How do mechanisms of perception structure responses to visual art? What is at stake when words describe images? By means of intensive looking, thinking, speaking, and writing, this course introduces the student to a series of problems and issues in the description and analysis of works of art. Because the course is also an introduction to the historical study of art, it is intended for students with no previous course work in the field. Satisfies the second half of the Reading and Composition requirement.

An introduction to the art of Egypt, Greece, Rome, and the European Middle Ages. Works of painting, sculpture, and architecture are presented chronologically and interpreted within their particular historical circumstances. The course focuses on themes such as the social and ideological functions of art, strategies of realism and abstraction, rhetorics of the material and immaterial, patronage and the construction of viewing, etc. It enables students to acquire the perceptual and critical skills to enjoy, interpret, and question works of art. Like 11, this course is recommended for potential majors and for students in other disciplines, both humanities and sciences.

An historical survey of selected works of painting, sculpture, and architecture from the Renaissance to the present. Stress is placed on the acquistion of perceptual and critical skills, the analysis and interpretation of style and meaning, and the ability to relate works to a broader visual tradition and historical context.

An introduction to the art of ancient Egypt, Greece, Rome, and the European Middle Ages. Painting, sculpture, and architecture are presented chronologically and considered in relation to their historical and cultural circumstances. The course aims to provide students with a basic knowledge of how artworks balance past tradition with innovation; how people actually looked at artworks and what they valued in them; how works of art were commissioned and displayed; how artists went about their work; and how genre and medium affected an artwork's appearance. The question of artistic quality will be central to the course. In the process, the student will acquire a critical vocabulary for thinking and writing about art. Recommended both for potential majors and for students with a general interest in the topic.

An introduction to the historical circumstances and visual character of Western art from the Renaissance to the present. Not a chronological survey, but an exploration of topics and themes central to this period. For example: What tasks did painting and sculpture perform in the past? For whom, at whose expense? How do the rise of landscape painting, the cult of the artist, and the new emphasis on the nude relate to the emergence of modern society? Do stylistic labels like Classicism, Realism, Impressionism, and Modernism help us answer such questions? This course is recommended for potential majors and for students in other disciplines, both humanities and sciences.

A historical survey of selected works of painting, sculpture, and architecture from the Renaissance to the present. Stress is placed on the acquisition of perceptual and critical skills, the analysis and interpretation of style and meaning, and the ability to relate works to a broader visual tradition and historical context.

The course introduces students to the rich museum culture of London, England through lectures, seminars, and site visits.

The Freshman Seminar Program has been designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small-seminar setting. Freshman Seminars are offered in all campus departments, and topics may vary from department to department and semester to semester. Enrollment limited to fifteen freshman.

This course surveys the arts of India from 2000 BC to the present, including painting, sculpture, and architecture. It treats prehistoric material (Indus Valley), Buddhist sculpture and painting, Hindu temples and their images, miniature painting, and modern art. Art will be considered in relation to its religious, political, and social contexts. The course will normally focus on major monuments, seen from multiple viewpoints, or upon problems and issues that relate the art of this area to traditions of other parts of the world (or differentiate it from them). No previous background is presumed, and students will be introduced to basic art-historical methods of viewing and analysis.

This course surveys the artistic traditions of China, Korea, and Japan over six millennia. Through lectures and readings, students are introduced to themes central to the development of art in East Asia. We begin with the form, meaning, and function of archaeological remains, then turn to consider the role of art in Buddhist ritual and worship. Lectures on secular painting will focus on the complex interactions of text and image, and on alternative modes of visualizing exeamplary conduct. Theoretical issues and visual analysis of individual works will be introduced through weekly guided discussions.

This course will introduce the arts and culture of Korea from the prehistoric period through the early twentieth century. Significant examples of painting, ceramics, sculpture, metalwork, and photography will be closely examined in their political, social, and cultural contexts. Korean art will also be presented in its East Asian context and compared to Chinese and Japanese art. No prior knowledge of Korean art or history, or Chinese or Korean languages, is expected.

A survey of Buddhist art and architecture of Asia from 566 B.C.E. to the 19th century, including India, China, Japan, Tibet, Sri Lanka, and Southeast Asia. How works of art and architecture reflect or engage with the doctrine and practice of different schools of Buddhism. Topics include the making of "the Buddha image," the relationship between patronage, styles, and the ritual use of arts, the notion of sacred space, and the political usage of Buddha images. Discussion of issues such as the body, gender, and sexuality in the light of Buddhist arts and cultural context.

