Art History

Director of Undergraduate Studies: Thomas Cummins, CWAC 262, 702-0262
Department Secretary: Candace Stoakley, CWAC 166, 702-0278

Program of Study

Art history is a branch of humanistic learning concerned with the study of the visual arts in their historical context. Individual works are analyzed for the styles, materials, and techniques of their design and manufacture; for their meanings; and for their makers, periods, and places of creation. An informed appreciation of each work is developed, and the proper historical position of each piece is established. From the study of single works, the art historian moves to the analysis and interpretation of artistic careers, group movements and schools, currents of artistic theory, significant patrons, and cultural contexts. The study of our heritage in the visual arts thus provides a singular perspective for the study of social, cultural, and intellectual history.

Courses for Nonconcentrators. Introduction to Art (Art History 101) develops basic skills in the analysis and critical enjoyment of the visual arts. Issues and problems in the history of art are explored through classroom discussion of key works, critical reading of fundamental texts, and through writing. Art of the West (Art History 150-151-152) surveys the history of Western art from ancient Greece to the modern world. The Western survey furthers the student's appreciation both for major monuments of art and architecture, and for the place of art in the broad development of Western culture. Art of the East (Art History 161) provides an equivalent introduction to Eastern art. Art in Context (Art History 170 through 189) introduces students to a well-defined issue, topic, or period of art in depth. Any of these 100-level courses is an appropriate choice to fulfill the Common Core requirement in the musical, visual, and dramatic arts; usually the Core requirement must be met with a 100-level course. None presupposes prior training in art.

Students who have taken at least one course in art history or studio art, or who have equivalent nonacademic experience, may elect to take an advanced lecture course, numbered from 201 to 289. The prerequisites for these courses are any 100-level art history or visual arts course, or the consent of the instructor. The 200-level art history courses investigate the arts of specific periods and places from a variety of perspectives. Some courses embrace large bodies of material defined by national culture; others follow developments in style, iconography, and patronage as they affect works in selected media. The role of the individual artist in the creation and development of major movements is frequently examined, as is its complement, the growth of cultural systems and their expression in the visual arts.

Program Requirements

The Bachelor of Arts concentration in art history is intended to furnish students with a broad knowledge of Western and non-Western art and to provide an opportunity for the complementary, intensive study of an area of special interest. It is recommended for students who wish to develop their abilities of visual analysis and criticism; to acquire some sense of the major developments in the arts from ancient times to the present; and to understand the visual arts as aspects of social, cultural, and intellectual history. So conceived, the study of art is an element of a general, liberal arts education; the skills of analytical thinking, logical argument, and clear verbal expression necessary to the program are basic to most fields. Although the program in art history has no explicit preprofessional orientation, it does prepare interested students for advanced study at the graduate level and, eventually, for work in academic, museum, and gallery settings.

General Requirements for All Concentrators

1. Concentrators are required to take Art History 150-151-152. They should do so as early as possible in their program, ideally by their sophomore year.

2. They must write at least two research papers of intermediate length before starting their senior year, ordinarily in conjunction with 200-level courses taken in art history. It is the student's responsibility to make the appropriate arrangements with the instructor.

3. They should develop a special field of interest (see following section).

4. Within the special field, they should write a senior paper (see following section). They should also participate in the senior seminar.

5. They must use an approved course in music, visual arts, or drama to fulfill the Common Core requirement in the musical, visual, and dramatic arts.

Recommendations for Concentrators

6. Concentrators are encouraged to take graduate seminars, having obtained the permission of the instructor first. (Such seminars are also open to nonconcentrators with the same proviso.)

7. They are urged to pursue upper-level language courses. When such a course is relevant to the student's special field, he or she may petition the director of undergraduate studies to have it count toward their electives for the art history program.

8. Those planning to continue their study of art history at the graduate level are advised to fulfill their Common Core foreign language requirement in French or German, or in Italian for those with primary interest in the art of Italy. The prospective graduate student does well to achieve language competency equal to at least two years of college study.

Two Tracks. In structuring their programs, concentrators may choose one of two orientations (tracks): one offering a broad coverage of the history of art, the other a close study of a specific area or topic.

