Art and Art History
(For 2016–2017 academic year)
Professors Godfrey (Chair), Kaimal, McVaugh, Schwarzer, Stephenson
Associate Professors Guile, Marlowe
Assistant Professors Lane, Luthra, Maroja, Moure Cecchini
Visiting Assistant Professor Clark
The Department of Art and Art History offers courses of study in the history, theory, and practice of the visual arts for the general liberal arts student as well as the major in either art history or studio art.
The department offers more than 20 courses that trace the visual arts from antiquity to the present day. Class lectures are supplemented by visits to museums in the area and in New York City, as well as Colgate’s Clifford Gallery, Picker Art Gallery, and Longyear Museum. In this way, students increase their understanding of the visual arts as expressions of fundamental cultural values.
Courses explore creative modes of expression and problem solving while gaining familiarity with contemporary issues in visual art. The curriculum supports a variety of mediums including digital art, drawing, painting, photography, printmaking, sculpture, and video art at the introductory and advanced levels. Studio arts courses are enriched by an ongoing series of visiting artists’ lectures, exhibitions, and screenings as well as regular visits to New York City galleries, museums, and artists’ studios.
The Clifford Gallery
This is a teaching gallery that features approximately six exhibitions a year. Exhibitions are selected by the art and art history faculty to provide examples of work executed in a variety of media that demonstrate issues originating in the academic curriculum. The primary focus is the display of professional work by contemporary artists. These artists are often featured in the weekly public lecture series. The Clifford Gallery is open to the entire community and contributes to the cultural life of the central New York area.
The Department of Art and Art History Lecture Series
Lectures take place every other week in Little Hall’s Golden Auditorium. The series features presentations by studio artists, art historians, and critics, and serves as an arena for discussion of a wide range of subjects relevant to the study of the visual arts. Recent participants have included art historians and practicing sculptors, painters, film and video makers, printmakers, photographers, architects, and artists working in digital art and performance. The series is required as part of the curriculum and is open to the community.
The Alternative Cinema Series
Screenings take place weekly on Tuesday evenings. This is a series of films and videos ranging from “classic” cinema to the current avant garde. Each semester several film/video makers, historians, or curators visit campus and present work in person for the series.
Creative Arts House
The art and art history department joins with the English and music departments in sponsoring a college house devoted to promoting student activity in the arts.
The Picker Art Gallery
This professional gallery maintains the Colgate University collections, including some 11,000 works from a wide range of cultures and historical periods. Although it is not part of the Department of Art and Art History, the Picker Art Gallery provides an important resource to students, faculty, alumni, and friends of Colgate through exhibitions and sponsorship of the Friends of the Visual Arts.
The Longyear Museum of Anthropology
For a full description, please see “Sociology and Anthropology.”
Students anticipating graduate work in architecture should be aware that liberal arts experience is highly valued by the best graduate schools. To prepare for graduate work in architecture, it is essential to take PHYS 105 or PHYS 111 and one semester of calculus. Experience in studio courses, especially drawing (ARTS 211), sculpture (ARTS 263 or 264), and architecture studio (ARTS 271) is extremely valuable in the preparation of a graduate portfolio. The study of historical architecture and the ways in which architecture connects to society is promoted in many art courses such as ARTS 207, 216, 220, 226, 275, 277, 344, 360, and 372. Finally, experience in environmental studies courses is very relevant to graduate architectural applications work. Students interested in careers in architecture should contact the architecture adviser, Professor Carolyn Guile.
A student who completes the major program earns a degree in art and art history. A GPA of C (2.00) in combined studio courses and art history courses is required of all majors. Only one course below a C– will be accepted for the major.
All majors must meet one of the following sets of requirements:
Art History Emphasis
- ARTS 100 and one 200-level studio art course.
- One 100-level art history course.
- Five 200- or 300-level art history courses; at least one 300-level course must be completed by the end of the junior year.
- Within the requirements 2 and 3 above, each student must take at least one course that addresses each of the following periods:
- Art prior to 1300: 101, 103, 206, 207, 208, 244, 344, 381
- Art from 1300–1800: 102, 216, 220, 225, 226, 245, 246, 249, 311, 333, 360, 382
- Art after 1800: 107, 110, 235, 236, 238, 239, 248, 250, 275, 277, 287, 339, 370
- ARTS 475, Senior Project, to be taken in the fall of the senior year.
- Either ARTS 491 (honors) or one additional art history course at the 200- or 300- level.
Studio Arts Emphasis
- ARTS 100 (prerequisite for all 200-level studio art courses).
- Three 200-level studio art courses in different media.