An introduction to the arts of China, designed for newcomers to the history of art or to the study of Chinese culture. Lectures will survey six millennia of Chinese art thematically and chronologically, including the burial arts of the Neolithic period through the Tang dynasty (4th M. BCE-10th C. CE), Buddhist and Daoist ritual arts, and painting and calligraphy. Lectures, readings, and discussions will introduce students to various systems of Chinese thought, modes of visual analysis, and art historical method.

This course is an introduction to art and architecture in Japan. It is intended for newcomers to the history of art and/or to the study of Japanese history and culture. Lectures will proceed chronologically, beginning with the archaeological objects and tumuli of neolithic Japan and ending with the popular graphic arts of the seventeenth to nineteenth centuries and modern transformations of art.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by faculty, but the suggested limit is 25.

An introduction to the major works, themes, and agendas of Greek and Roman art and architecture. Participants will learn to acquire the perceptual and critical skills necessary for understanding these works; to analyze and interpret them; and to relate them to broader visual traditions, historical contexts, and social/cultural issues. Wherever possible, newly discovered work will be illustrated and discussed.

A selective, thematic exploration of the visual arts from the decline of the Roman empire to the beginnings of Early Modern period. The emergence of new artistic media, subject matter, and strategies of making and viewing will be discussedagainst the ever-shifting historical circumstances of medieval Europe. Emphasis will be placed on the methods of interpreting the works, especially in relation to then-current social practices and cultural values.

Using a few selected examples drawn from Florence, Rome, Milan, and Venice, this course will introduce most types of art and architecture produced in the Italian Renaissance--including city squares, churches, palaces and libraries, and their painted and sculptural decoration. Special attention will be paid to various approaches used in interpreting works of art.

The West's "modern" era had its beginnings in the 15th and 16th centuries. Social and economic organization, religious and political thought, were reconfigured into forms we recognize today. Within these configurations, art took on new roles: a commodity in a nascent capitalist society, a vehicle of propaganda by church and state, an expression of an individual's genius. In aesthetic terms, it took on properties which defined the modern. Italy and the Netherlands each contributed to the revolution in pictorial expression. This course investigates those contributions and considers how art expressed the world view of this age.

An introduction to the major movements, themes, and artists of modern art, starting with its origins in the nineteenth century. Close attention will be paid to exhibition histories, the development of new forms of media, and shifts in visual culture within the context of the rise of modernity and modernization. No previous knowledge of the subject is presumed; students will be exposed to various modes of art historical interpretation and formal analysis.

An introduction to the arts and visual culture of Latin America from the earliest monumental art traditions of prehistory to the present. The course is not a comprehensive survey of all traditions of art in Latin America, but rather a sampling of critical moments that is designed to serve as an introduction to this field of study. We will take a long view of enduring traditions as well as periods of rupture and crisis. Lecture and discussion will frequently center on the active roles of the arts in society, religion, and politics from the earliest Pre-Columbian settings to the present day. No prior knowledge of Latin American art history is expected. This course is designed for both majors and non-majors in the humanities and sciences.

Instruction for a small group of students on a topic initiated by those students.

How art has been studied in the past and how it is currently studied, its historiography and methodology. Consideration of the earliest writers (Pliny, Vasari) but also modern approaches, from traditional style analysis and connoisseurship through the "founders" of modern art history (Panofsky, Riegl) to more recent approaches, e.g. psychoanalysis, feminism, social history, anthropology, semiotics, etc.

How art has been studied in the past and how it is currently studied, its historiography and methodology. Consideration of the earliest writers (Pliny, Vasari) but also modern approaches, from traditional style analysis and connoisseurship through the "founders" of modern art history (Panofsky, Riegl) to more recent approaches, e.g., psychoanalysis, feminism, social history, anthropology, semiotics, etc.

The purpose of this lecture course is to provide students with a toolbox for writing art history in many periods in a global field. We will proceed systematically, learning how to describe and analyze objects, do bibliographic research, use different methodological approaches, and learn to apply them with specific objects/works selected by the student.

A consideration of historical and theoretical issues posed for visual media by attention to issues of gender. Previous course work in art history recommended. Detailed descriptions of current and future offerings available in 416 Doe Library.

