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The Program
Advisement
Admissions
Transfer Policy
Honors
Independent Study
Museum Internship
Junior Year Abroad
Courses
Art History - B.A.
Art History - Minor
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Art History
Department of Art History
College of Arts and Sciences
608 Clemens Hall
North Campus
Buffalo, NY 14260-4640
(716) 645-2435
Fax: (716) 645-5978
Web: Art History
Charles Carman, Chair
Martin Berger, Director of Undergraduate Studies
The Department of Art History is committed to exploring what the visual
arts (painting, sculpture, performance art, graphic arts, architecture,
photography, and decorative arts), reveal about the cultures that produced
them. Using a diverse range of methodological approaches, the art history
faculty helps students acquire the necessary tools and knowledge to make
sense of our visual world. Courses cover all of the world's major geographic
areas, with individual professors exploring specific interests in law,
social history, gender and race, postcolonialism, problems of taste and
patronage, as well as myth and narrative. An art history major is ideal
for students who wish to pursue a career in the arts, but it is equally
valuable for those seeking to develop visual, analytical, and communicative
skills. Recent graduates have gone on to work in museums and art galleries,
to enroll in a variety of humanities graduate programs, and to pursue
careers in law, government, and business.
See the director of undergraduate studies for advisement. Students are
strongly urged to consult faculty members in regard to their choice of
individual courses.
All students are urged to apply to the department in person as early as
possible, preferably during the sophomore year.
All art history transfer courses must be evaluated and approved by the
department. Forms may be obtained from the Office of Admissions, 17 Capen
Hall. Generally, the following transfer courses will be accepted: the
equivalent of AHI101 and AHI102 covering the history of art from ancient
to modern, and any two of the area courses. Transcripts are required for
all courses, and course descriptions are required for any of the area
courses.
For majors who plan to attend graduate school in Art History, or for those
students who simply wish to immerse themselves in a focused art historical
project, the department encourages enrollment in the senior honors program.
Under the guidance of faculty advisers, an honors student develops, researches,
and writes a senior thesis over the course of the senior year. Majors
who secure faculty support for their projects and who possess a minimum
departmental GPA of 3.5 and a minimum GPA of 3.3 overall may be admitted
to a senior honors program. A special designation of University Honors
Scholar will appear on the final transcript of those who successfully
complete the program.
With the approval of a faculty sponsor, students may sign up for a three-credit
independent study to pursue an issue or topic emerging from their course
work in art history. An independent study may not be used as a substitute
for required courses.
Internships are frequently available to art history majors and minors
at such local museums and galleries as the Albright-Knox Art Gallery,
CFA Art Gallery, Big Orbit, Burchfield-Penney Art Center, Castellani Art
Museum, CEPA (Center for Exploratory and Perceptual Art), and Hallwalls.
While internships may not be used to fulfill distribution requirements,
they may be taken for credit.
The art history department encourages majors to consider a study abroad
program, for such programs afford unique opportunities to gain firsthand
knowledge of foreign cultures. Interested students should make inquiries
with the Study Abroad Advisor, Office of International Student and Scholar
Services, 210 Talbert Hall, 645-2258.