- ARTS 375 (must be taken before the fall of the senior year)
- ARTS 339 (must be taken before the fall of the senior year)
- Two courses in art history in a least two different areas listed below. One may be at the 100-level if taken in the first two years
- Art prior to 1300: 101, 103, 206, 207, 208, 244, 344
- Art from 1300–1800: 102, 216, 220, 225, 226, 245, 246, 249, 311, 333, 360
- Art after 1800: 107, 236, 238, 239, 248, 250, 275, 277, 287, 338, 339, 370
- One elective course in studio at the 200 or 300
- ARTS 406, Senior Project, to be taken in the spring
of the senior year.
Minor Program in Art and Art History
A minor program in art and art history consists of six courses including at least two 100- or 200-level studio courses and at least two 200- or 300-level art history courses in two different periods:
a. Art prior to 1300: 101, 103, 206, 207, 208, 244, 344
b. Art from 1300 to 1800: 102, 216, 220, 225, 226, 245, 246, 249, 311, 333, 360
c. Art after 1800: 107, 110, 236, 238, 239, 248, 250, 275, 277, 287, 338, 339, 370
One 100-level art history survey may be counted if taken before the end of the sophomore year. No independent studies courses may be counted toward fulfillment of requirements for the minor program.
Minor Program in Museum Studies
The Department of Art & Art History also offers an interdisciplinary minor in Museum Studies, overseen by an Advisory Board that includes members from Art and Art History, Sociology and Anthropology, History and the University Museums. Courses in Museum Studies may address a range of topics, including actual museums (their histories, architecture, operations, politics, ethics, etc.), collective memory, institutional critique, cultural heritage and/or property, or public history. Courses may also count toward the program if a substantial part of their pedagogy is object-based.
The minor program consists of 5 courses and a practicum (see below). All 5 courses may come from the core course list, or 4 from the core course list and 1 from the elective list. One of the core courses must be at the 300-level. The five courses must include selections from at least two of the core Museum Studies departments (Art & Art History, Sociology & Anthropology, and History). If a student majors in Art & Art History, Anthropology, or History and minors in Museum Studies, only one course may count toward their major and the Museum Studies minor. A student minoring in Museum Studies may petition the Advisory Board to have a course not included on the list below count toward the degree if the course addresses one or more of the themes noted above.
Museum Studies Core Courses
- ANTH 103, Introduction to Archaeology
- ANTH 244, Who Owns Culture?
- ANTH/ARTS 248, African Art
- ANTH/ARTS 249, Art and Architecture of the Ancient Americas
- ANTH/ARTS 250 Native Art of North America
- ANTH 253, Field Methods and Interpretation in Archaeology
- ANTH 300, Museum Studies in Native American Cultures
- ANTH 356, Ethical Issues in Native American Archaeology
- ARTS 370, Critical Museum Theory
- HIST 251, The Politics of History
- other courses at the Advisory Committee’s discretion
- ARTS 226, Nature’s Order: Baroque Art 1550-1750
- ARTS 240, Art and Theory Since 1960
- ARTS 244, Temples, Caves, and Stupas (The Art and Architecture of India before 1300)
- ARTS 246, Pictures in China and Japan
- ARTS 344, Hindu Temples: Architecture and Sculpture, Architecture as
- CLAS 401, Senior Seminar in the Classics
- CORE 108S, The Story of Colorants
- CORE 118S, Gems
- CORE 189C / ALST 201, Africa
- FSEM 138/CORE 111S, The Artful Brain: An Exploration in Neuroaesthetics
- FSEM 163, The Seven Wonders of the Ancient World
- FSEM 192, Lost Stories of the Amazon
- GEOG 317, Dispossession, Dislocation and Disease: Geographies of Population Vulnerability
- GEOG 319, Population and Environment
- GEOL 201/201L, Mineralogy
- GEOL 202/202L, Petrology
- GEOL 215/215L, Paleontology of Marine Life
- GEOL 302/302L, Stratigraphy and Sedimentation
- GEOL 310, Environmental Economic Geology
- HIST 313, Upstate History
- PCON 355, Rwanda Since the 1994 Genocide
- PHIL 330, Aesthetics and the Philosophy of Art
- WRIT 210, The Rhetoric of Style
- WRIT 340, Visual Rhetorics
- other courses at the Advisory Committee’s discretion
The Practicum in Museum Studies is an opportunity for students to gain hands-on experience in a non-profit museum, gallery, cultural center, or historical society. This may take the form of paid or volunteer work or an internship, and must be at least 140 hours in duration. It is expected that the practicum will deepen the student’s understanding of a substantive aspect or aspects of the institution’s operations through work in a department such as Curatorial, Development, Education, Collections Management, Communications, or Archives.
