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History of Art Courses

ARHS 1010 Art Survey I: Prehistory through the Middle Ages

Staff. An introduction to the history of painting, sculpture and architecture from the Old Stone Age through the ancient Mediterranean world to the end of the medieval period in Western Europe. Considers issues including technique, style, iconography, patronage, historical context, and art theory. Required for majors in the history of art.


ARHS 1020 Art Survey II: Renaissance to the Present

Staff. An introduction to the history of Western European and American painting, sculpture and architecture from the Renaissance through the baroque, rococo, and early modern periods to the late 20th century. Considers issues including technique, style, iconography, patronage, historical context, and art theory. Required for majors in the history of art.


ARHS 2910 Special Topics in the History of Art

Staff. Special topics in the history of art. Subjects will vary and may not be available every semester. Individual topics will be listed in the Schedule of Classes.


ARHS 3111 Tombs and Temples: East Asian Art before 1200

Area 1.
Prof. Schweizer. An introduction to the art, architecture and visual culture of China, Korea and Japan from the beginnings to about 1200 CE. The course considers technique, iconography and style and will approach art works in theoretical contexts such as social functions and aesthetic discourses.


ARHS 3112 Monks and Merchants: East Asian Art after 1100

Area 2.
Prof. Schweizer. This class will survey the artistic production of China, Korea, and Japan across a wide scope of historical periods and media. Objects and ensembles such as ink paintings, tombs, temples, ritual implements, sculptures, porcelain, and lacquer objects will be approached discussing their styles, functions, and audiences.


ARHS 3200 Early Christian and Byzantine Art

Area 1.
Prof. Flora. A survey of art and architecture in the Mediterranean from the third through the fourteenth centuries, with a focus on the rise of Christian art in the late Roman world and the art of the Byzantine state.


ARHS 3210 Art and Experience in the Middle Ages

Area 1.
Prof. Flora. A survey in which both modern and historical categories of experience are used to understand the art of the Middle ages, especially as it manifested itself in the most characteristic of all medieval forms, the church. Along a chronological and geographical trajectory from Early Christian Rome to Gothic Paris this course will move through topics such as memory, poetry, pilgrimage, the body, gesture, devotion, narrative and liturgy.


ARHS 3220 Romanesque & Gothic Art

Area 1.
Prof. Flora. This course will examine painting, sculpture, architecture, mosaics, tapestries, metalwork, ivories, and stained glass windows of the late Middle Ages in Europe. Through weekly readings and discussions will also explore themes such as religion, women, the Classical tradition, and cross-cultural contact. Various critical and theoretical approaches to art history will be considered.


ARHS 3410 Theaters of the Baroque

Area 2.
Prof. Porras. Surveys the visual and material culture of the Baroque world, roughly the period 1575-1750, considering the diverse locales (Rome, London, Mexico City, Goa), styles and objects of Baroque artistic production, as related to early modern notions of theatricality and performance.


ARHS 3420 Van Eyck to Bruegel

Area 2.
Prof. Porras. This course explores the artistic production of the Low Countries, Germany and France in the fifteenth and sixteenth centuries, including painting, sculpture, manuscripts, metalwork, tapestries and printmaking. The course will focus on a range of topics, including: technical and iconographic innovations in artistic production, art’s devotional function, the changing market for art in this period as well as the early impact of the Reformation on the visual arts in the Low Countries and Germany.


ARHS 3430 Rubens to Rembrandt: Flemish and Dutch Art of the 17th Century

Area 2.
Prof. Porras. Explores the artistic production of the early modern Spanish Netherlands and Dutch Republic, covering key artists (Peter Paul Rubens, Anthony van Dyck, Frans Hals, Rembrandt, Johannes Vermeer), as well as how art was bought, sold, defined and critically evaluated in the Low Countries.


ARHS 3510 From Rococo to Romanticism

Area 2.
Prof. Foa. In this course we will analyze art produced in Europe from the early 18th century through the mid-19th century. We will consider the work, careers, and reputations of key artists such as Watteau, David, Goya, Friedrich, Turner, and Delacroix, among others, situating their work in relation to the political, socio-economic, and intellectual developments of the period.