This course explores issues at the intersection of the law and the visual arts. What is the relationship between the law and the visual arts? Does the law constrain the creation of art, or does it establish conditions under which artists can exercise their creativity more freely? When and how should the legal system be employed to promote or curtail the creation, display, or preservation of works of art?

The study of various urban centers at particular times in relation to the art produced there. Emphasis may be placed on the rise of artistic centers and professional communities, the representation of places of power, learning or recreation, the construction of urbanity, the reaction to cities, etc. Detailed descriptions of current and future offerings available in room 416 Doe Library.

For millions of years, hominid creatures quite like us made nothing like what we now take to be images or ornaments-"art." Why not? Between 32,000 and 26,000 BC, images and ornaments appear and proliferate. Why? When a workman shovels dirt, the pile is mere garbage. An artist exhibits an identical pile in a gallery as "art." What makes the difference? Detailed examination of paleolithic & prehistoric arts, children's drawings, & some contemporary practices.

The art and architecture of early Mesopotamia will be explored in terms of the social, political, and cultural context of ancient Sumer, Babylonia, and Assyria during the period of urbanization and early kingdoms. The course provides an integrated picture of the arts of Mesopotamia and neighboring regions from 3500-1000 BCE with an emphasis on the development of visual narrative, the use of art in the expression of authority and legitimacy, and artistic interconnections between cultures. Collections on campus or in the area will be incorporated whenever possible.

The royal art and architecture of later Mesopotamia will be explored in terms of the social, political, and cultural context of the great empires of Assyria, Babylon, and Persia. The course provides an integrated picture of the arts of Mesopotamia and neighboring regions from 1000-330 BCE with an emphasis on the development of visual narrative, the use of art in the expression of authority and legitimacy, and artistic interconnections between cultures. Collections on campus or in the area will be incorporated whenever possible.

The course will treat in depth topics in Islamic architecture and topics in Islamic art. Subjects addressed may include painting, calligraphy, and book production.

The course will treat in depth topics in Islamic architecture and topics in Islamic art. Subjects addressed may include painting, calligraphy, and book production.

A survey of the arts of black sub-Saharan Africa, including aspects of the Caribbean. Emphasizes major aesthetic/cultural complexes such as the Yoruba, the Manding, and the Kongo. The tension between "traditional arts" and contemporary studio practices, as well as all artistic traditions will be discussed within their social context. Aspects of mythology, history, social values, music, and dance as they relate to artistic traditions included. Films which emphasize this interaction to be shown.

Chinese art of the Neolithic and Bronze Age. From the earliest period to the end of the Han dynasty (early third century A.D.), especially ceramics, bronzes, jade, and lacquer.

The history of the visual arts as used in Chinese religious practice, from the third century C.E. through the late imperial period. The course explores different modes of giving visible form to the sacred, expecially in the Daoist and Buddhist traditions, and tracks the movement of objects and visual concepts across Asia and between Daoists and Buddhists, monasteries, the imperial court, and elite and popular lay groups.

The history of the art of painting in China from the third century C.E. through the late imperial period. The course takes a chronological and thematic approach to the classical tradition of Chinese painting and other arts of the brush expressed in a variety of elite and popular genres, considering them in the context of aesthetic and narrative theory, biography, economic history, social life, and politics.

The history of Chinese art from the end of the Qing dynasty in 1912 to the present, including the reformist movements of the early 20th century; the new urbanism and its visual articulation in advertising, photography, and popular arts; national style; politicized painting and woodblock prints in the Western style; Communist socialist realism; and the meaning of the avant-garde as both Communist ideological movement and anti-authoritarian concept.

Primarily the architecture and sculpture of Japanese Buddhist temples, 7th to 13th centuries.

This course introduces the study of Buddhist icons in Japan, principally paintings and sculpture but also texts, within broader Buddhist ritual and visual cultures from ca. 500 CE to the early 20th century.

This course explores representations of the Buddha and other Buddhist detities in the modern and contemporary world, including pre-modern works of painting and sculpture, images made by contemporary artists, and images within popular culture.

Beginning with the earliest remains of cities, towns, and palaces in the Indus Valley region in present day India and Pakistan, this course traces the production of art and architecture in South Asia from 2500 BCE to 1200 CE. Focusing on the painting, sculpture, and architectural traditions of Hinduism, Buddhism, and Jainism, we will examine the aesthetic conventions, theological ideals, and political formations that emerged in early South Asia.