The practicum requirement can be satisfied by an internship at the Picker Art Gallery or Longyear Museum of Anthropology during the academic year or over the summer, or at any other suitable museum during the summer. Students who wish to fulfill this requirement at an off-campus institution are required to submit a Practicum Pre-Approval Form in the semester prior to starting that work and must identify the supervisor who will complete an evaluation form upon completion of the program. These forms must be submitted to the Director of Museum Studies, who will notify the Registrar when this requirement for the Minor has been fulfilled. Financial support for internships is available through Colgate’s Summer Funding, but students should be aware of the competitive nature of these grants and of their early deadlines (usually in late February; for more information and specific deadlines, visit colgate.edu/campus-life/career-services/jobs-and-internships/summer-funding.
Colgate’s Upstate Institute can help students identify ways to fulfill the Museum Studies practicum requirement in central New York. The Upstate Institute supports community-based research through the Summer Field School, and can help place students as full-time paid research Fellows with institutions in the region such as the Munson Williams Proctor Institute, Everson Museum of Art, Oneida County Historical Society, Oneida Community Mansion House, Adirondack Museum, Iroquois Indian Museum, Fenimore Art Museum, the Shako:wi Cultural Center, the Corning Museum of Glass, and the National Abolition Hall of Fame in Peterboro. For more information visit the Upstate Institute website for more information on these opportunities at upstate.colgate.edu
Students should also consult with their Museum Studies minor advisor about the various ways this requirement can be fulfilled, and about opportunities that best meet the individual needs and interests of the student.
Honors and High Honors
The award of honors in art and art history is dependent on departmental evaluation of work done as a senior project and the student’s GPA.
- Senior Project: Every major undertakes a senior project
(ARTS 406 or 475) in the spring of the senior year.
Upon completion, the project may be nominated for departmental honors. If nominated,
the project is prepared by the senior for public presentation. Following that
presentation, faculty decide whether the project is worthy of honors. Honors will be
conferred only on work of outstanding quality, while high honors will be awarded only
to exceptional work of highest distinction.
- Studio: The public presentation of studio work nominated for honors entails professionally exhibiting the work developed during the senior project. On the occasion of that exhibition, the student gives a gallery talk.
- Art History: The public presentation of art historical work nominated for honors entails an illustrated lecture based on the research completed during the senior project.
- GPA Requirements: Honors — 3.20 in courses
within the department and 3.00 overall; High Honors — 3.70 in
courses within the department and 3.00 overall.
Awards See “Honors and Awards: Art and Art History” in Chapter VI.
Advanced Placement and Transfer Credit
Advanced Placement (AP) is granted in art history and in studio art. Departmental credit for ARTS 102
is granted in art history for a score of 4 or 5 on the AP art history exam. Departmental credit for ARTS 100
may be granted for a score of 4 or 5 on both
the AP studio art 2D and 3D design exams, subject to approval of the department based on a portfolio review. The portfolio must demonstrate competence in a variety of media and conceptual approaches.
The department allows two courses to be transferred for credit toward the major, with prior approval of the courses by the department. No more than one period requirement may be fulfilled by means of courses transferred and no seminar may be taken outside Colgate.
Students are encouraged to participate in study groups; they may not schedule off-campus study during the senior year. Study abroad must be scheduled around the seminar requirement in art history or the ARTS 339 requirement in studio art. For information, see “Off-Campus Study” in Chapter VI.
Course Offerings: Studio Arts
ARTS courses count toward the Human Thought and Expression area of inquiry requirement, unless otherwise noted.
100 Introduction to Studio Art
D. Godfrey, P. Lane, L. Luthra, L. Schwarzer, W. Shi, L. Stephenson, Staff
This class introduces creative thinking and problem solving, aspects of visual representation and expression and critical method. Concepts of contemporary and historical artistic practice and theoretical frameworks support a series of studio investigations that explore mediums and materials. ARTS 100 lays important groundwork for students interested in continuing on in studio art or concentrating in Art and Art History. In the spirit of the liberal arts, the visual thinking and creative processes central to the course are relevant to a range of other disciplines as well. Attendance at our regularly scheduled ARTS Lecture Series is required. Seniors may take this course only with permission of instructor . Material cost is $50–$100. This course is a pre-requisite for all 200 level studio courses.
201 Digital Studio: Animation, Image, and Sound Manipulation
An introduction to the computer as a medium for creating works of art. Each student completes a series of projects including digital print, animation, sound art, and interactive multimedia while learning the fundamentals of selected image and sound-processing programs. Completed projects are expected to reflect both rigorous concept development and technology proficiency. Students are encouraged to explore features of programs beyond the basics when necessary to individual project goals. The Little Hall Digital Studio is equipped with Macintosh computers. Previous Macintosh experience is helpful but not necessary. Prerequisite: ARTS 100.