101 Survey of Art History: Egypt to Northern Renaissance (3) (F)
Chronological survey of painting, architecture, and sculpture from the
birth of civilization to the Northern Renaissance; stylistic analysis
of works of art within social and historical contexts. LEC
102 Survey of Art History: Italian Renaissance to Present (3) (Sp)
Prerequisite: AHI101 recommended
Chronological survey of painting, architecture, and sculpture from the
Italian Renaissance to modern European and American art; stylistic analysis
of works of art within social and historical contexts. LEC
103 Survey of Art History III (3)
Surveys art and culture of the Third and Fourth Worlds and the Americas
with reference to indigenous people globally. Multiple historical markers
of visual expression from precontact to contemporary Native, African,
and Spanish/Latino/Latina America are examined. Thematically, "art"
is addressed through creation or emergence stories; significance of land,
corn, and ceremony; and the construction of colonial representation to
the present day. LEC
105 Art of the Ancient World (3)
Surveys the major art forms of the Greek and Roman worlds, with special
emphasis on the distinctive artistic achievements that formed the heritage
of later European art. LEC
152 Visual Studies (3)
Designed to function as a foundation course for the Departments of Art,
Art History, and Media Study. Introduces students to a critical knowledge
and understanding of images and image systems: their history and intersection
with the culture as a whole. LEC
155 Introduction to Contemporary Art (3)
Surveys contemporary art practices and the ideas that form them. Special
attention is given to issues involved in the art featured in the University
Art Gallery and other regional venues. LEC
204 Mythology in Ancient Art (3)
Greek and Near Eastern mythologies in ancient art; mythological representations
in the art of these cultures and the differences in the manner each represented
similar myths; readings in mythology. LEC
206 Introduction to Chinese Art (3)
Familiarizes students with the major and minor arts of China from Neolithic
to the Modern periods. No prior exposure to the arts and culture of China
is required. The course considers the artistic history of China in terms
of its material culture, looking at techniques, materials, and processes,
as well as stylistic influences and evolution. LEC
210 Art of the Middle Ages (3)
Drawing upon examples of the made and built environment from ca. 300 to
ca. 1400, the course considers a number of topics of current interest
to medievalists: becoming Christian, the power of the image, who makes
art, who sees art, such liminal experience as pilgrimage and crusade,
the cult of relics, the construction of the ruler, imperial and papal
programs, and civic and individual patronage. LEC
251 Introduction to Modern Art (3)
Major ideas defining the art of the modern world; painting, sculpture,
architecture, and related arts; what these works mean and how they illustrate
changing views of modernity. LEC
254 Art of Nineteenth-Century France (3)
Painting and sculpture in France and its relationship to contemporary
political, social, intellectual, and cultural developments; David, Ingres,
Géricault, Delacroix, Daumier, Courbet, Manet, Monet, Degas, Rodin,
Cézanne, Seurat, Van Gogh, and Gauguin; the modern artist in a
society characterized by an accelerating sense of change. LEC
262 Art in America: An Introduction (3)
Offers a highly selective survey of U.S. painting, sculpture, architecture,
photography, and popular culture from the Colonial era to the present.
Focusing on five thematic units-gods, nature/culture, consumer culture,
gender, and the body-the class provides an overview of U.S. art, suggesting
how our material record both expresses and forms America's social, political,
and cultural climate. LEC
275 Art and Revolution (3)
Relationship between the artist and revolutionary society; revolutions
of 1789, 1830, 1848, and 1917 are used to examine artists like David,
Delacroix, Daumier, Courbet, and Malevich. LEC
276 Modern Art and the Law (3)
Artists paint and sculpt; museums put on exhibitions; dealers sell; critics
comment; the public looks, reacts, and buys at each of these events; legal
issues arise. This course surveys those legal issues, with particular
attention to freedom of speech, liability, copyright and moral rights,
purchases and commissions, and taxes. LEC
302 Art of Greece (3)
Architecture, painting, and sculpture of ancient Greece; archaic and classical
periods; subsequent rise of new forms during the Hellenistic era. LEC
303 Early Greek Art and Culture (3)
Architecture, painting, and metal work of the Aegean area, 2200 B.C.E.
to 1200 B.C.E., art forms of Minoan and Mycenean civilizations and their
indebtedness to eastern cultures. LEC
304 Narration in Ancient Art (3)
Focuses on the main themes in ancient art and on the manner in which they
were narrated. These themes include mythological stories, historical events,
political justifications, and propaganda. Media include wall painting,
vase painting, and sculpture. LEC
305 Greek Sculpture (3)
Significance of monumental bronze and marble sculptures of archaic and
classical Greece; the development of sculptural style and content through
the study of Greek literature and history. LEC
307 Art of Early Greece (3)
Introduces the student to major monuments and issues of Aegean archaeology.
