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Professors: Nicholas Adams, Eugene A.
Carrollab, Frances D. Fergusson (and President),
Susan D. Kuretsky; Associate Professors: Peter
Charlap, Eve D'Ambrab, Peter Huenink, Karen
Lucic, Brian Lukacher (Chair), Molly Nesbitb,
Harry Roseman; Assistant Professor: Andrew
Watskyab; Senior Lecturer: Jeh Johnson;
Lecturers: Francesca Consagra (Curator of Prints and
Drawings, Frances Lehman Loeb Art Center), James Mundy
(Director, Frances Lehman Loeb Art Center).
ab Absent on leave for the year. b
Absent on leave, second semester.
Requirements for Concentration in Art History: The
major consists of a minimum of 12 units. 10 units, including
Art 105-106, must be in graded art history courses taken at
Vassar. 2 units may be taken in studio art and/or
architectural design, or may be transferred from work
completed outside of Vassar, such as courses taken Junior
Year Abroad.
Distribution: 6 units must be divided equally
between groups A, B, and C. 1 unit in group D (African or
Asian) may be substituted for a unit from any of the other
three groups and 1 unit taken JYA may also be applied to
meet this distribution requirement. 3 units must be in
300-level art history courses: two seminars in different art
historical groups and 301 (senior project). 300-level
seminars are to be selected on the basis of courses in the
same area already taken on the 200-level. Majors are also
urged to take a 300-level seminar before 301.
A) Ancient B) Renaissance C) Nineteenth Century D)
Asian
A) Medieval
B) Seventeenth
C) Twentieth Century
D) African
B) Century
C) American
Departmental and interdisciplinary courses that do not
conform to the groupings listed above may be applied to the
distribution requirements upon approval of the student's
major adviser.
Ungraded/NRO work may not be used to satisfy the
requirements for the art history concentration.
Senior Year Requirements: Art 301 and 1 additional
unit at the 300-level. Majors concentrating in art history
are required to write a senior paper, based upon independent
research and supervised by a member of the department.
Petitions for exemption from this requirement, granted only
in special circumstances, must be submitted to the chair in
writing by the first day of classes in the A semester.
Recommendations: The selection and sequence of
courses for the major should be planned closely with the
major adviser. Students are advised to take courses in the
history of painting, sculpture, and architecture, and are
strongly encouraged to take at least one studio course.
Students considering graduate study in art history are
advised to take courses in foreign languages: German, and
the Romance, Classical, or Asian languages, depending on
areas of interest. Students with special interest in
architectural design and/or city planning should meet with
the departmental adviser to discuss this concentration.
The art department offers a correlate sequence in art
history to allow students to develop an area of significant
interest outside their major field of concentration. In
consultation with a departmental adviser, the student will
select a body of courses encompassing introductory through
advanced study and covering more than one historical
period.
The Correlate Sequence in Art History: 6 graded
units including Art 105-106, three 200-level courses in at
least two art historical period groups, and one 300-level
course.
Advisers: the art history faculty.
Requirements for Concentration in Studio Art: 13
units; 4 units must be in graded art history courses,
consisting of Art 105-106 and two 200-level courses in
different groups (A, B, C, or D) listed above; 9 studio
units, 7 of which must be graded units taken at Vassar,
including Art 102-103; 4 units in 200-level studio courses,
of which 2 must be Art 204-205 and 2 must be in sequential
courses in painting, drawing, or printmaking; 3 units in
300-level studio courses including Art 301. By special
permission up to 2 units of 298 and 399 work can be included
in the major.
Senior Year Requirements: Art 301 and 1 additional
unit at the 300-level.
Studio Art: Entrance into the studio concentration
is determined by evaluation of the student's class work and
by a review of the student's portfolio by the studio
faculty. The portfolio may be submitted for evaluation at
any time, ordinarily between the spring of the sophomore
year and the spring of the junior year. Students taking
studio courses are charged a fee to cover the cost of some
materials, and they may be responsible for the purchase of
additional materials.
Students who wish to concentrate in studio art are
advised to take Art 102-103 in their freshman year and at
least one additional studio course in the sophomore year in
order to have a portfolio of work to be evaluated for
admission to the studio art concentration. Those students
interested in the studio concentration should consult the
studio faculty no later than the end of the sophomore year.
NRO work may not be used to satisfy the requirements for the
studio concentration.
Advisers: the studio art faculty.
