Location: Bowdoin / Art History / Courses / Fall 2013

Art History

Fall 2013

  • Please note that for the 2013-14 academic year, official course numbers are now four digits. This page only shows the older three-digit course numbers. If you need to see both the old and the new numbers, consult the College Catalogue.
  • The College Catalogue has a class finder tool to search for courses by title, instructor, department, and more.
  • Login to Blackboard. Instructional materials are available on a course-by-course basis.
019. Representing the Modern Artist in Word and Image
Susan Bakewell T 1:00 - 2:25, TH 1:00 - 2:25
Artists’ experiences as recorded in self-portraits and life writings, and in others’ writings and images, shape this investigation into art-making in Europe. Examines the commonalities and particularities of early-modern and modern artists’ situations within the larger contexts of artistic training, belief, class, economics, gender, geography, historical events, patronage, and politics. Class meetings feature viewings, discussions, and museum and studio field trips. Sequenced research and writing assignments introduce students to research and resources, develop critical-thinking skills, and offer valuable practice in drafting, revising, and refining written work.

026. Art and the Public Sphere
Natasha Homann T 10:00 - 11:25, TH 10:00 - 11:25
Examines public art that generates conversations about identity, disenfranchisement, and belonging, 1960 - present. Topics include but are not limited to: borders and immigration (Emily Jacir, Border Film Project), minority identities (Rob Lowe, Suzanne Lacy), queer subjectivity (Gran Fury, Felix González-Torres), environmental activism (Natalie Jeremijenko, Chris Drury), and memorials to tragedy (Ground Zero). Theories of memory and the public sphere help us to analyze works studied. Students work in groups to commission, design and jury a hypothetical work of public art. The course includes one field trip to Boston.

209. Introduction to Greek Art and Archaeology
James Higginbotham T 1:00 - 2:25, TH 1:00 - 2:25
Introduces the techniques and methods of classical archaeology as revealed through an examination of Greek material culture. Emphasis upon the major monuments and artifacts of the Greek world from prehistory to the Hellenistic age. Architecture, sculpture, fresco painting, and other “minor arts” are examined at such sites as Knossos, Mycenae, Athens, Delphi, and Olympia. Considers the nature of this archaeological evidence and the relationship of classical archaeology to other disciplines such as art history, history, and classics. Assigned reading supplements illustrated presentations of the major archaeological finds of the Greek world.

213. Art of Three Faiths: Christian, Jewish, and Islamic Art and Architecture, Third to Twelfth Century
April Morris T 10:00 - 11:25, TH 10:00 - 11:25
Examines ways images, objects, and buildings shaped the experiences and expressed the beliefs of members of three major religious traditions (Christianity, Judaism, and Islam) in Europe and the Mediterranean region. Deals with artworks spanning the third century through the twelfth century from Europe, the Middle East, North Africa, and the Byzantine Empire. Includes thematic sessions, dealing with issues that cut across geographic and chronological boundaries. Topics include the embrace or rejection of a classical artistic heritage; the sponsorship of religious art by powerful figures; the use of images and architecture to define community and to reject those defined as outsiders; forms of iconoclasm and criticism of the use of images among the three religions; theological justifications for the use of images; and the role of images in efforts to convert or conquer members of another faith.

224. Mannerism
Susan Wegner M 8:30 - 9:25, W 8:30 - 9:25, F 8:30 - 9:25
Mannerism in art and literature. Artists include Michelangelo, Pontormo, Rosso, Bronzino, El Greco. Themes include fantasy and imagination, ideal beauty (male and female), the erotic and grotesque, and the challenging of High Renaissance values. Readings include artists’ biographies, scientific writings on the senses, formulas for ideal beauty, and description o court life and manners. Uses the Bowdoin College Museum of Art’s collection of sixteenth-century drawings, prints and medals.

262. American Art I: Colonial Period to the Civil War
Dana Byrd M 1:00 - 2:25, W 1:00 - 2:25
A survey of American architecture, sculpture, painting, and decorative arts from their colonial origins to the eve of Civil War. Emphasis on understanding art in its historical and cultural context. Issues to be addressed include encounters between diverse cultures, the transition from colony to nation, the rise and ideological significance of landscape painting, and the creation of art for a democracy. This class will work with original objects in the Bowdoin College Museum of Art.

312. The West and Its Easts: Forms and Fantasy from Pliny to Ingres
April Morris T 2:30 - 3:55, TH 2:30 - 3:55
From the time of the ancient Romans, the Mediterranean has been a place of interactions between Europe, defined as "the West," and the rest of the world, understood broadly as "the East." This course will investigate the range of ways in which the West envisioned, encountered, appropriated, and idealized the East from the era of the Roman Empire to the nineteenth century. We will explore the cultural needs, fears, and concerns that shaped the depiction of the East in manuscripts, sculptural programs, trade objects, icons, relics, and in texts. Special attention will be paid to Western definitions and depictions of the Islamic world, particularly from the age of the Crusades through the fantasy-enriched images of Ottoman courts in Orientalist works like Ingres’s Grande Odalisque.

332. Painting and Society in Spain: El Greco to Goya
Susan Wegner M 10:00 - 11:25, W 10:00 - 11:25
Focuses on painting in Spain from the fifteenth century to the early nineteenth century, with special emphasis on the works of El Greco, Velázquez, and Goya. Examines art in the light of Spanish society, particularly the institutions of the church and Spanish court. Considers Spanish mysticism, popular custom, and Enlightenment ideals as expressed in or critiqued by art. Readings in the Bible, Spanish folklore, artistic theory, and artists’ biographies.