Art and Art History

Associate Professor Eric Rosenberg, Chair; Modern and American art
Professor Madeline H. Caviness, Mary Richardson Professor; Medieval art and architecture
Professor Judith Wechsler, National Endowment for the Humanities Professor of Art History; Nineteenth- and twentieth-century art
Adjunct Professor Lucy Der Manuelian, Dadian/Oztemel Chair of Armenian Art
Associate Professor Daniel M. Abramson, Modern architecture
Associate Professor Cristelle Baskins, Director of graduate program; Renaissance art
Associate Professor/Coordinator Eva Hoffman, Islamic art
Associate Professor Ikumi Kaminishi, Asian art
Associate Professor Andrew McClellan, Seventeenth- through nineteenth-century European art; museum studies
Associate Professor Peter Probst, Contemporary African art, critical theory, visual culture, globalization
Assistant Professor Adriana Zavala, Modern and contemporary Latin American art
Lecturer Amy Ingrid Schlegel, Director of Tufts University Art Gallery; Curatorial studies

Associated Faculty/Administrators, School of the Museum of Fine Arts
Susan Lush, Associate Dean of Academic Affairs
Patrick Carter, Coordinator, Tufts studio courses

The lecture and seminar courses presented by the Department of Art and Art History are designed to give an understanding and appreciation of the visual arts from the point of view of the art historian and critic. Through the various courses in the history of art, architecture, and design, individual works are considered both for their intrinsic qualities and as expressions of changing cultural values.

Studio courses given on the Tufts campus and at the School of the Museum of Fine Arts (230 The Fenway, Boston) enable the student to become acquainted with one or more of the creative disciplines. Tufts University students are admitted free to the Boston Museum of Fine Arts through a special institutional membership. Field trips to museums, sites, and collections are regularly scheduled.

Undergraduate Program
The department offers the bachelor of arts degree in art history. There is no studio art major, but two programs offered in cooperation with the School of the Museum of Fine Arts are available to students with a strong preparation in this area. Both require admission to the Museum School and have an academic component. One is the B.F.A. degree program available through the College of Special Studies; the other is the combined five-year B.F.A. and B.A. or B.S. degrees program. Interested students may contact Susan Lush at the Museum School, 617-369-3610.

Undergraduate Concentration Requirements
For the bachelor of arts degree in art history, ten courses are required for the major: Art History 1, 2, and 100; one non-Western course (Asian, African, Islamic, or Latin American); one course in each of the periods ancient/medieval, Renaissance/Baroque, 19th-21st centuries; and three electives, two of which may be approved courses in a related field (e.g., history, literature, studio art). Besides Art History 100, two other departmental courses must be at the 100 level. Concentrators are strongly encouraged to take an upper-level seminar (Art History 191-198) as one of their required 100-level courses, and a studio art class as a related field course.

Undergraduate Minor Program
The Department of Art and Art History offers minors in studio art, in art history, and in architectural studies, each requiring the completion of five courses. Details are available from the departmental office.

Architectural Studies Program
The Department of Art and Art History offers an interdisciplinary major and minor in architectural studies for students interested in the study of architecture's history, theory, and social practice. The major's core curriculum provides a foundation in art and architectural history and theory, in engineering and design, and in the humanistic and social science aspects of architecture. Architectural studies majors then design their own elective program of upper-level study from designated courses in architectural history, studio art, civil engineering, the humanities, and the social sciences. In spring of the senior year, all majors complete an integrative project, either as individual or honors study, or through an internship.

For the minor in architectural studies, students take five designated courses from the major's core curriculum, which provide a basic foundation to architecture's interdisciplinary aspects.

The architectural studies program is designed specifically to provide a broad-based liberal arts education in architecture. It may also help students prepare for graduate study and careers in architecture and other allied disciplines, such as landscape architecture, urban planning, and historic preservation. For details, see full description under Architectural Studies. The faculty adviser for architectural studies is Professor Daniel Abramson.

Graduate Program
The Department of Art and Art History offers the master of arts degree in art history, and in art history and museum studies; the master of fine arts degree in studio art; and the M.A./M.F.A. combined-degrees program.