South Asian art, architecture, calligraphy, painting, and urban cultures in the early modern period. Emphasis will be placed on interactions with the Islamic world and Europe.

A selective survey of major developments in Muslim and Rajput painting from 1350 to the present.

The art of Cambodia, Vietnam, Thailand, Burma, and Indonesia focusing on the period from 400 to 1500 A.D. Sculpture and architecture will be considered as a balance of Indian and indigenous elements.

This course analyzes the art, architecture, and archaeology of prehistoric Greece, concentrating on the Minoan and Mycenaean palatial arts of the Bronze Age (3000-1200 BCE). The evocative yet still enigmatic remains of palaces and funerary complexes, frescoes and vase paintings, and precious worked pieces will be closely examined in terms of their forms and cultural contexts. The place of prehistoric Greece in the international world of the eastern Mediterranean will also be explored.

The early development of the major genres of Greek art in the era of the emerging city-states.

The maturity of the major genres of Greek art in Periclean Athens and the other leading centers.

A survey of the major genres of Greek art in the Hellenic world from Italy to India.

A training school for those with no previous experience in archaeology or ancient art. Volunteers are taught the elements of modern field archaeology, with discussion sessions on site stratigraphy, pottery, and other artifacts. Evening lectures on Israeli, Greaco-Roman, and Near Eastern archaelogy.

The art of Rome and of the Roman Empire, from its sources in the Republican era to the Age of Constantine the Great.

This course presents the surviving evidence for a wide range of pictorial representation in the Roman world, and addresses the many functions of painting in Roman life.

Imperial art from Gallienus through the collapse of the western empire. Christian art from the beginning around 200 through the age of Justinian. Revivals in the seventh and eighth centuries. A look back from the court of Charlemagne and contemporary Constantinople.

A survey of the visual arts in Europe from about 800-1400 A.D. This lecture course explores the origins and transformations of Christian pre-modern visual culture. This class will analyze the revival of monumental sculpture in the context of liturgy, architecture, materiality of the minor arts and reliquaries, as well as medieval theories on perception. Emphasis is placed upon the broad artistic influence of the monastic, pilgrimage, and crusading movements.The elaboration of new iconographic themes and the influence of small scale precious works will receive special attention.

Gothic art and architecture from its origins in France about 1130. Emphasis on the related developments of architecture, sculpture, and stained glass at the major cathedrals, the impact of the early universities and scientific study, and the political role of the visual arts in the early nation states.

This course explores the intersections of art and science in medieval, modern, and contemporary history. It focuses on the ways in which artistic and scientific practices have shaped and legitimated each other through the ages. The course takes the form of an overview that spans from the awakening of European culture through the reception of new knowledge from the Near East to the most recent encounters between art and technoscience in the 21st century.

In this course we explore the intersections of art and science in medieval, modern, and contemporary history. Our aim is twofold. First, to explore the close interaction between these two fields, and the way in which they have shaped each other through the ages. Second, to focus our attention on specific instances of art/science interaction, using them as prisms through which one can reach a fuller understanding of major historical transformations.

A selective survey of major developments in Florentine Renaissance painting, sculpture, and architecture organized by genre. Particular emphasis on the relationship between art and religion and the ideology of Florentine republicanism and ducal absolutism. Issues of gender, the status of artists, and the function, audience, and patronage of art will also be considered.

A selective survey of major developments in Roman Renaissance painting, sculpture, and architecture organized by genre. Particular emphasis on the relationship between art and religion and the ideology of a theocratic papacy. Issues of gender, the status of artists, and the function, audience, and patronage of art will also be considered.

A selective survey of major developments in Venetian Renaissance painting, sculpture, and architecture organized by genre. Particular emphasis on the relationship between art and religion and the ideology of the Venetian commune. Issues of gender, the status of artists, and the function, audience, and patronage of art will also be considered.

The great age of Netherlandish art, from its roots in manuscript illumination through the masters of panel painting (Van Eyck, Van der Weyden, Bosch, Brueghel) up to the time of the iconoclasm of 1566. Focus on the relation of painting to the beholder; iconic vs. narrative images; rise of genres; art's expression of social and economic ideals; and class and gender issues.

The Elizabethan Renaissance course will review texts, minor arts, costume, self-presentation, performance, pageantry, architecture, decoration, and other non-traditional routes of addressing issues of visual culture and representation, and their political and social meanings. The courses's goals are to explore the role of visuality in Renaissance England, and to develop research skills. Students learn to analyze primary sources, both visual and written, and to read secondary sources critically.

