History of Art and Architecture

Faculty of the Department of History of Art and Architecture

Friedrich Teja Bach, Visiting Professor of History of Art and Architecture (University of Vienna)
Paolo Berdini, Visiting Assistant Professor of History of Art and Architecture (Stanford University)
Suzanne P. Blier, Professor of the History of Art and Architecture (on leave 2000-01)
Yve-Alain Bois, Joseph Pulitzer, Jr. Professor of Modern Art (on leave 2001-2002)
Pramod Chandra, George P. Bickford Professor of Indian and South Asian Art (on leave fall term)
Thomas B.F. Cummins, Visiting Associate Professor of History of Art and Architecture, Senior Fellow, Pre-Columbian Studies (University of Chicago)
James Cuno, Professor of History of Art and Architecture and Elizabeth and John Moors Cabot Director of the Harvard University Art Museums
Jeffrey F. Hamburger, Professor of History of Art and Architecture (on leave fall term)
Alice G. Jarrard, Associate Professor of History of Art and Architecture (on leave spring term)
Ioli Kalavrezou, Dumbarton Oaks Professor of Byzantine Art (Chair)
Ewa Lajer-Burcharth, Professor of History of Art and Architecture (on leave 2000-01)
Neil Levine, Emmet Blakeney Gleason Professor of History of Art and Architecture
David Gordon Mitten, James Loeb Professor of Classical Art and Archaeology
Gülru Necipoglu-Kafadar, Aga Khan Professor of Islamic Art (Director of Undergraduate Studies)
Gloria Ferrari Pinney, Professor of Classical Archaeology and Art (on leave fall term)
David J. Roxburgh, Associate Professor of History of Art and Architecture (on leave 2001-2002)
Gwendolyn DuBois Shaw, Assistant Professor of History of Art and Architecture and of Afro-American Studies
John Shearman, Adams University Professor (on leave 2000-01)
Rabun Taylor, Assistant Professor of History of Art and Architecture (on leave fall term)
Eugene Yuejin Wang, Assistant Professor of History of Art and Architecture
Cherie A. Wendelken, Lecturer on History of Art and Architecture
Irene J. Winter, William Dorr Boardman Professor of Fine Arts (on leave fall term)
Henri Zerner, Professor of History of Art and Architecture (Director of Graduate Studies)

Museum Associates

Marjorie B. Cohn, Senior Lecturer on History of Art and Architecture and Carl A. Weyerhauser Curator of Prints in the Harvard University Art Museums
Harry A. Cooper, Lecturer on History of Art and Architecture
Eugene F. Farrell, Lecturer on History of Art and Architecture
Ivan Gaskell, Senior Lecturer on History of Art and Architecture
Deborah Martin Kao, Lecturer on History of Art and Architecture, Senior Lecturer on History of Art and Architecture
Henry William Lie, Lecturer on History of Art and Architecture
Robert D. Mowry, Senior Lecturer on History of Art and Architecture
Peter Nisbet, Senior Lecturer on History of Art and Architecture
William W. Robinson, Senior Lecturer on History of Art and Architecture
Stephan S. Wolohojian, Lecturer on History of Art and Architecture

Courses in the History of Art and Architecture undergraduate curriculum are structured as a three-tier system, consisting of a sequence of entry-level courses, field-specific introductory courses, and upper-level courses. For the concentrator, these are supplemented by tutorials. Passage through the sequence from entry level to more advanced classes is encouraged—particularly for prospective concentrators.

Literature and Arts B-10, Art and Visual Culture: Introduction to the Historical Study of Art and Architecture, using paradigmatic works of art, introduces concepts by which the visual arts can be understood and analyzed. History of Art and Architecture 11, Landmarks of World Architecture, examines great monuments in world architecture, from ancient times to the 20th century, and the unique aesthetic, cultural, and historical issues that frame them. History of Art and Architecture 70, Introduction to Modern Art and Visual Culture, 1700–1990s, examines modernity, and the place of visual representation in modern culture. The course will cover the whole range of modern media from sculpture, prints, and photography to video, installation art, and performance art. History of Art and Architecture 12–19 constitute field-specific introductions to the major subfields of art history and their associated methodologies. These introductory courses are intended both for students in the concentration and for nonconcentrators with an interest in a particular subject within History of Art and Architecture. History of Art and Architecture 100-199 courses tend to focus upon a particular problem or set of materials within a subfield.

Primarily for Undergraduates

History of Art and Architecture 11. Landmarks of World Architecture
Catalog Number: 3675
Neil Levine and members of the Faculty
Half course (spring term). Tu., Th., at 12. EXAM GROUP: 14
This course examines great monuments in world architecture from ancient times through the 20th century and the unique aesthetic, cultural, and historical issues that frame them. Members of the faculty will each lecture on a building in their area of expertise. These will include the Guggenheim Museum, St. Peter’s, the Taj Mahal, Hagia Sophia, the Alhambra, the Palaces at Nineveh and Versailles, the Paris Opera House and Pompidou Center, the Roman Pantheon, the temples at Khajuraho, and the Forbidden City in Beijing. Weekly sections will focus more generally on key questions in the analysis and interpretation of architecture.