Art History
I. Introductory
105a-106b. Introduction to the History of Art
(1)
An historical and analytical introduction to
architecture, sculpture, and painting. The department.
Open to all classes. Enrollment limited by class.
Three 50-minute periods and one conference hour.
170a. History of Architecture (1)
A survey of architecture from the earliest times to the
present. Focusing on a major work or theme each week, the
course will cover architecture and city-making in a
historical context. Primary source readings and field trips.
Mr. Adams.
Open to all classes.
[190a. Images and Ideas: Exploring the Sense of
Sight] (1)
An exploration of how various notions of seeing (as
perception, as recognition, as revelation) have been treated
in the visual arts and in literature. Class meetings take
place in the Frances Lehman Loeb Art Center so that students
may make regular use of Vassar's extensive art collection.
Ms. Kuretsky.
Open to freshmen. Limited enrollment.
Two 75-minute periods.
Not offered in 1999/00.
II. Intermediate
Prerequisite for intermediate courses: Art 105-106 except
as noted.
[210b. Greek Art and Architecture] (1)
(Same as Classics 210). Sculpture, vase painting, and
architecture from the Archaic and Classical periods, with
glances back to the Bronze Age and forward to the
Hellenistic kingdoms. Stylistic developments leading to the
ideal types of hero, warrior, athlete, maiden, etc. are
central to the course, along with the mythological subjects
that glorified the citystate and marked religious cults and
the rituals of everyday life. Ms. D'Ambra.
Prerequisite: Art 105-106 or Classics 216 or 217, or by
permission of instructor.
Not offered in 1999/00.
211a. Roman Art and Architecture (1)
(Same as Classics 211) Sculpture, painting, and
architecture in the Roman Republic and Empire. Topics
include: the appeal of Greek styles, the spread of artistic
and architectural forms throughout the vast empire and its
provinces, the role of art as political propaganda for state
and as status symbols for private patrons. Ms. D'Ambra.
Prerequisite: Art 105-106 or Classics 218 or 219, or by
permission of instructor.
220a. Romanesque and Gothic Architecture (1)
A history of architecture from the revival of monumental
building by the Carolingians in the north of Europe down to
the age of the great cathedrals in the thirteenth century.
While it is a survey of mostly church architecture, coverage
extends to castles and cities. Topics explored include
Benedictine monasticism and the legacy of Rome; materials
and construction; design and structural innovations of
Gothic in the Ile-de-France; the castle in war; the city as
setting for cathedral builders. Readings focus on primary
sources and recent monographs. Videos and computer
animations. Mr. Huenink.
Prerequisite: Art 105-106, or Medieval Studies, or by
permission of instructor.
Two 75-minute periods.
221b. The Sacred Arts of the Middle Ages (1)
Sculpture, manuscript illumination, painting, and
metalwork from the Carolingian through the Gothic period
(800-1300). Focus is on formal and iconographic developments
in their historical context. Readings focus on primary
sources and writings on medieval aesthetics. Some work with
Vassar's collections and New York museums. Mr. Huenink.
Prerequisites: Art 105, or Medieval Studies, or by
permission of instructor.
Two 75-minute periods.
230a. Northern Renaissance Painting (1)
Early Netherlandish and German painting and printmaking
from Campin and van Eyck to Bruegel, Holbein, and
Dürer. The course examines northern European attitudes
toward nature, devotional art and portraiture that developed
in the early fifteenth century and their evolution up to and
through the Protestant Reformation of the sixteenth century.
Ms. Kuretsky.
Prerequisite: Art 105-106.
Two 75-minute periods.
231b. Dutch and Flemish Painting in the Seventeenth
Century (1)
An exploration of the new forms of secular and religious
art that developed during the socalled Golden Age of the
Netherlands in the works of Rubens, Rembrandt, Vermeer and
their contemporaries. The course examines the impact of
differing religions on Flanders and the Dutch Republic,
while exploring how political, economic and scientific
factors encouraged the formation of seventeenth century
Netherlandish art. Ms. Kuretsky.
Prerequisite: Art 105-106.
Two 75-minute periods.
235a. Early Central Italian Painting and Sculpture
(1)
The early Renaissance from Donatello and Masaccio to
Botticelli, Leonardo and the young Michelangelo. Instructor
to be announced.
Prerequisite: Art 105-106.
236b. Later Central Italian Painting and Sculpture
(1)
Renaissance painting and sculpture from Leonardo and
Raphael to the death of Michelangelo. Instructor to be
announced.
