Associate Professor Randall C. Griffin, Division Chair
University Distinguished Professor: Annemarie Weyl Carr; Professors: Karl Kilinski II, P. Gregory Warden; Associate Professors: Janis Bergman-Carton, Adam Herring, Pamela Patton; Assistant Professors: Lisa Pon, Mark Roglán, Charissa N. Terranova.
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.
General Education Curriculum: 41
Division of Art History:
Introduction to Art History (ARHS 1303, 1304, 1308): 6
The only 1000-level classes that count toward the art history major are 1303, 1304 and 1308. Two of these are required and should be taken during the first or sophomore year.
Upper-Level Art History Courses: 27
All remaining art history requirements must be satisfied at the 3000-level or higher. Majors must take at least two 4000-level art history seminars in the 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.
Studio Art: 3
Foreign Language: 12
Students must have completed the intermediate level (12-16 hours) in one foreign language.
At least 12 of these hours must be Art History courses and must be at the 3000-level or above. In addition, students will be advised to take the remaining 18 hours of electives in Art History, History, Literature, or other fields that are relevant to their areas of particular interest.
Meadows Elective/Corequirement: 3
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.
General Education Curriculum: 41
Division of Art History:
Introduction to Art History (ARHS 1303, 1304, 1308) 6
The only 1000-level classes that count toward the art history major are 1303, 1304 and 1308. Two of these are required and should be taken during the first or sophomore year.
Upper-Level Art History Courses: 27
All remaining art history requirements must be satisfied at the 3000-level or higher. Majors must take 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
While some of these may be used in the Divisions of Art and Art History, students are strongly encouraged to use them in outside disciplines.
Meadows Elective/Corequirement: 3
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. 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. 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. Integrates the social and cultural functions of sport and spectacle in the ancient Mediterranean from the Bronze Age to late antiquity. Lectures and discussions 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. 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. Explores 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. Designed to help students develop the skills necessary to negotiate the visual culture in which we now live. 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.
3303. Archaeological Field Methods of Italy. Archaeological field experience in classical archaeology in Italy. Students will be introduced to the principles of archaeological field method through lectures and field experience. Lectures on Etruscan history, art, and culture also will be provided.
3306. Mummies, Myths, and Monuments of Ancient Egypt: 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. Egyptian artistic developments from Pre-Dynastic times through the New Kingdom are followed.
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. 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 the art, architecture, and material culture of Etruscan and Roman Italy from about 800 BC to the advent of Christianity. Begins with the Etruscans and their neighbors in Iron Age Italy and ends with Roman art in the age of Constantine. Special emphasis placed on the interpretation of art within the historical, social, and cultural context of ancient Italy.
3313. The Etruscans and Iron Age Italy. 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. 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. 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. Onsite 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 monuments and art of all the provinces of the Roman Empire are surveyed, dealing 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. 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 and 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. Interweaves 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. Takes advantage of its Paris location to visit important monuments, buildings, and features of urban design. (SMU-in-Paris)
3330. Renaissance and Baroque Architecture. An introduction to Renaissance and Baroque architecture through a focus on the fashioning of religious spaces in Italy from the 15th to 17th centuries. The work of artists and architects such as Bramante, Sangallo, Raphael, Michelangelo, Vasari, Bernini, Borromini, Tintoretto, Caravaggio, Guarini, and others will be considered.
3331. Art and Culture of the Italian Renaissance. 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. Sixteenth-Century Italian Art. Issues to be considered include the dominance of Leonardo, Michelangelo, Raphael and Titian in the 16th century; the High Renaissance in Florence and Rome and its aftermath, Mannerism, in Catholic courts across Europe; the development of art history as a discipline in conjunction with the rise of academics, art collecting, and the search for elevated status; and the challenge of women artists such as Sofonisba Anguissola to prevailing notions of creativity.
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 Art. An examination of visual culture of the Netherlands during the 17th century as an "art of describing" through the work of such painters as Hals, Vermeer, van Ruisdael. and Rembrandt, the major figure of the period.
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 vs. craft, nationalism vs. internationalism, individual genius vs. market, colourism vs. classicism, collector vs. 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 whys 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. Also looks at the work of artists who are less well-known and traces 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 15th through early 19th centuries, including such artists as El Greco, Velázquez , 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. Familiarizes students with the most relevant Spanish artists and offers 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. Interweaves 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. Takes advantage of the Paris location to visit important monuments, buildings, and features of urban design. (SMU-in-Paris)
3347. Eighteenth-Century European Art and Theatre: Staging Revolution. 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 work 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.
3399 (CFB 3399). The Jewish-Christian Dialogue in Art and Text. Examines the mutual perceptions, conflicts, and commonalities among medieval European Christians and Jews, as reflected in works of visual art and in philosophical, theological, legal, and literary texts.