History of Art and Architecture 12x. Introduction to Islamic Architecture (650-1650)
Catalog Number: 4040
Gülru Necipoglu-Kafadar
Half course (fall term). Tu., Th., at 12. EXAM GROUP: 14
An introduction to the major monuments of medieval and early modern architecture in the Islamic world stretching from Spain in the west to the borders of China in the east. Architectural monuments will be examined in their cultural, political, socio-economic, and aesthetic contexts. A highly selective survey, emphasizing the methodological concerns of the field through a focused study of building programs in such monuments as the Dome of the Rock in Jerusalem; the Great Mosques of Damascus, Samarra, Cordoba, Marrakesh, Isfahan, Samarqand, Cairo, Istanbul, Delhi and Agra; and other building types including madrasas, shrines, mausoleums, caravansarays, palaces, and gardens.

[History of Art and Architecture 12y. Introduction to Islamic Art: Visual and Portable Arts in Context]
Catalog Number: 3235
David J. Roxburgh
Half course (fall term). Hours to be arranged.
Introduces key examples of the arts of the book, calligraphy, and portable arts (e.g. ceramics, metalwork, textiles, ivory) made between 650 and 1650 in the Islamic world, from the rise of Islam through to the pre-modern “Gunpowder Empires.” Objects are examined in light of their cultural, political, socio-economic, and aesthetic contexts. Themes include production and patronage; systems of object content and use; intermedial correspondences; and cross-cultural relationships of content and form. The selected materials are studied through a range of methodologies.
Note: Expected to be given in 2001–02.

History of Art and Architecture 13h. Foundations of Early Civilization: An Introduction to the Art of Ancient Mesopotamia
Catalog Number: 7382
Irene J. Winter
Half course (spring term). Tu., Th., at 11. EXAM GROUP: 13
Survey of the art and archaeology of ancient Mesopotamia from Uruk through the Neo-Assyrian periods, charting the relationship between the arts and society from the earliest city-states to the beginnings of empire. Includes a survey of archaeological data as well as those art-historical approaches available for analysis of ancient monuments.

[History of Art and Architecture 13k. Introduction to Roman Art and Architecture]
Catalog Number: 1426
Half course (spring term). Hours to be arranged.
At its height, the Roman Empire extended from Scotland to Syria, and from the North Sea to the Sahara. This course examines the art and architecture produced in lands under Roman rule during a one thousand year period, from Rome’s beginnings as an Etruscan city in the 7th century BCE to the Christianizing of Rome in the 4th century CE.
Note: Expected to be given in 2001–02.

History of Art and Architecture 14. Introduction to Medieval Art: From the Carolingians to the Capetians
Catalog Number: 2049
Jeffrey F. Hamburger
Half course (spring term). M., W., at 11. EXAM GROUP: 4
Western art and architecture, from the Age of the Invasions through the 13th century, with greater emphasis on signficant themes, contexts, and approaches than on chronological coverage.

[History of Art and Architecture 15d. Introduction to Italian Renaissance Painting and Sculpture ca. 1260–1600]
Catalog Number: 1682
John Shearman
Half course (spring term). Hours to be arranged.
An introduction to the major personalities and events in four Italian styles: Gothic, Renaissance, High Renaissance, and Mannerist. The approach assumes that we are concerned essentially with history—with one branch of a large family of historical studies. The works of art are thus studied in the context of whatever human, social, political, technological, or economic circumstances are most appropriate. The course is a highly selective survey. The lectures vary widely in method and focus, a secondary intention being to illustrate the concerns of art history as a discipline.
Note: Expected to be given in 2001–02.

[History of Art and Architecture 17x. Architecture Between Revolution and Modernism: The 19th Century]
Catalog Number: 4968
Neil Levine
Half course (spring term). Hours to be arranged.
An introduction to the major monuments, architects, and theories of 19th-century architecture and urbanism. Focus will be on the development of new forms of expression in Europe and America, in response to such issues as the rise of nationalism, the growth of the city, new building types from the middle class, new technologies, and colonial expansion.
Note: Expected to be given in 2001–02.

[History of Art and Architecture 18d. Introduction to the Art and Architecture of India]
Catalog Number: 6967
Pramod Chandra
Half course (spring term). Hours to be arranged.
Gives a general idea of ancient Indian architecture, sculpture, and painting through carefully selected monuments and themes. Visual analysis and the importance of artistic evidence in the understanding of the sketchy historical record of the country are emphasized.
Note: Expected to be given in 2002–03.

History of Art and Architecture 18g. Introduction to the Art and Architecture of Japan
Catalog Number: 2470
Cherie A. Wendelken
Half course (fall term). Tu., Th., at 11. EXAM GROUP: 13
A survey of Japanese art and architecture from prehistoric times to the 20th century. The major achievements of each period are examined in the context of cultural history, with emphasis on the relationship between the arts and place-making.

[History of Art and Architecture 19. Image, Icon, and Identity: Introduction to the Art of Africa]
Catalog Number: 8872
Suzanne P. Blier
Half course (fall term). Hours to be arranged.
This course examines key issues in African art. It is designed both to be an introduction to the rich and diverse arts of Africa and to serve as a forum for the critical evaluation of related theoretical issues. Each class will explore the art of a single civilization (discussing as well concomitant traditions in religion, philosophy, politics, history) while also focusing on a larger theoretical concern—gender, representation of the “other,” aesthetics, artistic creation, psychology, performance art, and the like.
Note: Expected to be given in 2001–02.

