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The Mustang Band began in 1917 and is famous for its jazz and swing style of music.
Meadows School of the Arts
Associate Professor Bergman-Carton, Division Chair
University Distinguished Professors: Carr, Comini; Professor: Kilinski, Warden; Associate Professors: Griffin, Patton; Assistant Professors: Herring, Knox.
Two alternative courses of study are available for students wishing to major in the history of art. One is directed toward a B.A. degree, and the other toward a B.F.A. degree. They differ in the recommended distribution of courses other than Art History, the B.A. emphasizing the humanities, the B.F.A. emphasizing studio art.
NOTE: Only courses passed with a grade of C or better will count for credit toward the major in Art History. Courses passed with a grade of C- or less may count toward other, elective requirements in a student's degree plan.
The B.A. degree in Art History places the history of art within the wider context of such humanistic disciplines as history, religion, aesthetics, politics, language, and civilization generally. Through the study and analysis of art, architecture, and objects of virtue, the program is intended to extend the student's visual and cultural awareness. Because of the richness of its intellectual background, the B.A. in Art History provides one of the most diverse and stimulating of the liberal arts degrees. Students completing this course of study are prepared for advanced training either in the numerous related professions or within the field of art history.
Credit Hours
General Education Curriculum 41
Division of Art History: 6
Introduction to Art History (ARHS 1303, 1304, 1308). This should be taken during the first or sophomore year.
Upper-Level Art History Courses: 27
No fewer than 27 hours. These must include one 4000-level art history seminar in your junior or senior year and at least one course in each of the following five areas: (1) Ancient Art; (2) Medieval Art; (3) Renaissance and Baroque Art; (4) Nineteenth- and Twentieth-Century Art; (5) Non-Western Art. One course must be in the history of architecture. A one-credit research methods class is also required. 1
Studio Art: 3
Foreign Language: 12
Students must have completed the intermediate level (12-16 hours) in one foreign language.
Electives: 30
While some of these may be used to take further courses in the Division, students will be advised to take courses in history, literature, or other fields that are relevant to their areas of particular interest.
Meadows Elective/Corequirement: 3
TOTAL: 123
The B.F.A. is a liberal arts degree which provides the student with a course of study incorporating both art history and studio art. The degree requires 60 credit hours of work in art and art history of which a minimum of 33 term credit hours must be in art history and at least 12 hours in studio art. The remaining 15 hours may be distributed in either discipline at the student's preference. The degree provides the student with substantial exposure to each discipline and an opportunity to develop both scholarly and creative abilities in the visual arts. The degree is suitable for entry-level positions within the art field or other occupations and may provide the student with a foundation for advanced study in art, art history, art education, or arts administration. Students should be aware, however, that supplementary courses may be required for admission to postgraduate degree programs in the latter field.
Credit Hours
General Education Curriculum: 41
Division of Art History: 6
Introduction to Art History (ARHS 1303, 1304, 1308). These are usually taken during the first or sophomore year.
Upper-Level Art History Courses: 27
No fewer than 27 hours. These must include at least one course in each of the following five areas: (1) Ancient Art; (2) Medieval Art; (3) Renaissance and Baroque Art; (4) Nineteenth- and Twentieth-Century Art; (5) Non-Western Art. One course must be in the history of architecture.
Introduction to Studio Art: 12
Students must take ASDS 1300, ASDR 1300, ASPT 2300, and ASSC 2300.
Other courses in the Divisions of Art or Art History: 15
Electives: 18
While some of these may be used in the Divisions of Art and Art History, students are strongly advised to use them outside of Art and Art History.
Meadows Elective/Corequirement: 3
TOTAL: 122
The Honors Program is designed for those majors whose academic standing is deserving of exceptional recognition and who seek a greater intellectual challenge in the discipline of art history. To be eligible for the Honors Program, students must have and maintain a minimum 3.50 G.P.A. in art history and a minimum 3.00 G.P.A. in their overall course credits. They must also successfully complete a three-hour directed studies tutorial in art history.