Track I. In addition to Art History 150-151-152 and Art History 298 (Senior Seminar), Track I students take eight further upper-level courses within the department. Students are encouraged to distribute the eight courses widely throughout Western and non-Western art and are specifically required to take at least one course in Western art before 1400, one course in Western art after 1400, and one course in non-Western art. Within the eight departmental courses, students must develop a special field consisting of three courses whose relevance to one another must be clearly established. The field may be defined by chronological period, medium, national culture, genre, methodological concerns, or a suitable combination. Because they reflect the interests of individual concentrators, such fields range widely in topic, approach, and scope. Reading courses with art history faculty may be used to pursue specific questions within a field. The topic for the senior paper normally develops from the special field and allows for the further study of the area through independent research and writing.

Track II. In addition to Art History 150-151-152 and Art History 298 (Senior Seminar), Track II students take eight further courses: three courses inside and two courses outside the art history department make up the special field; three additional courses in art are taken at the student's discretion. Because the last three courses are intended to give an overall sense of the discipline, each Track II student is encouraged to select them from widely differing periods and approaches in the history of art.

The special field may take many different forms. It may be civilization defined by chronological period, nation-state, cultural institution, or a suitable combination. Extradepartmental courses in history and literature would be particularly relevant to such a program. Another special field might be conceptual in character (for example, art and the history of science, urban history, and geography) and draw upon a variety of extradepartmental courses in the Humanities and Social Sciences Collegiate Divisions. A field could combine historical, critical, and theoretical perspectives (for example, visual arts in the twentieth century) and involve courses in art history, music, film, drama, and popular culture. Finally, art historical and studio courses (for example, Committee on the Visual Arts) may be combined in special fields exploring their interrelations (for example, abstraction and conceptualism in modern art). As with Track I, the senior paper normally develops within the special field.

Special Field. Whether a student is following Track I or Track II, the proposal for the special field, in the form of a written petition, must be received by the director of undergraduate studies and approved by a faculty committee no later than the end of a student's junior year. The student should consult the director for guidelines on the organization and preparation of the proposal. Students are strongly recommended to have completed at least two courses in their special field by the end of their junior year.

Senior Paper. It is the student's responsibility, by the end of the junior year, to have found a member of the faculty who agrees to act as the faculty research adviser. Together, they agree on a topic for the student's senior paper, preferably before the start of the autumn quarter of the senior year. The topic must be registered no later than the fourth week of that quarter on a departmental form available from the director of undergraduate studies.

The senior paper is developed during the course of the senior seminar (Art History 298). This is offered during autumn quarter and is required of all concentrators. Most commonly, students take the seminar in the autumn quarter before graduating in spring quarter; those graduating in the autumn or winter quarters should take the course in the previous academic year. In the closing sessions of the seminar students discuss their plans and initial research for the senior paper, and continue their research on the paper during the following quarters, meeting at intervals with their faculty research adviser. Students may elect to take Preparation for the Senior Paper (Art History 299) in autumn or winter quarter to afford additional time for research or writing. The first draft of the paper is due by the first week of the quarter of graduation; the final version is due the sixth week of that quarter. Both are to be submitted in duplicate, one copy to the research adviser, the second to the director of undergraduate studies. Because individual projects vary from student to student, no specific requirements for the senior paper have been set. Essays tend to range in length from twenty to forty pages, but there is no minimum or maximum requirement.

Summary of Requirements

General
Education

	Introductory course in Music, Visual Arts, or Drama

Track I

3	ArtH 150-151-152
3	ArtH courses in special field
5	ArtH electives (including one course each in Western art before 1400, Western art after 1400, and non-Western art)
1	ArtH 298 (senior seminar)
-	senior paper
12

Track II

3	ArtH 150-151-152
5	courses in special field (three departmental and two extradepartmental)
3	ArtH electives
1	ArtH 298 (senior seminar)
-	senior paper
12

Advising. Art history concentrators should see the director of undergraduate studies in art history no less than once a year for consultation and guidance in planning a special field, in selecting courses, in choosing a topic for the senior paper, and for any academic problems within the concentration.

