ALL DEPARTMENTS Archive for 2008 - 2009
Courses found: 101
AFAM 112a, AFAM 729a, HSAR 379a, HSAR 779a New York Mambo Robert F. Thompson T,Th   11:35 AM - 12:50 PM The rise, development, and philosophic achievement of the world of New York mambo and salsa. Emphasis on Palmieri, Cortijo, Roena, Harlow, and Colon. Examination of parallel traditions, e.g, New York Haitian art , Dominican meringue, reggae and rastas of Jamaican, Brooklyn, and the New York school of Brazilian capoeira.
AFAM 728b, AFST 778b, HSAR 378b, HSAR 778b From West Africa to Black Americas The Black Atlantic Visual Tradition Robert F. Thompson T,Th   11:30 AM - 12:35 PM Art, music, and dance in the history of key classical civilization south of the Sahara—Mali, Asante, Dahomey, Yoruba, Eigham, Kongo—and their impact on New World art and music, especially, rock, blues, North American black painting of the past ten years, and black artists of Cuba, Haiti, and Brazil.
AFAM 729a, AFAM 112a, HSAR 379a, HSAR 779a New York Mambo Robert F. Thompson T,Th   11:35 AM - 12:50 PM The rise, development, and philosophic achievement of the world of New York mambo and salsa. Emphasis on Palmieri, Cortijo, Roena, Harlow, and Colon. Examination of parallel traditions, e.g, New York Haitian art , Dominican meringue, reggae and rastas of Jamaican, Brooklyn, and the New York school of Brazilian capoeira.
AFAM 739a, AFST 781a, HSAR 781a Problem and Theory in Afro-Atlantic Architecture I: Africa Robert F. Thompson Th   3:30 PM - 5:20 PM The seminar addresses a new frontier—rebuilding the inner cities. This refers to Latino and mainland black cities within the cities of America. Accordingly, the course focuses on major roots of Latino and black traditional architecture. Topics include the architecture of Djenne, Berber art and architecture, Mauritanian sites, the monumental stone architecture of Zimbabwe, the sacred architecture of Ethiopia, and Muslim-influenced architecture from Rabat to Zanzibar. Then comes a case-by-case examination of some of the sites of African influence on the architecture of the Americas—the Puerto Rican casita; the southern verandah; the round-houses of New York, Virginia, North Carolina, Mexico, Panama, and Columbia; Ganvie, the Venice of West Africa, and its mirror image among the tidal stilt architectures of blacks of the Choco area in Pacific Columbia.
AFAM 739b, AFST 781b, HSAR 781b Problem and Theory in Afro-Atlantic Architecture II: The Black Americas Robert F. Thompson Th   3:30 PM - 5:20 PM A continuation of HSAR 781a. The seminar addresses a new frontier?rebuilding the inner cities. This refers to Latino and mainland black cities within the cities of America. Accordingly, the course focuses on major roots of Latino and black traditional architecture. Topics include the architecture of Djenne, Berber art and architecture, Mauritanian sites, the monumental stone architecture of Zimbabwe, the sacred architecture of Ethiopia, and Muslim-influenced architecture from Rabat to Zanzibar. Then comes a case-by-case examination of some of the sites of African influence on the architecture of the Americas?the Puerto Rican casita; the southern verandah; the round-houses of New York, Virginia, North Carolina, Mexico, Panama, and Columbia; Ganvie, the Venice of West Africa, and its mirror image among the tidal stilt architectures of blacks of the Choco area in Pacific Columbia.
AFST 778b, AFAM 728b, HSAR 378b, HSAR 778b From West Africa to Black Americas The Black Atlantic Visual Tradition Robert F. Thompson T,Th   11:30 AM - 12:35 PM Art, music, and dance in the history of key classical civilization south of the Sahara—Mali, Asante, Dahomey, Yoruba, Eigham, Kongo—and their impact on New World art and music, especially, rock, blues, North American black painting of the past ten years, and black artists of Cuba, Haiti, and Brazil.
AFST 781a, AFAM 739a, HSAR 781a Problem and Theory in Afro-Atlantic Architecture I: Africa Robert F. Thompson Th   3:30 PM - 5:20 PM The seminar addresses a new frontier—rebuilding the inner cities. This refers to Latino and mainland black cities within the cities of America. Accordingly, the course focuses on major roots of Latino and black traditional architecture. Topics include the architecture of Djenne, Berber art and architecture, Mauritanian sites, the monumental stone architecture of Zimbabwe, the sacred architecture of Ethiopia, and Muslim-influenced architecture from Rabat to Zanzibar. Then comes a case-by-case examination of some of the sites of African influence on the architecture of the Americas—the Puerto Rican casita; the southern verandah; the round-houses of New York, Virginia, North Carolina, Mexico, Panama, and Columbia; Ganvie, the Venice of West Africa, and its mirror image among the tidal stilt architectures of blacks of the Choco area in Pacific Columbia.
AFST 781b, AFAM 739b, HSAR 781b Problem and Theory in Afro-Atlantic Architecture II: The Black Americas Robert F. Thompson Th   3:30 PM - 5:20 PM A continuation of HSAR 781a. The seminar addresses a new frontier?rebuilding the inner cities. This refers to Latino and mainland black cities within the cities of America. Accordingly, the course focuses on major roots of Latino and black traditional architecture. Topics include the architecture of Djenne, Berber art and architecture, Mauritanian sites, the monumental stone architecture of Zimbabwe, the sacred architecture of Ethiopia, and Muslim-influenced architecture from Rabat to Zanzibar. Then comes a case-by-case examination of some of the sites of African influence on the architecture of the Americas?the Puerto Rican casita; the southern verandah; the round-houses of New York, Virginia, North Carolina, Mexico, Panama, and Columbia; Ganvie, the Venice of West Africa, and its mirror image among the tidal stilt architectures of blacks of the Choco area in Pacific Columbia.
AMST 214b, ARCG 214b, HSAR 214b American Architecture and Decorative Arts Edward S. Cooke, Jr. T,Th   9:00 AM - 10:15 AM A survey of American domestic architecture and decorative arts from 1600 to the Revolution. Examination of houses, furniture, metals, ceramics, and glass in the various cultures of North America: English, Dutch, French, Spanish, German, and Native American. Topics include the rise of an Anglo polite society, negotiations between different cultures, and regional contexts of production and consumption.