History of Art and Architecture 19x. Introduction to African American Art History
Catalog Number: 2396
Gwendolyn DuBois Shaw
Half course (spring term). M., W., at 1. EXAM GROUP: 6
This course examines over two hundred years of artistic production by peoples of African descent living in the United States. While focusing primarily on the fine arts, a variety of media and methodologies will be examined: from 19th-century landscape painting to contemporary avant garde installations; from the material culture of slavery to the vernacular art of the current era.

[History of Art and Architecture 70. Introduction to Modern Art and Visual Culture, 1700–1990s]
Catalog Number: 4593
Ewa Lajer-Burcharth
Half course (fall term). Hours to be arranged.
What is modernity, and what is the place of visual representation within modern culture? What conceptions of individuality, originality, and desire are at work in the idea of “the artist” in the modern period? Central to the course will be examination of the place of the body and of sexuality in different stylistic regimes—in rococo, Neo-classicism, Impressionism, Abstraction, and beyond; as well as changing conceptions of “identity” in relation to national, imperial, and post-colonial contexts. The course will examine the whole range of modern media, from painting, sculpture, prints, and photography to video, installation, and performance art.
Note: Expected to be given in 2001–02.

*History of Art and Architecture 91r. Directed Study in History of Art and Architecture
Catalog Number: 1028
Gülru Necipoglu-Kafadar and members of the Faculty
Half course (fall term; repeated spring term). Hours to be arranged.
Note: Open only to juniors and seniors. Students wishing to enroll must petition the Head Tutor for approval, stating the proposed project, and must have the permission of the proposed instructor.

*History of Art and Architecture 97r. Sophomore Tutorial
Catalog Number: 0935
Gülru Necipoglu-Kafadar and members of the Faculty
Half course (fall term; repeated spring term). Hours to be arranged.
Note: Required of concentrators.

*History of Art and Architecture 98ar. Advanced Tutorial
Catalog Number: 1328
Gülru Necipoglu-Kafadar and members of the Faculty
Half course (fall term; repeated spring term). Hours to be arranged.
Note: Required of concentrators.
Prerequisite: History of Art and Architecture 97r.

*History of Art and Architecture 98br. Advanced Tutorial
Catalog Number: 3507
Gülru Necipoglu-Kafadar and members of the Faculty
Half course (fall term; repeated spring term). Hours to be arranged.
Note: Required of concentrators.
Prerequisite: History of Art and Architecture 97r.

*History of Art and Architecture 99. Tutorial — Senior Year
Catalog Number: 3118
Gülru Necipoglu-Kafadar and members of the Department.
Full course. Hours to be arranged.
Note: Intended primarily for honors candidates in History of Art and Architecture. Permission of the Head Tutor required.

For Undergraduates and Graduates

[History of Art and Architecture 101. The Materials of Art]
Catalog Number: 5741
Eugene F. Farrell and staff
Half course (fall term). Hours to be arranged.
An introduction to the materials and techniques that have been used to produce art objects (paintings, sculpture, works on paper). An emphasis on the physical choices and constraints offered to the artist through the centuries. Problems of description, dating, authenticity, aging, and preservation are considered.
Note: Expected to be given in 2001–02.
Prerequisite: History of Art and Architecture concentration or two previous art history courses.

History of Art and Architecture 104. Engraving
Catalog Number: 6374 Enrollment: Limited to 10.
Marjorie B. Cohn
Half course (spring term). M., 3–5. EXAM GROUP: 8, 9
The history of this printmaking technique, from the 15th through the 20th century, will be examined, with special attention to engraving’s function within the larger cultural role of the repeatable image. The class will prepare an exhibition that will give a comprehensive overview of the process.

[History of Art and Architecture 106x. Prints From Then Till Now]
Catalog Number: 2475 Enrollment: Limited to 10.
Half course (spring term). Hours to be arranged.
A history of Western printmaking, focusing on the origins, functions, and changing fortunes of woodcut, engraving, etching, lithography, and other fine art print techniques. The work of major artists, such as Dürer, Rembrandt, Goya, and Picasso, is analyzed, but the emphasis is on aspects of prints inherent in the medium, such as the role of prints in fostering the development of graphic conventions, their production in collaborative enterprises, and their uses as multiples. Students are encouraged to work on prints and printmakers from time periods and geographical regions of particular interest to them.
Note: Expected to be given in 2001–02.

History of Art and Architecture 125. Architecture and Urbanism in the Age of Sinan
Catalog Number: 6775 Enrollment: Limited to 12.
Gülru Necipoglu-Kafadar
Half course (spring term). Th., 1–3. EXAM GROUP: 15, 16
The famous Ottoman chief court architect Sinan (1539-88) will be studied from a variety of critical perspectives, addressing dominant issues and new methodological perspectives. Topics in architectural culture include the centralized organization of building practice, urbanism, patronage patterns, the codification of a canonical architectural idiom, the notion of decorum, and conceptual categories in textual descriptions of architecture. Students may pursue comparative projects on architectural production in Europe and the Islamic world.