202 Digital Studio: Making, Modeling, and Gaming
An introduction to software programming within the context of the arts. The course covers select relevant topics from a variety of current digital art practice. Such topics could include 3D modeling, gaming as a critical act, mapping, media archaeology, and digital interactions with the physical world or surrounding environment. The course selectively introduces students to widely used digital artist toolkits. Completed projects are expected to reflect both rigorous concept development and technology proficiency. Students are encouraged to explore features of programs beyond the basics when necessary to individual and group project goals. The Little Hall Digital Studio is equipped with Macintosh computers. Previous programming experience is helpful but not necessary. Prerequisite: ARTS 100.
211 Drawing I
D. Godfrey, L. Schwarzer, L. Stephenson
An introduction to drawing through a series of studio projects and slide lectures. The course addresses fundamental drawing skills and introduces a variety of media. The development of images is an integral aspect of the course. Observation, conceptualization, and expression are carefully considered. A variety of attitudes toward and approaches to drawings are examined. Both contemporary and historic work are included in this process. The student’s cost for materials is about $100. Seniors may take this course only with permission of instructor. Prerequisite: ARTS 100.
221 Video Art I
An introduction to the history, theory, and practice of video as a fine arts medium. Foundational skills in camera, lighting, sound, editing, and web publishing are introduced in hands-on labs and further developed through a series of video art production assignments, culminating in a final project. Students learn not only the technical skills required for video production, but how to engage with the form critically and creatively as they develop their artistic practice. Class time is divided between screenings, discussions, labs, and critique of student work. Equipment is provided by the department. Prerequisite: ARTS 100.
231 Painting I
An introduction to the study and practice of painting. Problems related to composition and the formal properties peculiar to this medium are investigated through both prescribed and self-directed studio assignments. Questions related to content and subject matter are explored in studio, class lectures, critiques, and visits by outside lecturers who share their professional expertise in studio art, art history, and art criticism. The student’s cost for materials is $150–$350. Seniors may take this course only with permission of instructor. Prerequisite: ARTS 100.
241 Photography I
An introduction to photography, this course covers use of the camera, exposure, film development, printing processes, and presentation. The orientation is toward photography as a creative medium; attention is given to form and concept as well as to technical quality. The student must provide a camera (35mm) with focusing, aperture, and shutter speed adjustments, and a light meter. The student’s cost for materials is $300–$500. Seniors may take this course only with permission of instructor. Prerequisite: ARTS 100.
242 Digital Photography
An introduction to digital photography, this course covers working with color, studio lighting, digital workflow, and inkjet printing. The orientation is toward photography as a medium of creative expression, within the domain of art. Thematic projects emphasize concept, as well as form and technique. Each student must provide a digital SLR camera with a manual control of focus, aperture, and shutter speed, and a light meter. The student’s cost for materials is $300–$500. Seniors may take this course only with permission of instructor. Prerequisite: ARTS 100.
251 Printmaking I
This course introduces a range of printmaking media. Students are expected to develop a series of prints based on studio research, an understanding of formal visual issues, and a carefully considered individual approach to the projects introduced in class. Historical and contemporary prints introduce a range of aesthetic concerns. The student’s cost for materials is about $150. Seniors may take this course only with permission of instructor. Prerequisite: ARTS 100.
263 Sculpture: Surface and Form
This course introduces, through a series of directed projects, basic sculptural concepts and processes, both analog and digital, in a contemporary critical context. There is a focus on understanding form and space through direct modeling, digital design and scanning, 3D printing, moldmaking, and additive techniques. Seniors may take this course only with permission of instructor. Prerequisite: ARTS 100.
264 Sculpture: Material and Process
This course introduces, through a series of directed projects, basic sculptural concepts and processes, both analog and digital, in a contemporary critical context. There is a focus on a range of processes — construction, casting, welding, digital design, 3D printing — and materials — wood, plaster, metal, and plastics. Seniors may take this course only with permission of instructor. Prerequisite: ARTS 100.
271 Architectural Design I
This studio-based course introduces students to the basic elements of architectural research and design. Beginning with basic exercises in the construction and arrangement of all given shapes, students progress to increasingly more complex design challenges. They learn about programming, circulation, structure, and form in architecture. Design exercises are accompanied by regular lectures on relevant techniques and problems in architecture. Most importantly, students are challenged to address the social implications of the design factors and skills they focus on in this course. Priority is given to juniors, seniors, and students majoring in art and art history. Prerequisite: ARTS 100.
302 Digital Studio II
Digital Studio II builds on the aesthetic investigations and technical skills introduced in ARTS 201 or ARTS 202. Discussion, critical reading, and evaluation of contemporary works are incorporated into the course. Students create advanced works of art that demonstrate a significantly more sophisticated use of both theoretical and technical aspects of digital art. All equipment is provided by the department. Prerequisite: ARTS 201 or ARTS 202.