AMST 216a, HSAR 211a American Encounters: Colonies to Cold War Alexander Nemerov M,W   11:35 AM - 12:15 PM A close examination of major American artists and historical moments from John Singleton Copley and the American Revolution to Jackson Pollock and the Cold War.
AMST 341a, FILM 420a, HSAR 413a The Visual Culture of the American Home Front, 1941-1945 Alexander Nemerov T   1:30 PM - 3:20 PM A study of films shown on the home front during World War II, including both propaganda and other genres (musicals, noir, horror, cartoon). Consideration of key artists such as Norman Rockwell. Readings in cultural theory help define the visual culture of the war.
ARCG 170a, CLCV 170a, HSAR 250a Roman Art: Empire, Identity and Society Diana E.E. Kleiner T,Th   9:00 AM - 10:15 AM Masterpieces of Roman art from the Republic to Constantine studied in their historical and social contexts. The great Romans and the monuments they commissioned - portraits, triumphal arches, columns, and historical reliefs. Topics include the concept of empire and imperial identity, politics and portraiture, the making and unmaking of history through art, and the art of women, children, freedmen, and slaves.
ARCG 214b, AMST 214b, HSAR 214b American Architecture and Decorative Arts Edward S. Cooke, Jr. T,Th   9:00 AM - 10:15 AM A survey of American domestic architecture and decorative arts from 1600 to the Revolution. Examination of houses, furniture, metals, ceramics, and glass in the various cultures of North America: English, Dutch, French, Spanish, German, and Native American. Topics include the rise of an Anglo polite society, negotiations between different cultures, and regional contexts of production and consumption.
ARCG 236a, HSAR 236a, NELC 103a, NELC 503a The Art of Ancient Palaces Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of palaces in ancient Egypt, Mesopotamia, and the Bronze Age Aegean. Special attention to palatial workshops (painting, sculpture, pottery, faience, glass, ivory, metal) in cultural context. Emphasis on the iconography of power, including the establishment within palatial complexes of the world's oldest botanical and zoological gardens.
ARCG 239b, HSAR 239b, HUMS 104b, NELC 104b Art of the Ancient Near East and Aegean Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of Mesopotamia, Egypt, and the Aegean, with attention to cultural and historical contexts.
ARCG 252b, CLCV 175b, HSAR 252b Roman Architecture Diana E.E. Kleiner T,Th   9:00 AM - 10:15 AM The great buildings and engineering marvels of Rome and its empire. Study of city planning and individual monuments and their decoration, including mural painting. Emphasis on developments in Rome, Pompeii, and central Italy; survey of architecture in the provinces.
ARCG 424b, CLCV 230b, HSAR 424b eClavdia: Women in Ancient Rome Diana E.E. Kleiner T   1:30 PM - 3:20 PM The contributions of Roman women to one of the greatest cities—and one of the greatest empires in world history. Lost stories of real life Roman women recovered from public and residential buildings, portraits, paintings, and other works of Roman art and architecture.
CLCV 170a, ARCG 170a, HSAR 250a Roman Art: Empire, Identity and Society Diana E.E. Kleiner T,Th   9:00 AM - 10:15 AM Masterpieces of Roman art from the Republic to Constantine studied in their historical and social contexts. The great Romans and the monuments they commissioned - portraits, triumphal arches, columns, and historical reliefs. Topics include the concept of empire and imperial identity, politics and portraiture, the making and unmaking of history through art, and the art of women, children, freedmen, and slaves.
CLCV 175b, ARCG 252b, HSAR 252b Roman Architecture Diana E.E. Kleiner T,Th   9:00 AM - 10:15 AM The great buildings and engineering marvels of Rome and its empire. Study of city planning and individual monuments and their decoration, including mural painting. Emphasis on developments in Rome, Pompeii, and central Italy; survey of architecture in the provinces.
CLCV 230b, ARCG 424b, HSAR 424b eClavdia: Women in Ancient Rome Diana E.E. Kleiner T   1:30 PM - 3:20 PM The contributions of Roman women to one of the greatest cities—and one of the greatest empires in world history. Lost stories of real life Roman women recovered from public and residential buildings, portraits, paintings, and other works of Roman art and architecture.
FILM 420a, AMST 341a, HSAR 413a The Visual Culture of the American Home Front, 1941-1945 Alexander Nemerov T   1:30 PM - 3:20 PM A study of films shown on the home front during World War II, including both propaganda and other genres (musicals, noir, horror, cartoon). Consideration of key artists such as Norman Rockwell. Readings in cultural theory help define the visual culture of the war.
HIST 170Ja, HSAR 462a Shops and Shopping Jay Gitlin, Samuel Isenstadt W   3:30 PM - 5:20 PM Historical overview of the spaces and practices of shopping. Topics include the consumer revolutions of the eighteenth century in Europe and North America, development of distinct building types for shopping, industrialization of consumer goods and the evolution of packaging and branding, women and consumer culture, the role of advertising, identity politics of shopping, the suburbanization of shopping from malls to Internet shopping, and the absorption of public space within the sphere of commerce.
HSAR 002a Furniture and American Life Edward S. Cooke, Jr. T,Th   9:00 AM - 10:15 AM In-depth study and interpretation of American furniture from the past four centuries. Hands-on experience with furniture in the extensive collection of the Yale University Art Gallery to explore such topics as materials, techniques, styles, use, and meaning. This artifactual knowledge will contribute to the deeper understanding of American life over time. Meets in the Furniture Study. Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar Program.
HSAR 112a Introduction to the History of Art: Prehistory to the Renaissance Vincent Scully M,W   11:35 AM - 12:25 PM Form as meaning in architecture, sculpture, and painting. Selected studies in these arts from prehistory to the Renaissance. Source reading in translation.
HSAR 115b History of Western Art from the Renaissance to the Present Alexander Nemerov T,Th   11:35 AM - 12:25 PM Painting, sculpture and graphic arts, with some reference to architecture. Major works and artists treated in terms of form, function, and historical events.
HSAR 200a Art and Architecture of Mesoamerica Mary Miller M,W   9:00 AM - 10:15 AM Art and architecture in Mexico and Central America from the beginnings of urban settlement to the Spanish invasion. Examination of the Olmec, Maya, Teotihuacan, Zapotec, Mixtec, and Aztec cultures, with particular attention to meaning and cultural identity as expressed in monumental sculpture, hand-held objects, and the built environment.
HSAR 211a, AMST 216a American Encounters: Colonies to Cold War Alexander Nemerov M,W   11:35 AM - 12:15 PM A close examination of major American artists and historical moments from John Singleton Copley and the American Revolution to Jackson Pollock and the Cold War.