History of Art and Architecture 128. Topics in Arabic Art and Culture
Catalog Number: 6008 Enrollment: Limited to 12.
David J. Roxburgh
Half course (fall term). M., 4–6. EXAM GROUP: 9
A problem oriented inquiry into Arabic art and culture of ca. 1000 to 1300, focusing on the regions circling the Mediterranean, from the Iberian Peninsula to the Levant. Media (art of the book, painting, portable arts, epigraphy, architecture) and geographic focus varies from year to year. Themes also change, but include relations between art and literature (poetry and prose), aesthetics, vision and perception, the court and courtly culture, the rise of a mercantile patron class, and cultural continuities and resurgences.

History of Art and Architecture 137. Cross-Cultural Aesthetics: Proseminar
Catalog Number: 0302 Enrollment: Limited to 10.
Irene J. Winter
Half course (spring term). W., 3–5. EXAM GROUP: 8, 9
An inquiry into aesthetic theory as it was developed in Western Europe in the 18th and 19th centuries, and how that approach may be used to examine the art of non-European traditions. After a set of common readings and discussion, students will be asked to select a particular tradition for research, and examine the utility of such concepts as “beauty” cross-culturally. Class presentation and paper.

History of Art and Architecture 140r. Byzantine Art
Catalog Number: 3687 Enrollment: Limited to 12.
Ioli Kalavrezou
Half course (spring term). W., 1–3.
The course will focus on what is considered the “classical” in Byzantine art. The question of a Macedonian renaissance and its consequences will be given special emphasis.

History of Art and Architecture 142y. Thinking About Collecting: Undergraduate Seminar
Catalog Number: 2920 Enrollment: Limited to 12.
Stephan S. Wolohojian
Half course (spring term). Th., 1–3. EXAM GROUP: 15, 16
An introductory seminar exploring the topic of collecting. Among the topics discussed will be the early history of collecting; the politics of collecting; private collections; national collections; the role of memory; the collector in literature; gender and collecting, etc.

History of Art and Architecture 156. Venetian Painting of the Renaissance
Catalog Number: 9952
Paolo Berdini
Half course (fall term). Tu., Th., at 11. EXAM GROUP: 13
The Venetian painting of the Renaissance examined in light of the exchange between center and periphery which characterizes Venice’s unique visual culture. After the acquisition of land dominions—the terraferma—Venice promoted forms of interaction—social, political, and cultural—with the diverse regions of the periphery. It was by absorbing, valorizing, and synthesizing the characteristics of the local schools of painting that Venice realized its own Renaissance. The course focuses on the works of Carpaccio, Bellini, Giorgione, Lotto, Paris Bordon, Titian, Veronese, Bassano, and Tintoretto.

History of Art and Architecture 166. Bernini, Rubens, Poussin
Catalog Number: 4774 Enrollment: Limited to 12.
Alice G. Jarrard
Half course (spring term). Th., 1–3. EXAM GROUP: 6, 7
This course considers questions of artistic identity through the close examination of three artists whose works defined 17th-century painting and sculpture in Europe. Topics include: invention in the context of workshops, collaborators, and competitors; the ongoing dialogue with antiquity and the Renaissance; patrons and cultural milieux (with a special focus on Rome); the physical settings of gallery, chapel, and garden; and the impact of literary narratives. Painting, sculpture, and other decorative projects will be considered.

[History of Art and Architecture 171t. Degas: Beyond Impressionism]
Catalog Number: 7454 Enrollment: Limited to 50.
James Cuno
Half course (fall term). Hours to be arranged.
Examination of the character and meaning of Degas’ idiosyncratic body of work in light of recent revisionist histories of Impressionism. Special emphasis will be placed on works in the collection of the Fogg Art Museum.
Note: Expected to be given in 2001–02.

History of Art and Architecture 172. Impressionism
Catalog Number: 0808
James Cuno
Half course (fall term). M., W., at 10. EXAM GROUP: 3
This course will examine the development of the “New Painting” in Paris from Manet’s Dejeuner sur l’herbe of 1863 to the late paintings of Monet and Degas in the first decades of the 20th century. In addition to their formal and technical achievements, we will explore the social circumstances in which they worked and the extent of their influence on painting elsewhere in Europe and in North America. Of particular interest will be the rapid development of a bourgeois urban and commercial culture in Paris during the second half of the 19th century.

History of Art and Architecture 172x. Painting as Film, Film as Painting
Catalog Number: 0657 Enrollment: Limited to 12.
Yve-Alain Bois
Half course (fall term). Tu., 2–4. EXAM GROUP: 16, 17
Starting with the debate, in Russia around 1920, opposing the director Sergei Eisenstein and the artist Kasimir Malevich, we will explore the relationship, real or imaginary, between cinema and painting. Famous manifestations of a definite cross-over between the two media will be examined (the various attempts at abstract cinema in the 1920s and then again in the 1960s, the work of Warhol, the currently growing production of “films by artists”...), but the main question raised by the seminar will be: how the analytic tools used for the study of one medium can affect that of the other.

[History of Art and Architecture 173y. Difference from Within: Contemporary Women Artists]
Catalog Number: 7251 Enrollment: Limited to 12.
Ewa Lajer-Burcharth
Half course (spring term). Hours to be arranged.
Examines the works of important European and American women artists from the 1950s to the present, including Lee Krasner, Eva Hesse, Hannah Wilkie, Judy Chicago, Rebecca Horn, Mary Kelly, Adrian Piper, Cindy Sherman, and Janine Antoni, among others. Explores the ways of thinking about their art as a representation of difference understood as historically contingent cultural values rather than a natural or innate quality. Seeks less to pit male vs. female artist than to open up a discussion of the woman artist herself as a locus of difference(s) and of the diversity and difference among women’s aesthetic productions.
Note: Expected to be given in 2001–02.

