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Information on this website is posted for historical reference only. Please visit the Office of the Registrar for current requirements.

Art History

1. Introduction to the History of Art I

10F, 11F: 11

A study of the basic problems in the understanding and criticism of architecture, sculpture, the graphic arts, and painting in Western and non-Western cultures. The course introduces the student to the basic terminology of the arts, the language of stylistic criticism, and the relationship of the arts to each other and to their historical background.

Art History 1 will concentrate on historical periods prior to 1500. Dist: ART; WCult: W. Corrigan, Kangas.

2. Introduction to the History of Art II

11W, 12W: 11

A survey of art and architecture from 1500 to the present. The course introduces the student to the basic terminology of the arts, the language of stylistic criticism, and the relationship of the arts to each other and to their historical background. Art History 1 is not prerequisite to Art History 2. Priority for enrollment is given to first- and second-year students. Dist: ART; WCult: W. Randolph, Rosenthal.

4. Introduction to World Architecture

12S: 2

A comparative study of several architectural styles past and present, Western and Non-Western. Consideration will be given to a variety of building types ranging from the monumental to the residential. Dist: ART. Heck, Hockley.

7. First-Year Seminars in Art History

Consult special listings

10. Foreign Study I

11S, 12S: D.F.S.P.

The History of Art in Rome. This course entails the on-site examination of mosaics, paintings and sculptures of particular art historical interest. The approach will be thematic, with emphasis falling on major issues within the History of Art. These may include narrative, iconography, social history, gender, perception, patronage, and formal analysis.

Prerequisite: membership in the Foreign Study Program. Corrigan.

11. Foreign Study II

11S, 12S: D.F.S.P.

Architecture and Urbanism in Rome. Rome offers a broad array of building types, architectural styles and urban spaces. This course introduces students to the principles of architectural analysis, while simultaneously plotting out a history of Roman architecture and urbanism. The course will begin with the study of ancient architecture. It will, however, focus on the evolution of architectural practices and forms during the late Middle Ages, Renaissance, and Baroque.

Prerequisite: membership in the Foreign Study Program. Dist: ART; WCult: W. The staff.

12. Foreign Study III

11S, 12S: D.F.S.P.

The Language and Culture of Rome. This course is equivalent to Italian 2. This course aims at expanding students’ knowledge of Italian language and culture. It begins with a review of basic verb forms and moves on to explore new tenses and moods. Throughout, students engage in practical exercises geared to improve their oral and written expression, as well as enhance their vocabularies. All classes will be conducted in Italian. Note that this course may not be counted as part of the Art History major.

Prerequisite: membership in the Foreign Study Program. The staff.

16. Special Topics in the History of Art

10F: 10 11W: 2 11S: 10A, 2 11F: 12 12S: 2

In 10F, Velazquez and the Spanish Baroque. Diego Velasquez, sometimes called the prince of painters, was Spain’s preeminent artist in the seventeenth century. This course considers his achievements as a painter, his aspirations as a courtier and gentleman, and his remarkably privileged association with his patron, King Philip IV. The class will study in depth many of Velazquez’s key works and examine how he challenged previous notions about the nature of representation, and simultaneously sought to demonstrate the “nobility” of painting. Dist: ART; WCult: W. Kenseth.

In 11W, “The Villa Life”: Andrea Palladio and His Architectural Legacy. Historians routinely identify Andrea Palladio, the 16th-century Italian architect, as architecture’s most celebrated designer. For one who never left Italy and whose reputation depends on a small number of built works and the repeated publication and translation of a single book, such abiding esteem is an astonishing achievement. In this course, we will study Palladio’s splendid Veneto villas and his influential Four Books of Architecture in search of the reasons for his great prominence. Dist: ART; WCult: W. Heck.

In 11S, Section 1 at 10A, Books as Art: Renaissance and Baroque Illustrated Books at Dartmouth. This class examines rare illustrated books in the rich collection in Dartmouth’s Rauner Library. We will focus on the necessity or effectiveness of book illustration, the relation between text and image, book illustrations as works of art and as conveyors of knowledge. Students will study first-hand rare atlases, natural histories, medical books, minuscule prayer books, and illustrated volumes of Cervantes, Shakespeare, and Ovid. We will also take up the subject of bibliophiles and bibliomania. Dist: ART; WCult: W. Kenseth.