HSAR 214b, AMST 214b, ARCG 214b American Architecture and Decorative Arts Edward S. Cooke, Jr. T,Th   9:00 AM - 10:15 AM A survey of American domestic architecture and decorative arts from 1600 to the Revolution. Examination of houses, furniture, metals, ceramics, and glass in the various cultures of North America: English, Dutch, French, Spanish, German, and Native American. Topics include the rise of an Anglo polite society, negotiations between different cultures, and regional contexts of production and consumption.
HSAR 236a, ARCG 236a, NELC 103a, NELC 503a The Art of Ancient Palaces Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of palaces in ancient Egypt, Mesopotamia, and the Bronze Age Aegean. Special attention to palatial workshops (painting, sculpture, pottery, faience, glass, ivory, metal) in cultural context. Emphasis on the iconography of power, including the establishment within palatial complexes of the world's oldest botanical and zoological gardens.
HSAR 239b, ARCG 239b, HUMS 104b, NELC 104b Art of the Ancient Near East and Aegean Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of Mesopotamia, Egypt, and the Aegean, with attention to cultural and historical contexts.
HSAR 250a, ARCG 170a, CLCV 170a Roman Art: Empire, Identity and Society Diana E.E. Kleiner T,Th   9:00 AM - 10:15 AM Masterpieces of Roman art from the Republic to Constantine studied in their historical and social contexts. The great Romans and the monuments they commissioned - portraits, triumphal arches, columns, and historical reliefs. Topics include the concept of empire and imperial identity, politics and portraiture, the making and unmaking of history through art, and the art of women, children, freedmen, and slaves.
HSAR 252b, ARCG 252b, CLCV 175b Roman Architecture Diana E.E. Kleiner T,Th   9:00 AM - 10:15 AM The great buildings and engineering marvels of Rome and its empire. Study of city planning and individual monuments and their decoration, including mural painting. Emphasis on developments in Rome, Pompeii, and central Italy; survey of architecture in the provinces.
HSAR 276b The Art of the Christian Empires from Constantine to Charlemagne Robert S. Nelson M,W   2:30 PM - 3:45 PM Late Antique art from the first beginnings of Christian art in the third century to Eastern and Western successors of the Roman Empire in the ninth century.
HSAR 285b, RNST 200b Italian Renaissance Art Anne Dunlop M,W   10:30 AM - 11:20 AM A thematic survey of Italian art between c. 1300 and 1550. Topics might include art and eros, art and devotion, picturing the scientific revolution, and Renaissance art in New Spain. Class meetings are held in Yale campus collections.
HSAR 305b London: Capital of the 19th Century Tim Barringer T,Th   2:30 PM - 3:45 PM London“s pivotal role in the emergence of the cultural, social, and economic formations now known as modernity. Focus on visual materials in Yale collections, considering both representations of London - paintings, prints, drawings, maps and plans, panoramas, photographs - and works of art produced, exhibited, and sold in the city. Themes include London as a national capital and an imperial metropolis; the development of exhibitions and museums; and artistic movements such as romanticism, pre-Raphaelitism, the Aesthetic movement, and the Decadent artists of the 1890s.
HSAR 315a Nineteenth Century French Art Carol Armstrong M,W   10:30 AM - 11:20 AM This course will look at European art produced betwween the end of the 18th century and the beginning of the 20th century: between the French revolution's death-blow to the Ancien Regime, and the onset of abstraction in the decade leading up to World War I. It wil focus on French painting, but will also take side -trips to Spain, England and Germany, and offer glimpses of developments in photography, printmaking and sculpture. It will consider the art of the nineteenth-century both in depth and in its context, through close reading of the form and content of works of art and more general consideration of the social , economic and cultural changes that took place during this period. It will trace the advent of the related phenomena of the romantic indivdual, the modern art market "modernism" and the avant-garde, the taste for the sketch and the unfinished work of art, as well as the shift from a tradition of history painiting and the representation of the classical body in the academic atelier to the emphasis on "modern life" urban and surburan subjects and the modern genres of the female nude and on-site landscape painting. This will be done through chronologically arranged lectures and section on selected topics (attendance is mandatory). A background in some aspect of nineteenth century culutral history would be helfpful but is not required.
HSAR 321b Global Modernism Samuel Isenstadt T,Th   11:35 AM - 12:25 PM The development of modern architecture in both Western and non-Western countries during the twentieth century. Emphasis on the encounter of new materials and methods of construction with more traditional techniques, and the symbolic use of architecture to articulate cultural identities.
HSAR 323a Early Twentieth-Century Art Sebastian Zeidler M,W   2:30 PM - 3:45 PM The major movements of modern art in Europe and America, c. 1880-1945. Topics include individual artists (Rodin, Brancusi), historical avant-gardes (Dadaism, surrealism), the transformation of traditional media such as painting and sculpture, and the invention of collage and photomontage.
HSAR 343b The History of Photography Carol Armstrong M,W   11:35 AM - 12:25 PM Overview of the history of still photography from its inception in 1839 to the present. Focus on significant developments in England, France, Germany, Russia, and the United States.
HSAR 350b Chinese Art and the Modern World Lillian Tseng M,W   1:00 PM - 2:15 PM A thematic introduction to Chinese art from the fifteenth century to the present, with special attention to its interaction with the rest of the world. Media include architecture, painting, porcelain, print, and installations. Topics include Chinese gardens in the West, Chinese watercolors for international trade, realism and socialist realism, and ink play and abstract expressionism.
HSAR 363a Survey of Japanese Art I Mimi H. Yiengpruksawan T,Th   1:00 PM - 2:15 PM Survey of painting, sculpture, and architecture in Japan from the eighth century through the thirteenth. Emphasis on social, historical, and ideological concerns in Japanese visual cultures.
HSAR 364b Survey of Japanese Art II Mimi H. Yiengpruksawan T,Th   1:00 PM - 2:15 PM Continuation of HSAR 363a, covering the fourteenth through the twentieth centuries.
HSAR 378b, AFAM 728b, AFST 778b, HSAR 778b From West Africa to Black Americas The Black Atlantic Visual Tradition Robert F. Thompson T,Th   11:30 AM - 12:35 PM Art, music, and dance in the history of key classical civilization south of the Sahara—Mali, Asante, Dahomey, Yoruba, Eigham, Kongo—and their impact on New World art and music, especially, rock, blues, North American black painting of the past ten years, and black artists of Cuba, Haiti, and Brazil.