Prerequisite: Art 105-106; Art 106 may be a
corequisite.
242b. Seventeenth-Century Painting and Sculpture
(1)
in Italy, France, and Spain
An examination of the dominant trends and figures of the
Italian, French, and Spanish baroque period. This course
explores the works of major masters including Caravaggio,
Bernini, Poussin, La Tour, and Velazquez, as well as such
issues as the development of illusionistic ceiling
decoration, the theoretical basis of baroque art, and art's
subservience to the church and the royal court. Instructor
to be announced.
Prerequisite: Art 105-106.
250a. Inventing a Nation: Cultural Diversity in
American Art from the Beginnings to 1865 (1)
This course examines the arts of the prehistoric,
colonial, early republic, and antebellum periods. Important
figures include painters such as Copley, West, Mount, Cole,
and Church, and architects such as Jefferson, Bulfinch,
Latrobe, Davis, and Downing. In addition, we consider the
diverse and often overlooked contributions of women, Native
Americans, African Americans, and folk artists. Ms.
Lucic.
Prerequisite: Art 105-106.
251b. The Challege of Modernity: American Art
1865-1945 (1)
Painting, sculpture, photography, architecture, and
design during America's "coming-of-age'' as a cultural,
economic, and political power. The course examines the work
of such figures as Richardson, Sullivan, Wright, Homer,
Eakins, Cassatt, Sargent, Whistler, O'Keeffe, Hopper,
Stieglitz, Strand, and the artists of the Harlem
Renaissance. Ms. Lucic.
Prerequisite: Art 105-106.
253b. The Arts of Central, East and Southern Africa
(1)
(Same as Africana Studies 253b.) A survey of the visual
arts of Central, East, and Southern Africa, ancient to
contemporary. Chronological examination of the development
of politically centralized kingdoms. Examination of the art
of presentday decentralized rural and nomadic peoples from
Gabon to Ethiopia to South Africa, as well as contemporary
urban art from this broad region. Looks at the impact of
both Arab and European contact with African peoples from a
historical perspective. Emphasizes relationships between the
past and the present, the rural and the urban, and Africa
and the African Diaspora throughout. Ms. Thompson.
Prerequisite: 105-106, or one 200 level course in
Africana Studies or by permission of instructor.
254a. The Arts of West and North Africa (1)
(Same as Africana Studies 254a.) A survey of the visual
arts of West and North Africa, ancient to contemporary.
Chronological examination of the art of ancient Nubia and
Egypt, the empires of the Western Sudan, and the kingdoms of
the Guinea Coast. Examination of the art of presentday
decentralized rural and nomadic peoples from Morocco to
Guinea to Cameron, as well as contemporary urban art of this
broad region. Looks at the impact of both Arabic and
European contact with peoples of Africa from a historical
perspective. Emphasizes relationships between the past and
the present, the rural and the urban, and Africa and the
African Diaspora throughout. Ms. Thompson.
Prerequisites: Art 105-106, or one 200-level course in
Africana Studies or by permission of instructor.
257a. The Arts of China (1)
A historical survey of the major developments in Chinese
art from the Neolithic period through the Ch'ing dynasty,
including archaeological discoveries, bronzes, ceramics,
Buddhist sculpture, architecture, calligraphy, and painting.
Instructor to be announced.
Prerequisite: Art 105-106, or by permission of
instructor.
Alternate years: Offered in 1999/00.
[258a. The Arts of Japan] (1)
A historical survey of the major developments in Japanese
art from prehistoric times through the Edo period, including
painting, sculpture, decorative arts, architecture, and
garden design. Mr. Watsky.
Prerequisite: Art 105-106, or by permission of
instructor.
Alternate years: not offered in 1999/00.
[259b. Warriors, Deities and Tea Masters: Japanese
Art of the Momoyama Period (15681615)]
(1)
A survey of the arts during this brief yet pivotal
period, when artists and patrons in a newly redefined Japan
explored severaloften contrastingaesthetic ideals. The
course examines developments in a range of media, including
painting, architecture, ceramics, and lacquer. Some of the
themes treated are the tea ceremony, the first arrival of
Europeans, the workshop in Japanese art, and genre. Mr.
Watsky.
Prerequisite: Art 105-106, or by permission of
instructor.
Not offered in 1999/00.