Master of Arts: Art History
Applicants for the master of arts degree are expected to offer for admission the equivalent of a Tufts bachelor of arts degree (usually with a major in art history), demonstrated reading knowledge of one foreign language, Graduate Record Examination results, and a writing sample.

The course of study leading to the master of arts degree normally includes eight semester courses in history of art, a comprehensive examination, and a thesis or two qualifying papers. The courses must be taken at the intermediate or advanced level (numbered 100 to 199) and should include Art History 101; a minimum of three courses should be seminars. In the comprehensive examination given at the completion of course work, students must demonstrate general knowledge of the history of art as well as competence in a particular field. The written thesis involves original research and is defended before a committee of graduate faculty.

Most students in the master of arts program serve wherever possible as teaching assistants, research assistants, or in related activities for at least one semester. Stipends will be paid, but no academic credit will be given.

Master of Arts: Art History and Museum Studies
The student will take six semester courses at the graduate level in the history of art, including Art History 101, and five courses in museum studies; write a graduate thesis; fulfill the foreign language requirement; take the comprehensive examination; and serve as teaching or research assistants wherever possible as currently stipulated in the program requirements for the master's degree. Two qualifying papers may be substituted for the thesis.

Master of Fine Arts: Studio Art
The master of fine arts degree offers students concentration in the visual arts. Students may concentrate in a single medium or may work in an interdisciplinary manner, drawing on Tufts' diverse studio offerings to expand upon their particular area of concentration.

The requirements include two years of studio work, two year-long graduate seminars at the Museum School, a master's exhibition, and four academic courses at Tufts University. The original creative work in the master's exhibition is held at Tufts University Gallery and presented to a jury of the joint faculty.

At least two of the academic courses must be chosen from the series of intermediate and advanced courses in art history (numbered 100 to 199); two may be chosen from graduate courses in related fields, subject to approval of the department.

Applicants for admission to the master of fine arts program must complete the graduate school admissions packet. The applicant should have the equivalent of a bachelor of fine arts degree. A slide portfolio should be submitted, consisting of no more than twenty two-by-two thin plastic-mounted slides (boxed, not in a plastic sleeve) and, if submitting video, no more than ten minutes of video. The application packet and  portfolio should be sent to the Graduate Admissions Committee, Admissions Office, School of the Museum of Fine Arts, 230 The Fenway, Boston, Massachusetts 02115, by January 15. Finalists will be contacted approximately by the second week in February to arrange an interview at the School of the Museum of Fine Arts. All applicants are notified by the second week in March. For more information, write to the admissions office at the Museum School at the above address.

M.A./M.F.A. Combined-Degrees Program
Students who wish to pursue both the master of arts degree in art history and master of fine arts degree must complete separate applications for each program. Combined-degrees students complete all studio requirements, including a master's exhibition, and all art history requirements, including a written thesis. The art history courses for the master of arts degree fulfill the academic requirements for the M.F.A. degree as well. As in all combined master's degrees programs, two tuitions are charged, and the student is eligible for scholarship aid within each program.

Undergraduate Courses

1 Art, Ritual, and Culture. (Cross-listed as Comparative Religion 4.) Major monuments and themes of world art and architecture from ancient times to the fourteenth century. How art functioned in relation to ancient cults and civilizations, with emphasis on religion; how images and buildings expressed and served the beliefs of Greco-Roman polytheism, Judaism, Christianity, Islam, Hinduism, Buddhism, and Confucianism; how art was created and viewed; how power was invested in images and how these images affect us today. Includes field trips to local museums. Hoffman and members of the department

2 Art, Politics, and Culture. Major monuments and themes of Western and non-Western art and architecture from the fifteenth century to the present, with emphasis on the function of art in society, politics, technology, and commerce; art and the idea of the modern; nature and abstraction. Tools and approaches to analyze and understand the language of the visual arts and how art affects us today. Includes field trips to local museums. Hoffman and members of the department

4 Introduction to the Arts of Africa. Survey of the diverse arts of Africa from antiquity to the present. Each class is devoted to a single civilization, emphasizing the ways the visual arts function with respect to larger cultural issues. Within this context, students consider the relationship of art to religion, cosmology, gender, identity, and political power, as well as the representation of the "other." Offered in alternate years.