HSAR 379a, AFAM 112a, AFAM 729a, HSAR 779a New York Mambo Robert F. Thompson T,Th   11:35 AM - 12:50 PM The rise, development, and philosophic achievement of the world of New York mambo and salsa. Emphasis on Palmieri, Cortijo, Roena, Harlow, and Colon. Examination of parallel traditions, e.g, New York Haitian art , Dominican meringue, reggae and rastas of Jamaican, Brooklyn, and the New York school of Brazilian capoeira.
HSAR 401a Critical Approaches to Art History Jacqueline Jung M   3:30 PM - 5:20 PM A wide ranging introduction to the methods of the art historian and the history of the discipline. Themes include connoisseurship, iconography, formalism, and selected methodologies informed by contemporary theory.
HSAR 401b Critical Approaches to Art History Sebastian Zeidler W   1:30 PM - 3:20 PM A wide ranging introduction to the methods of the art historian and the history of the discipline. Themes include connoisseurship, iconography, formalism, and selected methodologies informed by contemporary theory.
HSAR 403b Aspects of Connoisseurship and Conservation Theresa Fairbanks-Harris T   2:30 PM - 4:30 PM A survey of the techniques and materials employed in Western painting, sculpture, and graphic arts from antiquity to the present. Modern examination techniques analyzed as tools for connoisseurship, dating, and authentication, including study of age, damage, and restoration as they change works of art. General concepts of preservation and conservation.
HSAR 413a, AMST 341a, FILM 420a The Visual Culture of the American Home Front, 1941-1945 Alexander Nemerov T   1:30 PM - 3:20 PM A study of films shown on the home front during World War II, including both propaganda and other genres (musicals, noir, horror, cartoon). Consideration of key artists such as Norman Rockwell. Readings in cultural theory help define the visual culture of the war.
HSAR 422b Hellenistic Sculpture Lisa Brody F   9:25 AM - 11:15 AM The Hellenistic periof of ancient Greece (ca. 323-31 B.C.) was a time that saw extraordinary advances in the development of bronze and marble sculpture. Subject matter, style, and techniques all changed dramatically from what had come before. Profound influences from other cultural areas, including literature, theater, philosophy, and religion, resulted in striking new compositions. Using objects in the collection of the Yale University Art Gallery, this class will focus on the primary trends in Hellenistic sculpture and how they relate to earlier Classical and later Roman art. Issues such as context and copying will be discussed, and we will also use literary texts, paintings, and coins to better understand of the Hellenistic world.
HSAR 424b, ARCG 424b, CLCV 230b eClavdia: Women in Ancient Rome Diana E.E. Kleiner T   1:30 PM - 3:20 PM The contributions of Roman women to one of the greatest cities—and one of the greatest empires in world history. Lost stories of real life Roman women recovered from public and residential buildings, portraits, paintings, and other works of Roman art and architecture.
HSAR 433b Albrecht Durer and His Time Christopher S. Wood W   1:30 PM - 3:20 PM In-depth study of northern European Renaissance art, based entirely on original works in the Yale University Art Gallery and other collections. The seminar will revolve around Albrect Durer, the pre-eminent German artist of the period. Topics: the printed image; emergence of a public for art; the crisis of the religious image; miraculous images; the study of nature; wider European and global horizon; images of labor and everyday life; figurations of gender and sexuality; the Protestant Reformation and iconoclasm.
HSAR 434a Big Renaissance Prints Suzanne Boorsch F   1:30 PM - 3:20 PM The seminar will examine European prints of the Renaissance--late 15th century to the beginning of the 17th--paying particular attention to the 46 works in the exhibition Grand Scale: Monumental Prints in the Age of Durer and Titian, which will be on view from September 9 and November 30, 2008. Printmaking in Europe began in the Germanspeaking areas around Lake Constance and sprad from there northwetward down the Rhine to the Netherlands, and southward across the Alps to Italy. The course will cover the history of printmaking in western Europe through the 16th century, with works in the Gallery's collection and the many rarely exhibited prints in the exhibition--including Benedetto Bordon's Triumph of Caesar, 16 feet long, and Durer's Triumphal Arch, nearly 11 feet high--complementing each other. The course will examine numerous questions about these prints, among them whether there is a fundamental difference in kind between prints of moderate size and the very large ones, as well as choices of subject, patronage, audiences, means of production and distribution, and many others.
HSAR 435b The Golden Age of Painting in Siena: 1250-1400 Laurence Kanter Th   3:30 PM - 5:20 PM A survey of early Renaissance art from Siena, with emphasis on works of art in the collections of the Yale University Art Gallery and New York area museums: the richest concentration of this material anywhere outside of Siena. Topics of special investigation include: Romanesque painting in Siena; the historiography of Duccio studies and problems in the connoisseurship of Duccio's contemporaries and early followers; the endurance and dissemination of Ducciesque style; Simone Ambrogio Lorenzetti and their influence in the second half of the fourteenth century; Sienese artists in Rome, Florence, and Assisi; the construction and decoration program of Siena Cathedral; Tino di Camaino, Lorenzo Maitani, and Gothic sculpture in and around Siena; the luxury arts of manuscript illumination, enamel painting, and verre eglomise; the alteration of workshop structures following the plagues of 1348 and 1362; late Gothic painting in Siena; the migration of Sienese style to Naples, Venice, the Papal States, and Avignon
HSAR 438a, HUMS 379a, RNST 421a Silk Road Renaissance Anne Dunlop W   9:25 AM - 11:15 AM The European Renaissance placed in a global context, focusing especially on artistic exchange along the Silk Road. Topics include the use and reception of Eastern and New World objects and materials in European art; the response to European artists and artworks at Muslim and Chinese courts; and the development of art theory and criticism in China and Europe.
