Undergraduate Courses
ARTH200 Art of the Western World to 1300 (Professor Lee)
MTuWThF 12:00-3:00 (ASY 3211)
ARTH201 Art of the Western World after 1300 (Professor Kim)
MTuWThF 12:00-3:00 (ASY 3219)
ARTH351 Art Since 1945 (Professor Choi)
MTuWThF 9:30-12:30 (ASY 3215)
ARTH389A Special Topics in Art History and Archaeology: The Art of Drawing: A Left and Right Brain Experience (Professor Bland)
MTuWThF 12:00-3:00 (ASY 3217)
This course examines drawing in the history of art, theories of drawing and seeing and drawing practice. The class lectures will examine drawing as a visual language from pre-history to the Renaissance and the Nineteenth to the Twenty-first centuries. Rather than a chronological survey, the course will examine the work of Old and Modern Masters through the visual vocabulary of line, value, space, proportion and composition. The lectures will explain and discuss various drawing techniques, and materials, examining how they enhance the artist's creative expression and style. Old Master artists include Leonardo, Michelangelo, Raphael, Durer, and Rembrandt, while the Nineteenth century and Modern masters include Ingres, Degas, Picasso, Kollwitz, Wyeth, Pearlstein and Bravo.
Theoretically, drawing is an acquired skill like driving a car. Lectures will discuss Dr. Betty Edwards theory that there are two ways of knowing- verbal, analytical (Left Brain) and visual, perceptual (Right Brain). As practice, students will complete drawing exercises that help them make a mental shift from their left, analytical brain to their right visual brain. These exercises are based on the series of drawing exercises from Betty Edward's text, Drawing on the Right Side of the Brain . The class will also discuss Daniel Mendelowitz and Duane Wakeham's, “ Learning to See .” No prior drawing experience is necessary. However, students should be willing to extend a concerted amount of time and effort on each studio assignment.
ARTH389B Special Topics in Art History and Archaeology: The Art of Color: A Left and Right Brain Experience (Professor Bland)
MTuWThF 3:00-6:00 (ASY 3217 and ASY 2318)
This course is about understanding color and experiencing color. The course is composed of two parts, a lecture and color practice. The lectures examine a wide range of old and modern master paintings from Antiquity to the Twentieth Century. The lectures also examine how artists use color in a variety of media to distinctively record their surroundings, express their emotions and explore the aesthetics color applications. The practice portion of this course is composed of color/painting assignments that challenge students beyond color theory. Students will complete a series of exercises based on Dr. Betty Edward's text, Color, A Course in Mastering the Art of Mixing Color. No prior drawing or painting experience is necessary. However, students should be willing to extend a concerted amount of time and effort on each studio assignment.
ARTH444 British Painting, Hogarth to the Pre-Raphaelites (Professor Fox)
MTuWThF 1:00-4:00 (ASY 3215)
Before the early decades of the 18th century the British art world was one of outsiders. Imported painters like Van Dyck and Holbein earned the most prized commissions and the highest fees while British artists languished in obscurity. Then William Hogarth and his social satires galvanized London and led to a boom in activity that led to the creation of the Royal Academy, the conceptualization of contemporary history painting, and eventually the dramatic (and later expressionistic) Romantic landscapes of JMW Turner and the classicizing backlash of the Pre-Raphaelite Brotherhood 150 years later. We will explore the course of British art between the counterpoints of Hogarth and the PRB, and the theories, personalities, kinships, and scandals that together make up the heyday of English painting in England.
ARTH489A Special Topics in Art History: Films of Gilliam and Croneberg:
The Existential Individual in an Absurd World
(Professor Metcalf)
MTuWThF 6:00-9:30 (SQH 1120)
Terry Gilliam and David Cronenberg both come out of an era of existential concerns which they have carried into post-modern films, but the directors are very different in the way they respond to the same themes of individual identity in a false or changing world, one of madness. One works in visuals, the other in words. One comes out of comedy, the other from horror.One sees the world in metaphor, the other in theory. The interweave of similarities and difference will be explored through a dozen of their most significant films.