In 11S, Section 2 at 2, Abstract Expressionism. Abstract Expressionism, the first American artistic movement to gain international recognition, embodied many conflicts and paradoxes. Steeping themselves in earlier European modernism, the artists nonetheless pursued a style that was to be a-historical in its immediacy. They aimed to address the most profound questions of civilization solely through acts of spontaneity. Lectures, readings, and discussions will examine Pollock, Gorky, DeKooning, Rothko, and others amidst the complexities of American culture of the 1930s, 40s, and 50s. Dist: ART; WCult: W. Jordan.

In 11F, Mexican Muralism (identical to Latin American, Latino and Caribbean Studies 48). This survey course introduces students to Mexican muralism.  Students will learn about the fresco technique and how to visually analyze a mural.  We will consider the following themes: cultural nationalism; art and class politics; the legacy of muralism in the US; the ethics of aesthetic indigenism; and the gender politics of public art. Student projects will concentrate of Jose Clemente Orozco’s mural at Dartmouth College. Dist: ART; WCult: CI. Coffey.

In 12S, The Blue Rider Group. The Blue Rider (Der Blaue Reiter) was an international group of expressionists whose work was centered in Munich, around 1912. The class will study the paintings of Wassily Kandinsky, Gabriele Münter, Franz Marc, August Macke, and Paul Klee; the group’s exhibitions; and the wide-ranging theoretical statements they published in fin-de-siècle, pre-war Munich. Dist: ART; WCult: W. Jordan.

17. Special Topics in the History of Art

11W: 2A 11S: 11, 12 11X: 2A

In 11W, The Classical Revival in Europe and America (pending faculty approval). This course explores the classical revival in painting, sculpture, and architecture of the mid-eighteenth through early nineteenth centuries in Europe and America. The “noble simplicity and quiet grandeur” of the classical style rejected aristocratic Rococo taste in the context of political and social change. Issues include the Grand Tour, the French and American Revolutions, the aesthetic of power, utopian politics, the beautiful and the picturesque. Artists include David, Canova, Adam, Reynolds, Jefferson, and others. Dist: ART; WCult: W. O’Rourke.

In 11S, Section 1 at 11, Michelangelo. Michelangelo Buonarroti, called “Il Divino” in his own lifetime, was the dominant practitioner of painting, sculpture and architecture in sixteenth-century Italy. This course will focus on Michelangelo’s most famous creations in the light of recent restorations and new scholarship. Finally, we will look at the intersection of his visual works with his biography: how these works relate to Michelangelo’s creation of his own image, chiefly through the works of his biographers Vasari and Condivi. Dist: ART; WCult: W. Kenseth.

In 11S, Section 2 at 12, The Archaeology of Israel: from Prehistory to the Roman Period (Identical to, and described under, Jewish Studies 41.1). Kangas.

In 11X, Sculpture (pending faculty approval). This course offers a thematic approach to three-dimensional art by focusing on major works from the Renaissance to contemporary media and installation art (including sound and light), emphasizing the development of “modern” sculpture. Discussion will address cultural contexts, major theoretical concerns, close visual analysis and critical concerns about materiality, display, reception, and meaning of the plastic arts. We will visit the Hood Museum, Saint Gaudens National Historic Site, and Dartmouth campus’s outdoor sculptures. No prerequisites. Dist: ART; WCult: W. Rosenthal.

20. The Art of Ancient Egypt and the Ancient Near East

11W: 10A

A study of painting, sculpture, architecture, and occasionally minor arts in the Near East and Egypt from prehistory through approximately the first millennium B.C.E. The course aims at a parallel treatment of the Egyptian and various Near Eastern civilizations, especially those that developed in Mesopotamia, Anatolia, Syria/Palestine, and Iran. Special attention will be paid to the cultural contacts among different ancient centers at key moments in history, as conjured up by individual monuments. Dist: ART; WCult: NW. Kangas.

21. The Art of Greece: Prehistoric to Classical

11F: 10A

The course treats chronologically the history of Greek art from its beginnings to the end of the fifth century B.C. The principal monuments of architecture, sculpture, and painting will be examined in terms of style, theme, and context. The question will be posed as to how Greek art came to serve Greek society, while some attention will also be given to the ways in which the classical tradition has persistently served later cultures. Dist: ART; WCult: W. Cohen.