HSAR 445b Orientalist Painting 1770-1914 Jo Briggs W   1:30 PM - 3:20 PM The aim of this course is to introduce students to the major figures and themes in Orientalist painting in the long nineteenth-century, and is inspired by issues raised by the upcoming exhibition 'The Lure of hte East: British Orientalist Painting', which is sure to spark further debate amongst art historians on this topic. Art history as a discipline initially utilized the theories of Edward Said to find new approaches to images of the Near and Middle East, however, more recently the applicability of Said's theories to visual artifacts has been questioned. Recent scholarship on William Holman Hunt dramatizes this, and will be used to introduce students to the debate. Some sessions of this course will be devoted to key figures in Orientalist painting such as Jean-Leon Gerome, David Roberts, and J.F. Lewis. Others will approach Orientalist painting thematically: examining the transposition of genre themes to Middle Eastern settings, and the challenges that artists faced when confronted with landscapes very different from depicted in the European tradition. Gender will be discussed in the sessions on the harem and slave markets - scenes of enduring fascination for Western artists. Two sessions will move beyond European Orientalist painting, to examine the influence of Islamic motifs and architecture on the Arts and Crafts Movement, and Orientalist painting in America. Throughout the course, the agency of Eastern government in preserving ancient Cairo, and Pasha Mehemet Ali's engagement with European artists to promote his political cause both in Egypt and in Europe. Where ever possible classes will take place in front of original art works in the collections at Yale
HSAR 462a, HIST 170Ja Shops and Shopping Jay Gitlin, Samuel Isenstadt W   3:30 PM - 5:20 PM Historical overview of the spaces and practices of shopping. Topics include the consumer revolutions of the eighteenth century in Europe and North America, development of distinct building types for shopping, industrialization of consumer goods and the evolution of packaging and branding, women and consumer culture, the role of advertising, identity politics of shopping, the suburbanization of shopping from malls to Internet shopping, and the absorption of public space within the sphere of commerce.
HSAR 463a Electric Modernism Samuel Isenstadt Th   2:30 PM - 4:20 PM Exploration of the ways in which electricity has affected architecture, including changes to floor plans, the use of indoor and outdoor lighting, the installation of automatic equipment, and do-it-yourself projects executed with inexpensive power tools.
HSAR 474a Arts of the Silk Road in Classical Japan Mimi H. Yiengpruksawan W   3:30 PM - 5:20 PM Investigation into the arts and material culture of the Silk Road through examination of the celebrated Shosoin collection in Nara. This collection was donated to the temple Todaiji in 759 by the Japanese royal family and contains objects obtained through tribute and trade from areas as far to the west as Rome. On the one hand the collection offers a way to examine the nature of trans-regional Silk Road cultural flows as manifest in the objects that moved hand-to-hand across the Eurasian landmass; on the other it poases questions about the nature of collectiong and taste that have relevance today.
HSAR 498a Independent Tutorial Lillian Tseng TBA    For students who wish to pursue a subject in the history of art not otherwise covered by departmental offerings. May be used for research or directed reading under faculty supervision. A term paper or its equivalent and regular meetings with the adviser are required. To apply for admission, a student should present a prospectus and a bibliography, signed by the adviser, to the director of undergraduate studies.
HSAR 498b Independent Tutorial Lillian Tseng TBA    For students who wish to pursue a subject in the history of art not otherwise covered by departmental offerings. May be used for research or directed reading under faculty supervision. A term paper or its equivalent and regular meetings with the adviser are required. To apply for admission, a student should present a prospectus and a bibliography, signed by the adviser, to the director of undergraduate studies.
HSAR 499a The Senior Essay Lillian Tseng TBA    Preparation of a research paper about thirty pages long under the direction of a qualified instructor. The essay is written in either the fall or the spring term of the senior year, though preferably in the fall term. Students write on subjects of their own choice. During the term before the essay is written, students plan the project in consultation with a qualified instructor or with the director of undergraduate studies. No student is permitted to enroll in HSAR 499a or b without submitting a project statement, with the formal title of the essay and a brief description of the subject to be treated. The statement must be signed by the student’s adviser and presented to the director of undergraduate studies before the student’s schedule can be approved. See the YCPS for deadlines and procedures. Permission may be given to write a two-term essay after consultation with an adviser and the director of undergraduate studies. Only those who have begun to do advanced work in a given area and whose project is considered to be of exceptional promise are eligible. The requirements for the one-term senior essay apply to the two-term essay, except that the essay should be from fifty to sixty pages in length.
HSAR 499b The Senior Essay Lillian Tseng TBA    Preparation of a research paper about thirty pages long under the direction of a qualified instructor. The essay is written in either the fall or the spring term of the senior year, though preferably in the fall term. Students write on subjects of their own choice. During the term before the essay is written, students plan the project in consultation with a qualified instructor or with the director of undergraduate studies. No student is permitted to enroll in HSAR 499a or b without submitting a project statement, with the formal title of the essay and a brief description of the subject to be treated. The statement must be signed by the student’s adviser and presented to the director of undergraduate studies before the student’s schedule can be approved. See the YCPS for deadlines and procedures. Permission may be given to write a two-term essay after consultation with an adviser and the director of undergraduate studies. Only those who have begun to do advanced work in a given area and whose project is considered to be of exceptional promise are eligible. The requirements for the one-term senior essay apply to the two-term essay, except that the essay should be from fifty to sixty pages in length.
HSAR 500a Critical Approaches to the History of Art Tim Barringer M   1:30 PM - 3:20 PM This seminar, compulsory for first-year students and open only to them, offers an introductory survey of the historiography and methodology of the discipline from its origins to the present day. Students engage with a wide range of texts written by art historians, artists, critics, and theorists whose work is significant for the contemporary study of art history
HSAR 506a The Teaching of the History of Art TBA    By arrangement with faculty. History of Art graduate students only.
HSAR 506b The Teaching of the History of Art TBA    By arrangement with faculty. History of Art graduate students only.
HSAR 512a Directed Research TBA    By arrangement with faculty.
HSAR 512b Directed Research TBA    By arrangement with faculty.
HSAR 514a Graduate Research Assistantships TBA
HSAR 514b Graduate Research Assistantships TBA    By arrangement with faculty.
HSAR 581a Roman Painting Achievement and Legacy Diana E.E. Kleiner T   1:30 PM - 3:20 PM Roman mural painting in all its aspects and innovations. Individual scenes and complete ensembles in palaces, villas, and houses in Rome and Pompeii are explored, as are their rediscovery and revival in the Renaissance and Neo-Classical period. Special attention is paid to the four architectural styles, history and mythological painting, the impact of the theater, the part played by landscape, genre, and still-life, the accidental survival of painted portraiture, and the discovery and rejection of trompe l'oeil illusionism and linear perspective
HSAR 584a, REL 847a The House of the Lord Jaime Lara T,Th   9:00 AM - 10:20 AM This graduate course is a historical survey of religious architecture offered to students interested in sacred spaces of the Catholic, Protestant, and Eastern Orthodox traditions. The emphasis will be on the iconography of architecture and on the way in which these buildings have functioned for changing worship needs over the course of the centuries. Students may either do a final research paper or a practical design project with simple plan, renderings and a model.(This course will act as an introduction to the spring '09 offering ARCH 769 Religion and Modern Architecture with Prof. Karla Britton.)
