Course Offerings - Catalog 2013-14


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Art History and Studio Art

Division of Humanities


The visual arts have an impact upon each of us every day of our lives. The houses we live in and the buildings where we work are designed to accommodate us and satisfy our needs. Pictures hang on walls and sculptures rest on tables or floors to decorate those buildings, and perhaps to explain and elaborate upon the uses to which the buildings are put. Members of the Art Program believe that an understanding of various forms of the visual arts—both traditional and innovative—enhances our experience and enjoyment of our surroundings, especially its aesthetic aspects, and that art can provide greater meaning to the lives of those seeking to come to terms with it.

The Art Program offers instruction in both studio practice and art history, with a major and a minor available in both areas. All classes are held in the Jones Visual Arts Center. Media taught include drawing, oil painting, ceramics, and hot glass. Courses in art history cover the entire chronological range of the Western tradition, examining artworks from stylistic, historical, and iconographical points of view. The major in studio art culminates in an exhibition held in the gallery of the Visual Arts Center at the end of the student’s senior year, while a major in art history presents a written thesis and public lecture likewise at the end of the senior year. Majors and minors may choose to continue their education in the visual arts in graduate school as preparation for careers as artists, educators, or staff members in museums, galleries, and other collection venues. But virtually every course in the Art Program also enrolls students from a broad variety of other disciplines. They come in search of parallels among the visual arts to other forms of human expression—historical, anthropological, literary, musical, and dramatic—both past and present, or merely with a wish to complement their other undergraduate experiences in the liberal arts by grasping more fully the bases of aesthetic meaning and judgment. Whatever motivation might bring a student into the Visual Arts Center, however, an appreciation for the enduring values of art provides solid support for the life of any educated and inquisitive person.

Faculty

Sheldon Tapley(chair), James Bloom, Judith Jia, Stephen Powell

Students

Kathryn Hayes, Sandy Zhang

Requirements for the Studio Art Major*

ARS 110 or FYS Drawing;
ARS 210;
Two of: ARS 220, ARS 230 or FYS Ceramics or ARS 251, ARS 240;
ARH 260 and 261;
One art history course at the 300-level or higher;
Two of: ARS 320, ARS 330, ARS 340
One studio course at the 300-level or above;
One studio or art history course at the 300-level or above;
ARS 499;

Requirements for the Art History Major*

ARS 110 or FYS Drawing;
ARH 260 and 261;
Four art history courses at or above the 300-level;
One additional art history or studio course at or above the 200-level or an FRS studio art course or PHI 160;
One of CHN 220, CLA 220, FRE 220, GER 220, JPN 220, SPA 220, or equivalent;
ARH 500.

Requirements for the Studio Art Minor*

One of: ARS 110 or FYS Drawing;
Two of: ARS 210, ARS 230 or FYS Ceramics or ARS 251, ARS 240;
Two of: ARS 220, ARS 320, ARS 330, ARS 340;
One additional studio art course at the 300-level or higher.

Requirements for the Art History Minor*

ARH 260 and 261;
Three art history courses at or above the 300-level.

*NOTE: Independent or directed studies (ARH/ARS 400 and 401) are not applicable toward fulfillment of major or minor requirements in studio or art history.

Art History Courses

ARH 260, 261 Survey of Western Art-I, II
An introduction to the language and processes of art history. Focus is placed on the understanding of historical periods—their social, political, and aesthetic values—through the interpretation of the visual arts. ARH 260 emphasizes the arts of the West from prehistory through the High Middle Ages. ARH 261 emphasizes the arts of the West from the end of the Middle Ages through the 20th century.


ARH 264 Molecular Modernism: Manet to Matisse
This travel course will focus on the progression of French painting from the 1860's to the 1900's, from Realism to Impressionism, Neo‐Impressionism, Fauvism, and Cubism. Spending time in and around Paris and then in
Provence, we will study in three types of locations – art museums, conservation labs, and actual painting sites of these important artists. The role of science and technology in this progression (including synthesis of new materials and how color theory informed painting) will be discussed. Scientific topics include light and its interaction with matter, color mixing, chemical and physical causes of color, and the biology of vision; these topics are discussed to gain a deeper understanding of paintings. Analytical techniques used in conservation science and forgery investigations will be discussed. Prerequisite: Any CHE course or permission of the instructor.

ARH 288/488 An Identity Forged With Art: A Brief Journey Through Mexican Art History
This course is an introduction to the art of Mexico. Our goal is to explore the painting, sculpture, architecture and artifacts of Mexican civilization from its earliest beginnings in antiquity through the vital and diversified nature of its contemporary art. The course will be conducted by lectures, slide and power point presentations, and also with field trips to museums and exhibitions. Prerequisite: none for 288; ARH 260 or 261 for 488. Conducted in Mexico.