[260b. Mirrors of Emperors, Vehicles of Pleasure:
Japanese Art of the Edo Period (16151868)]
(1)
A survey of the arts of this long period under warrior
rule. The role of the arts for the warrior rulers are
examined. This is a period when a newly affluent merchant
class emerged as significant patrons of the arts. The course
examines developments in a range of media, including
painting, architecture, ceramics, and lacquer. Mr.
Watsky.
Prerequisite: Art 105-106, or by permission
instructor.
Not offered in 1999/00.
262a. The Art of the First Half of the Nineteenth
Century (1)
A survey of major movements and figures in European art,
1789-1848, focusing on such issues as the contemporaneity of
antiquity in revolutionary history painting, the eclipse of
mythological and religious art by an art of social
observation and political commentary, the romantic cult of
genius, imagination, and creative self-definition, and the
emergence of landscape painting in an industrializing
culture. Mr. Lukacher.
Prerequisite: Art 105-106.
263b. The Art of the Second Half of the Nineteenth
Century (1)
A survey of major movements and figures in European art,
1848-1900, examining the realist, impressionist, and
symbolist challenges to the dominant art institutions,
aesthetic assumptions, and social values of the period; also
addressing how a critique of modernity and a sociology of
aesthetics can be seen developing through these phases of
artistic experimentation. Mr. Lukacher.
Prerequisite: Art 105-106.
264a. The Avant-Gardes, 1890-1930 (1)
The formation of the European avant-gardes is studied as
part of the general modernization of everyday life. Various
media are included: painting, sculpture, architecture,
photography, the applied arts, and film. Ms. Nesbit.
Prerequisite: Art 105-106.
[265b. Modernism and the Mass Media,
1930-1975] (1)
The history of modernist painting in Europe and America
from 1930 to 1975, together with those contemporary
developments in film, photography, and the mass media.
Special attention is paid to the criticism, theory, and
politics of the image. Ms. Nesbit.
Prerequisite: Art 105-106.
Not offered in 1999/00.
[270a. Renaissance Architecture] (1)
European architecture and city building from 1300-1500;
focus is on Italian architecture and Italian architects;
encounters between Italian and other cultures throughout
Europe and the Mediterranean. Mr. Adams.
Prerequisite: Art 105-106, or 170 or by permission of
instructor.
Not offered in 1999/00.
[271b. Early Modern Architecture] (1)
European and American architecture and city building
(1500-1800). Focus is on the development and transformation
of Renaissance ideas through their diffusion through Europe
and the Mediterranean and their encounter with new
exigencies in the Americas. Mr. Adams.
Prerequisite: Art 105-106, or 170, or by permission of
instructor.
Not offered in 1999/00.
[272a. Modern Architecture] (l)
European and American architecture and city building
(1800-1930) from the Industrial Revolution to World War II;
emphasis on the development of modernism in the work of
Walter Gropius, Le Corbusier, Mies van der Rohe, and Frank
Lloyd Wright. Mr. Adams.
Prerequisite: Art 105-106, or 170, or by permission of
instructor.
Not offered in 1999/00.
273b. Architecture After Modernism (1)
European and American architecture and city building
(1930-present); examination of the diffusion of modernism
and its reinterpretation by corporate America and Soviet
Russia. Discussion of the critiques of modernism
(postmodernism, deconstruction). Issues in contemporary
architecture. Mr. Adams.
Prerequisite: Art 105-106, or 170, or by permission of
instructor.
282a. Survey of AfricanAmerican Arts (1)
(Same as Africana Studies 282) This class serves as an
introduction to the artistic production of African Americans
in the U.S. from the colonial period to the present day. As
a class, we examine the multiple influences on (African,
European, American, etc.) and uses for black creative
expression. Working with an expansive conception of art, we
pay close attention to the work of formally and non-formally
trained artists in relation to their social, historical, and
aesthetic contexts. Ms. Collins.
Prerequisite: Art 105-106 or by permission of
instructor.
283b. Arts of the Ming Dynasty (1)
This lecture course explores the Ming Dynasty, a period
when much of what historians today regard as canonical in
Chinese art was crystallized. The focus is on painting, but
other arts such as ceramics, printed books, calligraphy, and
lacquer wares are also examined as related subjects.
Prerequisite: Art 105-106 or by permission of
instructor.
290a or b. Field Work (1/2 or
1)
Projects undertaken in cooperation with approved
galleries, archives, collections, or other agencies
concerned with the visual arts, including architecture. May
be taken either semester or in the summer. Open by
permission of a supervising instructor. Not included in the
minimum requirements for the major. The department.