Majors with a minimum 3.50 G.P.A. in art history will graduate with "Departmental Distinction in Art History."
The minor in Art History enables all students in the University to extend their study into the realm of the visual arts and so to broaden their appreciation of the cultural content of artistic form. As a discipline especially dedicated to the examination of art in context, Art History is a natural complement to a major in history, languages, anthropology, political science, sociology, psychology, philosophy, religion, music, or any of the humanities. It is also a rewarding minor for students who wish to combine business or engineering with a study of the humanities.
Art History majors should consider minors in Advertising, Anthropology, Chemistry (for conservation), Foreign Languages, International Business, International Studies, and Psychology in order to maximize their opportunities in obtaining rewarding careers.
Requirements: 18 credit hours in art history with a maximum of three 1000-level courses.
NOTE: Only classes passed with a grade of C- or better will count for credit toward the minor.
1303. Introduction to Western Art I: Prehistoric through Medieval. An introduction in lecture form to the fundamentals of art history. Includes observations of historical styles, techniques, and media of cultures.
1304. Introduction to Western Art II: Renaissance through Modern. A continuation of ARHS 1303. Can be taken separately or as part of a two-term survey of the history of Western art.
1305. Introduction to Far Eastern Art. This is a survey of the major monuments of China and Japan including paintings, ceramics, sculpture, bronzes, and some minor arts. Some material from India is also included, especially for the beginnings of Buddhism.
1306. Introduction to Architecture. A basic history of Western architecture from earliest times to the present century and an introduction to understanding architecture materials, structure, compositional principles, and pertinent terminology.
1307. World Art Traditions: A Survey. A survey of the visual arts (painting, sculpture, architecture, ceramics) of Asia, the Pacific World, Africa, and the native New World peoples.
1308. Epic of Latin America. Examines art, society, and culture in Latin America, 1450-1950. The course presents art as a broad and multifaceted cultural problematic, and considers both the enduring legacies and the dynamic processes of change that have shaped the region and its art. Topics include: Pre-Columbian Empires; Royal Spanish Cities, Revolution, Reform and Modernism; Umbanda, Santeria, and Vodou; Native American and Gendered Identities. This course is an introductory survey intended for underclassmen of all academic and professional interests: no previous art history courses or experience with Latin America necessary. Slide lectures, classroom discussions, visits to SMU and Dallas museums.
1309. Image and Imagination: Myth and Narrative in Classical Art. This is an introduction to the ways and means Greek and Roman mythology is presented to the spectator in classical art. The interrelationships between poet and painter, author and artist are explored through the common medium of myth. Changing approaches to narrative in each medium and in different periods of classical antiquity are of prime importance as the student becomes familiar with the particulars, uses, and interpretations of Greek and Roman sagas focusing on the gods and heroes of the classical past.
1311. Sport and Spectacle in the Ancient Mediterranean. This course will integrate the social and cultural functions of sport and spectacle in the ancient Mediterranean from the Bronze Age to late antiquity. Lectures and discussions will focus on the institutions of sport and spectacle in ancient Greece, Etruria, and Rome as evidenced by architecture, art, material culture, and historical sources.
1315. Medieval Messages: Symbol and Storytelling in Medieval Art. This course is designed to introduce nonmajors to the many questions surrounding the making, meaning, and interpretation of images in medieval art. Emphasis is placed on developing visual and critical skills through writing and discussion exercises. Weekly case studies are drawn both from the medieval secular and Christian West and from Byzantine, Islamic, and Jewish artistic traditions.
1325. Picturing the American West. This course will explore the ways in which the American West has been represented in visual imagery from the early 19th century to today.