We focus on the architecture, sculpture, and wall painting of the Greek
Bronze Age. Archaeological sites to be visited include Lerna, Vasiliki,
Knossos, Phaistos, Zakros, Mycenae, Pylos, Phylakopi, and Kea. We consider
the following topics: Aegean foreign relations and trade, cult, social
organization, and literacy. LEC
308 Art and Archaeology of Rome (3)
Ancient Roman art and archaeology; how the monuments of Rome reflect imperial
propaganda; how the archaeological remains testify to the daily life of
the citizens of the Roman Empire. LEC
310 Early Medieval Art (3)
Painting, architecture, sculpture, and minor arts from the decline of
the Roman Empire through the Ottonian era; the beginnings of Christian
art. LEC
311 Non-Western Arts: Past, Present (3)
The art of North and South American natives, Canadian natives, and aboriginal
people of Australia are seen from both the native and the nonnative perspective,
with discussions focusing on differing world views or ideologies, in conjunction
with the impact of colonialization. LEC
312 Romanesque Art (3)
Painting, sculpture, architecture, and minor arts in France, Spain, Italy,
and England from A.D. 1050 to A.D. 1150; the course addresses the importance
of crusades, pilgrimage, and monastic reform. LEC
314 Gothic Art (3)
European architecture, sculpture, and minor arts from A.D. 1150 to A.D.
1250; emphasis is placed on French monuments, the philosophy underlying
Gothic art, and the development of sculptural programs. The International
Gothic is also considered. LEC
315 Early Medieval Italy (3)
Examines the art and architecture of medieval Italy, ca. A.D. 1100-1350,
in its Mediterranean context. The course begins with a discussion of the
Roman imprint, the conversion to Christianity under Constantine, the artistic
role of such early medieval invaders as Goths and Lombards, Byzantine
art on Italian soil, the rather faint Carolingian and Ottonian imprint
in Italy, the Gregorian revival of early Christian art, the civic commissions
of the nascent communes, imports from northern Europe, and, finally, the
artistic changes resulting from the Black Death. LEC
316 Late Medieval Italy (3)
The proto-Renaissance in Italy, with emphasis on Giotto, Duccio, the Lorenzettis,
Nicola, and Giovanni Pisano. Themes include the revival of antiquity,
the significance of the mendicant orders, the growth of the communes,
public and ecclesiastical commissions. LEC
320 Northern Renaissance Art (3)
Examines the variety of artistic achievements during the fifteenth and
sixteenth centuries in northern Europe, primarily in Flanders and Germany.
The works discussed range from the intense mystical realism of Jan van
Eyck and Roger van der Weyden to the classical idealism of Albrecht Durer
and to the visionary imagery of Bosch and Bruegel. Emphasizes painting,
but some time also is devoted to the newly developing art of printmaking
and the elaborate tradition of wooden figure sculpture. LEC
322 Italian Renaissance Art (3)
Painting and sculpture from early fifteenth-century Florentine art to
the High Renaissance in Rome and Florence; course covers the intellectual
developments of fifteenth- and sixteenth-century Italy, such as civic
humanism and Neoplatonism. LEC
324 Italian Mannerist Art (3)
Development of central Italian art in the early- and mid-sixteenth century;
relationship of mannerism to Renaissance and High Renaissance; current
definitions of mannerism. LEC
325 Greek Art and Mythology (3)
Examines the mythological depictions in Greek vase painting, sculpture,
and metalwork during 700-300 B.C.E. Emphasis is on Archaic and Classical
vase painting and sculpture and its artistic and historical context. Students
read Greek mythology and discuss Greek art. LEC
326 Italian Renaissance Sculpture (3)
A study of the daring and innovative achievements of Italian Renaissance
sculptors, concentrating on the period from 1400 to 1550 and emphasizing
the careers of Donatello and Michelangelo. The revival of ancient art
and the rise of humanism are among the topics considered. LEC
328 Renaissance Architecture (3)
Reviews major architectural developments of the fifteenth and sixteenth
centuries in Italy. Includes major works of Brunelleschi, Alberti, Michelangelo,
Leonardo, and many others. Emphasis is placed on how architecture reflects
Renaissance humanist ideas. Key building projects, such as St. Peter's
in Rome, are investigated to examine the confluence of ideas from several
disciplines. LEC
330 Italian Baroque Art (3)
Art of central Italy, particularly Rome, in the early seventeenth century;
its influence on the rest of Italy; how the change in cultural ideology
affected artistic change. LEC
331 Michelangelo and His Era (3)
Painting, sculpture, and architecture of Michelangelo; the uniqueness
and impact on the development of Renaissance concepts; major historical
events of the sixteenth century affecting Italian art; the Reformation
and Counter Reformation; historiography of Michelangelo and his image;
his popularity from the sixteenth century until the present day. LEC
332 Rembrandt and His Era (3)
Studies the art of Holland in the baroque period, concentrating on the
life and work of Rembrandt. Emphasis is also be placed on the careers
of Hals and Vermeer, and the so-called "little masters." The