History of Art and Architecture 174. Functionalism and Modern Architecture
Catalog Number: 7928 Enrollment: Limited to 12.
Neil Levine
Half course (fall term). Th., 1–3. EXAM GROUP: 15, 16
Despite being one of the most significant, even defining characteristics of modern architecture, the concept of functionalism remains as elusive as it is ambiguous. What does it mean to say that form should follow function? Where and when did the idea arise? How did it develop over time? And what are its continuing implications for design? This course will examine these questions in depth, paying attention to developments both in theory and in practice over the last two centuries.

History of Art and Architecture 175y. Philip Guston: Modern Painting in Transition
Catalog Number: 2748 Enrollment: Limited to 12.
Harry A. Cooper
Half course (fall term). M., 3–5. EXAM GROUP: 8, 9
Philip Guston (1913-1980) was one of the most influential American painters of the 20th century, but his work has rarely been studied in depth. This course will trace Guston’s career from his work as a muralist during the Depression through his Abstract Expressionist period in the 1950s to his development of an epic-vernacular style of figuration in the 1970s. However, special attention will be paid to paintings from 1962-72 on view in a concurrent exhibition at the Fogg Art Museum. First-hand examination of these works will be supplemented by readings to place Guston in the context of modernist painting and its criticism.

History of Art and Architecture 177. Modern Sculpture
Catalog Number: 8003 Enrollment: Limited to 15.
Friedrich Teja Bach (University of Vienna)
Half course (spring term). Tu., 2–4. EXAM GROUP: 16, 17
The course will offer an introduction to modern sculpture. In the first half of the term we will discuss problems of figurality, fragmentation, the pedestal, public space and sculpture as object on the basis of the work of Rodin, Picasso, Duchamp, Giacometti and Russian Constructivism; in the second part we will focus on post World War II sculpture and its relation to classical modernity, for which the reception and “radicalisation” of Brancusi’s work in American sculpture of the 60s and 70s (Robert Morris, Carl Andre, Dan Flavin, Richard Serra and others) can serve as a model.

History of Art and Architecture 178z. Matisse and Picasso
Catalog Number: 9177
Yve-Alain Bois
Half course (spring term). Tu., Th., at 1. EXAM GROUP: 15
Fiercely competitive, Matisse and Picasso engaged in one of the most formidable artistic dialogues of the history of Western art. We will examine their evolution as if it were an ongoing game of chess between two masters—from the moment of their first contact (1906) to Matisse’s death (1954) and even beyond, since Picasso spent two years paying homage to his partner after he had died. The tenet of the course is that these two giants of modern art needed each other—that in many ways each defined the other’s identity. Works in all media will be considered.

History of Art and Architecture 179x. Photography: Art, Artifact, Artifice
Catalog Number: 7977
Deborah Martin Kao
Half course (fall term). M., W., at 12. EXAM GROUP: 5
An introduction to the history of photography as it developed in Europe and the United States from the pre-history of the medium to the present day. Emphasis is placed on the frequently encumbered relation between photography and the other visual arts, as well as on shifting critical attitudes toward photography’s aesthetic and cultural significance.

History of Art and Architecture 182. Pictorial Intelligence in Later Chinese Art: Proseminar
Catalog Number: 3726 Enrollment: Limited to 12.
Eugene Yuejin Wang
Half course (fall term). Th., 1–3. EXAM GROUP: 15, 16
Examines paintings and woodblock prints of the Ming (1368-1644) and Qing (1644-1911) periods, with emphasis on pictorial intelligence as a special form of cognition and communication.

History of Art and Architecture 182x. Ritual and Representation: The Buddhist Art and Architecture of Japan: Proseminar
Catalog Number: 2212 Enrollment: Limited to 12.
Cherie A. Wendelken
Half course (fall term). W., 1–3. EXAM GROUP: 6, 7
Examines the art and architecture of Japan’s varied Buddhist traditions, emphasizing the ritual context. The form, meaning, and use of sculpture, narrative painting, sacred landscapes, and architectural monuments will be discussed as part of religious practice within different sects of Buddhism in premodern Japan. The seminar will also consider the cultural and historical changes of the late 19th and early 20th centuries, when ritual objects and buildings began to be experienced and collected as art. Some background in art history or Japanese history recommended.

History of Art and Architecture 183k. Principles of Indian Temple Architecture
Catalog Number: 6065 Enrollment: Limited to 12.
Pramod Chandra
Half course (spring term). M., 1–3. EXAM GROUP: 6, 7
Acquaints students with recently developed scholarly methods necessary for the study and understanding of the principles of Indian temple architecture. Typology and architectural analysis in a comparative context are emphasized.