Prerequisites: Art 105-106 and one 200-level course.
298a or b. Independent Work (1/2
or 1)
Open by permission of the instructor with the concurrence
of the adviser in the field of concentration. Not included
in the minimum for the major.
III. Advanced
Prerequisite for advanced courses: 3 units of 200-level
work or the equivalent. By permission.
300 a or b. Senior Paper Preparation
(1/2)
Optional. Regular meetings with a faculty member to
prepare an annotated bibliography and thesis statement for
the senior paper. Course must be scheduled in the semester
prior to the writing of the senior paper. Credit given only
upon completion of the senior paper. Ungraded.
301a or b. Senior Project (1)
Supervised independent research culminating in a written
paper.
[310b. Seminar in Ancient Art] (1)
(Same as Classics 310b.) Portraiture. A study of portrait
sculpture of Hellenistic rulers, Roman Republican dynasts,
and emperors with emphasis on the political roles of the
imagery. Topics include the question of the representation
of individuals versus types (the warrior, statesman, etc.),
the funerary functions of portraits and their significance
in preserving memory. Special consideration is given to
portraits of those less visible in ancient society (women,
children, and members of the lower social orders). Ms.
D'Ambra.
Prerequisite: permission of instructor.
One 2-hour period.
Not offered in 1999/00.
320b. Seminar in Medieval Art (1)
The Romanesque church of the Magdalene at Vézelay.
An investigation of the architectural and sculptural
programs of the abbey church, and a close reading of the
Vezelay Chronicle, written at Vézelay c. 1138-1161.
Clerical passions, comital raids, massing of pilgrims, theft
of relics, communal violenceall seen through the lens of the
Chronicleset the historical backdrop. Mr. Huenink.
Prerequisite: permission of instructor.
330a. Seminar in Baroque Art (1)
Topic and instructor to be announced.
Prerequisite: permission of instructor.
One 2-hour period.
331a. Seminar in Northern Art (1)
Sight and Insight in the Age of Observation. An
exploration of the Dutch fascination with vision and
visuality. The seminar examines sources of this
preoccupation in van Eyck, Bruegel, and Durer and its later
manifestation in seventeenth century art and thought. Among
other topics: the influence of the camera obscura on Vermeer
and his contemporaries, Rembrandt's narratives involving
sight or blindness, and the relationship between Dutch still
life painting and botanical illustration. Ms. Kuretsky.
Prerequisite: Special permission.
One 2-hour period.
332b. Seminar in Italian Renaissance Art (1)
Raphael: Grace and Grandeur. This seminar takes as its
subject the life and works of Raphael. His painting and
architecture is examined from a number of perspectives,
including his papal patronage and his legacy in the art of
followers.
Prerequisite: permission of instructor.
One 2-hour period.
358b. Seminar in Asian Art (1)
Chinese Modern Art and Its ties with Japan. This seminar
examines China-Japan relationship in the arts during the
period from around the turn-of -the-century to the eve of
WWII. Crises of identity brought on by the challenges of
modernism profoundly affected the Chinese view of art and of
the outside world, including Japan. Japan emerged as a
successful westernizer, a defender of Eastern culture, and
an imperializer at the same time.
Prerequisite: permission of instructor.
One 2-hour period.
362b. Seminar in Nineteenth-Century Art (1)
(Same as Art/Anthropology 384b.)
364a. Seminar in TwentiethCentury Art (1)
The World Picture. The seminar studies the contemporary
culture as a global condition. That there is no consensus on
this culture's definition enables us to explore different
critical possibilities, focusing on the concepts provided by
Deleuze. Students write seminar papers on the cross-cultural
work of contemporary artists, filmmakers, and architects
(for example, Matthew Barney, Gabriel Orozco, Rem Koolhaas,
Chris Marker, Pina Bausch, Rachel Whiteread, William
Kentridge, Jean Nouvel, Gary Hill, Bill Viola, Mona Hatoum,
Peter Eisenman, Gerhard Richter). Ms. Nesbit.
Prerequisite: Art 265, or by permission of
instructor.
One 2-hour session.