1331. Romantic Century: Cultural Content of Artistic Form in the 19th Century. Major art movements of the 19th century from Gothic Revival, Neoclassicism, Romanticism, and Realism to Impressionism, Post-Impressionism, and Symbolism, with emphasis on parallel developments in politics, philosophy, literature, music, and dance. (Also SMU-in-Copenhagen)
1332. Twentieth Century Art: Sources and Styles of Modern Art. Major art movements of the 20th century from Art Nouveau, Fauvism, Expressionism, Cubism and Futurism, the Bauhaus, and Surrealism to the contemporary, with emphasis on parallel developments in politics, philosophy, literature, music, and dance. (Also SMU-in-Copenhagen)
1333. Introduction to Visual Culture This class is designed to help students develop the skills necessary to negotiate the visual culture in which we now live. It is organized as an introduction to the media, methods, and issues of visual culture through the dialectic of copies and originals. Questions of originality and authenticity are particularly resonant today in the age of video and electronic media where digital technology has generated a world of endlessly reproducible, transmittable images. The class is particularly well-suited to students interested in art, art history, advertising, film, and electronic media.
3306. Art and Expression of Eternal Egypt. Mummies, magic, pyramids, and pharaohs provide the focus for a survey of the exotic world of the ancient Egyptians as seen through their brilliantly preserved art and architecture along the banks of the Nile. The course follows Egyptian artistic developments from Pre-Dynastic times through the New Kingdom.
3311. Mortals, Myths, and Monuments of Ancient Greece. A visual analysis of the rich tapestry of ancient Greek culture, fountainhead of Western civilization, with emphasis on mythological, archaeological, and historical settings in which the art and architecture occur. The course touches on various aspects of ancient Greek life including religious practices, Olympic contests, theatrical performances, and artistic perfection, among others.
3312. Etruscan and Roman Art. A survey of architecture, sculpture, and painting in Italy and the territories of the Roman Empire to the advent of Christianity. Iconographical motifs are studied in their relationship to stylistic trends and political and religious backgrounds.
3313. The Etruscans and Early Italy: Art and Culture. The art and architecture of early Italy, including Etruscan art, early Roman art, and "Italic" art will be studied with respect to the cultural context and environment.
3314. The Art and Architecture of Ancient Pompeii. A survey of the history, monuments, and society of Campania from the Iron Age to AD 79 as reconstructed from the excavations of Pompeii, Herculaneum, and neighboring sites. The influence of the Pompeian discoveries on 18th- and 19th-century art will also be discussed.
3315. Classical Sculpture. A study of the styles, subjects, and techniques of the sculptor's art during the ancient Greek, Hellenistic, and Roman eras. This course focuses on the functions of sculpture in the round and in relief, free-standing and in architectural settings, with particular attention to historical background.
3316. Art in Rome. This course is a broad survey that explores the wide range of art works from the four major periods that Rome has to offer: Ancient, Medieval, Renaissance, and Baroque. Art historical methodologies will be stressed in looking at painting, sculpture, and architecture. On-site lectures will be given. (SMU-in-Rome.)
3317. Ancient Painting. A study of the painter's art in the Egyptian, Greek, Etruscan, and Roman eras encompassing murals, mosaics and ceramics. Iconographical and stylistic developments are given equal consideration.
3318. (CF 3392) Currents in Classical Civilization. Interdisciplinary study of the art, literature, and history of the ancient Greek and Roman worlds, including ideals of democracy, individualism, immortality, heroism, justice, sexuality, nature, etc.
3319. Art of the Roman Empire. The art and architecture of Imperial Rome will be studied in relation to the complex artistic traditions of the Roman provinces. The course will survey the monuments and art of all the provinces of the Roman Empire and deal with the problem of Roman interaction with alien cultures and styles.
3603. Archaeological Field Methods of Italy. Archaeological field experience in classical archaeology in Italy.
3320. Medieval Art. An introduction to the art of Byzantium, Islam, and the medieval West through study of five genres to which each of these cultures made distinctive contributions: the congregational worship space, imaging the sacred word, the court and its objects, the pilgrimage site, and the urban religious complex.
3321. Age of the Crusades. This course looks at the art of the various Christian cultures that were swept into the Crusades especially the northern European, Italian, Byzantine, and Armenian and examines both the changes and the interchanges that characterize the period between 1096 and 1291.