HSAR 587a German Gothic Sculpture 1200-1450 Jacqueline Jung Th   1:30 PM - 3:20 PM Like their counterparts in France, the churces of later medival German-speaking lands were filled with an abundance of sculpted figures, both freestanding and attached to architecuture. Unlike the former, these monuments have received scant attention from Anglophone scholars. This neglect is all the more remarkable in light of the fine state of preservation of many German sculptural programs, their extraordinary level of technical quality and formal experimentation, and the abundant literature they have inspired among European scholars from the very inception of our discipline. This seminar explores the major sculptural monuments of Gothic Germany broadly defined (including Bamberg, Naumburg, Strasbourg, and Prague), as wells as the figural types that flourished there and still survive in unusual numbers (such as crucifixes, Pietas, and tomb effigies). The aim of the course is threefold: to provide students with deep knowledge of the various forms and functions of later medieval sculpture in Europe's most expansive politcal territory; to re-evaluate the place of this art in the larger trajectory of medieval and early modern artistic production; and to consider the changing methods by which these objects and monumnets have been approached by German scholars from the early twentieth century onward. Readings include classic works by Erwin Panofsky, Wilhelm Pinder, and Wilhelm Voge, as well as more recent scholarship by Jacqueline Jung, Nina Rowe, Bernd Nicolai, Willibald Sauerlander, Helga Sciurie, Robert Suckale, and Michael Viktor Schwarz. German reading knowledge is essential.
HSAR 595b Byzantium and Italy in the Later Middle Ages Robert S. Nelson T   1:30 PM - 3:20 PM This course concentrates on Byzantine and Byzantinizing art in Italy and Italian colonies from the twelfth to the sixteenth century, with an emphasis on the later rather than the earlier centuries. For research projects, students may explore particular regions and cities (i.e., Venice, Genoa, Tuscany, Rome, southern Italy), consider monumental and minor arts, study the function of imported art and artists in local contexts, and investigate colonial Italian art in the East. General theoretical issues at play are the power of icons, cultural identity, cultural interaction, the social status of the foreign, and European colonialism before its expansion in the sixteenth century.
HSAR 599a Kingdom of Cyprus in the Fourteenth Century Annemarie Carr W   1:30 PM - 3:20 PM The Kingdom of Cyprus in the Fourteenth Century: Can we construct a post-crusader culture from the surviving artifacts of the fourteenth-century Cyprus; did the kingdom achieve such a culture? The collapse of the mainland crusader states at the end of the thirteenth century gave a Cyprus a new autonomy as the sole Latin state in the Middle East. This reshaped its legacy of crusader mulitculturalism in fundamental ways that we have yet to understand well, though investment in self-visualization was vigorous across the ethnic spectrum. My own interest in the Greek-speaking, Orthodox population adn the degree to which it built a culture (or cultures) with, within, or alongside those of the island's Latin rulers.
HSAR 635b Gold, Silk, and Stones: European Art and the Silk Road as Fact and Metaphor Anne Dunlop M   3:30 PM - 5:20 PM This course examines on artistic exchange in the medieval and early-modern period, with a particular focus on encounters between Europe and Asia along the so-called Silk Roads, both terrestrial and maritime.
HSAR 637a Andrea del Castagno: Violence and the Male Figure in Quattrocento Florence Anne Dunlop W   3:30 PM - 5:20 PM This seminar explores the role of the male figure in Quattrocento art and art theory through a focus on the Florentine artist Andrea del Castagno (c. 1419-1457). Readings are drawn from both period sources and contemporary writers and the relations of early-modern art, violence, and crime form a major theme.
HSAR 640b The Image in Movement Christopher S. Wood Th   1:30 PM - 3:20 PM The seminar tracks a number of related developments in philosophy, art theory, and art history. In representationalist traditions of thought, whether idealist or semiotic, the image stands in for -- or masks--something else more stable and real. Cultural studies, mistrustful of spectacle, extends this tradition of skepticism. Somce recent theorists, in search of a non-mystified and non-alienated model of the image, have stressed the embodied, affective character of seeing and thinking. This tendency has led some art historians, paradoxically, to bracket the concept of the image and instead speak exclusively of objects and things endowed with person-like powers and agencies. The question of the seminar is: do recent thought and technologies or metaphysical modalities, that might escape the traditional dialectic of religion, science studies, and psychoanalysis; theories of complexity and emergence; the image as trace, screen, or projection; mimetic, reproductive, or generative models of meaning-production; virtuality. The seminar provides a platform for realizations of new ideas about the image in various research fields. Readings from Deleuze, Damisch, Didi-Huberman, Carry, Tamen, Nancy, Latour, Boehm, Hansen, Mondzain, Gell, Michaud, Belting, Bredekamp.
HSAR 680a Pre-Raphaelites, Aesthetes, Socialists Tim Barringer W   3:30 PM - 5:20 PM This traveling seminar examines the Pre-Raphaelite Brotherhood, founded in 1848, and the Aesthetic Movement of the 1860s as offering alternative paradigms for understanding the fromation and development of modern art. It further examines the relationship between artmaking and radical politics in Victorian Britain. The focus in on close analysis of works in their historical and intellectual context, that of British industrialization and global imperialism in the mid-nineteenth century. The course concludes with a trip to England, in which students examine key works in public and private collections, and visit major exhibitions of the work of Ford Madox Brown (Birmingham) and Walter Crane (Manchester), participating in a pioneering academic conference on the latter.
HSAR 682a The Genre of Still Life Carol Armstrong T   1:30 PM - 3:20 PM This seminar concerns the history of still life painting and photography from the seventeenth century through the twentieth century, with an emphasis on the nineteenth century in France. We consider the genre of painting that was the lowest on the old hierarchy of genres as a site of contemplation of the following themes of modernity and modernism: materiality and commodification, medium-specificity, the gendering of the private sphere, fetishism, fantasy and displacement, subject/object relations, relations between the optical and the tactile, and the transformation of the artist's studio. We also consider the theory of hte genres to which this particular genre belonged.