370b. Seminar in Architectural History (1)
(Same as Philosophy 370b.) Philosophy and Architecture at
the Millennium. The significance of architectural metaphors
such as ground, construction, edifice, and foundation within
the Western metaphysical tradition as well as the
philosophical statements articulated by twentieth century
architecture. These parallel lines of inquiry will travel
through a number of theoretical stationsmodernity and
postmodernity, foundationalism and antifoundationalism,
deconstruction and poststructuralismtrying to provide both a
remapping and a critical assessment of philosophy and
architecture at the millennium. (Readings/Buildings by
Eisenman, Tschumi, Gehry, Koolhaas, Hegel, Nietzsche,
Heidegger, Derrida, Deleuze.) Class registration is divided
between art and philosophy majors. Giovanna Borradori and
Nicholas Adams.
Prerequisite: permission of the instructors.
One 2-hour period.
378b. Seminar in Museum History, Philosophy, and
Practice (1)
This seminar addresses issues surrounding the role and
mission of the art museum in society. By highlighting each
year a specific topic regarding history, ethics,
connoisseurship, economic, or social issues, this course
attempts to clarify the purpose of presenting the public
with original works of art and the methods that invest this
exposure with meaning. Working with original works of art is
stressed.
Topic for 1999/00: The Museum Collection as a Social
and Political Statement. An historical view of the
museum as communicator of values of a particular time and
place from the founding of the Louvre in the eighteenth
century to Vassar's collection in the present day. Mr.
Mundy.
Prerequisite: permission of instructor; 3 units of
200-level art history.
Enrollment limited.
380a. Seminar in the History of Printmaking
(1)
History of the Print in Western Europe, 1480-1830.
Students learn the primary elements of connoisseurship by
studying original works of art in the important and
comprehensive print collections at the Frances Lehman Loeb
Art Center. They also investigate the industry of making and
selling prints in both northern and southern Europe as a
means to understand better the evolution of media and styles
during this period of 350 years. Ms. Consagra.
Prerequisite: permission of instructor.
One 2-hour period.
381b. Creativity and Politics in the Harlem
Renaissance and the WPA (1)
(Same as Africana Studies 381b) Focusing on the
experiences and representations of African Americans in the
U.S., this seminar examines the arts, institutions, and
ideas of the Harlem Renaissance of the twenties and New Deal
projects of the thirties and forties. Analyzing sculpture,
photographs, paintings, literature, "folk" arts, murals,
illustrations, manifestos, performances, and various systems
of patronage, we explore relationships between art,
politics, and society. Cultural workers we investigate
include: Meta Warrick Fuller, Alain Locke, W.E.B. Du Bois,
Winold Reiss, Nella Larsen, Aaron Douglas, Josephine Baker,
Archibald Motley, Doris Ulmann, James VanDerZee, Elizabeth
Catlett, Jacob Lawrence, William Edmondson, and FSA
photographers. Ms. Collins.
Prerequisite: permission of instructor.
One 2-hour session.
384a. Seminar in Nineteenth Century Art (1)
(Same as Anthropology 384) The Archive, the Museum, and
the Ruin: Conserving the Past in Modern Europe. Ranging from
the archive to the monument, from the tableau d'histoire to
the newspaper illustration, from the private museum to the
universal exposition, this course examines how the
historical past is reconstructed, represented and given
visual form as an object of knowledge during the nineteenth
and twentieth centuries. With focus on the metropolitan
cultures of Paris and London, the art historical component
of this course is concerned with different formations of
museological and commemorative space (poetic antiquarian,
natural historical, national collective), the inversion and
mutability of the genres in the nineteenth century French
and English art (history painting as genre painting,
contemporary reportage as history painting), and the
endurance of the cult of ruins from the romantic into the
postmodern periods. Mr. Lukacher and Ms. Goldstein
Prerequisite: permission of instructors.
One 2-hour session.
385b. Seminar in American Art (1)
(Same as American Culture 385b). Designing Nature:
Landscape Painting, Literature, and Gardens in Antebellum
America. This seminar examines the vital concern for
picturesque landscapeboth actual and fictivein American arts
of the early nineteenth century. The course investigates the
relationship of important innovators in landscape design,
such as Downing, to the literary and artistic works of Cole,
Durand, Irving, Emerson, Thoreau, and others. We also
explore the continuing impact of antebellum landscape
traditions at several representative sites in the Hudson
River Valley. Ms. Lucic, Mr. Peck.
Prerequisite: permission of instructors.
One 2-hour session.
399a or b. Senior Independent Work (1/2 or
1)
Open by permission of the instructor with the concurrence
of the department adviser in the field of concentration. Not
included in the minimum for the major.