ARHS 3540 Impressionism and Post-Impressionism

Area 3.
Prof. Foa. In this course we will analyze art produced in Europe from the mid-19th century through the early 20thcentury. The class will focus primarily on French painting, but will also include art produced in Germany, Belgium, Norway, and Austria, and will explore the histories of photography, sculpture, print-making, and architecture as well. We will consider the work and reputations of artists such as Manet, Seurat, Cézanne, Munch, and Rodin, situating their work in relation to the political, socio-economic, and intellectual developments of the period.


ARHS 3600 American Art 1750-1950

Area 3.
Prof. Plante. Analysis of American painting and sculpture from the colonial period until the onset of World War II. Issues include the transformation of cultural forms from the Old World to the New in developments (such as the rise of American urbanism and the formation of a “national” iconography in America in the years following the Civil War) and the ways in which that art reflects the social, intellectual, and political life of the nation up to World War II.


ARHS 3620 Contemporary Art since 1950

Area 3.
Prof. Plante. Explores the developments in the visual arts in the U.S. and Europe since 1950. Concentrates upon the social-historical formation of artistic development beginning with the aftermath of World War II, and continuing to the present. Emphasizes movements such as Pop, Minimalism, Earth art and Postmodernism. Issues surrounding the objects will include post-structuralism, postcolonialism as well as African-American, feminist, and gay and lesbian strategies for self representation.


ARHS 3650 Early Twentieth Century European Modernism

Area 3.
Prof. Plante. This course will explore the developments in the visual arts in Europe from 1890 to 1945. We will concentrate upon the social-historical formations of artistic production beginning in the late-nineteenth century with Post-Impressionism and continuing into the first half of the twentieth century examining movements such as Fauvism, Cubism, Dada, Surrealism, Russian Suprematism.


ARHS 3700 Pre-Columbian Art

Area 1.
Prof. Boone. An introduction to the art and architecture of Pre-Columbian Mesoamerica (Mexico and Central America) and the Andes (Peru, Bolivia). The course focuses on the historical, political, and religious contexts of the visual arts and addresses the function of these artworks as ideological statements.


ARHS 3710 Colonial Art of Latin America

Area 2.
Prof. Boone. Renaissance and baroque architecture, painting and sculpture of the metropolitan centers of the Spanish and Portuguese colonies from the 16th to the early 19th century with a major emphasis on Mexico.


ARHS 3871 Introduction to African American Art and Visual Culture, c.1700-1945

Area 3.
Prof. Bagneris. This course explores the production of visual and material culture related to the African American presence in what is now the United States from the eighteenth century through the mid-twentieth century. The course investigates visual materials made by African American artists and artisans as well as materials by non-African Americans that feature African American subject matter (as well as considers the relationship between these two types of visual production). We will work to understand the images and objects featured in the course within both the specific context of the history of African American art and visual culture and the larger context of American art history in general. Arranged roughly chronologically but more strongly guided by a thematic and topical approach, the course aims to communicate basic content information while providing students with an understanding of the kinds of dominant questions and concerns engaged by current African American art historical scholarship.


ARHS 3872 Art of the African Diaspora, c. 1925-Present

Area 3.
Prof. Bagneris. Does it necessarily make sense to consider the work of artists of African descent together as a unit (In other words, should this course exist?)? What persistent themes, issues, and debates inform the work by African diaspora artists? What makes art “Black” (or “African” or “African American”)? Can an artist of African descent legitimately claim to be an “artist who just happens to be black”? Do artists of African descent have a particular obligation to make art that advances a black cultural or political agenda? Is not doing so in and of itself a political statement? How might a landscape or Abstract Expressionist work be racially charged (are they, in fact, ever, regardless of who makes them, racially neutral)? How do vectors of identity other than race inform the work of African diaspora artists? How does the artwork studied in this course fit into the context of other art histories? How might we study this work outside the rubric of “African American/Diaspora” art history? Through these questions and others, this course explores the major themes and issues that have occupied artists of African descent as well as examines individual artists’ motivations and intentions.