312 Drawing II
The fundamental skills and the various approaches introduced in ARTS 211 form the basis for ARTS 312. Additional modes of expression, approaches to image making, and drawing technique are introduced. Working at this level presupposes a willingness to synthesize information and work with more sophisticated problems and solutions. Slide lectures, discussions, and individual research are incorporated into the class. Sustained energy and commitment are expected, as is the continued development of a personal aesthetic. The student’s cost for the materials is $150. Prerequisite: ARTS 211.
322 Video Art II
This course is an extension of ARTS 221. Students are expected to make one or two works of art in video. These individual projects should reflect, upon completion, a level of sophistication that supersedes the project executed in ARTS 221. All equipment is provided by the department. All students enrolled in the course are required to attend the Tuesday evening Alternative Cinema series. Prerequisite: ARTS 221.
332 Painting II
This course is a continuation of ARTS 231 and is designed for the advanced study of painting. The class is directed through assigned projects, lectures, and independent studio hours, and is supported by individual and group critiques. Directed assignments develop increased technical proficiency and an understanding of formal issues of painting, while research and experimentation in both traditional and nontraditional media aid students in the process of defining a conceptual focus and refining a body of work based on these ideas. The student’s cost for materials is $150–$300. Prerequisite: ARTS 231.
342 Photography II
This is an intermediate-level course in photography that includes lecture-demonstrations, discussions, critiques, and studio, field, and lab work. Assignments are structured to reinforce foundations and introduce color material as well as specialized techniques in image control and manipulation. The course enables and encourages the student to use the camera and photographic processes and imagery as investigation and expression. Integration of a sophisticated conceptual framework with technical skills and a personal vision is encouraged. The student’s cost for materials is $300–$500. Prerequisite: ARTS 241.
364 Sculpture II
As an intermediate-level offering, this course introduces the use of a more advanced range of conceptual and technical tools involved in the making of sculpture. Seminar discussions on selected readings and group and private critiques encourage the student to attain greater independence in the execution of assigned projects. The student’s cost for materials is about $175–$200, which includes a required $100 lab fee. Prerequisite: ARTS 263 or ARTS 264.
375 Advanced Projects in Studio Art
This course explores specialized themes as they relate to the interdisciplinary practice of art, not restricted to a single medium or media. This interdisciplinary approach, with students working in different media and forms, complements and combines disciplinary rigor in preparation for independent work that is firmly grounded in a broader context of ideas, reception and execution. Required of all Studio Art concentrators. Must be taken before the fall of senior year. Prerequisite: Any 200- or 300-level studio art course, or permission of instructor.
405 Issues in Recent Art
This is a course in interpretation and criticism of contemporary art, with particular attention paid to the impact of social and political events on the visual arts. A wide range of media is examined, including painting, sculpture, film, video, performance, conceptual, and post-conceptual art. All majors with a studio emphasis are required to take ARTS 405, which must be completed prior to enrolling in ARTS 406. It is also open to non-majors with permission of instructor. Offered fall term only. Prerequisite: ARTS 339.
406 Senior Project: Studio Art
The student works closely with a faculty member to develop and realize a body of studio work suitable for presentation that serves as a capstone for the major. Students meet twice a week as a group to critique work in progress. These critiques are led by the senior projects professor and include the critical language acquired during the previous term in ARTS 405. Work from the project is shown as part of a senior exhibition at the end of the term, and nominations for departmental honors are based on the quality of the work done. All majors with a studio arts emphasis are required to take and complete ARTS 406 in the spring of the senior year. Prerequisite: major in studio arts, ARTS 405, or permission of instructor. Offered spring term only.
291, 391, 491 Independent Study
The department offers intensive work to qualified sophomores, juniors, and seniors. Appropriate background and permission of instructor are required.
Course Offerings: Art History
101 A Survey of Western Art to the 14th Century
This course traces art from the prehistoric period to the Early Renaissance in Europe and the Middle East with emphasis on both style and cultural context. The arts of ancient Egypt, Greece, Rome, Islam, and the Middle Ages are included. This is also an introduction to the discipline of art history, training students for more advanced art history courses by teaching basic vocabulary and techniques of close looking and analytical thinking about visual material.
102 Survey of Western Art from the Revival of Antiquity to Revolution
This is a survey of Western art from the beginnings of the European engagement with Greco-Roman antique heritage as well as the pictorial exploration of naturalism, through the establishment of art academies to codify traditions and modes of representation, to the attempts to overturn tradition and canon during the era of revolution. Students view pan-European works from the Renaissance, Baroque, and Neoclassical periods. The course is also an introduction to the discipline of art history, training students for more advanced art history courses by teaching basic vocabulary and techniques of close looking and analytical thinking about visual material.