Grading. Students taking art history courses in fulfillment of the Common Core musical, visual and dramatic arts must receive letter grades. Art history concentrators must also receive letter grades in art history courses taken for the concentration, with one exception: for Preparation for the Senior Paper (Art History 299), they may receive a Pass grade. Art history courses elected beyond concentration requirements may be taken for Pass grades with consent of the instructor. Students concentrating in other departments may take art history courses for Pass grades with the consent of their advisers and course instructors. A Pass grade is given only for work of C- quality or higher.

Honors. Students who complete their course work and their senior papers with great distinction are considered for graduation with special honors. Candidates must have a grade point average of at least 3.0 overall and 3.3 in art history. Nominations for honors are made by the faculty in the concentration through the Office of the Director of Undergraduate Studies to the master of the Humanities Collegiate Division.

Faculty

HOMI BHABHA, Professor, Departments of Art History and English Language & Literature and the College

MICHAEL CAMILLE, Professor, Department of Art History and the College

CHARLES E. COHEN, Professor, Department of Art History, Committee on the Visual Arts, and the College

THOMAS CUMMINS, Associate Professor, Department of Art History, Committee on the Visual Arts, and the College

TOM GUNNING, Professor, Departments of Art History and Cinema & Media Studies and the College

REINHOLD HELLER, Professor, Departments of Art History and Germanic Studies, Committee on the Visual Arts, and the College

ELIZABETH HELSINGER, Professor, Departments of Art History and English Language & Literature and the College

W. J. T. MITCHELL, Gaylord Donnelley Distinguished Service Professor, Departments of English Language & Literature and Art History, Committees on the Visual Arts and General Studies in the Humanities, and the College

ROBERT S. NELSON, Professor, Department of Art History, Committees on the Ancient Mediterranean World and the History of Culture, and the College; Chairman, Department of Art History

KIMERLY RORSCHACH, Senior Lecturer, Department of Art History and Committee on the Visual Arts; Director, Smart Museum

INGRID ROWLAND, Associate Professor, Department of Art History and the College

LINDA SEIDEL, Professor, Department of Art History, Committee on General Studies in the Humanities, and the College

JOEL M. SNYDER, Professor, Department of Art History, Committees on the Visual Arts and General Studies in the Humanities, and the College

BARBARA STAFFORD, Professor, Department of Art History and the College

KATHERINE TAYLOR, Associate Professor, Department of Art History and the College

YURI TSIVIAN, Professor, Departments of Art History, Slavic Languages & Literatures, Cinema & Media Studies, and the College

MARTHA WARD, Associate Professor, Department of Art History, Committee on the Visual Arts, and the College

WU HUNG, Professor, Department of Art History and the College

Courses

101. Introduction to Art. For nonconcentrators, this course fulfills the Common Core requirement in the musical, visual, and dramatic arts. Students must attend the first class to confirm enrollment. This course seeks to develop skills in perception, comprehension, and appreciation when dealing with a variety of visual art forms. It encourages the close analysis of visual materials, explores the range of questions and methods appropriate to the explication of a given work of art, and examines the intellectual structures basic to the systematic study of art. Most important, the course encourages the understanding of art as a visual language and aims to foster in students the ability to translate this understanding into verbal expression, both oral and written. Staff. Autumn, Winter, Spring.

150-151-152. Art of the West. For nonconcentrators, any course in this sequence fulfills the Common Core requirement in the musical, visual, and dramatic arts. May be taken in sequence or individually. Students must attend the first class to confirm enrollment. The major monuments and masterpieces of painting, sculpture, and architecture are studied as examples of humankind's creative impulses in the visual arts. Individual objects are analyzed in detail and interpreted in light of society's varied needs. While changes in form, style, and function are emphasized, an attempt is also made to trace the development of a unique and continuous tradition of visual imagery throughout Western civilization.

150. The Ancient and Medieval World. This course examines the nature of artistic production from the prehistoric animal images in the caves of southern Europe to the handmade, gilded books that circulated at French and English courts some fifteen thousand years later. Particular attention is given to the transformation of the natural landscape into imposing built environments around the Mediterranean, including Africa and the Near East, and to the role art played as image-maker for political and religious institutions. At the conclusion of the class we consider the ways every age reworks its past, selecting from an available array of visual production the material that gives shape to its sense of itself. L. Seidel. Autumn.