distinct character of Dutch art and its relationship to that of the rest
of baroque Europe are considered. LEC
334 Native American Art: Economic Renewal or Ruin (3)
Locates discussion at the crossroads of nineteenth- to twentieth-century
indigenous North American and Euroamerican exchange. This class enables
students to understand the relationship among contact, trade, tourism,
economics, and cultural confluence. Art and native women are placed at
the center as ongoing strategies for survival. The conflation of Victorian
aesthetics with Iroquoian, Algonquian, Cree, Micmac, and Ojibwa traditions
are demonstrated in the art. LEC
335 Northern Baroque Painting (3)
Painting in Holland and Flanders during the seventeenth century; investigation
of the rise of baroque painting from mannerism throughout Europe; dominant
artists in each country. LEC
342 Photography and the Colonial Gaze (3)
A critical exploration of the photographic representation of Native Americans
and First Nation Canadians prior to the First World War and the advent
of modernism. This period, which also coincides with the early years of
photographic practice, covers the attempted assimilation of the Native
American and the so-called Indian Wars of the 1850s-1890s. LEC
343 Japanese Architecture (3)
Explores the development of Buddhist art and architecture in Japan from
the introduction of Buddhism to Japan in the sixteenth century. Works
to be considered include paintings, sculpture, and ritual implements,
as well as architecture, temple plans, and landscape gardens. Issues to
be considered include the function of art in Buddhist practice; the perception
of Buddhist art by lay and clerical audiences; the role of art in Buddhist
philosophy; the relationship between the Buddhist arts of Japan and art
in China, Korea, and India; syncretic elements in Japanese Buddhist art,
especially those arising from Shinto beliefs; and the different forms
of religious and artistic expression to be seen in the centers of power
and the rural areas of ancient Japan. LEC
344 Japanese Painting and Prints (3)
Explores the major trends in Japanese pictorial art from the seventh century
to the early twentieth century. Focuses on important developments in style
and subject matter, with particular emphasis on the relationship between
Japanese art and that of continental Asia. LEC
345 Modern Chinese Art (3)
Offers a general view of the development of modern and contemporary Chinese
art by discussing the emergence of Chinese modernism in the pre-modern
period, the new modern art movement in the 1930s, Mao's revolutionary
art, and the avant-garde movement in the post-Mao period. Through lectures,
readings and discussions, this course investigates the momentous changes-political,
economic, and cultural-that have swept through modern Chinese history
and have profoundly impacted the development of modern and contemporary
Chinese art. Also examines how rapid modernization, changing political
realities, and conflicting global, ethnic, and local identities are transforming
centuries-old Chinese visual traditions and the cultural assumptions behind
them. LEC
346 Chinese Painting/Calligraphy (3)
Explores the representations of figures and landscapes from the dawn of
Chinese painting in the pre-Han period through the Yuan dynasty. Particularly
stresses important developments in style and subject matter. Classroom
study of visual images is supplemented with readings from ancient Chinese
critical and theoretical writings (in translation) and modern art historical
readings. As appropriate, issues in style and subject matter are related
to contemporary developments in philosophy, religion, government, society,
and culture. LEC
347 African American Art (3)
Investigates the different forms of African American visual artistic traditions
in relation to their historical origins and sociocultural context from
the early days of slavery to the present time. Starts with an overview
of African art, the experiences of the middle passage, and slavery in
relation to African American traditions in the decorative arts, including
pottery, architecture, ironwork, quiltmaking, and basketry. This is followed
by a fine-art survey starting with the eighteenth and nineteenth centuries,
continuing through early twentieth-century Harlem Renaissance up to the
present. Certain issues related to African American arts and creativity,
such as improvisation, Black aesthetic, Pan Africanism, and gender, are
also explored. Slides, films, and videos are used extensively to illustrate
topics discussed in class. LEC
350 Eighteenth-Century European Art and Ideas (3)
European rococo and neoclassical painting of the eighteenth century, including
Tiepolo, David, Hogarth, and Gainsborough; sources in baroque and Renaissance
art; effects on romantic painting. LEC
352 Nineteenth-Century Architecture (3)
Development of early modern architecture from the Enlightenment to the
close of the nineteenth century; revival styles seen against the concurrent
development of engineering technology. LEC
355 Painting and Sculpture: 1789-1850 (3)
Painting and sculpture produced in the new European democracies for a
widening, critical public. Focus on neoclassicism, romanticism, and realism.
