to modern times.  Alternative models will be discussed, from Michelangelo to Damien Hirst, reflecting a progress from patronage to art market conditions. It will also focus on interactions that are viewed by critics and the public as either challenging or self-destructive in terms of role shifts, gender issues, and "special interests" that surround artists.  Written critiques/presentations, plus a term paper on a significant research topic, will form the basis for grading in this class. This course will count as an elective for the HART major, or as a 200-level for the HART minor; no AXLE credit. [3] Mode.

HART 295. Advanced Seminar in History of Art. An undergraduate seminar involving advanced reading, research, and writing in a particular area of art history. May be taken no more than two times, and not twice from the same instructor. Enrollment priority given to History of Art Senior and Junior majors. [3] (HCA) Topics and professors are detailed below.

HART 295-01: Mary in Christian Art, Text, and Tradition.
Blessed Virgin, Madonna, Theotokos, New Eve, Queen of Heaven--Mary of Nazareth has been depicted in many ways in Christian literature, visual art, dogmatics, and song in Christian tradition.  Recently, Mary has received much attention by protestant theologians, feminists, and historians. This course will consider the many variations of her story in different times and places and will consider a variety of questions including her figure in non-Christian faiths, the stories of her appearances and the material culture associated with them, and the reconsideration of her role by non-Catholics.  This course will pay particular attention to Mary's representation in the visual arts, but will consider those works in light of theological teachings and religious practice as well as in social, historical, and cultural contexts. Written assignments for the course will include one in-class presentation and either two ten-page papers, or one twenty-page paper. Topics will be selected in consultation with the professor, but may range from Mary as she is presented in the New Testament to Mary's image in current media (film or television). [3] Jensen.

HART 295-02: The Art of Pieter Breugel the Elder.
This course explores the art of Pieter Bruegel the Elder and its critical reception from the mid-sixteenth century to the present. One of the central figures within the canon of western European art, Bruegel and the images he produced exercised a pronounced influence not only upon the artistic traditions of his time, but upon the very conventions of interpretation used to engage the pictorial arts. Bruegel’s work remains to this day the most contested space within the study of early modern Netherlandish art, and the debates that attend the interpretation of his art inform any number of critical discourses within the field. [3] Bloom.

HART 295-03: Georgia O’Keeffe and her Circle of Early American Modernists.
This senior seminar will examine the art of the early American modernists associated with the so-called Stieglitz circle--Georgia O’Keeffe, Marsden Hartley, Arthur Dove, John Marin, Joseph Stella, and Charles Sheeler--as well as the photographers—Gertrude Käisebeir, Anne Brigman, Alfred Stieglitz, and Edward Steichen. We will examine the styles, themes, and historical contexts of these modern visual images, focusing especially upon themes of sexuality, the city, spirituality, and nature. This seminar is in conjunction with the exhibition at the Frist Center for the Visual Arts, “Georgia O’Keeffe and Her Times: American Modernism from the Lane Collection in the Boston Museum of Fine Arts,” which opens October 2, 2009. We will study not only works in this exhibition, but also those in the Stieglitz collection that are permanently on display at Fisk University. We will work through the course material by a combination of close readings, written exercises, viewing of works of art in these exhibitions, and class discussion. We will examine the works within the historical context of industrialization and urbanization, the increased education of middle-class women, the growing economic independence of working- and middle-class women, the changing yet contesting attitudes toward sexuality, the challenges to patriarchal authority within the family and society, and the movement of leisure activities from the private sphere of the home to the public sphere of movie theaters, dance halls, amusement parks, and the like. We will question how these issues are embodied, crystallized, and reinforced in the visual culture. We also will examine the influence of European modernism on American art and learn how to “read” abstract paintings and photographs. Participants in this seminar will be expected to do the assigned reading for each week, come to class prepared, and participate constructively in class discussion.  There are no exams in this class. One final paper of approximately 20 pages will be required, amounting to half of the course grade. Class participation counts for the other half of the course grade, and includes the oral presentation of your final paper. [3] Fryd.

HART 295-04: Surrealism.
A close examination of the major themes, images, and artists of Surrealism, from its origins in France to its international proliferation.  A wide range of media will be considered, from painting to cinema.  Instruction will stress seminar-style discussion, with emphasis on analysis of the formal qualities of the artworks and on their ability to articulate the ideological dimension of the place and time of their making. [3] Folgarait.