151. Renaissance to Rococo. The major achievements of European artists in painting, sculpture, and architecture from about 1400 to 1775 are discussed chronologically. While broad style groupings such as Renaissance, mannerism, baroque, and rococo are an important organizing principle, an effort is made to concentrate on fewer artists and masterpieces rather than a uniform survey. Attention is also given to the invention and development of distinctive artistic types and their association with particular moments in history. Where possible, study of the imagery is supplemented with contemporary written documents, such as contracts, letters, and theoretical texts. C. Cohen. Winter.

152. The Modern Age. This course considers selected works of painting, sculpture, and architecture from 1750 to the present, concentrating on how they can be understood in relation to development of the modern art world and changing conceptions of what the experience of art should be. Developments considered are the roles of subjectivity and nationalism in the rise of nineteenth-century landscape painting, the early twentieth-century conception of an artistic avant garde; and the notion of functionalism in architectural design. Emphasis is placed on the close examination of works in the area. Attendance at a weekly section, often devoted to a field trip, is required. M. Ward. Spring.

161. Art of Asia: China (=ArtH 161, Chin 261, EALC 261). For nonconcentrators, this course fulfills the Common Core requirement in the musical, visual, and dramatic arts. An introduction to ancient Chinese art and architecture from prehistory to the third century A.D., examined in its religious and cultural context. Ritual bronzes, monumental tombs, and funerary shrines are studied in the light of religious texts, such as temple hymns, ritual canons, poems, and songs. Students reconstruct the physical and cultural context of individual works of art, and study original art objects in Chicago museums. Staff. Autumn.

170-189. Art in Context. For nonconcentrators, this course fulfills the Common Core requirement in the musical, visual, and dramatic arts. Students must attend the first class to confirm enrollment. Courses in this series investigate basic methods of art historical analysis and apply them to significant works of art studied within definite contexts. Works of art are placed in their intellectual, historical, cultural, or more purely artistic settings in an effort to indicate the origins of their specific achievements. An informed appreciation of the particular solutions offered by single works and the careers of individual artists emerges from the detailed study of classic problems within Western and non-Western art.

171. Art in Context: The First Emperor in Chinese History (=ArtH 171, Chin 171, EALC 171). This course for undergraduates focuses on the art and architecture of the Qin dynasty, one of the most important eras in Chinese history and art history. The basic materials come from a series of recent archaeological discoveries that often resulted from the First Emperor's direct patronage and reflected important changes in Chinese religion, politics, and society. Students contextualize the First Emperor in Chinese history and think about how he responded to the past and how later politicians and artists responded to him. This second focus leads to analyzing the portrayals of the First Emperor in later Chinese art and includes recent films made in China and Hong Kong. H. Wu. Winter.

172. Gargoyles at the University of Chicago. This course examines the history of medieval gargoyles as stone sculptures in Europe and their rebirth in the nineteenth century. We then turn our focus to their use in the unique architecture found on the University of Chicago campus. M. Camille. Spring.

173. Frank Lloyd Wright: Domesticity and Modernity. Frank Lloyd Wright's early twentieth-century houses in the Chicago suburbs are a rich local resource for an introduction to architecture, urbanism, and design. We look at their role in the social history and culture of modernism, as well as its reconstruction through museums and tourism. K. Taylor. Autumn.

174. The University of Chicago Campus. This course is an introduction to architecture and planning based on the groupings of buildings we have closest at hand and know best as users. We examine changes in thinking about the campus from its origins in the 1890s to the present, a time during which many of the particular choices confronted by University architects mirror the ones that shaped contemporary American architecture generally. We look at buildings first-hand and also at primary documents from the University archives. K. Taylor. Spring.

175. The 1960s. This course explores aspects of the artistic production of the 1960s in the United States, France, and Germany. Movements and tendencies such as Abstract Expressionism, Pop Art, Minimalism, Op Art, and New Realism are critically reviewed and evaluated. Among the issues we discuss are whether art can be an appropriate response to events ranging from the Civil Rights movement and the Vietnam War to emergent feminism and calls for an alternative post-capitalist culture, and whether artmaking remains a valid concern. R. Heller. Winter.