3322. Art and the Italian Commune. The interplay of artistic styles, workshop practice, religious change and political controversy in the century between St. Francis and the Black Death, emphasizing the art of the Pisani, Cimabue, Cavallini, Giotto, Duccio, and the Lorenzetti.
3323. Romanesque Art and Architecture. Surveys the flowering of art and architecture that appeared throughout Western Europe at the threshold of the new millennium. Emphasis will be placed on issues of cultural exchange and conflict, the intensification of national identities, the role of spirituality, and the changing conception of the individual during the 11th and 12th centuries.
3324. Art and Cultures of Medieval Spain. Considers the art architecture of the Iberian Peninsula within its highly diverse cultural context. Hispano-Roman, Visigothic, Romanesque, Gothic, Jewish, and Islamic examples will be highlighted; classroom lectures will be supplemented by direct study of works in the Meadows Museum.
3325. The Gothic Cathedral. The social and spiritual centerpiece of medieval European life, the Gothic cathedral was also one of the greatest multimedia creations of its age. This lecture course uses the cathedral as a springing point for the investigation of the rich architectural and artistic traditions of the high and late Middle Ages in Europe.
3328. Byzantine Art. The art of the Byzantine Empire from the end of Iconoclasm through the 14th century, examining both major media gold mosaics, mural painting, manuscript illumination, ivory carving, and enamel and the role that this art played in the lives, thoughts, and writings of its contemporaries.
3329. Paris Art and Architecture I. This course will interweave an investigation of the development of Paris from Roman times to the Renaissance with a history of French architecture during this period, revealing the major trends of both and their reciprocal relationship. This course will take advantage of its Paris location to visit important monuments, buildings, and features of urban design. (SMU-in-Paris)
3330. Renaissance and Baroque Architecture. The important architects, buildings, and trends in European architecture from about 1400 through the beginning of the 18th century.
3331. Art and Culture of the Italian Renaissance. This course surveys major artistic developments of the Renaissance (1300-1600), with special attention to the work of Giotto, Donatello, Leonardo, Raphael, Titian, and Michelangelo. Includes study of the customs, literature, and philosophy of the period through selected readings of primary sources.
3332. Art of the High Renaissance and Mannerism. A continuation of ARHS 3331 on a more intensive level, taking up key problems in the development of Central Italian and Venetian painting and sculpture from 1500 to 1550.
3333. Art and Architecture in Italy. A survey of major monuments in painting, sculpture, and architecture through classroom lectures and visits to the actual sites. (SMU-in-Rome)
3335. Renaissance and Baroque Art in Northern Europe. A survey of major artists and monuments in France, Germany, and the Low Countries from 1400 to 1700.
3336. Seventeenth-Century Dutch Painting. An examination of painting in Holland during the 17th century. The course surveys Dutch painting in relation to the broad traditions of Netherlandish art as they developed in the 15th and 16th centuries.
3337. The Baroque From a Northern Perspective. The world of Rembrandt, Rubens, Leyster, Vermeer, Van Dyck, De la Tour, Le Brun, Jones, and Wren is explored in this course in the context of such contemporary events as the Thirty Years' War and the Reformation, as well as such issues as art versus craft, nationalism versus internationalism, individual genius versus market, colourism versus classicism, collector versus connoisseur. By considering a broad range of artworks from tapestry to painting, from etching to architecture in terms of the maker, patron/client, and market, this survey will seek the underlying why's for this absorbing period.
3338. Baroque Art in Italy, Spain and the New World. A survey of artistic currents in Southern Europe and the Americas during the 17th century, this course concentrates on the achievements of such artistic giants as Bernini, Caravaggio, Artemisia Gentileschi, Murillo and Velázquez, studying the artistic controversies they ignited and placing them in the context of major social movements. We also look at the work of artists who are less well-known and trace the development of Baroque styles in Central and South America.