Studio Work in Design, Drawing, Painting, Sculpture
I. Introductory
102a-103b. Basic Drawing (1)
Development of visual ideas through drawing. Line, shape,
value, form, and texture are investigated through specific
problems in a variety of media. Mr. Charlap; other
instructors to be announced.
Open to all classes.
Two 2-hour periods.
[108b. Color] (1)
To develop students' understanding of color as a
phenomenon and its role in art. Color theories are discussed
and students solve problems to investigate color
interactions using collage and paint. Mr. Charlap.
Open to all classes.
Not offered in 1999/00.
II. Intermediate
Prerequisites for intermediate courses: Art 102a-103b or
by permission of instructor.
202a-203b. Painting I (1)
Basic painting skills are explored through a sequence of
specific problems involving landscape, still life, and the
figure. Instruction in the use of various painting media.
Mr. Charlap.
Two 2-hour periods.
204a-205b. Sculpture I (1)
Introduction to the language of three-dimensional form
through a sequence of specific problems which involve the
use of various materials. Mr. Roseman.
Two 2-hour periods.
206a, 207b. Drawing (1)
Intensive study of the figure with emphasis on
establishing and pursuing a drawing idea. Study from life as
well as the imagination with work from both still life and
landscape. Mr. Roseman, Mr. Charlap.
Prerequisite: Art 102a.
Two 2-hour periods.
208a. Printmaking: Introduction (1)
A variety of printmaking concepts and procedures are
explored through a series of assignments in monotype and
collagraph. Instructor to be announced.
Corequisite: Art 102a.
Two 2-hour periods.
209b. Printmaking: Intaglio (1)
The intaglio techniques of line etching, aquatint, and
drypoint, as well as their variations, are applied to making
both black and white and color prints. Instructor to be
announced.
Prerequisite: Art 102a or by permission of
instructor.
Two 2-hour periods.
Alternate years.
212b. Photography (1)
In this course students investigate technical, visual and
expressive aspects of black and white photography. Technical
aspects of shooting and darkroom procedures are taught
building on previous experience. The course includes group
and individual critiques to develop the students analytical
abilities. All students enrolled in this course are required
to join Focus (student photography organization) in order to
gain darkroom access. Students are expected to supply their
own camera and printing paper. Instructor to be
announced.
Prerequisites: Basic Drawing and one other Art Department
course or by permission of instructor. A photography
portfolio is required.
298a or b. Independent Study (1/2 or
1)
Open by permission of the instructor with the concurrence
of the adviser in the field of concentration. Not included
in the minimum for the major except by special permission.
Mr. Charlap, Mr. Roseman, other instructors to be announced.
III. Advanced
Prerequisites for advanced courses: 2 units of 200-level
work and as noted.
301a or b. Senior Project (1)
A supervised independent project in studio art.
302a, 303b. Painting II (1)
Intensive study of the human figure with an emphasis on
color and compositional ideas. Students will have an
opportunity to establish themes which they will pursue.
Instructor to be announced
Prerequisite: Art 202a-203b.
Two 2-hour periods.
304a, 305b. Sculpture II (1)
The first semester is devoted to intensive study of the
human figure. An exploration into the perceptual and
conceptual pursuits of creating sculpture is the focus of
the second semester. Mr. Roseman.
Prerequisite: Art 204a-205b or by permission of
instructor.
Two 2-hour periods.
399a or b. Senior Independent Study
(1/2 or 1)
Open by permission of the instructor with the concurrence
of the department adviser in the field of concentration. Not
included in the minimum for the major except by special
permission. Mr. Charlap, Mr. Roseman, other instructors to
be announced.
Studio Work in Architectural Design
275/276. Architectural Drawing (1)
Elements of architectural drawing including orthographic,
isometric, and perspective projection. Mr. Johnson.
Special permission. Does not count toward the major.
Prerequisite: Art 105-106; corequisite: one of the
following 200-level architectural history courses: 220, 270,
272, or 273.
Two 2-hour periods.
375/376. Architectural Design (1)
Theory and practice of contemporary design. Mr.
Johnson.
Special permission.
Prerequisites: Art 275/276, and one of the following
200-level architectural history courses: Art 220, 270, 271,
272, or 273. Corequisite: a second 200-level architectural
history course: Art 220, 270, 271, 272, or 273.
Two 2-hour periods.
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