103 The Arts of Asia before 1300
This course introduces students to the methods of art history through the architecture and sculpture of ancient Asia, from prehistory to the 13th century in places now called Afghanistan, China, Cambodia, India, Iran, Iraq, Japan, Korea, Indonesia, Pakistan, and Saudi Arabia. Lectures, discussions, and readings proceed in roughly chronological order, paying special attention to cultural concepts that flow and morph across Asia, such as Buddhism and Hinduism. Student work concentrates on the fundamental skills for more advanced art history courses: close and analytical looking, articulating visual responses through language, and understanding how historical and cultural contexts can shape the ways people make and see art.
105 Introduction to Architecture
An introduction to the history of architecture from pre-history to the present. The course secures student understanding of the range of ways human cultures have employed architecture over time. Global traditions of structure and spatial organization are explored, with close attention to precise architectural vocabulary. Historical styles, significant individual structures or complexes, basic principles of urbanism, and the relationship between theory and practice are all studied.
107 Survey of Western Art from the Age of Revolution to the Present
D. Hackbarth, R. McVaugh
This is a selective survey of Western art from the turn of the 19th century to the present. Major representative works are considered and students develop an understanding of artistic periods, including Romanticism, Realism, Impressionism, Post-Impressionism, and Modernism. The course is also an introduction to the discipline of art history, training students for more advanced art history courses by teaching basic vocabulary and techniques of close looking and analytical thinking about visual material.
110 Global Contemporary Art: New Geographies
This course focuses on art’s contemporary and shifting relationship to changes taking place in the world at large: the pressures and problems, as well as the possibilities that seem to come with globalization. It addresses the new sorts of geographies that emerge through processes of cultural encounter and movement, and the importance of addressing art, culture, and aesthetics on local, regional, and supra-national scales, with focused attention to particular works of art, artists, their markets, and audiences.
207 Roman Art
This course introduces students to some of the riches of Roman material culture, including painting, sculpture, architecture, coinage, and urbanism, from the 6th century BCE to the 6th century CE. Despite this broad timeframe, the aim is not exhaustive chronological coverage. Rather, the course focuses on the social and political contexts that generated the production of artworks in the Roman world. Students explore the question of how these works’ formal qualities met the needs of ancient consumers.
208 Barbarians and Empires
A study of art and architecture in Western Europe and the Mediterranean world from the origins of Christianity to the late 11th century. Themes include the heritage of classical art, its transformation through contact with northern barbarian culture, its survival in the Byzantine Greek Empire, and the imperial art of the new northern Holy Empire.
216 Nature’s Mirror: Renaissance Arts 1400–1550
This course considers painting and sculpture of Southern Europe ca. 1400–1550, examining major artists and regional practices within their social, political, and cultural settings. Themes include the development of linear perspective, the inheritance and interpretation of classical tradition, technologies of art, Renaissance “self-fashioning,” and narrative strategy as approached through visual analysis, primary source readings, and recent critical literature.
220 Early Modern European Architecture
European architectural history and theory ca. 1400–1750. Through the categories of typology, morphology, theory, and site, the course examines major monuments and monument complexes in their social, political, and cultural settings. Recommended for students wishing to prepare themselves for advanced studies in architecture. Geographic focus varies across semesters and includes Southern Europe, East-Central Europe, Northern Europe, and European colonies.
225 Renaissance and Reformation in Northern Europe
A study of painting, sculpture, manuscripts, and prints of the 15th and 16th centuries produced in the Low Countries, Germany, and France. The course concentrates on style developments and the changing religious and social context of works of art. Themes explored include the emergence of panel painting, new forms of devotional imagery, the role of symbols in the art of Van Eyck and Bosch, the impact of the Protestant Reformation, cross-influences between northern Europe and the Italian Renaissance, and the roles of Dürer, Holbein, and Brueghel in creating the humanistic Renaissance of the 16th century.
226 Nature’s Order: Baroque Arts 1550–1750
European painting and sculpture ca. 1550–1750 in its cultural, political, and social settings. Themes include the impact of the Counter-Reformation on the visual arts; Caravaggio and international Caravaggism; “realism” and “verisimilitude”; the intersection of mysticism, spirituality, and art; art and science; theatricality; art as propaganda.
236 European Realism and Impressionism
Realist and Impressionist tendencies shaped European art from the 1820s to 1880. Artists engaged everyday life in an environment transformed by industrialization, urbanization, and imperialism. Scientific developments prompted revaluations of traditional humanism, and artistic institutions responded to an expanding public. Finally, the crystallization of nationalism impinged on artistic subjects and audience. Artists from Daumier and Menzel to Monet, Morisot, and Whistler offer the framework for our study of European art of the period.
238 Early European Modernism: Post Impressionism to Abstraction
M.A. Calo, D. Hackbarth, R. McVaugh
This is a survey of major artistic movements in Western Europe from 1880–1920. The course examines problems of representation, abstraction, and modernism as they are exemplified primarily in painting and sculpture, with some consideration of photography, film, and the graphic arts. Artists include Cezanne, Rodin, Gauguin, Van Gogh, Picasso, Kandinsky, Matisse, and Duchamp.