22. Late Classical and Hellenistic Art in the Greek World

11S: 10A

The course examines the principal works of painting, sculpture, and architecture of the fourth through the first centuries B.C. This period marks the change from democracy to an age of kings and empire in the Greek world, a change associated with the rise of Macedonia as the dominant political and cultural force in Greece. In the reign of Alexander the Great, Macedonian power—and with it Greek civilization—expanded beyond the borders of Greece to encompass Egypt and the Near East. Particular emphasis will be given to recent discoveries in northern Greece of important monuments associated with the court of Alexander, his father Philip, and some of his immediate successors. Dist: ART; WCult: W. Kangas.

25. Roman Art

12W: 12

A study of architecture, sculpture, painting, and decorative arts in Rome and the Empire from the Republican period through the second century A.D. Such issues as the influence of the Etruscan and Greek traditions, stylistic change and its determinants, and the role of art in Roman society will be considered in relation to both the great public monuments of Republican and Imperial Rome and the works made for private individuals. Dist: ART; WCult: W. Corrigan.

30. Early Christian Art

10F: 2

A study of painting, sculpture, architecture, and the minor arts in the Mediterranean from the third through seventh centuries. Emphasis will be placed on the role of art in late antique society, especially in the process of transformation from the classical to the medieval world. Dist: ART; WCult: W. Corrigan.

31. Byzantine Art

Not offered in the period from 10F through 12S

A study of painting, sculpture, architecture, and the minor arts of Byzantium from the period of Iconoclasm to the fall of Constantinople. Emphasis will be placed on the use of art during this period to express the beliefs and goals of the church and the state and to satisfy private devotional needs. Dist: ART; WCult: W. Corrigan.

32. Early Medieval Art

Not offered in the period from 10F through 12S

Though the eighth through eleventh centuries are often erroneously known as the “Dark Ages,” this course will explore the vibrant life in the emerging northern Europe of Charlemagne and William the Conqueror. Evolving methods of societal organization and identity through religion, nationhood and the cult of personality will be examined through the art and architecture of the period. Dist: ART; WCult: W. Carroll.

33. Gothic Art and Architecture

Not offered in the period from 10F through 12S

Characterized by rising urbanism, a growing middle class and developed political states, the Gothic period combines elements of medieval and early modern worlds. This course will explore the influence of new patrons and institutions on the era’s art, the art’s reflection of the period’s religious and political reality, and the popularity of new, more secular subject matter. The works covered will encompass both massive public projects, such as Chartres Cathedral, and the personal, private taste found on ivory mirror backs. Dist: ART; WCult: W. Carroll.

36. Italian Medieval Art and Architecture, 1200-1400

11F: 10

What is it to picture divinity? What can paintings do that texts cannot? How do public buildings communicate political ideas? This course addresses such questions in relation to the art and architecture of late medieval Italy. We analyze paintings by Duccio, Giotto, and the Lorenzetti, sculptures by the Pisani, and Italian Romanesque and Gothic architecture. We discuss these in relation to mendicant spirituality, communal politics, and the emergence of Italian vernacular literature. Dist: ART; WCult: W. Randolph.

40. Florence 1400-1450: Culture, Politics, Society

Not offered in the period from 10F through 12S

This course advances an interdisciplinary account of Florentine art, architecture, literature, politics, and social life during the crucial years in which the Medici family first came to power. Examining the period’s rich historical and historiographical resources, we seek to understand the novel cultural character of Masaccio’s paintings, Donatello’s sculpture, Brunelleschi’s architecture, Alberti’s theoretical writings, and Burchiello’s poetry, within a thematic structure that also addresses the development of linear perspective, of public political art, and of a new architectural language. Dist: ART; WCult: W. Randolph.

41. Italian Visual Culture, 1450-1500

11X: 10A

In this course we explore various Italian cultural centers—Florence, Mantua, Milan, Naples, Rome, Urbino, and Venice—during the second half of the fifteenth century. While focusing on the cultural particularities of each locale, we also consider an array of broader thematic and generic developments, including mythological painting, pictorial narration, the collection and display of art, gender and spectatorship, the emulation of antiquity, and portraiture. Artists studied include Piero della Francesca, Mantegna, Botticelli, Perugino, Leonardo, and Michelangelo. Dist: ART; WCult: W. Randolph.

42. The High Renaissance and Mannerism in Italy

12W: 10A

A study of the major monuments of painting and sculpture in Italy during the sixteenth century. The course surveys the classical style of the High Renaissance (beginning with Leonardo da Vinci, Michelangelo, and Giorgione) and then traces the development of Mannerism and Maniera in the work of such artists as Pontormo, Bronzino, and Tintoretto. The art of the reformers at the end of the century is also considered, especially as it looks forward to the Baroque. Dist: ART; WCult: W. Kenseth.

