A team-taught course led by the DGS based on exemplary readings designed to introduce students to a wide range of art-historical methods. Course is required of HAA G1s and open solely to HAA G1s
Individual work in preparation for the General Examination for the PhD degree or, by arrangement, on special topics not included in the announced course offerings.
In the fall term, HAA 99 includes several group tutorial meetings with the senior honors adviser, where assignments are aimed at facilitating the writing of a senior honors thesis; spring term consists of independent writing, under the direction of the individual thesis adviser. Part one of a two part series.
Required of juniors concentrating in History of Art and Architecture. A group tutorial consisting of weekly meetings with a graduate student, with regular reading and writing assignments. HAA 98 offers concentrators the choice of several study groups investigating a particular field or topic in art history, including each year: museums and collections; race and aesthetics; the art of looking and writing, and; architectural methods. Concentrators select two of the group tutorial topics.
For AY 24-25, the following topics will be offered:
Required of juniors concentrating in History of Art and Architecture. A group tutorial consisting of weekly meetings with a graduate student, with regular reading and writing assignments. HAA 98 offers concentrators the choice of several study groups investigating a particular field or topic in art history, including each year: museums and collections; race and aesthetics; the art of looking and writing, and; architectural methods. Concentrators select two of the group tutorial topics.
For AY 24-25, the following topics will be offered:
Required of all History of Art and Architecture concentrators in their sophomore year. An introduction to the practice of art and architectural history through object-based teaching led by faculty members in HAA.
Seminar offered under special arrangements consisting of weekly meetings with designated faculty, where regular reading and writing assignments are focused on a topic of mutual interest.
This seminar will serve as a design platform for inquiry, documentation and analysis in relation either to the thesis topic or capstone project of interest to each student. Thesis students will be responsible for selecting a Thesis Advisor (or Advisors) with whom they will meet regularly to develop specific intention, substance and methodology of the thesis research and paper. This seminar is a support of independent thesis and/or independent project research, extending methodological inquiry of the project topic to design where students may convene to...
Limited to juniors and seniors. Students wishing to enroll must petition
the Head Tutor for approval, stating the proposed project, and must
have the permission of the proposed instructor.
This seminar seeks to reassess the role of drawing in modern artistic culture. We will follow the trope of line, the most basic drawing mark, not to construct a linear history of the medium, but to provide a selective account of its uses, purposes, and functions as an instrument of modernity--or, as the case may be, of anti- modernity. Focusing on the period spanning the eighteenth century to the present, we will approach drawing not as a monolithic entity, but as a heterogenous phenomenon. We will consider it as a medium, a practice, an object, and a...
He came into the world to destroy painting, Nicolas Poussin was recorded to have said of Michelangelo Merisi da Caravaggio. Caravaggio emerges as a painter in Rome in the 1590s with a radically different take on painting, what subjects were worthy of depiction and how they ought to be conveyed. Nevertheless, he was branded derivative and iconoclastic by his contemporaries. His biographies characterize him as a violent anti-intellectual brute. The paintings show another side. He was a brilliant observer of the natural world, of human emotion, of humility, barbarism...
Issues of interpretation in medieval book illumination, especially in the context of glossed books and commentaries, but also in emergent vernacular literatures, with a focus on pictorial constructions of authorship and the image of the book in medieval art.
Whether naked or clothed, male or female, mortal or divine, the body takes pride of place in the visual worlds constructed by ancient Greek artists. Yet this proliferation of representations of the body begs the question: What is a body that exists as an image? What, in other words, is a body that is not embodied? Taking this problem as our starting point, we will investigate how works of art served in ancient Greece to both reflect and define the experience of embodiment. We will examine the various ways in which Greek artists represented the body, and consider...