179. Twentieth-Century Art in the Art Institute. This course introduces students to the methods and issues of art history through close consideration of selected works at the Art Institute of Chicago. M. Ward. Spring.

183. Visual Style in Still and Moving Images. This course surveys elements of styles and techniques common to the visual arts. We examine light and color, framing and editing, and action and narration, as well as blocking, interior design, and mise-en-scene as used by artists, photographers, and filmmakers in the late nineteenth and early twentieth centuries. Y. Tsivian. Winter.

186. Self-Portraits, Diaries, and Autobiographies: Imaging the Public Self. How is the self organized for presentation to the surrounding world, both present and future? What principles of selection, censorship, and invention underlie the written and pictorial images of the lives and physical appearance individuals offer to the public? How do we respond to, and what is communicated by, these self-projections of others? During this quarter we examine self-imagery in multiple genres from the nineteenth and twentieth centuries in an effort to address these and related issues. R. Heller. Autumn.

The following 190-level courses are upper-level undergraduate courses that do not fulfill the Common Core requirement in the musical, visual, and dramatic arts unless 4 or 5 has been scored on the AP art history test. There are no prerequisites.

190. Introduction to Film I (=ArtH 190, CMS 101, Eng 108, GS Hum 200). PQ: This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The first part introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. J. Lastra. Autumn.

191. Introduction to Film II (=ArtH 191, CMS 102, Eng 109, GS Hum 201). PQ: This is the second part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. Building on the skills of formal analysis and knowledge of basic cinematic conventions acquired in the first part, the second part focuses on intertextual and contextual problems, such as those associated with genre, authorship, stars, and various responses to the classical Hollywood film. Modes of film practice studied include documentary, European national cinemas, "art cinema," animation, and various avant-garde movements. Not offered 1998-1999; will be offered 1999-2000.

193. Material Culture of Death. This course investigates how cultures define the world of the dead in relation to the world of the living through funeral rituals, burial location, decorative monuments, and commemorative festivals. We examine the social function of various monuments, including mummies, tombs, portraits, relics, and cemeteries, as well as war and Holocaust memorials. Through visual analysis and theoretical texts, we explore the material artifacts of death as repositories of individual and cultural identity and memory. A. Yasin. Autumn.

195. The Art of the Ancient World (=ArtH 195, ClCiv 242, NECiv 242). This course is intended to provide students with a basic introduction to a broad spectrum of the arts of the ancient world. Beginning with the art of the Neolithic Near East and ending with Late Antiquity, the course examines the art and architecture of cultures that include Sumerian, Assyrian, Egyptian, Minoan, Mycenaean, Greek, Etruscan, and Roman. C. Faraone, I. Rowland, K. Wilson. Spring.

The following 200-level courses have as a prerequisite any 100-level art history or visual arts course, or consent of instructor. These courses do not fulfill the Common Core requirement in the musical, visual, and dramatic arts unless 4 or 5 has been scored on the AP art history test.

202/302. Egyptomania. PQ: Any 100-level ArtH or COVA course, or consent of instructor. The image of Egypt from the ancient Mediterranean world to the present is studied. I. Rowland. Autumn.

209/309. Late Antique and Early Christian Art, ca. 300-700. PQ: Any 100-level ArtH or COVA course, or consent of instructor. The long transition from antiquity to what the renaissance called the Middle Ages involved manifold changes that were political, geographical, cultural, and religious. To study the visual arts of the period is to explore one of the signs and the means of that change. This course concentrates on the rise of Christian art from a minor, derivative visual language within the Roman Empire to the dominant expression of religious and political authority in the Mediterranean, one whose iconographies and cult practices would prevail for centuries. R. Nelson. Winter.

216/316. Medieval Art and the Body. The body has become central in recent years to developing new historical paradigms. This course explores the different ways medieval image-making constructs ideas and attitudes toward issues in medieval art, including sculpture, painting, metalwork, and manuscript illumination, from the fifth through the fifteenth centuries. Among the topics explored are medical imagery, relics, devotional attitudes, and courtly self-fashioning. M. Camillle. Spring.