ARHS 3910 Special Topics in the History of Art

Staff. Special topics in the history, criticism, or theory of art. The subjects will vary and may not be available every semester. Individual topics will be listed in the Schedule of Classes.


ARHS 3910 Leonardo's World

Area 2.
Prof. Geddes. This course uses Leonardo da Vinci’s paintings, drawings, and writings to explore attitudes about the interrelation of art and nature in the Renaissance. The first half of the course considers ways of seeing and picturing the natural world, while the second investigates how individuals of this time responded to their environments, including practical and aesthetic uses.


ARHS 3910 Art in 20th Century Latin America

Area 3.
Prof. Anagnost. This course introduces students to art from Mexico to the Southern Cone from circa 1900 to the present. We will consider national and regional histories and artistic trajectories, beginning with the advent of the artistic avant-gardes, and investigate the complex relationships between European and Latin American developments in the history of art. The course will focus on different experiences and understandings of modernity and modernism in Latin America, relationships between the national and the international, and the intersections of art and politics within twentieth-century art of Latin America.


ARHS 3911 Art, Environment, and Cultural Change in Latin America from Pre-Columbian to Present-Day

Prof. Saracino. This class surveys art from pre-Columbian to contemporary Latin America with a particular focus on how the environment shapes cultural change and expression throughout time.


ARHS 3913 Rome, The Eternal City

Area 2.
Prof. Geddes. For millennia, Rome has served as a nexus of power and artistic excellence rendered in service to powerful clients, from emperors to popes and the scions of the city's most powerful families. This course examines the city through its special status as the former center of the Roman Empire and its place as the spiritual heart of the Roman Catholic Church. We will survey the city and its artistic production from its early Christian period and its medieval decline to its resurgence under the papacy in the Renaissance and Baroque eras through the nineteenth-century unification of Italy and the advent of Mussolini. Our principle focus will emphasize its richest, most influential period of art production: c. 1500-1700. Major themes to be covered include the revival of antiquity; artistic rivalry; the representation of the city in print; rituals, pageants, and processions; Grand Tour-ism and Rome's role as the capital of an international 'Republic of Letters.' Rigorously examining centuries of cultural production, we will consider how – despite radical shifts in religious and secular power – the city of Rome maintained its centrality to European culture by continually reinventing itself.


ARHS 4560, 4570 Internship Studies (1-3)

Prof. Bartlett. The internship course is designed to give students the opportunity for hands-on experience in the arts fields. Students commit eight-hours per week to an internship situation, supported by a weekly classroom component. The classroom component is used to examine issues facing an arts professional, such as answerability to the community, the role of art in healing/preservation, ownership of culture, alternative voices, etc. Class meetings include discussions of readings, guest lectures, field trips and/or site visits, in addition to student research and the presentation of student research papers. The course is available as a service learning course. As a result of their service learning activities, students will become engaged in, and provide service to, the community.


ARHS 4880 Writing Practicum (1)

Staff. Prerequisite: successful completion of the First-Year Writing Requirement. Corequisite: three credit departmental course. Fulfills the college intensive-writing requirement.


ARHS 4910, 4920 Independent Studies

Staff. Open to qualified juniors and seniors with approval of instructor and chair of department.


ARHS H4990-H5000 Honors Thesis (3, 4)

Staff. Open to qualified students with approval of department, instructor, and Honors Committee


ARHS 6020 Seminar: Art and Belief in the Western Tradition

Area 1.
Prof. Flora. This course will provide a capstone experience for undergraduate majors in art history via an examination of major monuments and works in the Western tradition in the context of systems of belief, such as mythology, philosophy, and religion. The notion of belief will be the lens through which we approach selected case studies drawn from throughout the history of Western art. We will examine instances where belief is thought to influence art and we will probe the problems and tensions that can arise when art and belief coincide. Integrating interdisciplinary readings with critical texts from the discipline of art history, the course will require students to actively recall and critically synthesize the works and methods learned in courses at the 100 and 300 levels.


