Overview of painting, sculpture, and architecture, produced in Europe and North America, with a, focus on work created between the 14th and 21st, centuries. Exploration of key theoretical, problems and ways of looking especially important, to the history of art. Multiple perspectives and, methods of analysis provided through lectures,, scheduled discussions, and museum field work. Key, monuments situated in a variety of contexts: the, role of art in religious and memorial practices;, the rise of the social status of the artist;, drawing as a form of thinking; art as a tool of, power and politics; art as constructor of gender, and identity; visual narrative; the potentials, and limitations of various technical media;, definitions of "modernism"; the uses of, "classicism."
Hands-on exposure to working methods of, contemporary visual artists from an, interdisciplinary perspective. Intensive studio, workshops and experimental exercises in, two-dimensional, three-dimensional, and time-based, media are accompanied by lectures, screenings,, readings, discussion, and off-campus events., Emphasis on inventive and exploratory approaches, to relevant issues of contemporary society and, culture.
Fundamentals of using oil paints through a the study of the human body. We address both, historical and contemporary contexts and include, specific approaches to figure painting such as, old master, alla prima, direct observation,, abstraction, color and pattern, and collage., Emphasis is on gaining technical proficiency with, paint handling, finding self-direction, and, identifying both contemporary and historical, precedents. Through short readings, slide, lectures and discussions, students will develop, and use critical language that addresses inherent, issues in figure painting including, representation, phenomenology,, post-structuralism, and feminism.
Exploration of the artistic traditions engendered, by the Buddhist faith as it originated in India, and migrated to other parts of Asia. We examine, the representation of Buddhist doctrine in a, variety of media, including architecture,, sculpture, painting, and illustrated books. In, addition, we consider European and American, responses to Buddhist art in the 19th and early, 20th centuries.
This course focuses on critical questions of, contemporary painting by exploring a variety of, approaches to pictorial space from 20th-century, modernism through postmodernism and contemporary, practice. Students will strengthen technique and, material knowledge of working in oil paints,, identify individual working processes, expand, critical language through discussion and readings, and develop a significant and informed body of, work.
Examination of art produced during China's last, imperial dynasty and Republican era (1644-1949),, with a focus on art created in four cities:, Beijing, Suzhou, Guangzhou, and Shanghai. Among, other topics, we consider the artistic, conventions and religious beliefs of the Manchu, court, the influence of European and American, trade on Chinese visual culture, and the effects, of new reproductive technologies, such as, photography, on Chinese art.
Italian Renaissance art and architecture from, 1300 to 1550. The working practices of artists;, the changing social status of the artist;, developments in artistic theory; the cultural, engagement with classical antiquity; the crisis, in religious art in the context of the, Reformation; controversies of conservation (for, example, the cleaning of the Sistine Chapel); the, problems of visual narrative; conflicting, interpretations of Christian iconography;, representation of gender, among other themes.
This course presents students in painting with, the structure and tools needed to conduct, original research and develop individual projects, at the advanced painting level. Students will, focus on developing a semester-long cohesive body, of work through a series of advanced problems in, concepts and material. Students produce writings, and engage with texts for each of the projects., May be taken twice for credit.
This course explores how Dante's Divine Comedy was deeply influenced by the visual culture of his time and the poem’s profound impact on the visual arts to this day. Students will read the entire Divine Comedy and explore visualizations of the poem created in a variety of media from the 14th century to the present time. We will examine theoretical problems of verbal language and its relation to imagery, considering “visualization” in a variety of ways. Pictorial responses to the poem will be considered on their own terms, but also for how they might offer a commentary or a series of perspectives on Dante’s incredible poem. A key theme to be explored is the way artists use one story to tell other stories. Other important themes will be: translation as a form of representation; representing the un-representable; Dante’s somatic wisdom; Dante’s imagery of exile; how and why Dante appeals to such a wide variety of readers and audiences.