3339. El Greco to Goya: Spanish Painting of the Golden Age. A survey of the incomparable painting traditions of Spain's 16th through 18th centuries, including such artists as El Greco, Valazquez, Ribera, Murillo, and Goya. Lectures will be supplemented by direct study of Spanish paintings and prints in the Meadows Museum.
3343. Goya and His Time. A study of Goya's versatile talents as painter, etcher, lithographer, miniaturist, and a master of drawing. Through Goya's work it will be possible to follow the most relevant events of a decisive period for contemporary Spain.
3344. Paintings at the Prado. A study of Spanish paintings at the Prado Museum. This course will familiarize students with the most relevant Spanish artists and will offer a general European view through differences and affinities between Spain and the rest of the continent. (SMU-in-Spain)
3346. Paris Art and Architecture II. This course will interweave an investigation of the development of Paris from the Renaissance to the present with a history of French architecture during this period, revealing the major trends of both and their reciprocal relationship. This course will take advantage of its Paris location to visit important monuments, buildings, and features of urban design. (SMU-in-Paris)
3347. Eighteenth-Century European Art and Theatre: Staging Revolution. This class considers intersections between the visual arts and the theater in Western Europe between 1770 and 1850. In addition to the obvious genres of the actor portrait and the costume piece, students will examine the impact of changing theories of acting, gesture, set design, and lighting on Neoclassical, Romantic, and Realist Art. The case studies around which the class is organized will include the word of Canova, David, Delacroix, Fuseli, Goya, Millais, Reynolds, Vigee-Lebrun, and Watteau.
3348. Eighteenth-Century Art. A study of European visual culture, 1700-1800, in its many contexts. Topics to be considered include art and the public sphere; the rise of museums, exhibitions, criticism, and theory; shifts in patronage and artistic practice; connections between commerce, industry, and the arts; questions of identity; stylistic revivals and innovations; explorations of the past; and encounters with cultures outside Europe.
3351. History of Modern Sculpture. A survey of the development of modern European and American sculpture from the late 19th century to the present. The course will also attempt to relate stylistic changes in sculpture to major trends in other mediums of expression and to art theory and criticism.
3352. Impressionism, Symbolism, and the Deviant Body: Making a Difference. The course examines Impressionist and Symbolist art in relation to the emergence of the modern metropolis and the concept of modernity in Europe from 1848-1914. The discourse of deviance and degeneration that emerged in the context of 19th-century racial theory, criminology, and medical science will form the framework for our discussion. (Also SMU-in-Paris)
3353. Impressionism in Context. This course focuses on an in-depth study of the evolution of the impressionist group with special emphasis on the historical and cultural dimensions of their work. Among the topics investigated are the changing conceptions of modernism and modernity, diverse representations of "City" and "Country," and the role and status of the artist in society. (SMU-in-Paris)
3356. Modern Architecture. Western architecture from the late 19th century to the present, focusing on the proto-modern trends of the late 19th century, and the major masters of the "modern" movement: Sullivan, Wright, Gropius, Le Corbusier, Mies van der Rohe.
3357. Women Artists. A study of notable women artists from the Renaissance to the 20th century. Introductory lectures on women artists of the past viewed in their cultural and political context. Student reports on more recent women artists.
3358. Women in the Visual Arts: Both Sides of the Easel. This class offers an in-depth study of women in the visual arts in Europe and the Americas. Though introductory lectures will examine the historical exclusion of women from the canon, most of the class will look at images produced by and of women from 1850 to the present. The topics covered include feminist challenges to the history of art; abstraction and the female nude; the use of one's "self" as material for art; and feminist filmmaking.
3360. Modern Painters in Spain. This course deals with Spanish art since the beginning of modernity in Spain by the early 19th century to our present days. Classes will focus on the most important and internationally recognized Spanish painters of the 20th century (Picasso, Dali, and Miró) and also will emphasize actual trends in painting. Special attention will be given to integrate program activities into the syllabus, such as the study of Gaudi's architecture. (SMU-in-Spain)
3364. History of the Print. This course is a survey of the woodcut, the engraving, and the etching from their origins in 15th-century Germany to major developments of the printed media in the 20th century.