ARHS 6040 Seminar: Spaces of Art

Area 2.
Prof. Porras. This course will provide a capstone experience for undergraduate majors in art history, investigating the various spaces in which Western art has been made, exchanged and critically evaluated, from the late medieval period to today. Each week, students will consider a distinct space – for example, the studio, the academy, the auction house – its definition, history and conceptual impacts on the history of Western art. Students will analyze the material, social and intellectual culture of each of these spaces, utilizing key case studies drawn from the fifteenth to the twenty-first centuries.


ARHS 6050 Seminar: Scandals of Modern Art

Area 3.
Prof. Foa. From the shock that greeted Manet's portrayal of a modern Parisian prostitute in his 1863 painting Olympia, to Sally Mann's 1992 exhibition of disturbing photographs of her pre-adolescent children, the history of modern art is very much a history of scandal-of challenge to the artistic, social, and political orders. The objective of this course is to examine key works of controversial modern art to shed light on changing social values and on the expectations and definitions of art at different points in the modern period, including the present time. Scandals we examine include those surrounding Matisse's Blue Nude, Marcel Duchamp’s Fountain, Constantin Brancusi’s Bird in Space, Richard Serra’s Tilted Arc, and Maya Lin’s Vietnam Veterans Memorial, among others. Throughout the course, we will ask: What is the place and function of art in modern society? How should art represent the world to its audience? How can we account for viewers' wildly divergent reactions to the same work? And, finally, who determines the meaning and value of a work of art-the artist, the general public, arts professionals, the courts, or the government?


ARHS 6060 Seminar: Gender, Race and Representations of the Body

Area 3.
Prof. Plante. This course will examine the ways in which artists--painters, sculptors, filmmakers, writers, etc.--have constructed and organized representations of the body. We will examine the human body as a contested field, a site across which history, memory, and politics are played. We will be using a wide variety of methodologies as appropriate to certain artistic expressions such as phenomenological experiences of art and the body; the organizing principles of “visuality,” as interpreted through the psychoanalytic writings of Freud and Lacan; and both the political and subjective uses of the body as it is deployed in culture through methodologies as diverse as social history, feminist theory, queer theory, and post-colonial theory.


ARHS 6090 Seminar: The Intersections of Art and Science

Area 3.
Prof. Foa. The objective of this course is to explore key moments in the relationship between art and science in Europe and the United States from the Renaissance to the 20th century. Over the course of the semester, we will examine the many ways that artists have drawn on scientific methods and practices to inform their work, and analyze how scientists have employed visual images to advance their investigations. We will focus on a series of topics that span time and place, such as Leonardo da Vinci’s anatomical drawings and interest in optics, Enlightenment theories of perception, Impressionist and Neo-Impressionist painting, and abstraction in the 20thcentury, among other topics.


ARHS 6210 Medieval Pilgrimages: Saints, Bones and Art

Area 1.
Prof. Flora. This course will examine some of the most popular medieval Christian pilgrimage centers of Europe. We will focus mostly on Santiago de Compostela and Rome, with brief looks at other pilgrimage centers such as Jerusalem, Assisi, and Canterbury. Topics to be covered include the cult of the saints, the pilgrimage roads, architectural settings and their decoration, as well as reliquary shrines and related works of art, images and their use in imaginary or mental pilgrimage.


ARHS 6220 Women and Gender in Medieval Art

Area 1.
Prof. Flora. This seminar will focus on the relationships between gender and the production and reception of medieval European art and architecture. Topics to be explored include images of women, works of art commissioned by women, images made for women, architectural spaces designed for women and/or men specifically (i.e. monastic architecture), women as artists, etc. Comparative material known to have been made for/by men specifically will also be explored as we consider the meaning of the concept of “gender”. Feminist theory and various contemporary critical approaches to gender and medieval art will enhance our exploration of specific works.