5 Introduction to the Arts of Asia. (Cross-listed as Comparative Religion 5.) Major monuments and themes in the religious and secular arts of India, Southeast Asia, Central Asia, China, Korea, and Japan: their meaning and place in cultural history. Focus on indigenous developments and cross-cultural influences. Offered in alternate years. Kaminishi

6 The Royal Arts of Africa. Key themes in royal African art. Critical examination of what these arts reveal about the nature of kingship. Diverse ways African rulers have employed art and architecture to define individual and state identity in the context of key traditions from various parts of the African continent. Offered in alternate years.

7 Introduction to Latin American Art. Art and visual culture of Mexico and Latin America from the colonial era to the present. The role of art in the development of cultural identities in different Latin American contexts; the role of art in sustaining real and imagined historical narratives including the revival of preconquest and contemporary indigenous/folk culture; the struggle between religious and secular, nationalist, and international avant-garde artistic currents. The social and ideological uses of art and the representation of race, ethnicity, class, and gender. Zavala

8 Introduction to Architecture, 1400 to the Present. A survey of the history of architecture covering major architects, buildings, theories, and urban and landscape developments from the Renaissance through Postmodernism. Emphasis on European and American architectural history within its social and global contexts. Introduction to basic methods of architectural analysis. Abramson

9 Impressionism and Post-Impressionism. The urban aspect of Impressionism; its themes of work, entertainment, leisure; its response to the growth and redevelopment of Paris in the "painting of modern life" of Degas, Manet, and others. Nature in Pissarro and Monet; domestic life in Cassett and Morisot. Post-Impressionism of Seurat, Cezanne, Van Gogh, and Gauguin. Wechsler, McClellan

10 Japanese Art and the West. Artistic exchange between Japan and the West from the sixteenth century to the present. Focus on Japan's Occidentalism and the West's Japonisme movements; also Japanese nationalists' rebellion against cultural and artistic invasions from the West. Major artists include Hokusai, Degas, Aoki Shigeru, and Van Gogh. (May be taken at 100 level with consent; see below.) Kaminishi

11 Buddhist Art. (Cross-listed as Comparative Religion 11.) A survey of the Buddhist art of India, China, and Japan. Painting, sculpture, and architecture in relation to changing liturgical requirements. Changes in form and iconography that occurred when Buddhism encountered indigenous traditions. Offered in alternate years. Kaminishi

13 The Arts of China. Survey of Chinese painting, sculpture, metalwork, ceramics, and architecture from Neolithic times through the Ch'ing dynasty, with emphasis on major achievements of each epoch. Offered in alternate years. Kaminishi

14 The Arts of Japan. (Cross-listed as Comparative Religion 14.) Study of traditional painting, sculpture, architecture, and ceramics from pre-Buddhist times to the Meiji Restoration (1868). Particular focus on national modes of expression developed in response to foreign cultural influences. Offered in alternate years. Kaminishi

15 Japanese Architecture. (Cross-listed as Comparative Religion 15.) Historical survey of major developments in Japanese religious and secular architecture and gardens from pre-Buddhist times to the modern age. (May be taken at 100 level with consent; see below.) Kaminishi

18 Archaeology of Palestine. (Cross-listed as Archaeology/Classics 29 and Judaic Studies 77.)  Introduction to the archaeology of Palestine from the Persian period to the Muslim conquest (586 B.C.-640 A.D.), including the influence of Greco-Roman civilization on the local cultures; the rise of diverse groups within Judaism, such as the sect that composed the Dead Sea Scrolls; the development of Rabbinic Judaism; the rise of Christianity; and the spread of Islam.