[History of Art and Architecture 184x. Painting of India]
Catalog Number: 7460 Enrollment: Limited to 12.
Pramod Chandra
Half course (spring term). Hours to be arranged.
The course examines some important styles, notably ancient wall painting as preserved at Ajanta, western Indian Manuscript painting, the Mughal School patronized by the emperor Akbar and its origins, and 17th-century painting from selected states of Rajasthan. Patronage, and the relationship of painting to literature, music, religion, and political, social, and cultural conditions will also be studied.
Note: Expected to be given in 2002–03.

History of Art and Architecture 197. The Imperial Arts of the Inca and the Aztec
Catalog Number: 9976
Thomas B.F. Cummins (University of Chicago)
Half course (fall term). M., W., at 11. EXAM GROUP: 4
This course concentrates on the art and architecture of the two ancient American civilizations, surveying the forms of representation used to establish imperial presence within the accepted vernacular of Mesoamerican and Andean artistic traditions. Special attention is given to the role of art as a means of expressing imperial claims to mythic and historic precedents, upon which political and economic expansion could be realized.

Primarily for Graduates

History of Art and Architecture 201. The Study of Architectural History: Critical Issues and Methodologies
Catalog Number: 5302 Enrollment: Limited to 12.
Neil Levine and K. Michael Hays (Design School)
Half course (spring term). W., 3–5. EXAM GROUP: 8, 9
This course focuses on issues of method and ideology in the history, criticism, and theory of architecture through close readings of selected cases involving multiple and contradictory interpretations of a building, architect, or design approach. For all students interested in the practice of architectural history.
Note: Open to qualified undergraduates.

History of Art and Architecture 206. Science and the Practice of Art History
Catalog Number: 6180 Enrollment: Limited to 12. Limited to 12.
John Shearman and Henry William Lie
Half course (spring term). Tu., 1–3. EXAM GROUP: 15, 16
To equip the historian with critical and informed approaches to the range, uses, ambiguities, instruments, and computer applications of scientific, diagnostic investigation of art and architecture, potentially in all media and periods. In short: better to know what we are looking at. In collaboration with specialists in the Straus Center.

History of Art and Architecture 221. Visual Encounters: Artistic Relations Between Europe and the Islamic World
Catalog Number: 6163 Enrollment: Limited to 12.
Gülru Necipoglu-Kafadar and David J. Roxburgh
Half course (spring term). Tu., 2–4. EXAM GROUP: 16, 17
The impact of European art on Islamic visual culture is explored in aesthetic, cultural, scientific, and philosophical terms to understand the receptivity to Western architecture and imagery. Focusing on 15th through 18th century material, the seminar addresses the nature of interaction and reaction. Projects on earlier and later periods encouraged.

[History of Art and Architecture 232. Assyrian Reliefs and the Visual Program of Assyrian Palace Design]
Catalog Number: 5269 Enrollment: Limited to 12.
Irene J. Winter
Half course (fall term). Hours to be arranged.
Inquiry into the major sculptural programs of Neo-Assyrian palaces, 9th through 7th centuries BCE. Special attention will be given to the historical surround of individual Assyrian rulers, and to royal texts [in translation] as a way to probe the meaning of the reliefs—their rhetorical function within the palace setting, and their visual impact—in Assyrian terms.
Note: Expected to be given in 2001–02.

History of Art and Architecture 235. Water in the Roman City: Architecture, Aesthetics, Politics
Catalog Number: 9309 Enrollment: Limited to 15.
Rabun Taylor
Half course (fall term). Tu., 2–4. EXAM GROUP: 16, 17
The Roman image of civilized life presumed abundant water supplies for baths, pools, fountains, displays, gardens, nautical theater, and everyday consumption. Using physical and testimonial evidence, students will inquire how Roman urbanistic policy and architectural design responded to, and encouraged, the liberal use of water as both commodity and amenity.

History of Art and Architecture 240r. Byzantine Art
Catalog Number: 4109 Enrollment: Limited to 12.
Ioli Kalavrezou
Half course (fall term). W., 1–3. EXAM GROUP: 6, 7
This course will run in conjunction with the preparation for the exhibition “Presenting Byzantine Women.” The students will organize and prepare the presentation of the objects and the final write up of the catalogue.

History of Art and Architecture 241. Imago: The Theology and Anthropology of the Medieval Image
Catalog Number: 8088 Enrollment: Limited to 12.
Jeffrey F. Hamburger
Half course (spring term). W., 3–5. EXAM GROUP: 8, 9
The interpretation of medieval art has been framed in terms of oppositions: production vs. reception, aesthetics vs. function, artist vs. audience. The seminar will explore the medieval image as idea and artifact, relating visual rhetoric to modes of argument framing and forming religious experience in theological and devotional discourses.

[History of Art and Architecture 251r. Italian Art of the Renaissance: Seminar]
Catalog Number: 6632 Enrollment: Limited to 12. Limited to 12.
John Shearman
Half course (fall term). Hours to be arranged.
Focuses on a limited aspect of Renaissance Art in Italy, but always examines a substantial body of material. Topic is different each year, to be determined in consultation with prospective students.
Note: Expected to be given in 2001–02.

History of Art and Architecture 252. Albrecht Dürer
Catalog Number: 5272 Enrollment: Limited to 12.
Friedrich Teja Bach (University of Vienna)
Half course (spring term). M., 1–3. EXAM GROUP: 6, 7
The seminar will discuss exemplary aspects of Dürer’s art and attempt to reconstruct the cultural contexts from which it emerges and to which it responds (Nuremberg around 1500, humanism). It will focus on Dürer’s Apocalypse, his portraits, the illustrations for the Prayerbook and questions of signature and color.