ARHS 6230 Art and Architecture of Medieval Italy

Area 1.
Prof. Flora. This course will examine the art and architecture of the late Middle Ages in Italy from approximately 1200 to 1350 A.D./C.E. We will focus particularly on the rise of the mendicant orders in the thirteenth century and their impact on art and the narrative (the introduction of "naturalism" into art of the late medieval period). Topics include civic architecture and the city-states, the development of the tradition of panel painting, and the impact of Byzantine art on art of the Italian peninsula.


ARHS 6410 Amsterdam as the Global Capital of the Dutch Golden Age

Area 2.
Prof. Porras. This course examines the visual and material culture of the Dutch Golden Age, centered in Amsterdam, as the product of global forces. Rather than solely tracing the Dutch domestic consumption of international goods (like Chinese porcelain), or art objects produced in the Dutch mercantile colonies in Batavia (Indonesia), Brazil and North America, this seminar critically examines concepts of influence, exoticism and cross-cultural exchange. We will focus on objects and art works produced in, imported and exported through Amsterdam, the commercial capital of the newly formed Dutch Republic and home to the Dutch East India Company (VOC), the world’s first multinational corporation.


ARHS 6540 Paris: Capital of the 19th Century

Area 3.
Prof. Foa. In this seminar, we will explore the transformation of Paris during the second half of the nineteenth century into a great modern metropolis. Beginning with the formation of the Second Empire in 1851, we will analyze the ways that the architecture, painting, photography, literature, urban planning, and popular and visual culture of the era both reflected and shaped experiences and perceptions of this modern city. During the semester, we will explore such developments as the controversial reconstruction of the city by Baron Haussmann, the poetry and prose of Charles Baudelaire, Impressionist painting, the construction of the Eiffel Tower, the rise of photography, and new spaces and modes of leisure, entertainment, and consumerism in the city. Throughout the course, we will investigate the complex relationship between urban modernity and modernist art, situating the artistic and cultural production of the period in its rich historical context.


ARHS 6550 The Work and Mythology of Vincent Van Gogh

Area 3.
Prof. Foa. In this seminar, we will explore the brief but productive career of Vincent van Gogh and the mythology that developed around him during and after his lifetime. We will look closely at Van Gogh's paintings, drawings, and writings, studying them in the context of such issues as his attitudes towards modernity and his relationship to the art market. We will also undertake a critical examination of the myth surrounding Van Gogh's life and work, discussing such themes as the modern artist as mad genius and the quest for originality and immediacy in modern art.


ARHS 6620 Reading Abstract Expressionism

Area 3.
Prof. Plante. Examines the ways in which Abstract Expressionism has been interpreted, both from the view of American critics and historians and their European counterparts. Emphasizes the extent to which formalist criticism evolved around Abstract Expressionism, and that only recently have scholars challenged those apolitical reading of this art, considering the political and economic factors which contributed to its international predominance on the global stage. Artists will include De Kooning, Frankenthaler, Hofmann, Krasner, Newman, Pollock, and Still.


ARHS 6630 Revising the 1960’s

Area 3.
Prof. Plante. Charts the development of American, and some European, art during the 1960’s, away from the international dominance of Abstract Expressionist style toward a more diverse range of styles such as Color Field painting, Pop art, Minimalism and Post-Minimalism, and Performance art. Attention will be paid to the development of artistic and cultural criticism during this period (Greenberg, Sontag, Barthes), and the arguments about the role of culture in American society, the status of so-called “high” and “low” art. Artists studied will include Frankenthaler, Hesse, Judd, Lichtenstein, Morris, Smithson, and Warhol.


ARHS 6650 Postmodern Formations: Art Since 1980

Area 3.
Prof. Plante. Examines both European and American conceptions of postmodernism, as it originated in post-structural and psychoanalytic theory. Emphasis will be place upon artists working since 1980, including Basquiat, Jenny Holzer, Barbara Kruger, Mapplethorpe, Cindy Sherman, Warhol and the politically-based art project of Gran Fury, the Guerrilla Girls and the Names Project. Interpretive strategies will be taken from readings in European literary theory, with emphasis place upon the shift in criticism in art-making, away from Europe, toward an ideology formed around the issues of racial, sexual, and gender performance of identity.