19 Introduction to Classical Archaeology. (Cross-listed as Archaeology/Classics 27.) The great sites and monuments of the ancient Mediterranean from preclassical times to the fall of the Roman Empire; their discovery and interpretation; their place in the reconstruction of the social, political, and artistic history of their time. Topics include the excavation and analysis of materials from Troy, Bronze Age Crete, and Mycenae; the archaeological evidence of the rise of Greece, particularly Athens, in the first half of the first millennium B.C.; the misunderstood contribution of Hellenism in art, literature, and civilization; the Etruscan phenomenon; the essentially Roman qualities of the first four centuries of the Christian era; and the archaeological and documentary evidence for the transition from paganism to Christianity. Some attention to the disciplines of epigraphy and numismatics, as well as to the peripheral island civilizations of Malta, Sardinia, and Cyprus. Spring. 

20 Image and Icon: Medieval Illuminated Manuscripts. (Cross-listed as Comparative Religion 20.) A comparative study of major themes in illuminated manuscripts of medieval Europe, Byzantium, Jerusalem, and Armenia, and how these cultures transform the traditional images to express the political and religious issues of the time. Der Manuelian

21 Early Islamic Art: The Formation of a Culture (690-1250). (Cross-listed as Comparative Religion 23.) A survey of the visual arts in Muslim lands from Spain to Central Asia between the seventh and thirteenth centuries, emphasizing the role of visual arts in the formation and expression of cultural identity. Painting, sculpture, architecture, and the portable arts of ceramics, ivory, metalwork, and manuscript illustration will be considered. Topics will include the uses of figural and non-figural imagery; calligraphy and ornament; religious and secular art; public and private art; the art of the court and the art of the urban middle class; and the status, use, and meaning of the portable arts. (May be taken at 100 level with consent; see below.) Hoffman

22 Iconoclasm and Iconophobia: Threat of the Image. (Cross-listed as Comparative Religion 24.) The proscription of representational images in Jewish, Christian, and Islamic ideologies, and resulting iconic modes of expression (signs, symbols, architectural forms) at various times in the first millennium; the avoidance or removal of images, and motivations for and the effect of the art which it produces (Byzantine "iconoclasm"; Islamic avoidance; Protestantism; the French Revolution; the Jesse Helms syndrome). (May be taken at 100 level with consent; see below.) Caviness, Hoffman

23 Art and Politics of the Middle Ages. (Cross-listed as Comparative Religion 25.) Creation and use of art and architecture by kings, princes, and clergy in the power politics of the Middle Ages. Architecture, sculpture, and manuscript painting of various political and religious centers analyzed and compared both as works of art and as political statements. Rome, Byzantium, Armenia, and Sicily will be discussed. Der Manuelian

25A The Dome of Heaven. The construction and decoration of Early Christian, Byzantine, Armenian, and Western European domed churches, from the fourth to the fourteenth century. Discussion of the symbolism and iconography expressed by each culture with reference to literary sources, religious commentaries, and the political context. (May be taken at 100 level with consent; see below.) Der Manuelian

25B Medieval Architecture, 250-1300. (Cross-listed as Comparative Religion 25B.) Selected holy sites are followed through successive campaigns of construction, rebuilding, and redecoration in the changing contexts of the city: Dura Europos; Old St. Peter's; Hagia Sophia; Hildesheim/Maria Leach; San Marco/Sant'Ambrogio; Santiago de Compostela; Saint Denis; Canterbury/Reims; Chartres; Notre Dame and the Sainte-Chapelle in Paris. Structure and materials, iconography and symbolism, function and decoration are analysed. (May be taken at 100 level with consent; see below.) Caviness

27 The End of the World in Art and Thought, Fourth to Fourteenth Century. (Cross-listed as Comparative Religion 27.) How concepts of the end of the world, the Last Judgment, Death, and Triumph are expressed in the illuminated manuscripts, frescoes, and sculpture of selected medieval centers in Western Europe, Byzantium, and Armenia. Der Manuelian

28 Medieval Art in the Mediterranean: Pagans, Jews, Christians, Muslims. Integrated study of the shared art and culture of the Mediterranean from late antiquity through medieval times (3rd – 13th centuries CE). Architecture, painting, mosaic and luxury objects will be considered with a focus on continuities and dynamic cultural intersections across religious and political boundaries in European, Islamic, and Byzantine realms. Topics include the early church, synagogue, and mosque; figural and non-figural imagery in Pagan, Jewish, Christian, and Islamic contexts; relationships between secular and sacred and between majority and minority cultures. May be taken at the 100 level by advanced students for which research papers are required. Hoffman