History of Art and Architecture 254. Modified Expectations: Caravaggio and the Beholder
Catalog Number: 6860 Enrollment: Limited to 12.
Paolo Berdini (Stanford University)
Half course (fall term). M., 1–3. EXAM GROUP: 6, 7
Caravaggio’s imagery defies the tenets of academic theory, according to which an image should fulfill the beholder’s expectations of an edifying experience. Yet by defying the ideals of painting Caravaggio discloses dimensions of beholding as such. The seminar explores the circumstances of the beholding of Caravaggio’s images.

History of Art and Architecture 265. Baroque Architectural Phenomena
Catalog Number: 0235 Enrollment: Limited to 12.
Alice G. Jarrard
Half course (spring term). M., 3–5. EXAM GROUP: 8, 9
Starting with 17th-century Rome and historiographic problems, this seminar turns to selected problems of influence and quotation in Europe, Latin America and Asia. By considering means of transmission as well as local traditions of use and design, we will attempt to understand the dialogues inspired by this dynamic architectural style.

History of Art and Architecture 270. Topics in 19th-Century Art
Catalog Number: 1433 Enrollment: Limited to 12.
Henri Zerner
Half course (spring term). Th., 1–3. EXAM GROUP: 15, 16
Ingres’s career spans seven decades and several political regimes from Bonaparte’s Consulate until Napoleon III (the Turkish Bath was completed the same year as Manet’s Olympia). Particular attention will be paid to Ingres’s concept of art as a cult and the ambiguity of his authoritarian but anti-academic position.
Note: Open to qualified undergraduates.

[History of Art and Architecture 271x. Rethinking the Origins of Modernity: The “New” 18th Century]
Catalog Number: 1598 Enrollment: Limited to 12.
Ewa Lajer-Burcharth
Half course (spring term). Hours to be arranged.
Discusses the origins of modernity in art, architecture, and visual culture, with emphasis on new methodologies. Among the issues addressed: the public vs. the private sphere; interiors, intimacy, and interiority; high and low culture; the notion of the self; artistic identity; sexuality, sexual difference, and gender; the emergent discourse of race.
Note: Expected to be given in 2001–02.

History of Art and Architecture 273. The Modern Death of the Artist
Catalog Number: 8689 Enrollment: Limited to 12.
Yve-Alain Bois
Half course (spring term). W., 1–3. EXAM GROUP: 6, 7
From the birth of abstraction to the multifarious art production of the 60s, artists have conjured a set of tropes (modular grid, monochrome, etc.) in order to manifest their paradoxical desire for impersonality. We will focus on the recurrence, and recurrent “failure” of this quest for non-subjectivity in art.

[History of Art and Architecture 278y. Modern Art and Subjectivity, 18th Century to the Present]
Catalog Number: 2544 Enrollment: Limited to 12.
Ewa Lajer-Burcharth
Half course (spring term). Hours to be arranged.
Explores the relation between art and the self in its different, modern configurations. How does art contribute to the formation of subjectivity? What is the place of the visual image within broader cultural discourse of the self in the modern period? How are artists represented in their own works?
Note: Expected to be given in 2002–03.

History of Art and Architecture 289. Topics in Chinese Buddhist Art
Catalog Number: 9011 Enrollment: Limited to 12.
Eugene Yuejin Wang
Half course (fall term). M., 3–5. EXAM GROUP: 8, 9
Studies some key monuments of Chinese Buddhist art from 4th to 10th century. Focus is on integration of different media—sculptures, wall paintings, and architecture—into an articulated program and space. Sites to be explored include Yungang, Longmen, Dunhuang, Famensi, and others.

History of Art and Architecture 291. Visions and Virgins: Miraculous Images in Colonial Latin America
Catalog Number: 2483 Enrollment: Limited to 15.
Thomas B.F. Cummins (University of Chicago)
Half course (fall term). W., 1–3. EXAM GROUP: 6, 7
This seminar focuses on miraculous Christian images in colonial Latin America. Are they somehow distinct from those of Spain? Are the narratives about them distinct? How does the universality of the Catholic Church become localized through miraculous images? We will also consider issues of orthodox and unorthodox referentiality.

History of Art and Architecture 293. Ideologies of Race and American Visual Culture
Catalog Number: 8792 Enrollment: Limited to 12.
Gwendolyn DuBois Shaw
Half course (spring term). Tu., 1–3. EXAM GROUP: 15, 16
From the Colonial period to the end of the 20th century, this course examines New World ideologies of race by analyzing their impact on and production through the visual arts. Concepts of ethnic identity including constructions of Blackness and Whiteness will be discussed.