ARHS 6720 Seminar on Aztec Arts

Area 1.
Prof. Boone. Prerequisite: ARHS 370 or approval of instructor. Intensive investigation of Aztec arts as fundamental manifestations of Aztec imperial ideology (especially political and religious). The course concentrates on the urban iconographic programs developed in sculpture and architecture and considers the role of ritual and performance within these programs. It also reviews the sixteenth century sources (pictorial and alphabetic) that are used to understand Aztec culture.


ARHS 6740 Images and Meaning

Area 1.
Prof. Boone. This seminar explores the domain of visual images, those that are usually conceptualized as “art,” as well as those that are not. Following an overview of the graphic codes used in thought, analysis, and communication, the seminar considers different scholarly approaches to the interpretation of images, including iconography, iconology, and semiotics. Theories about authorship, context, and audience are also considered, as the seminar looks at both spatial constructions (e.g., maps and diagrams) and temporal constructions (narratives). Images are analyzed as tools of persuasion and social manipulation.


ARHS 6510, 6520, 6560, 6570, 6580, 6810 6820, 6830, 6850 Seminars in the History of Art (3 each)

Staff, Prof. Boone, Prof. Flora, Prof. Foa, Prof. Plante. Advanced topics in the history, criticism, or theory of art. The subjects of the seminars vary according to the needs of the students and the scholarly interests of the individual instructor. Specialized topics are listed in the Schedule of Classes.


ARHS 6810 Artistic Encounters: East Asia and the West

Area 1.
Prof. Schweizer. This seminar investigates artistic exchange and the construction of self and other during a number of critical moments in the histories of China, Japan, and Euro-America. Major foci will be the presence of Europeans in East Asia during the 16th and 17th centuries; the period of Japan’s national isolation; the Japonisme movement; the search for a national style in the late 19th and early 20th centuries; Modernism; the Postwar period; and changing notions of “Asianness” in the globalized world.


ARHS 6810 Close Looking

Area 3.
Prof. Foa. This seminar will focus on the subject of close visual observation from a variety of perspectives, examining its importance in art history and other disciplines, studying key visual technologies such as the microscope, television, and computer, and exploring how vision itself, including our perception of color, operates. This course aims to hone students’ visual analysis skills, introduce them to the different ways vision has been understood over time, deepen their understanding of the importance of visual observation to a variety of scholarly and professional fields, and teach them about the numerous ways that various technologies have mediated our visual experience.


ARHS 6811 Visions of Imperial Japan: Art from Kyoto

Area 1.
Prof. Schweizer. This seminar concentrates on Japanese art and architecture from and about Kyoto--the city that was an epicenter of the country's artistic production for more than a millennium. This topographical focus will enable us to explore works from religious and secular contexts in their intended environment and consider their purpose, networks of patronage, and connoisseurial milieus. We will cover works such as temples, reception palaces, gardens, paintings, sculptures, ceramics, and lacquer. The objects are dating from about the ninth to the early twentieth centuries.


ARHS 6812 Leonardo da Vinci

Area 2.
Prof. Geddes. Accompanying the survey course, Leonardo's World, this seminar engages in close examination of the master's oeuvre to better understand the wide array of subjects that interested him intellectually and practically. Themes include his theory of art, the many uses of drawing and writing, scientific experimentation, and the complex social networks and intellectual history that informed his production


ARHS 6812 The Meaning of Materials

Area 3.
Prof. Foa. In this course, we’ll explore a range of materials, substances, and everyday objects that have altered the course of art history, our region, and our daily lives. What is the ground of New Orleans made of, and how have its unique qualities affected the history and current life of the city? In what ways did the use of oil paint revolutionize the history of art? How has our relationship to paper changed over time? What role has cotton played in shaping our region, our everyday world, and artists’ materials? How have computers and the digital revolution changed how we read, write, and look at art? To explore the answers to these questions, we’ll meet with a world-renowned art conservator, take field trips to the New Orleans Museum of Art, visit a paper conservation lab, meet with specialists on the geography of New Orleans, mine clay out of the ground with a ceramic artist, and other class activities.