ARH 310  The Art of Pilgrimage
This course is intended to immerse the student into the tradition, theology, culture, and environment of pilgrimage. Specifically, this course will allow the student to explore the significance of pilgrimage by perfoming the actions of a pilgrim to Santiago de Compostela in Spain. For over 1000 years, people of faith have traveled to the burial site of St. James in Santiago. The routes to reach Santiago flourished in the medieval era, paths that were walked by princes, kings, and ordinary peasants. As a result each town along the way to Santiago bears vivid material evidence through ecclesial art and architecture that speaks to the popularity of this practice. Students will walk in their footsteps upon these well-trod routes, specifically focusing on the route in northern Spain. By delving into this practice, students are expected to gain a deeper knowledge of the role of ritual practice in religion as well as an understanding of the continued significance of physical ritual in the contemporary world.

ARH 319 Christian Art in Context
This course examines the genre of Christian art from its inception through several prominent periods in history. The goal is to analyze the development of Christian art amidst the contextual background of history. With this methodology, one can visually realize and recognize important historical and theological shifts that are underway in the immediate context of the work of art under discussion. Moreover, it is equally critical to examine these works of art in situ to realize the dimensions, the depth of artistic professionalism and gravitas that they exhibit. This course intends to impart the importance of witnessing works of art “face to face” as well as to understand the context in which they were born. This class will examine the rise of Christian art into the Byzantine era, the shifts in representation in the Renaissance and Reformation eras, and how Christian art is expressed today. This course will take field trips to Louisville and Chicago to see works of art examined in class. Students choose a specific work of art to study and analyze on a deeper level for a class project.

ARH 361 Medieval Art
A survey of sculpture, architecture, and the two-dimensional art forms from the decline of the Roman Empire to approximately the year 1150. Emphasis is placed on the changes caused by the shift from pagan to Christian culture, the impact of non-Classical societies on art forms, and the crystallization of Church art in the Byzantine and Romanesque cathedrals. Prerequisite: ARH 260 or permission of the instructor.

ARH 365 Southern Mannerist and Baroque Art
A survey of Italian and Spanish painting and sculpture from the early 16th through the 17th centuries, with special attention paid to such masters as Caravaggio, Bernini, El Greco, and Velazquez. Prerequisite: ARH 261 or permission of the instructor.

ARH 367 Modern Art
An overview of artistic developments from the middle of the 19th century to the mid-20th century. Artistic movements such as Realism, Impressionism, Cubism, Fauvism, Expressionism, Surrealism, and Abstract Expressionism are considered. Prerequisite: ARH 261 or permission of the instructor.

ARH 370 North European Art from the Early Christian Period to the Renaissance
The course begins with the fourth-century Early Christian era, covers the Gothic period, and ends with the early years of the Northern Renaissance in the 16th century. Students study a wide variety of paintings (including mosaics, illuminated manuscripts, tapestries, and stained glass), sculpture (Viking wood carvings, Celtic goldsmithwork, and French and German church statuary), and architecture (Early Christian basilicas, Romanesque churches, and Gothic cathedrals). (Offered at Strasbourg.)

ARH 381 Arts and Markets: Economic Histories of the Arts
This course introduces students to the multiple means by which art can be examined through the lens of economic history. Among other things, art is by its very nature a commodity that is bought and traded, sold and re-sold. Course materials will attend the issues of production, reception, distribution and sale that shaped not only how art has been used and understood since the Renaissance, but how such considerations influenced the creation of styles and techniques that are more often identified as the products of individual creative expression. The class will attempt to balance careful examinations of individual artists, objects, and patrons with more general analyses of mass production and international exchange, and considers the history of art from the Renaissance to the present. Prerequisite: ARH 260 or 261, or permission of the instructor.

ARH 382 Mirror, Mirror, on the Wall: Reflections of Vision in Art
This class considers the history of visuality since the Renaissance as a culturally‐determined strategy of representation dependent upon philosophies of both technology and aesthetics. Students will be confronted with such questions as: What is truth in vision? What is ideal beauty? What is a portrait? What is verisimilitude? The class attends to the historical development of technologies that directly impacted vision and representation, from linear perspective to the Hubble Space Telescope, from oil painting to holography.
By the same token, the relativity of ideals of aesthetic value will also be examined, from classical canons of proportion to the celebration of ostentation and material cost, from social realism to expressionism to abstraction.

ARH 383 Social Life of Prints
This course explores the various roles that printed images – woodcuts, engravings and etchings – played in the development of the visual arts since the Renaissance. For example, prints served as the most rapid form of mass communication (and propaganda); as a means to discreetly disseminate illicit or pornographic images; as scientific records of the natural world; and as affordable imitations of paintings or as a means to communicate visual motifs among artists. Perhaps most importantly, this course will consider the means by which prints stimulated the development of the visual and critical skills necessary to negotiate cultures that were increasingly saturated by images.


ARH 450 Marketing Art in Bruges, Antwerp & Amsterdam
From the 15th through 17th centuries, the three major economic markets of northern Europe were also the principle centers of artistic production. This class explores the relationships between art and economics by immersing students in the urban spaces that gave rise to such celebrated artistentrepreneurs as Peter Paul Rubens and Rembrandt. Students not only engage art first‐hand in major museums but also walk along the cobbled streets and canals that define some of the best‐preserved medieval and Renaissance cities in Europe and that stand witness to the fabulous wealth and trade that engendered their creation.