29 Gender and Medieval Art and Literature. (Cross-listed as German 29/129 and Comparative Religion 29/129.) Representations of medieval sex/gender arrangements in art and literature ca. 1000-1300 CE. Constructions of gender through religious and scientific teaching and images; its impact on roles as authors/makers and patrons played by men and especially women such as Hrotsvit, Hildegard, Jeanne d'Evreux. Secular and religious works, such as the Bayeux Embroidery and the Nibelungenlied, the Hortus Deliciarum, and the writings of the "mystics," in light of medieval and present-day gender theories. (May be taken at 100 level with consent; see below.) Spring. Nelson, Caviness

30 Fourteenth-Century Art. (Cross-listed as Comparative Religion 30.) International crosscurrents in the fourteenth century. Flamboyant architecture; the art of royal and papal courts in France and Bohemia; the new secularism in wall paintings, tapestries, and books; Honoré, Pucelle, Bondol, Jacquemart, Theodoric, and the influence of Giotto, Duccio, and Simone Martini. (May be taken at 100 level with consent; see below.) Caviness

31 Early Renaissance in Italy. Art, culture, and politics in key regional centers during the fifteenth century. Issues include the revival of antiquity, the concepts of progress and competition, the social status of the artist, patronage, refinement of illusionistic techniques such as linear perspective, and the expansion of secular subjects produced for the home. (May be taken at 100 level with consent; see below.) Baskins

32 High Renaissance in Italy. The dominance of Leonardo, Michelangelo, Raphael, and Titian in the sixteenth century. Consideration of the High Renaissance in Florence and Rome and its aftermath, Mannerism, in Catholic courts across Europe. The development of art history as a discipline in conjunction with the rise of academies, art collecting, and the search for elevated status. The challenge of women artists such as Sofonisba Anguissola to prevailing notions of creativity. (May be taken at 100 level with consent; see below.) Baskins

33 German Renaissance Art.  Regional traditions, the challenge of Italian Renaissance art, and the radical changes in style and patronage brought about by the Protestant Reformation.  Artists include Martin Schongauer, Tilman Riemenschneider, Matthias Grünewald, Lucas Cranach, Albrecht Dürer, Hans Baldung Grien, and Hans Holbein.  May be taken as GER 133 with consent; see listing below. Baskins

34 Renaissance Venice. Painting, sculpture, and architecture in the "most serene republic" of Venice, 1400-1600. Elite patrons, confraternal piety, wealth from the Levant, and a taste for pleasure provide some framing contexts for Venetian subject matter ranging from altarpieces to sensuous female nudes. Artists to be considered include Bellini, Giorgione, Titian, Sansovino, Palladio, and Tintoretto. (May be taken at 100 level with consent; see below.) Baskins

35 Renaissance Artists Then and Now. The effect of Renaissance images and their makers on our visual culture. Leonardo, Michelangelo, Raphael, and Durer as historical figures and as contemporary phenomena viewed from the perspective of their "afterlives" in modern culture, including advertising and movies. How Renaissance art inspires contemporary artists like Cindy Sherman, Bill Viola, Leon Golub, and Yasumasa Morimura. (May be taken at 100 level with consent; see below.) Baskins

37 Van Eyck to Brueghel. The Netherlandish tradition from its roots in manuscript painting up to the Reformation and the iconoclastic riots of the 1560s. Focus on the relation of painting to beholder; iconic and narrative images; rise of genres; the expression of politics, class, and gender; the development of printmaking. (May be taken at 100 level with consent; see below.) Baskins

40 European Sculpture. Techniques and problems unique to sculpture in Europe from classical antiquity to 1900. Major monuments and artists from the Parthenon and Chartres Cathedral to Michelangelo and Rodin. Involves museum visits. McClellan