ARHS 6813 Rome, The Eternal City

Area 2.
Prof. Geddes. For millennia, Rome has served as a nexus of power and artistic excellence rendered in service to powerful clients, from emperors to popes and the scions of the city's most powerful families. This course examines the city through its special status as the former center of the Roman Empire and its place as the spiritual heart of the Roman Catholic Church. We will survey the city and its artistic production from its early Christian period and its medieval decline to its resurgence under the papacy in the Renaissance and Baroque eras through the nineteenth-century unification of Italy and the advent of Mussolini. Our principle focus will emphasize its richest, most influential period of art production: c. 1500-1700. Major themes to be covered include the revival of antiquity; artistic rivalry; the representation of the city in print; rituals, pageants, and processions; Grand Tour-ism and Rome's role as the capital of an international 'Republic of Letters.' Rigorously examining centuries of cultural production, we will consider how – despite radical shifts in religious and secular power – the city of Rome maintained its centrality to European culture by continually reinventing itself.


ARHS 6814 Constructing Nature: The History and Theory of Landscape 1450-1800

Area 2.
Prof. Geddes. The ways in which our society figures in its relation to the natural environment has never been so urgent. This seminar studies the history of that relation, through an examination of the significance and meaning of "landscape" in art, literature, architecture, and landscape design. This course studies how conceptions of landscape, evident in both physical forms and poetic and artistic representations shaped the ideological and natural terrain of Europe from Antiquity to the 18th century, with particular emphasis on the period of 1450–1800.


ARHS 6814-01 Prints & Ways of Knowing

Area 2.
Prof. Geddes. How did the visual arts and sciences interact in the Early Modern period? In what ways have these interactions defined and ruptured boundaries between empirical investigation and artistic practice? This new seminar on the rise of printmaking c. 1500-1800 investigates print as a new technology and artistic medium. Printmaking allowed for changes not only in art production, but also in intellectual inquiry. What new representational techniques emerged? What is the rhetoric of the illustrations themselves? Topics include the study and representation of anatomy, botany, and the celestial spheres in print, and how their artistic representation fundamentally changed our understanding of the natural world. In tandem with these new technologies, optical instruments such as microscopes and telescopes opened previously invisible worlds to scrutiny. We will discuss the intellectual, social worlds such devices and images inhabited. We will also make extensive use of the university’s rare book holdings and visit the New Orleans Pharmacy Museum.


ARHS 6815-01 Utopias in Modern Art

Area 3.
Prof. Anagnost. This course examines histories of utopian thinking in the visual arts since the late 19th century, with particular emphasis on imagined cities and urban social relations. Topics include early modern notions of utopian cities by Thomas More and others; Saint-Simonian and Fourierist ideas about labor and collectivity in the early 19th century; artistic engagement with the 1848 Revolution in France; the English Arts and Crafts movement's efforts to temper the ills of industrialization; the Soviet remaking of labor and social life; the Situationist dérive; postwar fantastic city designs by Constant Nieuwenhuys (The Netherlands) Yona Friedman (Israel), Archigram (England), and the Metabolists (Japan); Brazilian artists' innovative engagements with urban social relations; Anarchitecture in 1970s NYC; and contemporary relational aesthetics. How have artists attempted to intervene in social problems and to envision other ways of being in the city and the world?


ARHS 6860 Seminar: Interracial Themes in Western Art from the Queen of Sheba to Barrack Obama

Area 3.
Prof. Bagneris. This course investigates the depiction of interracial contact and the mixed-race body in Western art, starting in 1182 and continuing through the present. Throughout this investigation, four primary sets of questions will guide our study: 1) What makes an image “interracial”? 2) What kinds of ideological and historical catalysts inform the production of images with interracial themes? 3) What major trends or themes can we identify in images of interracial contact or mixed-race bodies? How do these remain consistent and how do they change over time and across cultures? 4) How is “race” related to visuality (and how is it not)? How do images of ambiguously raced bodies trouble the idea of “race” in general? In other words, what are the epistemological and ontological implications of the fact that, in American society, one can look white yet be black, that race as a concept is at once inextricably rooted in visual knowledge yet unable to be sustained by it?