3351. History of Modern Sculpture. A survey of the development of modern European and American sculpture from the late 19th century to the present. Also attempts 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. 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 discussion. (Also SMU-in-Paris)
3353. Impressionism in Context. Focuses on an in-depth study of the evolution of the Impressionist group with special emphasis on the historical and cultural dimensions of its 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. 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. 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. Deals with Spanish art since the beginning of modernity in Spain from the early 19th century to the present. Focuses on the most important and internationally recognized Spanish painters of the 20th century (Picasso, Dali, and Miró), and also emphasizes actual trends in painting. Special attention given to integrate program activities into the syllabus, such as the study of Gaudi's architecture. (SMU-in-Spain)
3364. History of the Print. A survey of some established and emerging printmakers and major printmaking techniques from the 15th through 21st centuries. We will also consider some fundamental issues regarding originality/copying, uniqueness/multiplicity, display and collecting as raised by the medium of print. First-hand experience of prints, through visits to and looking assignments in local collections as well as in-class exercises, is a vital part of this course.
3367. History of Photography. A survey of the evolution of photography from its beginnings in the early 19th century. Focuses 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. Examines 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. Focuses on the region's cultural landscape, its past and present identity as art colony, art subject, and art center. Looks 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. 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. Emphasizes field trips to galleries, collections, and historical sites of northern Mexico. (SMU-in-Taos)
3380. Native American Art: The Southwestern Traditions. Surveys, 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. Presents an introduction to the art and history of the Maya of Central America. Addresses the principal sites and monuments of the ancient Maya civilization, imparts a working understanding of the Maya hieroglyphic writing system, and surveys the political history of the fractious ancient Maya cities.
3385. The Aztecs Before and After the Conquest: Mesoamerica, 1400-1600. Examines the art and cultural history of Mexico in the centuries immediately before and after the Spanish arrival in Mesoamerica. Topics 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. Treats issues significant to the creation and expansion of Islamic art from the 7th to the 15th century. Topics 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. 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. Also discussed are comparisons to analogous monuments outside China, and visits to collections of Chinese art in Dallas-Fort Worth. (Also SMU-in-China)
3398. Introduction to Museum Studies. This course endeavors to introduce art history majors and graduate students to the basic principles of connoisseurship, conservation, framing, lighting, and exhibition design in the context of the art museum today, with emphasis upon the interpretative, cultural, and social role of museums over time. The course will evaluate specific collections and exhibitions in area museums and will examine a number of private collections, challenging students to make quality judgments based upon objective criteria and intuitive response. Students will be required to assess the meaning of art through visual analysis and comparison. The efficacy and ethics of museum management will also be considered.
4300 (CFA 3309). Calligraphy and Culture: Vision, Line, and Design in World Artistic Traditions. A multidisciplinary inquiry to the cultural history of calligraphy and line in several major cultural traditions of the world: readings and discussions will encompass philosophical, anthropological, archaological, materialist, cultural-historical, and art-historical perspectives on line and cultural signification in the visual arts.
4304. Urbs et Orbis: The City in Italy as Place and Concept. Given to us by ancient Roman reality and myth, the distinction between the city as a physical place, the urbs, and the city as an idea, the orbis, created a long-standing link between territory and ritual, locale and law, nation and citizen, and homeland and world. The class will investigate the city in Italy in space and time as it is the locus of such cultural to-and-fro. Our goal is to better understand the complexities of the Italian city as it is a living entity. In time, the period of study will span some 3,000 years, from the Etruscan foundations of Rome to Richard Meier's Jubilee Church located along the suburban periphery of the city. We will cover the Italian city of antiquity, early Christianity, the Middle Ages, the Renaissance, the Baroque, and Modernism. The class will consist of city and museum tours, lecture, readings, discussion, and short essays.
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 Early Modern 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)
4349. Seminar in Contemporary Art. Specific topics for investigation will be chosen by the instructor.
4350. Seminar in Modern Art. Specific topics for investigation will be chosen by the instructor.
4351. European Art and Media Culture 1789-1870. Examines the emergence of a public sphere and a culture of looking in the 19th century. Discusses European visual art 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. Offers a cultural history of Paris and London between 1850 and 1920. In addition to a discussion of the architectural and social transformation of the cities into modern metropolises will be a 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. Examines the changing art and architecture of the city of New York from the 18th century to the present.
4371 (CF 3381 and WS 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. Examines art patronage and collecting from antiquity to the present, with emphasis on the modern period.
4101, 4201, 4301. Undergraduate Majors Directed Studies and Tutorials.
4111, 4211, 4311 Undergraduate Museum Internships.