220/320. Maidens and Martyrs (=ArtH 220/320, GendSt 221/321). PQ: Any 100-level ArtH or COVA course, or consent of instructor. Painted stories of misfortune and misogyny in late medieval and early modern art. L. Seidel. Autumn.

223/323. The First Crusade. PQ: Any 100-level ArtH or COVA course, or consent of instructor. Celebrations and reverberations of the capture of Jerusalem (July 15, 1099) in western art of the time. L. Seidel. Spring.

239/339. Native Books, Images, and Things in Sixteenth- and Seventeenth-Century New Spain and Peru. PQ: Any 100-level ArtH or COVA course, or consent of instructor. This course explores the production of native paintings, books, and objects in Mexico and Peru after the European conquest. The intent is to examine how certain traditional forms and media continued to be employed by native artists, nobility, and intellects within the context of a colonial situation, as well as how certain European forms and media were adapted for Mexican or Andean expression. We look at famous examples but we also study images and texts that were produced for wills, legal documents, and other daily use. T. Cummins. Winter.

242/342. Sites of Power: Art and Patronage in England, 1520-1820. PQ: Any 100-level ArtH or COVA course. This course traces the development of the visual arts in England from the renaissance through the dawn of the Victorian period, with particular emphasis on patterns of patronage and collecting in a pre-museum age. Topics considered include the strongly political nature of art patronage in England, the construction of national identity in particular works of art, and the impact of the English social and economic structure on the development of English art and its audiences. The course examines not only painting and sculpture, but also garden design, architecture, and the decorative arts. K. Rorschach. Autumn.

253/353. Nineteenth Century Architecture and Theory. PQ: Any 100-level ArtH or COVA course. Nineteenth-century architecture remains, by many accounts, a nightmare intervening between the Enlightenment and twentieth-century modernism. This course examines that challenging production in terms of relationships between its major theorists and related buildings in Europe and the United States. K. Taylor. Spring.

256/356. Ancients and Moderns. PQ: Any 100-level ArtH or COVA course. This course explores major aspects of European art from the time of the wars of the Spanish succession to the Terror. Emphasis is placed on integrating key artistic issues (such as the disintegration of the hierarchy of the genres, the rise of primitivism, the evolution of the concept of genius, and the development of an aesthetic of the sketch) with the intellectual background of the pre- and post-Enlightenment periods. The growth of a sense of history, with its attendant debates concerning the virtues of antiquity and modernity, is of central importance. B. Stafford. Autumn.

258/358. Visual Culture (=ArtH 258/358, CMS 278, COVA 254, Eng 126/326, MAPH 343). PQ: Any 100-level ArtH or COVA course, or consent of instructor. This course explores the fundamental questions in the interdisciplinary study of visual culture: What are the cultural (and, by the same token, natural) components in the structure of visual experience? What is seeing? What is a spectator? What is the difference between visual and verbal representation? How do visual media exert power, elicit desire and pleasure, and construct the boundaries of subjective and social experience in the private and public sphere? How do questions of politics, gender, sexuality, and ethnicity inflect the construction of visual semiosis? W. J. T. Mitchell. Spring.

261/361. French Art and Its Reception, 1848-1914. PQ: Any 100-level ArtH or COVA course. This course analyzes how artistic institutions influenced the production and reception of painting and sculpture during this period. Topics include the development of the dealer-critic system, the representation of French culture at World's Fairs and foreign exhibitions, the roles of government commissions and education, and the development of the avant garde and its strategies. M. Ward. Winter.

264/364. History of Photography: 1839-1969 (=ArtH 264/364, GS Hum 234/334). PQ: Any 100-level ArtH or COVA course. The invention of the photographic system as a confluence of art practice and technology is studied in detail. The aesthetic history of photography is traced from 1839 through the present. Special emphasis is placed on the critical writings of P. H. Emerson, Erwin Panofsky, Alfred Stieglitz, Lewis Mumford, Susan Sontag, and Michael Fried. J. Snyder. Winter.