The major artists (among them Caravaggio, Bernini, Velazquez, and Poussin) and the major concerns (including genres such as history painting, landscape, low-life, and notions of imitation and illusionism) of seventeenth century art in Italy, France, and Spain.

The mutual impact of European conquest on the visual and material cultures of Spain and Colonial Latin America. Paintings by El Greco, Velazquez, Zurburan, and Ribera are discussed in relation to the trans-Atlantic transmission of material objects including Mexican pictorial codices, European prints, architecture, screen paintings (biombos), featherwork, and enconchados.

The rise of a rich visual culture in 17th-century Holland that expressed the ideals, aspirations, and identity of the first bourgeois capitalist society. Rembrandt, Vermeer, and others in the context of contemporary aesthetic concerns (realism, optics) and social issues (domestic values, poverty and wealth, colonialism, national identity).

The culture of early 17th-century Europe as it was known (and created) by Sir Peter Paul Rubens, painter, scholar, and diplomat. Begins in Flanders and travels (with Rubens) to Italy, Spain, France and England, examining politics, religion and visual culture in each place. Key issues include the concept of artistic tradition; art and politics; crafting social status; workshop practice.

A general study of Netherlandish painting of the seventeenth century organized according to the genres or types of painting done at the time. The historical and social as well as the art historical contexts for the development in the Netherlands of such genres as history painting, portraiture, landscapes, still-life, and low-life and the kinds of meanings with which they were endowed.

French art from the 16th century to the mid 18th century. Beginning with the architecture, painting, prints, and decorative arts of the School of Fontainebleau, the course addresses the development of the Royal Academy and its interaction with popular culture, which culminates in the display of ambitious art in the public space of the pre-revolutionary Salon exhibition.

The story of art in 18th-century Britain involves the struggle to develop a national artistic identity which was distinct from the artistic traditions of Italy, Holland, and France. This course will address the meaning and function of history painting, portraiture, marine painting, and landscapes in relation to a rapidly expanding art market, taking into account the way that gender, class, and race played into the visual marking of status and power. We will also look at the ways in which visual culture helped to shape Britain's national identity as an emerging imperial power.

Topics in late 18th- and early 19th-century European art, either focusing on a pertinent theme and/or nation (e.g. Romanticism and gender in France) or introducing the art of Europe as a whole during this tumultuous period of revolution and reaction.

Visual arts in the later 19th century. Impressionism and after. The nature of avant-garde culture and its relation to emerging consumer culture. May emphasize Paris, or the struggle for cultural mastery in Europe.

Topics in late 18th- and early 19th- century European art, either focusing on a pertinent theme and/or nation (e.g., Romanticism and gender in France) or introducing the art of Europe as a whole during this tumultuous period of revolution and reaction.

This course studies 19th-century art's search for a new visual language with which to represent the body. It explores ways in which sculptural and painted bodies convey, hide, and displace sexuality to create or prohibit desire, and how they produce different notions of femininity and masculinity. Artists to be discussed: Manet, Monet, Gauguin, Degas, Renoir, Pissarro, Morrisot, Cassatt, Rodin, Carpeaux, Cezanne, Millet, Courbet, Daumier, Claudel.

Visual arts in the later 19th century. Impressionism and after. The nature of avant-garde culture and its relation to emerging consumer culture. May emphasize Paris or the struggle for cultural mastery in Europe.

Introduction to French art from the Revolution to the First World War. Proceeds chronologically, putting visual art in the context of French political and social development.

Topics in 19th- and 20th-century histories of photography; for example, photography in relation to modernism, gender, pictorial genres, or consumerism.

Topics in 19th- and 20th-century histories of photography, for example, photography in relation to modernism, gender, pictorial genres, or consumerism.

Consideration of the relationship between visual representation and conquest, colonialism and imperialism. Topics include the history of visual ethnographies, representations and constructions of "race," exoticism, orientalism, and primitivism.

The focus of this course will be significant works by American art-makers, analyzed in the context of the dramatic transformations which occured in American Art from the 1860's to the 1940's. Emphasis will be placed on the analysis of both indigenous and adopted modes of representation within their historical and art historical contexts. Students will be encouraged to acquire the ability to closely "read" and interpret visual images as primary historical "texts."