HSAR 684b Painting Photography Film Carol Armstrong T   1:30 PM - 3:20 PM This seminar, which takes its title from Laszlo Moholy-Nagy's 1925 book of the same name, treats the concept of medium-specificity as it applies to painting, photography, film and related media. It centers on photography and its historically vexed relationship to painting and the modernist discourses of medium purity, autonomy, and self-reflexivity, but it also takes up the history of those discourses as they relate to other media, and as they are troubled by the hybridity of the photograph. Beginning with the philosophical origins of the distinction between literature and the visual arts, the seminar considers Clement Greenberg's polemics on painting, sculpture, and collage, and his occasional forays into photographic criticism. It addresses attempts at developing an ontology of the photograph (Roland Barthe's Camera Lucida most particularly), as well as criticisms of those attempts. It also addresses revisions of the definition of photography, as well as multi-meida, inter-mieda, post-medium, and new media discourses. Finally it looks at declarations and predictions of the death of painting, the end of photography, and the mutation of film into a digital medium, respectively. This is done by setting readings in key theoretical and critical texts in relation to particular practices in painting, drawing, and photography, as well as through discussions, oral presentations, and final papers.
HSAR 690b World Architecture Today Samuel Isenstadt W   3:30 PM - 5:20 PM Focused examination of recent buildings, new scales of construction, and new urban forms from around the world that have yet to receive sustained secondary or critical study. Students will regularly research new built works and prepare frequent, short critiques. Open to advanced undergraduates with permission of instructor.
HSAR 703b Global Contemporary Art David Joselit T   9:25 AM - 11:15 AM This seminar makes a sustained effort to survey contemporary art (1980-present) from around the world. In recent years biennials and scholarly research have brought a broader range of art practices to the attention of the art market and the art world more broadly. This course is focused not only on these diverse practices, but also on attempting to account for broader international tendencies and market forces. Is the a global art, or merely a mosaic of unrelated local practices?
HSAR 704a Virtual Street David Joselit T   9:30 AM - 11:15 AM This seminar addresses questions of public space and its disappearnce into virtuality in the second half of the twentieth century. The preponderance of the course is devoted to close study of "street photography: in the collection of the Yale University Art Gallery, informed by readings by authors such as Michel de Certeau, Henri Lefebvre, Kristin Ross, and Michael Warner. Following these discussions we explore virtual space online through consideration of such sites as "Second Life."
HSAR 712a The Documents Monument Sebastian Zeidler Th   2:30 PM - 4:20 PM The Paris journal Documents (1929/30), a magnet for renegade Surrealist artists and critics, gave rise to texts and objects of great complexity. That compexity is usually refracted through the lens of the mind of one man: Georges Bataille. This class will duly examine how key terms from Bataille's lexicon have been brought to bear on visual art, whether by Bataille himself or by art historians writing in his wake. But we will also widen the purview to consider figures like Carl Einstein and Michel Leiris as well as their intellectual resources, among Nietzsche and Freud, Mauss and Levy-Bruhl; and not just for the sake of completeness, either. For what emerges in their writings on the Surrealism of Arp, Miro or Picasso, on non-Western cultures and Renaissance art, seems to be a line of thought different from Bataille's, one that thinks that purpose of the modern work to be not a negation of transcendence--an attack on the "Self"--but an affirmation of immanence; a plea for "subjectivity." Supposedly a furnace of critical negativity, in which a dominant model of hte relation between human subjects and their world (what Heidegger called the "world picture") ws annihilated, Documents may yet turn out to have been a laboratory in which a positive countermodel emerged in art and text.
HSAR 713b Soviet Constructivism Sebastian Zeidler M   2:30 PM - 4:20 PM This seminar is designed as an introduction to one of the pivotal moments of modern art: the decade after 1917, when a generation of Russian artists suddenly found themselves empowered to invent a revolutionary art to match a successful political evolution. We will consider the spectacular breadth of the efforts by Tatlin, Rodchenko, Klucis and others to meet that daunting brief, across all media and genres, whether with painting, photomontage, exhibition design or with the new Constructivist "object," both productivist and laboratory. But we will also notice that the term "avant-garde," once routinely applied to their work, has all but disappeared from the recent literature, and for reasons that need to be taken seriously. Can it be restored to these artists? A look at work ususally examined separately--Soviet photography (powerfully on display in the recent Rodchenko shows in Paris and London) and select Soviet films and film theory (invigorated by new studies of Vertov and By Gilles Deleuze's cinema books)--suggests that perhaps it might. But that may in turn require rethinking the term "avant-garde" itself, specifically the nature and thrust of its politics. What the artists assured their overseers was art produced in spirt of dialectical materialism may be more accurately called a politics of being, whose visibility, to use a term Deleuze lifted from Foucault, were the artworks themselves.
HSAR 732a The Material and Visual Culture of New Haven Edward S. Cooke, Jr. W   1:30 PM - 3:20 PM Local history remains the foundation of all historical inquiry, but it is essential to connect the specifics of place to broader interpretive themes. This seminar uses the built environment and collections of New Haven to explore questions of culture and society, including production, consumption, and distribution; gender, class, and ethnicity; home, work, and leisure; and non-verbal communication, memory, and history. The goal is to build up visual and material literacy in a contextual manner.
HSAR 750b The Legacy of George Kubler in Latin American Art History Mary Miller M   7:00 PM - 9:00 PM This seminar looks at the approaches developed by George Kubler to the study of Precolumbian, Colonial , and Latin American art. Kubler's own writings are read in conjunction with other writers who addressed the same or similar topics, especially Kelemen, Wethey, McAndrew, Wilder, Covarrubias, and Rowe in the United States, along with Fernandez, O'Gorman, and Reyes in Mexico, so that his writing is read within the contexts of the larger currents of the time. Each member of the seminar explored the subject more fully by reading original and unpublished materials in the Manuscripts and Archives Collection of Sterling Memorial Library.
HSAR 778b, AFAM 728b, AFST 778b, HSAR 378b From West Africa to Black Americas The Black Atlantic Visual Tradition Robert F. Thompson T,Th   11:30 AM - 12:35 PM Art, music, and dance in the history of key classical civilization south of the Sahara—Mali, Asante, Dahomey, Yoruba, Eigham, Kongo—and their impact on New World art and music, especially, rock, blues, North American black painting of the past ten years, and black artists of Cuba, Haiti, and Brazil.
HSAR 779a, AFAM 112a, AFAM 729a, HSAR 379a New York Mambo Robert F. Thompson T,Th   11:35 AM - 12:50 PM The rise, development, and philosophic achievement of the world of New York mambo and salsa. Emphasis on Palmieri, Cortijo, Roena, Harlow, and Colon. Examination of parallel traditions, e.g, New York Haitian art , Dominican meringue, reggae and rastas of Jamaican, Brooklyn, and the New York school of Brazilian capoeira.