239 Painting and Sculpture 1920–1960
D. Hackbarth, R. McVaugh
World war, totalitarianism, and revolution form the backdrop for this study of art and artists in Europe and the United States during the middle of the 20th century. The course begins with an examination of the challenges to rationalism raised by the Dada and Surrealists groups in the context of World War I and its aftermath. The course also considers the so-called “Return to Order” that coalesced as a reaction to the shifting political landscape of the interwar years. The reemergence and eventual dominance of abstract painting at mid-century is considered in relation to the theoretical formation of modernist criticism and the tensions of the Cold War.
244 Temples, Caves, and Stupas (The Art and Architecture of India before 1300)
This course begins with South Asia’s most ancient civilization (ca. 2500 BCE) and then tracks the classic forms of Buddhist stupas, rock-cut cave temples, early mosques, and the increasingly grand stone temples dedicated to the worship of Hindu gods. Elegant figures, carved in an aesthetic language that persists in Indian dance, guide visitors through these monuments, teaching them about the nature of the divine. Special attention in this course is devoted to analyzing elements that lend South Asian art its distinctive character.
245 Palaces and Paintings (The Art and Architecture of India since 1300)
As South Asian temple complexes expand, they become entire cities and they share the form of kings’ palatial fort-complexes. Expanding outward in concentric rings from their sacred, private cores, these temples and palaces, as well as garden-tombs and houses of government for the British Raj, create visions of divine transcendence on earth, transformative spaces where every visitor has a chance to engage with the ultimate order of creation. This course also explores the paintings made for the people who inhabited these palaces, with special attention to delicate Mughal portraits, impassioned love lyrics favored by Rajput princes, and spaces magically transformed by the presence of the sacred — Hindu, Jain, Buddhist, and Muslim. Special attention in this course is devoted to analyzing elements that lend South Asian art its distinctive character.
246 Pictures in China and Japan
A focus on East Asia’s pictorial arts — especially paintings and prints, but also film and new media — from prehistoric times through the 21st century. This chronological survey begins with China, switches to Japan after the mid-term break, and spends the last few classes comparing these regions and taking a longer view of each. Student work focuses upon close analysis of visual materials and scholarly essays, and on the challenges of integrating visual and verbal information. No prerequisites, but previous coursework in art history or Asian studies is helpful.
248 African Art
A study of the principal art styles of sub-Saharan Africa, this course gives attention to both the formal and cultural aspects of indigenous art. The manufacture and usage of art objects is examined within the contexts of local religious, social, and political systems, as well as within the larger framework of language and cultural areas. Traditional art styles are analyzed as products of both collective aesthetics and individual innovation. Attention is given to transmission of art forms from culture to culture and to the persistence of traditional art in the face of social change. This course is crosslisted as ANTH 248.
249 Art and Architecture of the Ancient Americas
This course examines the principal art styles of the pre-Columbian cultures of South and Middle America, while also considering their impact on the art of indigenous cultures of North America. Relying on archaeological and art historical sources, students discover the usefulness of art and architecture in reconstructing the cultures of the pre-Columbian past. The course also considers the relationship of art and architecture to the environment; the effects of migration, trade, warfare, and technological innovation on the development of art styles; and the use of art in maintaining social hierarchies, political institutions, and religious systems. This course is crosslisted as ANTH 249.
250 Native Art of North America
Relying on archaeological, art historical, and ethnographic sources, this course examines the principal art styles of the indigenous cultures of North America. The course explores such issues as the usefulness of art objects in reconstructing cultures of the past and as historical documents for living peoples; gender roles in art production; the relationship between art, technology, and utility; the use of art as educational tools, memory aids, and religious devices; the relative importance of tradition and innovation; and the role of contemporary art in Native North American life today. This course is crosslisted as ANTH 250.
275 American Campus Architecture
The American campus, a distinctive planning and architectural tradition, is the focus of this course. In the course of its study, students gain an overview of the evolution of American architecture from the colonial period to the present. Emphasis is on stylistic evolution of structures and the accommodation of shifting educational priorities in campus organization and planning. Analysis of the Colgate campus and its history is part of the course.
277 Modern Architecture from 1880– 1970
This course studies the emergence of a self-consciously modern architecture in European and the United States at the turn of the 20th century, follow its maturation in the interwar period, and explore its international proliferation following World War II. Students become familiar with many key buildings and architects as well as the theory associated with them.
287 History and Theory of the Cinema
This survey of the history of cinema examines all aspects of filmmaking, the development of cinematic language, and film theory in relation to intellectual thought in the 20th century. Emphasis is on the development of film analysis as well as individual visual thinking. All students enrolled in the course are required to attend the Tuesday evening Alternative Cinema series.