267/367. Manifestation of Modernism: The Year 1913 (=ArtH 267/367, COVA 258, German 257/457). PQ: Any 100-level ArtH or COVA course, or consent of instructor. Classical modernism reached its apogee immediately before World War I. In an effort to re-view the works, issues, and critical theories of modernism in its multiplicity and diversity, and also to test the historical validity of the concept of modernism, this course examines key defining exhibitions of the 1912 to 1914 period, including the second Post-Impressionist Exhibition in London, the Colgne Sonderbund Exhibition, the first Fall Salon in Berlin, and the Armory show in New York. Works included in these exhibitions, as well as related works, and critical responses to them are considered. R. Heller. Autumn.

268. Weimar Bodies: Fantasies about the Sexualized Body in Weimar Art, Literature, Science, and Medicine (=ArtH 268, COVA 257, GendSt 268, German 282, HiPSS 301). PQ: Advanced standing. Knowledge of German helpful but not required. This class concentrates on defining the relationship between "high" art images of the sexualized human body in avant garde German culture from 1919 to 1933 and parallel or contradictory representations of the body in the scientific (anthropological, sociological, and biological), as well as the medical illustration of the same period. The core ideas of the class are drawn from an exhibition of the same name that will be on view at the David and Alfred Smart Museum of Art during the length of the course. S. Gilman. Autumn.

290/390. Left-Wing Art and Soviet Film Culture of the 1920s (=ArtH 290/390, CMS 247, ComLit 358, GnSlav 267/367). The course considers Soviet "montage cinema" of the 1920s in the context of coeval aesthetic projects in other arts. How did Eisenstein's theory and practice of "intellectual cinema" connect to Fernand Leger and Vladimir Tatlin? What did Meyerhold's "biomechanics" mean for filmmakers? Among other figures and issues, we address Dziga Vertov and Constructivism, German Expressionism and Aleksandr Dovzhenko, and Formalist poetics and FEKS directors. Film screenings are six hours a week in addition to scheduled class time. Y. Tsivian. Winter.

294/394. "Feminine Space" in Traditional Chinese Art (=ArtH 294/394, Chin 251, GendSt 294/394). PQ: Any 100-level ArtH or COVA course, or consent of instructor. "Feminine space" denotes an architectural or pictorial space that is perceived, imagined, and represented as a woman. Unlike an isolated female portrait or an individual female symbol, a "feminine space" is a spatial entity: an artificial world composed of landscape, vegetation, architecture, atmosphere, climate, color, fragrance, light, and sound, as well as selected human occupants and their activities. This course traces the construction of this space in traditional Chinese art (from the second to the eighteenth centuries) and the social/political implications of this constructive process. H. Wu. Spring.

297. Reading Course. PQ: Consent of instructor and director of undergraduate studies. Students are required to submit the College Reading and Research Form. Must be taken for a letter grade. This course is designed for students in art history or advanced students in other concentrations whose program requirements are best met by study under a faculty member's individual supervision. The subject, course of study, and requirements are to be arranged with the instructor. Staff. Autumn, Winter, Spring.

298. Senior Seminar: Problems and Methods in Art History. PQ: Required of fourth-year art history concentrators, who present aspects of their senior papers in oral reports; open to nonconcentrators with consent of instructor. This course investigates fundamental methods of art historical research, with emphasis on perspectives characteristic of the discipline in the twentieth century. Topics include connoisseurship, formal and iconographic analysis, psychoanalytic approaches, and perspectives of social history. T. Cummins. Autumn.

299. Preparation for the Senior Paper. PQ: Consent of instructor and director of undergraduate studies. Students are required to submit the College Reading and Research Form. May be taken for a Pass grade with consent of instructor. This course provides guided research on the topic of the senior paper. The program of study and schedule of meetings are to be arranged with the student's senior paper adviser. Staff. Autumn, Winter, Spring.

363. American Landscapes I: 1850-1904 (=ArtH 363, Geog 410, Hist 271/371). This course treats changes in the natural and human-made environment, focusing on the settings American designers, builders, architects, and their clients developed for work, housing, education, recreation, worship, and travel. Lectures attempt to relate specific physical changes to social values, aesthetic theories, technological skills, and social structure. Slides are employed in most lectures. N. Harris. Autumn.