HSAR 781a, AFAM 739a, AFST 781a Problem and Theory in Afro-Atlantic Architecture I: Africa Robert F. Thompson Th   3:30 PM - 5:20 PM The seminar addresses a new frontier—rebuilding the inner cities. This refers to Latino and mainland black cities within the cities of America. Accordingly, the course focuses on major roots of Latino and black traditional architecture. Topics include the architecture of Djenne, Berber art and architecture, Mauritanian sites, the monumental stone architecture of Zimbabwe, the sacred architecture of Ethiopia, and Muslim-influenced architecture from Rabat to Zanzibar. Then comes a case-by-case examination of some of the sites of African influence on the architecture of the Americas—the Puerto Rican casita; the southern verandah; the round-houses of New York, Virginia, North Carolina, Mexico, Panama, and Columbia; Ganvie, the Venice of West Africa, and its mirror image among the tidal stilt architectures of blacks of the Choco area in Pacific Columbia.
HSAR 781b, AFAM 739b, AFST 781b Problem and Theory in Afro-Atlantic Architecture II: The Black Americas Robert F. Thompson Th   3:30 PM - 5:20 PM A continuation of HSAR 781a. The seminar addresses a new frontier?rebuilding the inner cities. This refers to Latino and mainland black cities within the cities of America. Accordingly, the course focuses on major roots of Latino and black traditional architecture. Topics include the architecture of Djenne, Berber art and architecture, Mauritanian sites, the monumental stone architecture of Zimbabwe, the sacred architecture of Ethiopia, and Muslim-influenced architecture from Rabat to Zanzibar. Then comes a case-by-case examination of some of the sites of African influence on the architecture of the Americas?the Puerto Rican casita; the southern verandah; the round-houses of New York, Virginia, North Carolina, Mexico, Panama, and Columbia; Ganvie, the Venice of West Africa, and its mirror image among the tidal stilt architectures of blacks of the Choco area in Pacific Columbia.
HSAR 788a Barbarians, Frontiers, and Otherness in Chinese Art Lillian Tseng Th   2:30 PM - 4:20 PM This seminar investigates how pictorial art represented military conflicts and diplomatic negotiations between Han and non-Han regimes in pre-modern China. It is primarily concerned with the visual products that resulted from the discrimination between nomadic "barbarism" and agricultural "civilization." It also considers how religion, gender, and morality played a role in constructing ethnicity and in shaping the world view. Chinese is not required.
HSAR 793b Chinese Painting of the Seventeenth Century T   2:30 PM - 4:30 PM The seventeenth century is an epochal phase in the history of later Chinese painting. During the late Ming period and the early reigns of the Qing dynasty, against the backdrop of political collapse and foreign conquest, Chinese painters continued their long engagement with the past but also opened themselves to the world around them in ways that had not been attempted for centuries. The result was an explosion of fresh directions. The painters' experiments set the course for Chinese painting over the next several centuries and are still being felt today. The seminar examines seventeenth-century painting, beginning with Dong Qichange (1555-1636) and the painters of the late Ming and ending with Shitao (1642-1718), Bada Shanren (1626-1705), and Wang Yuanqi (1642-1715) in the early Qing. The Art Gallery's holdings of seventeenth-century paintings serve as focal points for relevant sessions.
HUMS 104b, ARCG 239b, HSAR 239b, NELC 104b Art of the Ancient Near East and Aegean Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of Mesopotamia, Egypt, and the Aegean, with attention to cultural and historical contexts.
HUMS 379a, HSAR 438a, RNST 421a Silk Road Renaissance Anne Dunlop W   9:25 AM - 11:15 AM The European Renaissance placed in a global context, focusing especially on artistic exchange along the Silk Road. Topics include the use and reception of Eastern and New World objects and materials in European art; the response to European artists and artworks at Muslim and Chinese courts; and the development of art theory and criticism in China and Europe.
NELC 103a, ARCG 236a, HSAR 236a, NELC 503a The Art of Ancient Palaces Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of palaces in ancient Egypt, Mesopotamia, and the Bronze Age Aegean. Special attention to palatial workshops (painting, sculpture, pottery, faience, glass, ivory, metal) in cultural context. Emphasis on the iconography of power, including the establishment within palatial complexes of the world's oldest botanical and zoological gardens.
NELC 104b, ARCG 239b, HSAR 239b, HUMS 104b Art of the Ancient Near East and Aegean Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of Mesopotamia, Egypt, and the Aegean, with attention to cultural and historical contexts.
NELC 503a, ARCG 236a, HSAR 236a, NELC 103a The Art of Ancient Palaces Karen Foster T,Th   2:30 PM - 3:45 PM Introduction to the art and architecture of palaces in ancient Egypt, Mesopotamia, and the Bronze Age Aegean. Special attention to palatial workshops (painting, sculpture, pottery, faience, glass, ivory, metal) in cultural context. Emphasis on the iconography of power, including the establishment within palatial complexes of the world's oldest botanical and zoological gardens.
REL 847a, HSAR 584a The House of the Lord Jaime Lara T,Th   9:00 AM - 10:20 AM This graduate course is a historical survey of religious architecture offered to students interested in sacred spaces of the Catholic, Protestant, and Eastern Orthodox traditions. The emphasis will be on the iconography of architecture and on the way in which these buildings have functioned for changing worship needs over the course of the centuries. Students may either do a final research paper or a practical design project with simple plan, renderings and a model.(This course will act as an introduction to the spring '09 offering ARCH 769 Religion and Modern Architecture with Prof. Karla Britton.)
RNST 200b, HSAR 285b Italian Renaissance Art Anne Dunlop M,W   10:30 AM - 11:20 AM A thematic survey of Italian art between c. 1300 and 1550. Topics might include art and eros, art and devotion, picturing the scientific revolution, and Renaissance art in New Spain. Class meetings are held in Yale campus collections.
RNST 421a, HSAR 438a, HUMS 379a Silk Road Renaissance Anne Dunlop W   9:25 AM - 11:15 AM The European Renaissance placed in a global context, focusing especially on artistic exchange along the Silk Road. Topics include the use and reception of Eastern and New World objects and materials in European art; the response to European artists and artworks at Muslim and Chinese courts; and the development of art theory and criticism in China and Europe.