43. Northern Renaissance Art

Not offered in the period from 10F through 12S

A survey of the major monuments of painting, sculpture, and the graphic arts in the Low Countries, Germany, and France, from the late fourteenth century through the Reformation. Content as well as style is examined in the light of its relation to social transformation and the cultural evolution of the period. Emphasis is placed on the work of such significant personalities as the van Eycks, van der Weyden, Bosch, Bruegel, Grünewald, Dürer, and Holbein. Dist: ART; WCult: W. Carroll.

45. Southern Baroque Art

Not offered in the period from 10F through 12S

A survey of painting and sculpture from 1600 to 1700. This course focuses upon the art of Caravaggio and his followers in Italy and Spain; the Carracci and the development of seventeenth century classicism; Bernini and the High Baroque; and the art of French visitors to Italy. Special emphasis is given to the relation that the painting and sculpture of this time has to seventeenth century poetry, theatre, science and the aims of the reformed Catholic Church. Dist: ART; WCult: W. Kenseth.

46. Northern Baroque Art

12S: 10A

Painting in Flanders and Holland from 1600 to 1700. This course considers the naturalistic tradition from Caravaggio’s northern followers to the Haarlem School of Hals; the art of Rembrandt; the classical genre of Vermeer and the Delft School; Rubens and the Flemish High Baroque. The growth of specialized genres of painting and the differing aesthetic aims of Dutch and Flemish painters are viewed against the background of the Protestant reformation and the rise of a mercantile society. Dist: ART; WCult: W. Kenseth.

48. Rococo to Neoclassicism

Not offered in the period from 10F through 12S

This course explores the transformative period in European art and culture between 1700 and 1800, when the Rococo, seen as playful and decadent, gave way to the politically and morally charged art of Neoclassicism. We study painting, sculpture, and prints in France, England, and Italy in relation to academic art theory, the public sphere, the exhibition, the Grand Tour, colonialism, and the socio-political upheavals leading to the French Revolution. Artists include Hogarth, Boucher, Tiepolo, Kauffman, Reynolds, David. Dist: ART; WCult: W. Rosenthal.

50. Romanticism

Not offered in the period from 10F through 12S

From the late eighteenth to the mid-nineteenth century the artistic and intellectual movement of Romanticism dominated European culture. Its emphasis on strong emotions, tumultuous nature, and individual imagination was seen as a reaction against the rationalism of Neoclassicism, and as a response to major social and political changes. This course explores key paintings, sculptures, and prints by Romantic artists from France, Britain, Germany, and Spain, including Delacroix, Géricault, Constable, Turner, Goya and Friedrich. Dist: ART. WCult: W. O’Rourke.

51. Realism, Impressionism and Post-Impressionism

10F: 10A 12S: 2A

From 1848 to 1914, French art and the modern city of Paris dominated the international art scene. This course explores the radical visual culture of the period in painting, sculpture, prints and photography, from the realism of Courbet and Manet to the abstraction of Seurat and Cézanne. We will focus on how new technologies, political and social revolutions, and exhibition culture influenced the work of Cassatt, Degas, Monet, Renoir, Van Gogh and Rodin, among others. Dist: ART; WCult: W. Rosenthal.

52. Building America: An Architectural and Social History (Identical to History 34)

10F: 12

This course draws upon recent scholarship in anthropology, archaeology, material culture, social history and architectural history in its review of five centuries of American architecture. Course lectures not only emphasize America’s principal architects and their designs, but also summarize the social and cultural forces that shaped the country’s built landscape. Dist: ART; WCult: W. Heck.

53. Classic Modernism: Painting and Sculpture 1900-1914

10F: 12 11F: 2

The founding movements of European modernism: Fauvism, Cubism, Futurism, German Expressionism, early abstract art. Sources in Post-Impressionism. Issues of structure and meaning. Special focus on the innovations of Picasso, Matisse, and Kandinsky; extensive readings in artistic manifestos and contemporaneous criticism. Dist: ART; WCult: W. Jordan.

54. The First Crisis of Modernism: Painting and Sculpture 1914-1945

11W, 12W: 2

Art after the First World War: International Dada, Surrealism, Suprematism, Russian Constructivism, the Bauhaus. The further development of abstraction: Mondrian, De Stijl, Abstraction-Création, early modernism in New York. The idea of the avant-garde and inter-war struggles for leadership will be studied in theoretical and historical context. Readings in primary sources. Dist: ART; WCult: W. Jordan.