3367. History of Photography. A survey of the evolution of photography from its beginnings in the early 19th century. The course will focus on the closely interwoven threads of technological and aesthetic developments in photography.
3368. Contemporary Art and Architecture, 1945-1965. A survey of American and European art and architecture from World War II to 1965. Within this chronological survey, broader themes of nationalism, race, and gender will be discussed.
3369. Contemporary Art and Architecture, 1965-Present. A survey of American and European art and architecture from 1965 to the present. Within this chronological survey, broader themes of nationalism, race, and gender will be discussed.
3370. British Architecture. Developments, architects and buildings in Great Britain from the late Middle Ages through the middle of the 19th century, emphasizing Smythson, Wren, Hawksmoor, Adam, Soane, and Pugin.
3371. British Art: Elizabethan through Victorian. This class will examine landscape traditions, portraiture, and genre painting in England from 1740 to 1860 and their relationship to the literature and politics of the period.
3372. American Architecture. A survey of building types and styles from the first European settlements to postmodernism, emphasizing the Mexican baroque, the American wooden vernacular, Richardson, Sullivan, and Wright.
3373. American Art and Architecture to 1865. A survey of American painting, sculpture, and architecture from the Colonial period through the Civil War.
3374. American Art and Architecture, 1865-1945. A survey of American painting, sculpture, and architecture from the Civil War through World War II.
3375. Arts of the American Southwest. An overview of the visual culture of the region, defined as Texas, New Mexico, Colorado, Arizona, and California. The focus will be the region's cultural landscape, its identity past and present as art colony, art subject, and art center. The course will look at works produced by indigenous inhabitants, later arrivals, and visitors; at cross-cultural connections and disconnections; at the roles played by the arts and tourism in the region's development; and at the validity of regionalism as a category of investigation.
3376. Latin American Art. A survey of art and architecture in Latin America from the initial contacts between European and American civilizations until the 20th century.
3377. (CF 3375) Art and Architecture of Hispanic New Mexico. This course examines the artistic and cultural legacies of colonial New Mexico: Spanish city planning and church design; retablos, santos and their place in religious experience; art in the secular life of towns and haciendas of colonial and post-colonial New Mexico. This course will emphasize field trips to galleries, collections, and historical sites of northern Mexico. (SMU-in-Taos)
3380. Native American Art: The Southwestern Traditions. This course will survey, through field trip and lecture-discussion, two major traditions, Native American and Hispanic, which flourish in the American Southwest.
3381. American Indian and Eskimo Art. The ritual and everyday objects of the Native inhabitants of North America, and the architecture of the Mound Builders and the Southwestern Indians.
3382. Arts of the Ancient Andean Tradition: Chavín to Inca. A survey of the major arts produced between ca. 1200 BC and AD 1530 by the indigenous peoples of modern western South America with greatest emphasis on the many successive art-producing cultures of Peru.
3383. The Ancient Maya: Art and History. This course presents an introduction to the art and history of the Maya of Central America. The course will address the principal sites and monuments of the ancient Maya civilization, impart a working understanding of the Maya hiero-glyphic writing system, and survey the political history of the fractious ancient Maya cities.
3385. The Aztecs Before and After the Conquest: Mesoamerica, 1400-1600. This course will examine the art and cultural history of Mexico in the centuries immediately before and after the Spanish arrival in Mesoamerica. Topics will include the art and ceremony of the imperial Aztec state; the nature of the conflict between 1519 and 1521 that ended in the fall of the Aztec capital to the Spanish; and the monuments of Spanish conquerors, missionaries, and native elite in Mexico's early colonial period.
3390. Traditional Arts of Africa. A survey of the art produced in traditional African societies with special emphasis on the sculpture of West and Central Africa.