Consideration of these styles in light of the Industrial Revolution in
England, political revolution in France, and the intellectual currents
of the Enlightenment. LEC
358 Impressionism and Postimpressionism (3)
French art from 1860-1900; Manet, Monet, Renoir, Degas, Seurat, Gauguin,
Van Gogh, Toulouse-Lautrec, and Cézanne; the aesthetic nature of
their works and the connection to contemporary literary, political, philosophical,
and scientific developments. Impact of impressionism and postimpressionism
on the art of the twentieth century. LEC
360 Frank Lloyd Wright (3)
Wright's sources, innovations, major works, and his position between the
nineteenth century and current modernism; visits to some of Wright's houses
in Buffalo. LEC
364 American Realisms: The Evolution of the Real in American Art (3)
Begins with an introduction to European realism and a discussion of its
adaption to an American context during the final quarter of the nineteenth
century. The course then denaturalizes Realism's ties with objectivity,
explaining the movement as one in a series of subjective strategies for
ordering one's relation to the world. Focusing then on several discrete
artistic movements, the course considers the changing cultural functions
of "the real," ranging from the early nineteenth through the
late twentieth centuries. Movements to be addressed include romanticism,
sentimentality, naturalism, impressionism, urban realism, regionalism,
abstract expressionism, neo-realism, and photorealism. LEC
365 Art and Culture in Victorian America (3)
Examines how American writers and artists negotiated the complexities
of U.S. society during the final third of the nineteenth century. With
emphasis on issues ranging from women's rights to laissez-faire capitalism,
and from Reconstruction to manifest destiny, we consider how the era's
cultural products provided artists, patrons, and audiences with metaphoric
coping strategies to counteract what Victorians perceived to be the period's
overwhelming social and political changes. LEC
370 Van Gogh and His World (3)
Van Gogh's career and success: his Dutch origins, friendships with the
impressionists and Gauguin, social ideals, and self-expressive style;
the Van Gogh "legend"; assessments of his madness; the growth
of his reputation; current interest in his work. LEC
372 Art Between World Wars I and II (3)
Art produced between 1920 and 1940 in France, Germany, Russia, and the
United States; impact of social and political events on culture. LEC
380 Image and Gender (3)
Considers the representation of gender (femininity and masculinity) in
pictures, and the impact of gender on making and looking at art and media.
Discuss works from several historical periods, with a concentration on
nineteenth- and twentieth-century art and media. Topics and issues considered
are the professionalization of the artist and myths of genius; artists
and models; the problems of a "feminine" aesthetic; the nude;
and the gendered spectator. LEC
386 Twentieth-Century Architecture (3)
German expressionism, Frank Lloyd Wright, and the architects of the international
style as initiators of contemporary architectural trends; the city as
a twentieth-century problem. LEC
387 American Art (3)
Surveys the development of twentieth-century U.S. art, with emphasis on
art since 1945. Through a close examination of a diverse range of visual
arts, including painting, film, video, photography, sculpture, earth works,
and performance art, we explore what contemporary art reveals about American
culture. While offering students exposure to many issues that are of critical
concern to contemporary society, the course pays particular attention
to questions surrounding sexuality, gender, race, and consumer culture.
LEC
390 American Architecture I: Native American to 1860 (3)
Note: This course is an American pluralism cognate.
Native American building, colonial, neoclassical, and eclectic styles,
and the rise of industrialism, the impact of builders' guides, and the
development of the architectural profession highlight this survey of American
architecture to the Civil War. LEC
391 American Architecture II: Civil War to Present (3)
A continuation of AHI390: Victorian style and values; early modernism
in Richardson, Sullivan, and Wright; the impact of European modernism;
and the emergence of postmodernism are examined in an effort to discover
if there is any identifiably American architecture in the twentieth century.