55. Late and Post-Modernism: Art from 1945 to the Present

Not offered in the period from 10F through 12S

Abstract Expressionism (the New York School) as culmination of the modernist tradition. The “Post-Pollock” problem and reactions. Neo-Dada, Pop Art, Hard Edge, Minimalism, Conceptual, New Realism, Neo-Expressionism, Appropriationism, recent movements. Considerations of Modernism and Post-Modernism; problems of the late avant-garde; and changing relationships between the artist and society. Extensive readings in contemporary theory and criticism. Dist: ART; WCult: W. Jordan.

59. Modern Architecture

Not offered in the period from 10F through 12S

Architectural historians disagree about the origins of the modern era. For many, “modern” suggests principally the built works of the twentieth century. Others find the great projects of the nineteenth-century industrial revolution a more suitable place to begin. Still others—as will we—push the beginnings of “modern” architectural thought and practice back to the late eighteenth century. In this way we place architectural transformation in the context of the great changes taking place in the political, artistic, social and intellectual life of the period.

This course approaches architecture as a cultural product and investigates the relationship between buildings, the ideas embodied in buildings and the cultures that designed them. We will chart the history of modern design from the Age of Enlightenment to the present. Dist: ART; WCult: W. Heck.

60. The Arts of China

Not offered in the period from 10F through 12S

Intended as a general introduction to Chinese art and culture, this course will survey major artistic developments from neolithic times to the Republican period. Among the topics to be considered are Shang and Chou bronzes, Buddhist sculpture, and the evolution of landscape painting from the Han to Ch’ing Dynasties. Dist: ART; WCult: NW. Hockley.

63. Sacred Art and Architecture of Japan

11W: 10 12W: 10

This course examines Shinto and Buddhist architectural, sculptural, painting and print traditions from the prehistoric to the modern era. The primary emphasis will be on the relationship of these arts to their doctrinal sources and the ritual, social, and political contexts in which they were created and utilized. Dist: ART; WCult: NW. Hockley.

64. The Japanese Painting Tradition

Not offered in the period from 10F through 12S

This course provides a comprehensive introduction to the Japanese painting tradition. Surveying a broad range of themes, formats, and styles and exploring the relationship between indigenous sensibilities and the traditions Japanese artists borrowed from continental Asia and the West, it defines the unique aesthetic experience offered by Japanese sacred and secular painting. Its focus on patronage and studio practice emphasizes the social, political, and cultural processes that underscored important developments in the painting tradition. Dist: ART; WCult: NW. Hockley.

65. Japanese Prints

12S: 10

A survey of the Japanese print tradition from its inception in the seventeenth century through modern prints in the early twentieth century, this course emphasizes the relationship between prints and the political, social, and cultural milieu in which they circulated. The curriculum includes applications of recent critiques and theoretical approaches from fields as diverse as sexuality and gender studies, mass culture and media studies, aesthetics of popular arts, and the sociology of consumption. Dist: ART; WCult: NW. Hockley.

66. The Camera in Nineteenth-Century Asia

Not offered in the period from 10F through 12S

This course examines the use of photography by colonial governments, anthropologists, commercial photographers, and tourists in nineteenth-century Asia. It also takes into account indigenous uses of photography that both conform with and react against Western uses of the medium. Consideration is also given to the diffusion of photographic images into other media including news publications, government documents, academic studies, travelogues, guidebooks, and museum displays. Dist: ART; WCult: NW. Hockley.

67. Contemporary Arts of Asia

11W: 12 12W: 2

This course examines the contemporary art of Asia from a variety of historical, cultural, and critical perspectives. Lectures, readings and discussions range across broad themes such as identity, globalization, trans-nationalism, and feminism and include examination of both traditional and new media. Case studies examine the work of both well-established and emerging young artists. This course is designed to equip students with the critical skills necessary to appreciate, discuss, and analyze contemporary Asian art. Dist: ART; WCult: NW. Hockley.

70. American Encounters: From Conquest to 1900

11F: 10

This course surveys visual culture in North America from the sixteenth century to 1900. In addition to the development of Anglo-American culture and identity, the course also explores the influence of Dutch, Spanish, and French settlers as well as Native American, African, and Asian contributions to North American art. We will consider painting, sculpture, architecture, photography, graphic art, folk traditions, and material culture with special emphasis on race, nation, gender, and class. Dist: ART; WCult: CI. Coffey.