Cross-listed Courses

[Afro-American Studies 165y. African Women in Art and History]
Afro-American Studies 166. Proseminar: Contemporary African American Visual Culture
Classical Archaeology 131. Introduction to Greek Art and Archaeology, ca. 1200–300 BCE
[Classical Archaeology 136. Archaeology of the Aegean Bronze Age]
Classical Archaeology 140. The Parthenon
Classical Archaeology 145. The Representation of Women in Ancient Greece
[Classical Archaeology 150. Archaic Greece]
Classical Archaeology 151. Landscape in Classical Art
[Classical Archaeology 160. Vase-painting and Iconography]
[Classical Archaeology 180. Coinage, Politics, and Economy in the Greek World]
Classical Archaeology 242. Greek Funerary Art
[German 155. Weimar Cinema: The Laboratory of Modernity]
[History 1463. Paris From the French Revolution Through the 19th Century: Conference Course]
[Literature and Arts B-10. Art and Visual Culture: Introduction to the Historical Study of Art and Architecture]
Literature and Arts B-21. The Images of Alexander the Great
[Literature and Arts B-27. Majesty and Mythology in African Art]
Literature and Arts B-31. The Portrait
[Literature and Arts B-35. The Age of Sultan Suleyman the Magnificent: Art, Architecture, and Ceremonial at the Ottoman Court]
Literature and Arts B-44. The Architecture of Capital and Court in Western Europe, 1600–1800
Literature and Arts B-46. Art in the Wake of the Mongol Conquests: Genghis Khan and His Successors
Literature and Arts B-48. Chinese Imaginary Space
Literature and Arts C-69. Pompeii
[Medieval Studies 101. The Auxiliary Disciplines of Medieval History: Proseminar]
Medieval Studies 105. Production of Manuscripts and Printed Books Before 1600
Religion 2348ab. Archaeology and the World of the New Testament: Seminar
*Visual and Environmental Studies 143r. The Photographer as Auteur: Studio Course
*Visual and Environmental Studies 155ar. Film Architectures: Seminar Course
*Visual and Environmental Studies 155br. A Cultural Study of Film: Mapping and Fashioning Space: Seminar Course
Visual and Environmental Studies 159ar. The Moving Image: Film and Visual Representation
*Visual and Environmental Studies 160. Modernization in the Visual United States Environment, 1890–2035
*Visual and Environmental Studies 166. North American Seacoasts and Landscapes, Discovery to Present: Seminar

Graduate Courses of Reading and Research

*History of Art and Architecture 300. Reading and Research
Catalog Number: 5716
Suzanne P. Blier 3472 (on leave 2000-01), Yve-Alain Bois 2922 (on leave 2001-2002), Pramod Chandra 7186 (on leave fall term), Marjorie B. Cohn 4468, Harry A. Cooper 1728, Thomas B.F. Cummins (University of Chicago) 3568, James Cuno 2925, Eugene F. Farrell 1009, Ivan Gaskell 3174, Jeffrey F. Hamburger 3800 (on leave fall term), Alice G. Jarrard 2400 (on leave spring term), Ioli Kalavrezou 2242, Deborah Martin Kao 3345, Ewa Lajer-Burcharth 3373 (on leave 2000-01), Neil Levine 4178, Henry William Lie 2575, David Gordon Mitten 1290, Robert D. Mowry 1958, Gülru Necipoglu-Kafadar 1688, Peter Nisbet 1738, Gloria Ferrari Pinney 1384 (on leave fall term), William W. Robinson 2239, David J. Roxburgh 2138 (on leave 2001-2002), Gwendolyn DuBois Shaw 3799, John Shearman 1689 (on leave 2000-01), Rabun Taylor 4253 (on leave fall term), Eugene Yuejin Wang 3600, Irene J. Winter 1955 (on leave fall term), Stephan S. Wolohojian 2756, and Henri Zerner 3792
Individual work in preparation for the General Examination for the Ph.D. degree or, by arrangement, on special topics not included in the announced course offerings.

*History of Art and Architecture 301. Museum Apprenticeship
Catalog Number: 1912
Marjorie B. Cohn 4468, Ioli Kalavrezou 2242, and Henri Zerner 3792
Members of the Fogg Museum Staff — Curatorial research.

*History of Art and Architecture 309. Thesis Colloquium and/or Thesis Defense
Catalog Number: 6568
Henri Zerner 3792
Note: May not be counted toward course requirements for the Ph.D. degree, but is required before the degree may be granted.

*History of Art and Architecture 318. Methods and Theory of Art History
Catalog Number: 7879 Enrollment: Limited to 12.
Henri Zerner 3792
Half course (fall term). W., 3–5. EXAM GROUP: 8, 9

*History of Art and Architecture 399. Direction of Doctoral Dissertations
Catalog Number: 6575
Suzanne P. Blier 3472 (on leave 2000-01), Yve-Alain Bois 2922 (on leave 2001-2002), Pramod Chandra 7186 (on leave fall term), James Cuno 2925, Jeffrey F. Hamburger 3800 (on leave fall term), Alice G. Jarrard 2400 (on leave spring term), Ioli Kalavrezou 2242, Joseph Koerner 1954, Ewa Lajer-Burcharth 3373 (on leave 2000-01), Neil Levine 4178, David Gordon Mitten 1290, Gülru Necipoglu-Kafadar 1688, David J. Roxburgh 2138 (on leave 2001-2002), Gwendolyn DuBois Shaw 3799, John Shearman 1689 (on leave 2000-01), Rabun Taylor 4253 (on leave fall term), Eugene Yuejin Wang 3600, Cherie A. Wendelken 3471, Irene J. Winter 1955 (on leave fall term), and Henri Zerner 3792
Note: May not be counted toward course requirements for the Ph.D. degree.