LEC
395 Contemporary Art (3)
Art of contemporary life; art criticism; art and politics; art in the
media; pop and minimal art; conceptual art, earthworks, realism, feminist
art, and performance. Attendance at events and exhibitions at local galleries
required. LEC
461 Architectural Preservation: History, Theory, and Practice (3)
Introduces students to the history, theory, and practice of historic building
preservation, a field that began in the nineteenth century and has continued
to expand its scope and develop and refine its approaches and techniques
throughout the twentieth century. Following a grounding in historic styles
and the history and development of approaches to historic preservation,
the course culminates with site visits and student presentations on specific
local preservation projects and issues. Buffalo and Western New York function
as a laboratory for case studies of individual preservation projects.
LEC
349 Junior Seminar (3)
Prerequisite: art history major or permission of instructor
Topics course; the format is largely discussion but also includes classroom
presentation and collaborative research. The specific topic varies with
the instructor's area of expertise and involves some faculty-undergraduate
research, with a general presentation at the end of the term. The course
also takes advantage of current exhibition projects, visiting faculty,
and regional events. SEM
363 Eakins and Homer (3)
Undergraduate seminar; begins with a description of the artistic and cultural
climate in which Eakins and Homer worked. Each following week addresses
a specific theme of central importance to the artists' work. Such themes
include realism, the artist in society, the nature/culture divide, masculinity,
femininity, whiteness and blackness, and class. In addition to asking
students to think about the multiple ways in which the form of art held
meaning for different audiences, the seminar exposes students to a range
of scholarly studies, encouraging them to evaluate the advantages and
disadvantages of particular methodological approaches. SEM
410 Problems in Iconography (3)
Various problems in iconography ranging from Duccio's "Maart"
to Picasso"s "Guernica." In all cases, we undertake a close
reading of several studies of each object, discuss the differing viewpoints,
and try to arrive at our own conclusions. Each student reads only a part
of the assigned readings. The seminar affords the opportunity to participate
actively in ongoing art historical research. SEM
480 Museum Studies (3)
Provides an understanding of the purpose, function, and organization of
art museums and introduces managerial and curatorial skills and techniques
essential to museum work. Writing assignments are intended to have students
carefully examine works of art, compile information about works of art,
describe works of art and express opinions and ideas about works of art.
SEM
490 Methods of Art History (3) (F)
Looks closely at the ways in which influential art historians have analyzed
and discussed works of art, and at the significance of the strategies
that these art historians developed. The first half of the semester covers
subjects like iconography, connoisseurship, formal and structural analysis,
and psychoanalytical approaches. SEM
Tutorials in Art History
200 Sophomore Tutorial (1)
300 Junior Tutorial (1-4)
400 Senior Tutorial (1-4)
Prerequisite: permission of instructor
A written proposal outlining and justifying the work must be presented
to and approved by the faculty member with whom the work is to be done.
401 Directed Reading Tutorial (3)
402 Honors Thesis Tutorial (3)
Prerequisite: permission of instructor
Accepted seniors pursue a specialized, independent study leading to an
honors thesis. For further information, please contact the director of
undergraduate studies.
498 Museum Internship (3)
Museum and gallery internships are available at such institutions as the
Albright-Knox Art Gallery, the CFA Art Gallery, the University Art Gallery,
the Amherst Museum, and the Castellani Art Museum of Niagara University.
The opportunity is by permission only. Students are encouraged to take
AHI480 Museum Studies, before applying for an internship. TUT
499 Independent Study (3)
One 3-credit-hour independent study may be undertaken with a faculty member.
It must be an outgrowth of course study already completed, and not a substitution
for any of the required coursework. Only one 3-credit-hour course may
be applied toward the degree. TUT
There are no prerequisites for upper-level art history courses, though
ideally students will complete at least two of the survey courses before
moving to upper-level courses. It is advantageous if the student has already
taken both UGC111 World Civilizations I and UGC112 World Civilizations
II as well as a course in literature, language, philosophy, or music history,
though none is required.