Study of major artists and movements in European art from 1860-1930. Will begin with Modernism in the work of Manet and proceed to an examination of Impressionism, Post-Impressionism, Symbolism, Expressionism, Fauvism, Cubism, Futurism, and early abstract art. Directions in the 20th century such as Dadaism and Surrealism will be addressed. Art will be considered in the cultural, political, social, and aesthetic contexts in which it was made. Emphasis is on painting, but important sculptors will be included.

Looking at major developments in architecture, decorative arts, photography, and painting from Romanticism to post-modernism, this course addresses art and its social context over the last two centuries in what is now the United States. Issues include patronage, audience, technology, and the education of the artist as well as style and cultural expression. Field trips.

Taking as a point of departure specific exemplary houses, both vernacular and high-style architectural forms are studied from the perspectives of the history of style, of technology and of social use. Both the class as a whole and the student research projects take a case-study approach. Field trips.

In-depth study of visual culture in America, from 1960 to the present day, with particular attention to theoretical issues and the intersections of art with the culture at large. Previous course work in history of art recommended.

A consideration of major issues in art of the early 20th century. May focus on a particular place and period (e.g., Art in Paris or 1900-1914) or on a major artistic problem (e.g., Abstraction and Figuration).

A consideration of major issues in art of the present day. Emphases may include conceptual, video, performance, installation and digital art, as well as painting, sculpture and experimental practices.

This course will take a close look at some of the art produced in Europe and America in the decades following the Second World War. In addition to painting, sculpture, and photography, we will also examine video, performance, and intermedia art. Of particular interest will be defining the balance of concerns demonstrated by artists during this time between form and content, abstraction and representation, and the intersection of their artworks with culture at large--including issues of technology, the body, commercial economy, and public space. Along with a wide range of images, our discussions will consider theoretical and critical texts.

The course examines a series of artistic formations and critiques of racial, ethnic, gender, class and religious identity among the diverse collection of individuals, cultures, and institutions that compose the United States. Material, formal, social, and political contexts will all be considered as we address a wide range of art practices and media.

In this course, students will examine how Latin American artists have utilized local indigenous traditions as well as global avant-grade innovations within the context of specific national histories and landscapes. Additionally, students will look at murals, painting, photography, printmaking, street actions, and new media from Colombia, Cuba, Guatemala, and Mexico, as well as contemporary Californian Chicano artistic practices.

This course presents the indigenous artistic traditions of parts of what is now Latin America, from the earliest monuments of the formative periods (e.g. Olmec and Chavín), through acclaimed eras of aesthetic and technological achievement (e.g. Maya and Moche), to the later Inca and Mexica (i.e. Aztec) imperial periods. Our subject encompasses multiple genre including painting and sculpture, textiles and metalwork, architecture and performance. More than a recitation of periods, styles, and monuments, the course will assess the varieties of evidence available for interpretations of artworks that were created in diverse social, religious, and political settings.

This course will consider museums from historical, practical, and contemporary ethical perspectives. We will visit four of the museums on the Berkeley campus, and from the various viewpoints of humanities, social science, and natural science, we will examine collecting, exhibition, research, and audience in the early 21st-century museum setting. The course will require reading, discussion, four short writing assignments, and one final exam.

The American forest will be examined in terms of its ecology, history, and representations in paintings, photographs, and literary essays. This examination seeks to understand the American forest in its scientific and economic parameters, as well as the historic, social, and ideological dimensions which have contributed to the evolution of our present attitudes toward the forest.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

An introduction to methods of digital imaging and computational visualization that are relevant to art historical investigation. Topics may include digital photography, modeling/rendering, and network visualization. Some background in art history desirable. For specific questions concerning preparation, please contact the instructor.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems that often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please consult individual instructor. Detailed descriptions of current and future offerings in this series available on arthistory.berkeley.edu.
Course may be repeated for credit when topic changes. Final exam not required.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Topics explore themes and problems, often reflect current research interests of the instructor, and supplement regular curricular offerings. Open to all interested students, including graduate students. Some background in art history desirable. For specific questions concerning preparation for a 190 course, please see individual instructor. Detailed descriptions of current and future offerings in this series available in 416 Doe Library.

Concentration on specific problems or works in a particular area of art history. Assigned readings, discussion, and a substantial paper. For specific topics and enrollment, see listings outside 416 Doe Library.