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SPRING 2010 HISTORY OF ART, PROJECTED COURSE OFFERINGS

HART 111-01: History of Western Art II (Early Renaissance to Modern Art).
[3] Bloom. (HCA)

HART 111-02: History of Western Art II (Early Renaissance to Modern Art).
This is a lecture course that provides a roughly chronological introductory survey of the major developments in Western Art, including painting, sculpture, and architecture, from the early 15th into the early 20th century, circa 1400-1940. The goal of this course is to introduce the student to the key movements and masters in Western Art, and to enable him or her to analyse and understand a variety of works, considering their subject, style, formal qualities, patronage and significance, as well as relate works of art to their respective cultural and historical contexts, including their connection with certain religious, social, and political issues. Students will learn and subsequently appropriate important terminology used in the field of art history when describing and interpreting works of art. Semester grades will be based on three exams weighted equally (90%) in addition to attendance and participation (10%). [3] Shaneyfelt. (HCA)

HART 111-03: History of Western Art II (Early Renaissance to Modern Art).
[3] Mode. (HCA)

HART 115F: Mirror, Mirror on the Wall: Reflections of Vision in Art.
[3] Bloom. (P)

HART 120-01: Arts of East Asia.
[3] Miller. (INT)

HART 208-01: From Constantine to Justinian.
This course will count toward the “Medieval” area requirement for the History of Art major. [3] Jensen. (HCA)

HART 211-01: Medieval Art.
[3] Moodey. (HCA)

HART 213W-01: Art of the Court of Burgundy.
The Valois dukes of Burgundy (1364-1477) ruled an increasing collection of lucrative territories beginning with one duchy in eastern France and expanding into the southern Netherlands. Along the way they developed a reputation for luxury and display that eclipsed the rest of Europe's courts, commissioning architecture, sculpture, precious metalwork, painting, tapestries, and manuscripts from artists such as Claus Sluter, Jan van Eyck, and Rogier van der Weyden. The visual arts are our primary focus, but we will also consider the religious, political, and social forces that shaped the arts at court. This course will count toward the “Renaissance and Baroque” area requirement for the History of Art major. [3] Moodey. HCA)

HART 219-01: Italian Renaissance Art after 1500.
High Renaissance and Mannerist art in sixteenth-century Italy, considering Florentine masters such as Leonardo, Michelangelo, and Pontormo, the Roman school of Raphael, and the Venetians from Giorgione and Titian to Tintoretto. [3] Mode. (HCA)

HART 221-01: Seventeenth-Century Art.
This lecture course provides a survey of the major developments in Western Art, including painting, sculpture, and architecture, from the later sixteenth through the seventeenth century, circa 1570-1700. Our focus this semester will be seventeenth-century or “Baroque” painting and sculpture, with the inclusion of several key architectural monuments. Our study will be organized geographically by artistic school and will begin in Italy, followed by Spain, France, Flanders, and Holland. The goal of this course is to introduce each student to key seventeenth-century movements and masters, and to enable him or her to analyse and understand a variety of works and monuments, considering their subject and meaning, style, patronage and audience, as well as relate works of art to their respective cultural and historical contexts, including their connection with certain religious, social, and political issues. Semester grades will be based on three exams weighted equally in addition to attendance and participation. [3] Shaneyfelt. (HCA)

HART 230-01: Nineteenth-Century European Art.
[3] O’Neill. (INT)

HART 232-01: Modern Architecture.
[3] Folgarait. (HCA)

HART 242-01: Art since 1945.
In this course, we will explore the theory and practice of mostly American art since 1945, focusing upon modernism and postmodernism. Beginning with the emergence of large-scale abstract painting in New York in the post-war years, we go on to examine challenges to "formalist" conceptions of the picture and its priority on aesthetic quality as the guarantor of artistic value. We consider what was at stake in the redeployment of avant-garde artistic strategies in the 1950s and the adoption of serial forms and mechanized production processes by Minimalist and Pop artists in the 1960s. We analyze the so-called "dematerialization" of the art object and the rise of Conceptual Art; the relationship between art, its institutions and politics; the emergence and impact of new media; and the rise of installation art as a dominant presentational form. We will bring our concerns up to date by engaging with the work of selected contemporary artists. Besides examining a range of different art forms, we will also keep track of the critical debate that surrounded their emergence. Students will be given an initial introduction to key ideas drawn from formalist, Marxist, psychoanalytic, feminist, and postmodern theory. A priority will be placed upon the visual analysis of specific art objects and an attentive, critical engagement with key texts. The format will be a lecture class, although class discussion is encouraged. There will be three exams, a short paper, and quizzes based on assigned readings. [3] Fryd. (US)

HART 252-01: The Arts of China.
[3] Miller. (HCA)

