This advanced seminar will explore topics and issues relating to the history and iconography of the Roman emperors from Julius Caesar through Byzantium, the Carolingian and Ottonian emperors, and the Holy Roman Emperors of early modern Europe. On the iconographic side, we will consider portraiture in painting and sculpture, coins and medals, engravings, and other media. We will examine collections of imperial portraits and tombs intended as dynastic memorials, as well as other collections. We will consider the role of biography and biographic compilations, guidebooks, and other literary forms in education and in the promotion and propagandizing of individual emperors and imperial regimes. Last but not least, we will examine the continuation of imperial institutions and memories into the contemporary world.
T: 1:10 pm - 4:00 pm
This seminar examines how Americans visually experienced World War II and the early Cold War years. We will focus on how the fine arts related to government propaganda and mainstream popular culture. Students will consider Hollywood films, magazines, advertising, and radio, along with government posters, cartoons, and documentaries. We will also examine the rise of Abstract Expressionism, the resilience of representational realism, and the shift of the art world from Paris to New York. Additional themes will include the promotion of consumerism during mandatory rationing, the distance from the violence abroad, race and gender roles, and planning for the post-war world. Students will read a variety of primary sources and oral histories. Periodic film screenings and radio listening sessions are required. Prerequisite: ARHS 111, AMST 109, or permission of instructor.
W: 7:00 pm-10:00pm
This seminar serves as an introduction to the field of museum studies. Consisting primarily of readings, discussions, assigned papers, and special projects, the course will historicize the role of the museum, theorize the nature of the audience, and study the representation and display of different cultures. In the spring os 2018, the course will focus on “De Chirico and the Twentieth-Century Italian Artistic Experience,” and will culminate in an exhibition of the woodcuts by Bruno da Osimo (1888-1962). This course is cross-listed in the Italian Program, Modern Languages and Literature and students will get credit towards their Italian minor or major by doing the required work in the target language. Prequisites to ARHS 371 Museum Studies: ARHS 111 or equivalent; or ITAL 321 or equivalent; sophomore standing required.
This course examines narrative art in a wide variety of media, including painting, sculpture, photography, film, and the graphic arts. Looking at examples as diverse as graphic novels and delicate religious shrines, through study of visual narrative representation, class members will discover the motivations for creating visual histories, from those which explain the metaphysical, to those conveying every-day life and popular culture. Using Renaissance and Baroque art as a touchstone, we will juxtapose visual narratives from the 15th through the 20th centuries. The different contexts in which these works were produced, and a thematic rather than purely chronological focus, will provide a framework for the course. Technological advances in differing eras and locales will form part of our discussion, including issues of artistic derivation or transcendence of long-established narrative traditions, especially in film and globally-accessible digital media. Topics will include patronage, narrative theory, new media, image and text, gender representation, and the role of visual narratives in popular culture. Prerequisite: At least one Art History course at the 100-level (ARHS 110 or111) or 200 level, or a 4-5 on the AP exam.
Women in the early modern period were often constrained to specific roles, but within the dominant social structure women participated in artistic production in a wide variety of ways: as viewers of art, patrons of art, and more rarely, as makers of art. Often acclaimed and successful in their own lifetimes, the art historical canon mysteriously came to exclude artists such as Artemisia Gentileschi, Lavania fontana, Judith Leyster, and Sofonisba Anguissola. In recent decades, scholars have started to reexamine their worksand piece together their artistic personalities. The odds against a woman becoming an artist were formidable in Renaissance and Baroque Europe, but an increasing number of women were able to transcend dominant cultural expectations, demonstrating both technical skill and creative genius in the visual arts. This seminar will investigate women in art from the 15th through the 17th centuries, and discuss issues of gender in the formulation of cultural consciousness up to and including contemporary society.
The Byzantine Empire (330–1453) was a world filled with images—in gold, pearls, ivory, bloodstone, and tempera. Depictions of rulers, saints, and mythological creatures shared the spaces of churches, city squares, and private homes. They were exhibited on clothing and jewelry as ostentatious displays of wealth and as magical devices for protection. Byzantine sources preserve stories about images that spoke, changed colors, subdued armies, and traveled across the Mediterranean. This course will explore the many ways in which sacred and secular images operated within the Byzantine world. How did viewers perceive and interact with images in their daily lives? How were images empowered and given agency in the culture that they inhabited? We will study a wide range of objects—with a particular focus on those at the Cleveland Museum of Art—and read primary sources that illuminate the complex relationships between Byzantine viewers and images. Prerequisites: ARHS 110, ARHS 114, or equivalent.