ARHS 6870 Seminar: Race and National Mythologies in American Art and Visual Culture

Area 3.
Prof. Bagneris. How does American art and visual culture implicitly and explicitly reify notions of America as a "white" nation, and how has this changed over time? How have images shaped and been shaped by historic moments of racially-implicated upheaval or conflict (e.g. Westward Expansion; the abolitionist movement, the Civil War & Emancipation; periods of mass immigration)? How has the idea of what it means to be "American" been defined against the racialized images of American "Others"? Can contemporary artists of color successfully appropriate and re-deploy racist imagery? This seminar considers these and other questions in investigating constructions and representations of race in American art and visual culture from the 16th century to the present. We will explore the ways in which these images are implicated as both products and producers of fundamental mythologies about the United States as a nation and about what it means to be "an American" (and who gets to be one).


ARHS 6880 Writing Practicum (1)

Staff. Prerequisite: successful completion of the First-Year Writing Requirement. Co-requisite: three credit departmental course. Fulfills the college intensive-writing requirement.


Classics Department Offerings Counting Toward the Art History Degree


CLAS 3120 Etruscans and Early Rome

Area 1.
Prof. Lusnia. A survey of the cultures of pre-Roman Italy from the Bronze Age to the fall of Veii. The course focuses on the material cultures of Etruscan and Latin Settlements from ca. 900 to 300 B.C.E. Topics include: Etruscan language, economy and trade, sculpture, painting, and Etruscan religion, as well as major social and historical developments in Etruria, Latium, and archaic Rome.


CLAS 3160 Aegean Bronze Age

Area 1.
Staff. The cultures of the Cycladic Islands, Crete, and the Greek mainland during the Bronze Age (ca. 3200-1150 B.C.E.). Emphasis is on the major and minor arts of the Minoans and Mycenaeans and how this material can be used to reconstruct the societies, cultures, and religions of the Aegean Bronze Age.


CLAS 3170 Greek Art & Archaeology

Area 1.
Staff. Greek arts (architecture, sculpture, and painting) and material culture in the light of social, intellectual, and historical developments from the end of the Bronze Age (ca. 1200 B.C.E.) to the end of the Hellenistic period (31 B.C.E.).


CLAS 3180 Roman Art & Archaeology

Area 1.
Prof. Lusnia. Architecture, sculpture, and painting in Rome and the Roman Empire, their sources, and their history from the Etruscan period (ca. 900 BCE) through the 4th century C.E.


CLAS 4130 Egypt under the Pharaohs

Area 1.
Staff. The culture of ancient Egypt from the pre-dynastic period through the end of the New Kingdom. The course emphasizes the sculpture, architecture, and painting of the pharaonic periods. Other areas covered are: Egyptian literary and historical documents, Egyptian religion, and major social developments.


CLAS 4190 Seminar in Aegean and Greek Archaeology

Area 1.
Staff. Topics include: Problems in Aegean Archaeology; Major Monuments in Greek Sculpture; Greek Vase-Painting; The Athenian Acropolis.


CLAS 4200 Seminar in Roman Art and Archaeology

Area 1.
Prof. Lusnia. Topics include: Ancient Painting and Mosaics; Building the City of Rome; Roman Sculpture in Context.


CLAS 6190 Seminar in Aegean and Greek Archaeology

Area 1.
Staff. Topics include: Problems in Aegean Archaeology; Major Monuments in Greek Sculpture; Greek Vase-Painting; The Athenian Acropolis.


CLAS 6200 Seminar in Roman Art and Archaeology

Area 1.
Prof. Lusnia. Topics include: Ancient Painting and Mosaics; Building the City of Rome; Roman Sculpture in Context.