71. The “American Century”: Modern Art in the United States

12W: 10

This course surveys visual culture in North America over the twentieth century. While the United States will be emphasized, we will also consider art produced in Canada and Mexico. In addition to mainstream artists, we will explore art produced by marginalized communities, in particular African Americans, Native Americans, Asian Americans, Mexican Americans, women, and Queer artists. Genres covered include: painting, sculpture, mural art, performance, installation, photography, and political graphics. Dist: ART; WCult: CI. Coffey.

75. Twentieth Century Art from Latin America (Identical to Latin American and Caribbean Studies 78)

11S: 10

This course surveys works of art produced by Latin Americans during the twentieth century. We will approach this vast topic through case studies of the major figures and avant-garde movements in Argentina, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Peru, Puerto Rico, Uruguay, and the United States. We will examine how national identity, racial formation, class difference, gender inequality, political struggle, and state violence have been addressed by artists from the region and in diaspora. Dist: ART; WCult: CI. Coffey.

76. Mexican Modernism

Not offered in the period from 10F through 12S

This course surveys Modern art in Mexico from the turn of the twentieth century through the late 1960s. The course emphasizes Mexican muralism, but we will also examine alternative modernisms developing simultaneously and in opposition to this dominant discourse. We will survey painting, sculpture, murals, photography, popular graphics, folk art, architecture, and urban planning. Class will be devoted to the analysis of visual as well as textual materials from the period. Dist: ART; WCult: CI. Coffey.

Advanced Seminars in Art History

Intensive study of special fields in art history. Open to all classes without prerequisite (except as noted), but with the permission of the instructor.

80. A topic in modern art. Jordan.

12W: 2A

81. Skin: The Surface of Art

11W: 10A

This seminar explores the relationship between skin and art in a broad range of media from the Renaissance to the present: Topic include the depictions of Christ’s incarnation (“becoming flesh”) as the “birth” of art, representation of flesh in Baroque and Romantic painting, skin’s performative dimension (through i.e. blushing, tattooing, cosmetics). Theoretical reflection, close looking and considerations about the significance of material and medial qualities of art will be central. Rosenthal.

82. Topic to be announced. Kenseth.

12S: 2A

83. Klee, Kandinsky, and the Artists of the Blue Rider.

11S: 2A

The Blue Rider movement was a major strand in early Modernism:  symbolic, spiritual, strikingly abstract.  Blue Rider aims were quite different from those of contemporaneous Cubists, Futurists, and Brücke expressionists.  Klee and Kandinsky continued this ethos through the fourth decade as an alternative to newer claims by Surrealists and concrete Abstractionists.  The seminar will examine the development and contributions of the Blue Rider artists within the historical and aesthetic context of the early twentieth century. Jordan.

84. Advanced Seminar

Not offered in the period from 10F through 12S

85. Senior Seminar in Art Historical Theory and Method

10F: 3A 11F: 2A

This course, identical to Art History 86, constitutes the Culminating Experience in the Art History major. Rosenthal.

86. Senior Seminar in Art Historical Theory and Method

11W: 2A 12W: 10A

This course, identical to Art History 85, constitutes the Culminating Experience in the Art History major. Coffey.

89. Independent Study

All terms: Arrange

Independent Study is intended for advanced students who have demonstrated their ability to do independent research in art history and who wish to study some topic in greater depth than is possible in a regularly scheduled course or seminar. The Independent Study project should be preceded by at least one Art History course in an area related to the topic under consideration, and may even develop out of that course. A student interested in undertaking Independent Study must first submit a proposal to the faculty member with whom he or she wishes to study. Assuming agreement by that faculty member, the proposal will then be reviewed by the entire Art History faculty. Ordinarily, this must be done in the term immediately preceding the term in which the Independent Study course will be taken. The Independent Study course cannot be used to fulfill any of the requirements of the Art History major or minor.

90-91. Honors

10F, 11W, 11S, 11F, 12W, 12S: Arrange

A sequence of two courses devoted to independent research and the writing of a thesis or execution of a project under direction of a departmental adviser. Students admitted to and participating in the departmental honors program must take these courses in consecutive terms of the senior year.

Prerequisite: consult the statement of the Art History Honors Program. Only one of these courses may be counted as part of the major in Art History. Randolph.