3392. (CFA 3313) Islamic Art and Architecture: The Creation of a New Art. This course will treat issues significant to the creation and expansion of Islamic art from the 7th to the 15th century. Topics to be discussed include the cultural and political exchange and conflict between Muslims and Christians; religious concerns and the artistic forms created to meet them; the importance of the book in Muslim culture; the distinctions between religious and secular art; and the appropriation of sacred space in Muslim architecture.
3394. Art and Architecture of Japan. Survey of religious and secular arts from prehistoric times through the Edo period. Field trips to Kyoto and Nara. (Also SMU-in-Japan)
3395. Art and Architecture of India. Designed to introduce the student to the major artistic expressions of India from the Indus Valley civilization through the time of the Mughals.
3396. Art and Architecture of China. This lecture course focuses on important monuments in China ranging from 2000 BC to the present day, in a variety of media: cast bronze, stone, sculpture, painting on silk and paper, porcelain, and wooden architecture, among others. Selected objects and sites will illuminate the concept of "monument" from differing perspectives of technology, aesthetics, labor, religion, ethnicity, and politics. The discussion will include comparisons to analogous monuments outside China, and visits to collections of Chinese art in Dallas-Fort Worth. (Also SMU-in-China)
4310. Seminar in Ancient Art. Specific topics for investigation will be chosen by the instructor.
4320. Seminar in Medieval Art. Specific topics for investigation will be chosen by the instructor.
4321. Word and Image in the Early Middle Ages. There are three purposes to this seminar: to encounter a distant but crucial moment in the history of our understanding of the image, to join powerful minds in thinking about the nature of the image, and to ask how it was that different stances to the image came to divide Byzantium, Islam, and the medieval West in the decades between 692 and 843.
4324. Art History and the Work of Art. This undergraduate seminar investigates the many means by which art historians and others have grappled with the questions surrounding all works of art, including material and ethical concerns, traditional art historical methods, and newer theoretical and interdisciplinary approaches. Based in the Meadows Museum, the course will use objects in the collection to bring to life the challenges inherent in the study of any work of art.
4330. Seminar in Renaissance/Baroque Art. Specific topics for investigation will be chosen by the instructor.
4344. Images of Power: Kings, Nobles, and Elites in 17th-Century France. Using art, literature, history, and philosophy, this course explores the social, political, and intellectual life of the French monarchy, aristocracy, and elites of the 17th century in and around Paris. As the course is set both intellectually and physically in Paris, students will visit monuments and museums to encourage them to make immediate connections between what they read and what they see. (SMU-in-Paris)
4350. Seminar in Modern Art. Specific topics for investigation will be chosen by the instructor.
4351. European Art and Media Culture 1789-1870. This class examines the emergence of a public sphere and a culture of looking in the 19th century. European visual art will be discussed in relation to the rise of museum and gallery culture, journalistic illustration, the department store display window, photography and the panorama, the art critic, and early cinema.
4352. Paris and London: Industrial Capitalism and the City. This class offers a cultural history of Paris and London between 1850 and 1920. In addition to our discussion of the architectural and social transformation of the cities into modern metropolises, we will look at responses to those transformations in the visual arts, music, and literature. While lectures will emphasize the architecture, sculpture, and photography of the period, they also will address subjects ranging from the operas of Offenbach to the novels of Flaubert to the world expositions of 1867 and 1889.
4362. The City of New York. This course examines the changing art and architecture of the city of New York from the 18th century to the present.
4371 (CF 3381). Modern Myth-Making: Studies in the Manipulation of Imagery. The quest for enduring cultural heroes and the projection of changing social messages as reflected in art from past epochs to modern times. Examples traced range from politician to musician, from the fine arts to television. Student reports on individual topics.
4380. Seminar in World Art. Specific topics for investigation will be chosen by the instructor.
4386 (CFB 3386). Patrons and Collectors. A social history of art from the point of view of its consumers. Art patronage and collecting will be examined from antiquity to the present, with emphasis on the modern period.
4101, 4102, 4201, 4202, 4301, 4302. Undergraduate Majors Directed Studies and Tutorials.
4111, 4211, 4311. Undergraduate Museum Internships.
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