This seminar will look at specific case studies of the production and use of architecture, paintings, and quilting within specific communities in what is now the United States. We will look, for instance, at Shaker watercolors and design; Puritan painting and city planning; Amish, Hawaiian, and Hmong quilting; the ledger drawings and domestic structures of specific Native American groups; and the sacred architecture of the Hispanic southwest. Our timeframe spans four centuries but our "geographies" will be very focused. We will consider vernacular or folk production within the context of politics and economics as well as aesthetic and social theory.

Concentration on specific problems or works in a particular area of art history. Assigned readings, discussion, and a substantial paper. For specific topics and enrollment, see listings outside 416 Doe Library.

Concentration on specific problems or works in a particular area of art history. Assigned readings, discussion, and a substantial paper. For specific topics and enrollment, see listings outside 416 Doe Library.

Concentration on specific problems or works in a particular area of art history. Assigned readings, discussion, and a substantial paper. For specific topics and enrollment, see listings outside 416 Doe Library.

An introduction to digital modeling and rendering as forms of art-historical investigation. A series of case studies will allow students to explore the research possibilities presented by this new medium. Students will construct their own digital models as part of a research project.

Concentration on specific problems or works in a particular area of art history. Assigned readings, discussion, and a substantial paper. For specific topics and enrollment, see listings outside 416 Doe Library.

Concentration on specific problems or works in a particular area of art history. Assigned readings, discussion, and a substantial paper. For specific topics and enrollment, see listings outside 416 Doe Library.

Problems in American and British art, architecture, design of the 17th, 18th, 19th, 20th, or 21st centuries; art institutions, collecting, or related topics.

This undergraduate semiar examines the resurgence of craft within contemporary art and theory. In a time when much art is outsourced--fabricated by large stables of assistants--what does it mean when artists return to traditional, and traditionally laborious, methods of handiwork such as knitting, ceramics, or woodworking? Our readings will consider historical and theoretical questions of process, materiality, skill, bodily effort, gendered labor, and alternative economies of production.

This seminar will focus on a particular theme or corpus of art and visual culture from the Pre-Columbian, colonial, and/or modern and contemporary periods of areas of what is now Latin America. Topics will vary with each offering.

This seminar will focus on a particular theme or corpus of art and visual culture from a cross-cultural perspective within a modern context. Topics will vary with each offering. Assigned readings, discussion, and a substantial paper. For specific topics and enrollment, see listings outside 416 Doe Library.

Intended for advanced undergraduates wishing to continue research on topics already begun in a lecture or seminar or to pursue at a high level specialized topics not ordinarily covered in the curriculum. Usually results in a substantial paper. For general independent study see 199; for honors research, see H195.

Study and practical professional experience, usually for no fewer than 10 hours per week, involving a substantial project of a curatorial nature. Jointly supervised by a member of the professional staff of the participating museum and a faculty member. Internships ordinarily must be arranged well in advance; for further information, inquire at 416 Doe Library.

Directed study leading to the completion of the honors thesis. Consult the description of the Honors Program in Art History.

This course is the UCDC letter-graded core seminar for 4 units that complements the P/NP credited internship course UGIS C196B. Core seminars are designed to enhance the experience of and provide an intellectual framework for the student's internship. UCDC core seminars are taught in sections that cover various tracks such as the Congress, media, bureaucratic organizations and the Executive Branch, international relations, public policy and general un-themed original research.

This course provides a credited internship for all students enrolled in the UCDC and Cal in the Capital Programs. It must be taken in conjunction with the required academic core course C196A. C196B requires that students work 3-4 days per week as interns in settings selected to provide them with exposure to and experienc in government, public policy, international affairs, media, the arts or other areas or relevance to their major fields of study.

Students work in selected internship programs approved in advance by the faculty coordinator and for which written contracts have been established between the sponsoring organization and the student. Students will be expected to produce two progress reports for their faculty coordinator during the course of the internship, as well as a final paper for the course consisting of at least 35 pages. Other restrictions apply; see faculty adviser.

Instruction for a small group of students on a topic initiated by those students.

For students wishing to pursue an interest not represented in the curriculum by developing an individual program of study supervised by a faculty member. Study may involve readings, projects, papers, fieldwork, etc. For continuing or advanced research projects, see 193.

For students wishing to pursue an interest not represented in the curriculum by developing an individual program of study supervised by a faculty member. Study may involve readings, projects, papers, fieldwork, etc. For continuing or advanced research projects, see 193.