Minimum GPA of 2.0 overall
Minimum GPA of 2.0 in departmental courses
Completion of or registration in any two of three required courses: AHI101,
AHI102, AHI103
AHI101 Survey of Art History: Egypt to Northern Renaissance
AHI102 Survey of Art History: Renaissance to Present
AHI103 Survey of Art History III
AHI490 Methods of Art History
Five 200/300-level required electives
Foreign language courses (if necessary; see note below)
See Baccalaureate Degree Requirements (page 254) for general education
and remaining university requirements.
First Year
Fall-UGC111
Spring-UGC112
Second Year
Fall-AHI101, first semester of a language
Spring-AHI102, second semester of a language
Third Year
Fall-AHI103, 200/300-level Ancient AHI elective, third semester of a language
Spring-200/300-level Medieval AHI elective, 200/300-level Renaissance
AHI elective, fourth semester of a language
Fourth Year
Fall-200/300-level Modern AHI elective, AHI490
Spring-200/300-level non-Western AHI elective
AHI electives include any five of the following six area courses (above
the 100 level): Ancient Art, Medieval Art, Renaissance/Baroque Art, Modern
Art, Architectural History, or Non-Western Art.
Ancient Art
AHI204 Mythology in Ancient Art
AHI302 Art of Greece
AHI303 Early Greek Art and Culture
AHI304 Narration in Ancient Art
AHI305 Greek Sculpture
AHI307 Art of Egypt and Crete
AHI308 Art and Archaeology of Rome
AHI325 Greek Art and Mythology
Medieval Art
AHI210 Art of the Middle Ages
AHI310 Early Medieval Art
AHI312 Romanesque Art
AHI314 Gothic Art
AHI315 Early Medieval Italy
AHI316 Late Medieval Italy
Renaissance/Baroque Art
AHI320 Northern Renaissance Art
AHI322 Italian Renaissance Art
AHI324 Italian Mannerist Art
AHI326 Italian Renaissance Sculpture
AHI328 Renaissance Architecture
AHI330 Italian Baroque Art
AHI331 Michelangelo and His Era
AHI332 Rembrandt and His Era
AHI335 Northern Baroque Painting
AHI350 18th-Century European Art and Ideas
Modern Art
AHI152 Visual Studies
AHI155 Introduction to Contemporary Art for Non-Art Majors
AHI251 Introduction to Modern Art
AHI254 Art of 19th-Century France
AHI262 Art in America: An Introduction
AHI275 Art and Revolution
AHI276 Art and the Law
AHI355 Painting and Sculpture: 1789-1850
AHI358 Impressionism and Postimpressionism
AHI363 Eakins, Homer, and Turn-of-the-Century America
AHI364 American Realisms
AHI365 Art and Culture in Victorian America
AHI370 Van Gogh and His World
AHI372 Art Between World Wars I and II
AHI380 Image and Gender
AHI387 American Art
AHI395 Contemporary Art
AHI480 Museum Studies
Architectural History
AHI352 19th-Century Architecture
AHI360 Frank Lloyd Wright
AHI386 20th-Century Architecture
AHI390 American Architecture I: Native American to 1860
AHI391 American Architecture II: Civil War to the Present
AHI461 Architectural Preservation: History, Theory, and Practice
Non-Western Art
AHI206 Introduction to Chinese Art
AHI311 Non-Western Arts: Past, Present (Native American)
AHI334 Native American Art: Economic Renewal or Ruin
AHI342 Photography and the Colonial Gaze
AHI343 Japanese Architecture
AHI344 Japanese Painting/Prints
AHI345 Modern Chinese Art
AHI346 Chinese Painting/Calligraphy
AHI347 African American Art
Total required credit hours in art history - 27
Foreign language requirement - 0-16
Proficiency in a foreign language through the second semester of the second
year or its equivalent is required, to be demonstrated through classroom
courses or through alternatives outlined on page 255. S/U grading may
not be selected for courses taken to fulfill this requirement.
Minimum GPA of 2.0 in AHI101-102 Survey of Art History
Any four courses above the 100 level, two of which may be in nineteenth-
and twentieth-century art, while two others must be pre-nineteenth century.
Total required credit hours - 18
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Last updated: Thursday, 09-Dec-2004 15:21:16 EST
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