311 The Arts in Venice during the Golden Age
This course is crosslisted as MUSI 311. For course description, see “Music: Course Offerings.” Major credit by permission of the department.
333 The Origins of the Renaissance
The Italian Renaissance traces its origins to the birth of a mercantile urban society during the late Middle Ages, and to deep and pervasive artistic contacts with the Greek Byzantine civilization to the east. This course explores the art and architecture of the later 13th and 14th centuries (the duecento and trecento in Italian art), looking closely at urban churches, town halls, and civic patronage of religious art and architecture to identify what they reflect of a newly vibrant, middle-class secular culture.
339 Art and Theory since 1960
This course is a survey of international art movements since 1960 that questioned the definition of art, the status of the art object, and the role of the artist in the late 20th century. The concepts of modernism and postmodernism serve as points of departure for consideration of evolving modes of production and interpretation in art and criticism. Varied theoretical paradigms that have informed artistic practice since 1960 are examined in the context of rapid and radical social change, the emergence of new media, the pressures of mass culture on the visual arts, the breakdown of conventional artistic boundaries, and the explosive growth of the art market. The course concludes with an examination of the impact on the arts of post-colonial thinking and identity politics at the end of the century.
344 Hindu Temples: Architecture and Sculpture, Architecture as Sculpture
From rock-cut halls carved into cliffs to elaborately ornamented constructions with multiple interior spaces, the buildings that have housed worship of the Goddess Shiva, Vishnu, and other deities of the Hindu pantheon honor the ideals of the divine palace and of the silent caves embedded in a mountain. This course explores what characteristics the wide range of Hindu temples share, how they vary from one region to another, and how they changed from the 3rd century BCE to 12th century CE. What do they share with structures for Buddhist, Jaina, and Muslim worship? How did ritual shape buildings and sculpture, and can we reconstruct ritual from material remains?
This course examines the form and transmission of art and architecture in the eastern and southeastern borderlands of Europe from the 15th through the early 19th centuries. By focusing on early modern “cultural fault lines” between east and west, students study the ways in which traditions and identities particular to the area shaped visual expression. The course draws on examples chiefly from within the former Polish-Lithuanian Commonwealth, the Kingdom of Bohemia, the Holy Roman Empire, and the Venetian Republic. Students seek to understand what is particular about the arts and architecture in the borderlands, and by extension the impact of geography on visual culture.
E. Marlowe, Staff
Museums are didactic institutions which manifest implicit judgments about the structure of history and the value of culture. They are also political institutions, responsive to the priorities of the municipalities and private patrons that support them. In this course, students gain insight into the professional practices of museums, as well as their identity as cultural institutions that operate for the public good.
372 Great Cities: Urban Form and Meaning
D. Hackbarth, E. Marlowe
Cities function as series of forms and spaces that direct people’s movements and states of mind. Some urban forms arise unplanned, from patterns of usage and individual need. Some are planned to produce specific kinds of impact. Sometimes those plans succeed; always they remain to some degree unfinished. In all cases, the spatial arrangements of cities tell important stories that we cannot help but experience and that we can learn to understand. Each offering of the course focuses on a single city, such as London or Rome. Prerequisite: one 100- or 200-level art history course.
381, 382 Topics in Art History
This is an umbrella course designed to allow the department to better utilize the expertise of its Art History staff. The course explores specialized themes as they relate to the art of diverse cultures, geographical areas, and/or historical periods.
474 Issues in Art History
This course introduces students to the demands of advanced art-historical study through critical engagement with the methods employed by art historians working today. It also considers analytical approaches utilized by some of the founding figures of the discipline. The course is required of all senior art and art history majors. Offered fall term only. Prerequisite: one 400-level art history seminar.
475 Senior Project: Art History
The student works closely with a faculty member to develop and complete a substantive independent research paper. Nominations for departmental honors are based on the quality of the work. All majors with an art history or architectural studies emphasis are required to take and complete ARTS 475 in the spring of their senior year. Open to majors only. Offered in the spring term only.
481 Seminar in Art Prior to 1300
P. Kaimal, E. Marlowe
Prerequisite: appropriate 200- or 300-level course or permission of instructor.
482 Seminar in Art 1300 to 1800
C. Guile, P. Kaimal, C.A. Lorenz
Prerequisite: appropriate 200- or 300-level course or permission of instructor.
483 Seminar in Art after 1800
D. Hackbarth, R. McVaugh
Prerequisite: appropriate 200- or 300-level course or permission of instructor.
484 Seminar on Topical Theme in Art
Prerequisite: appropriate 200- or 300-level course or permission of instructor.
291, 391, 491 Independent Study
The department offers intensive work to qualified sophomores, juniors, and seniors. Appropriate background plus permission of instructor is required.