ARH 500 Senior Thesis in Art History
In consultation with the instructor, students write a substantial research paper on a topic of their choice and present a public reading of the paper at the end of the term. Prerequisite: Senior art history major.

Studio Art Courses


ARS 110 Introduction to Drawing

This course requires no previous instruction in art. It emphasizes charcoal drawing from direct observation, concentrating on still life as a subject. The aim is to give students proficiency in the fundamentals of proportional measuring, perspective, composition and modeling form with light and shade. In addition to studio work, students learn by studying and copying from master drawings. As students gain proficiency, other materials or subjects may be introduced, such as the use of paint or outdoor landscape drawing. Periodic class discussions and written assignments help students learn visual analysis and a general approach to the criticism of art.

ARS 210 Drawing and Painting-I
Student enrolling in this course should be proficient in drawing, but need not have any experience in painting. The course gives equal emphasis to drawing and oil painting, moving back and forth between the media to emphasize their interdependence. Drawing skills will be developed by working directly from life throughout the term. Oil painting methods will be introduced with the study of still life, followed by the human figure with emphasis on the head. Direct observation of the figure will be enriched by the study of anatomical form and copies from masterworks in drawing and painting. Prerequisite: ARS 110 or FRS 119 or permission of the instructor.

ARS 220 Drawing and Painting-II
This is an intermediate course. To enroll in it, students should have proficiency in figure drawing and the fundamentals of oil painting. The class will begin with several weeks of outdoor landscape drawings and oil studies. As the weather turns cool, the class will take up intensive study of the figure. Students will continue to study anatomical form, with the aim of achieving a comprehensive understanding of the figure. The course will culminate in a project that takes students through the process of building a picture from initial sketches to a well-resolved composition. Prerequisite: ARS 210.

ARS 230 Ceramics-I
An initial studio experience in ceramic techniques which includes art theory and ceramic history. Processing, forming, and firing are studied in concert with an aesthetic consideration of the articulation of form and surface decoration.

ARS 240 Hot Glass-I
From traditional vessels to sculptural forms, students learn the fundamental techniques of glass blowing and casting. Attention is given to the history of glass and to the formulation of a personal expression through the creation of glass objects. Prerequisite: One previous art course (studio or art history).

ARS 251/ARS 455 The Art of Porcelain
Students learn to create with this demanding clay through a series of projects designed to explore porcelain's properties of whiteness and translucency. Students model, mold, carve, and glaze porcelain. A visiting artist will demonstrate techniques of using porcelain. Prerequisite for ARS 455: ARS 230 or 251.

ARS 252/452 Venetian Glass Techniques
A study of Venetian glass blowing techniques. Venetian glass is known for it's elegant, well crafted shapes that exploit intricate colored canes in their surface decoration. Students spend a part of each day in the hot glass studio practicing Venetian techniques. We will study many of the Venetian glass artists and factories that have made the island of Murano so famous. The class will focus on Venetian glass of the 16th century and trace it's development all the way to contemporary times. This class will be an even mix of theory and practice. No prerequisite for ARS 252; ARS 240 or 252 required for 452.

ARS 320 Drawing and Painting-III
Advanced study in drawing and oil painting. The course presents a thorough overview of the human figure as a subject. Students will learn anatomy as it relates to visual form in the figure. The course will finish with a major independent project incorporating the skills developed during the term. Prerequisite: ARS 220.

ARS 321 Drawing and Painting-IV
Advanced study in drawing and oil painting, recommended for art majors. This course will continue the practice of drawing and painting from life, with concentration on the figure and anatomy. In addition, students will undertake a major independent work in the last part of the term. Prerequisite: ARS 320.

ARS 330 Ceramics-II
Refinement of building methods and artistic intent. Further technical exploration of glazes and firing methods. Prerequisite: ARS 230 or ARS 251.

ARS 331 Ceramics-III
Students work in conjunction with the instructor to plan and create a series of coherent and resolved works while continuing technical experiments. Prerequisites: ARS 330.

ARS 340 Hot Glass-II
Refinement of techniques and artistic intent. Prerequisite: ARS 240 or ARS 252.

ARS 341 Hot Glass-III
An advanced study of glass. Students focus on one long-term project that culminates in a series of highly resolved works. Prerequisite: ARS 340.

ARS 420 Drawing and Painting-V
Advanced study in drawing and oil painting, recommended for art majors, especially those planning a senior exhibition in painting and drawing. This course will extend the study of the figure and anatomy, and require more accomplished and ambitious works. Students will learn to develop imagery independently and to work through a series of images with related themes. Prerequisite: ARS 321.

ARS 430 Ceramics-IV
Continuation of ART 331, culminating in a coherent and resolved body of work. Prerequisite: ARS 331.

ARS 440 Hot Glass-IV
Continuation of ARS 341. Prerequisite: ARS 341.

ARS 499 Senior Exhibition
Directed studio work in consultation with a faculty member. The term culminates in an exhibition of a coherent series of original creative works, usually in one medium. Prerequisite: Senior studio art major.