HART 258-01: Late Classical Greek and Hellenistic Art and Architecture.
Sculpture, vase painting, architecture, and the minor arts from after the Parthenon to the Roman Empire. A focus on those media (wall painting and mosaic) that develop significantly in this period. Serves as repeat credit for students who completed CLAS 205 prior to Fall 2009. [3] Tsakirgis. (HCA)

HART 264-01: Greek Sculpture.
This course provides an overview of the development of Greek sculpture ca. 900-31 B.C., including its origins and influences from the Ancient Near East and Egypt, techniques of bronze- and stone-working, the identification of sculptors, organization of workshops, and patronage.  Emphasis will be placed on the contexts of Greek sculpture: sacred (votive dedications, cult statues, architectural sculpture); civic (honorific statues, historical reliefs); funerary (grave stelae, funerary portraits, sarcophagi, monumental tomb sculpture); and private (domestic spaces, gardens); as well as the special problems of Roman copies of Greek originals.  We will also consider the influence of Greek sculpture on later Western art.  Two hour exams and one classroom presentation are required.  Serves as repeat credit for students who completed CLAS 216 prior to Fall 2009. [3] Lee. (HCA)

HART 266-01: Cities of the Roman East.
Much of the best preserved and most impressive architecture of the Roman world is to be found far from Rome and Italy. This course will therefore look east, from Greece and Asia Minor (modern Turkey), to the Levant, as far as the Roman provinces of Syria and Arabia, to explore cities, sanctuaries, and monuments. Site-surveys and case-studies will trace the evolution of major centers (Ephesos, Antioch, Palmyra), examine the interplay between imported and indigenous building-forms, and plumb the depth of provincial romanitas. Topics will include public and private architecture and decorative arts, expressions of ethnic, religious, and urban identity, local and imperial patronage, the presence of the past (Pergamon and Troy), borderland architecture (Dura Europas and Hatra) and questions of continuity across temporal and spatial boundaries. This course will count toward the “Ancient” area requirement for the History of Art major. [3] Robinson. (HCA)

HART 268-01: Art and Architecture of Ancient Egypt.
This course explores the development of Egyptian art and architecture from the Predynastic period through the era of Roman rule. Emphasis will be placed on the use of monumental building projects (pyramids, temples) and visual images (sculpture, painting) in constructing the ideology of pharaonic rulership. Other topics include: the emergence of social stratification and statehood; the economy and administration of the Egyptian state; relationships between Egypt and neighboring cultures; Egyptian daily life; roles of slaves and the working classes; roles of women; relationships between humans and the divine; and Egyptian beliefs in the afterlife. Finally, we will consider how others’ esteem for the Egyptians, in antiquity and the modern era, has affected our understanding of this fascinating culture. This is primarily a lecture course, with two hour exams and a final, plus a research paper.  Serves as repeat credit for students who completed CLAS 217 prior to Fall 2009. [3] Lee. (HCA)

HART 272b-01: Survey of Film History.
This course will count toward the “Modern” area requirement for the History of Art major. [3] King. (HCA)

HART 295. Advanced Seminar in History of Art.
An undergraduate seminar involving advanced reading, research, and writing in a particular area of art history. May be taken no more than two times, and not twice from the same instructor. Enrollment priority given to History of Art Senior and Junior majors. [3] (HCA) Topics and professors are detailed below.

HART 295: After Impressionism: Responses to “The Painting of Modern Life,” 1870-1900.
[3] O’Neill.

HART 295: Roman Painting and Mosaic.
This advanced seminar will begin by exploring Etruscan and Greek precedents and discussing interconnections and differences between media—not only among mosaic, paintings, and related art-forms, but also between visual and literary expressions. After studying the canonical Styles (First through Fourth) of Pompeian painting, we shall engage with paintings in context, examining complex programs like those of the House of the Tragic Poet and the townhouse of the brothers Vettii in Pompeii, as well as those in the imperial palaces of Rome. Imperial capital and provinces furnish fascinating comparisons, from the extreme makeover of an apartment building into a luxurious townhouse on Rome’s Caelian Hill to the lavish Slopehouses of Ephesos, Turkey. Turning to mosaics, we shall study ensembles from elite villas in high imperial Zeugma and Antioch (ancient Syria/modern Turkey), and from the late antique hunting lodge at Piazza Armerina, Sicily to North African residences. Across the empire, we shall lose ourselves in pictures of marvelous places, real and imaginary. Additional topics may include landscape and garden imagery, anthropologies and bestiaries, history paintings/mosaics, picture galleries, narrative cycles, and ekphrases (literary descriptions of art works). [3] Robinson.

HART 295: Image and Text: Photography between World Wars I and II.
[3] Edwards.