41 The Age of Rembrandt and Bernini. The arts of seventeenth-century Catholic Europe (Italy and Spain) and Holland in the context of the Reformation and Counter-Reformation. The religious use and prohibition of images; the rise of secular art forms, private collecting, and the art market. (May be taken at 100 level with consent; see below.) McClellan

44 The Renaissance Body. A survey of the cultural construction of the body and its representation in early modern Europe, 1300-1700. How the human body structures the major political, spiritual, and scientific paradigms of the period. The representation of the body in religious painting, political allegory, dance, as "deviant" or grotesque, and in the development of anatomical dissection. (May be taken at 100 level with consent; see below.) Baskins

46 British Architecture: Classicism and Ideology. British architecture from the sixteenth through twentieth centuries in the United Kingdom and its overseas possessions, focusing on social, political, and cultural interpretations of classical architecture. Nationalism, imperialism, and class. Inigo Jones, Christopher Wren, John Soane, C.R. Cockerell, and Edwin Lutyens. (May be taken at 100 level with consent; see below.) Abramson

48 Nature into Art. Changing attitudes to nature and the environment as manifested in Western (and some non-Western) art from the Renaissance to the twentieth century. Themes include landscape painting and the pastoral tradition, travel and the colonizing gaze, art in the American frontier, gardens East and West, and environmental art. (May be taken at 100 level with consent; see below.) McClellan

51 Nineteenth-Century Art. The major movements--Neoclassicism, Romanticism, Realism, Impressionism, and Post-Impressionism--in Western Europe and America. (May be taken at 100 level with consent; see below.) McClellan, Wechsler

52 Romanticism and Realism: Art in Europe, 1789-1860. Themes in the representational arts from Neo-classicism to Realism. Art and revolution, the public monument, the rise of landscape, the romantic genius, caricature and popular imagery, art criticism (Stendhal, Baudelaire). Artists to include Goya, Géricault, Friedrich, Turner, Courbet, Daumier. (May be taken at 100 level with consent; see below.) McClellan, Wechsler

53 Origins of Modern Art in Europe, 1860-1914. The interaction of tradition, realism, and "the painting of modern life." Urban and rural Impressionism. Post-Impressionism, Fauvism, Expressionism, Cubism, Constructivism. Changing ideas of representation, expansion of genres, modes of exhibition, and critical reception. (May be taken at 100 level with consent; see below.) Wechsler

54 Twentieth-Century Art in Europe and America. The dissemination and assimilation of modernism in Europe and America after the moment of high Cubism, the establishment of abstraction as the language of the avant-garde, and the gradual shift in the location of the modern art center from Paris to New York after World War II. Cubism, Dada, Surrealism, Abstract Expressionism, Pop, Minimalism, and the New Expressionism from a critical, contextual standpoint. Postmodernism as a movement and a critique of modernism. (May be taken at 100 level with consent; see below.) Rosenberg

55 Twentieth-Century Mexican Art. The dominant art forms of twentieth-century Mexico including post-revolutionary muralism and socially-concerned representational art; movements, artists, and visual genre outside of the mural school including abstraction, surrealism, photography, print culture, and film. The influence of politics, class, race, and gender on the production of art in Mexico. Art by Mexican-American artists in the U.S., and the effects of globalization and the art market on contemporary Mexican art. (May be taken at 100 level with consent; see below.) Zavala

56 History of Photography. Issues and developments in photography from its inception with Daguerre in 1839 to the present in Europe and the United States. The interaction of art and technology in photography, relationships of photography to painting, development of genre and themes in photography, the effect of photography on ways of seeing. Major artists include Nadar, Atget, Stieglitz, Weston, and Frank. (May be taken at 100 level with consent; see below.) Rosenberg

58 The Roots of Abstraction. Examination of the roots of Western abstraction in nineteenth-century romantic landscape painting, the emulation of music, and the mistrust of appearances. The link between abstraction and spiritual and revolutionary movements. Focus in the twentieth century on Mondrian and Kandinsky, the Abstract Expressionists, and the modernist movement. Prerequisite: Art History 2 or a course in nineteenth-century art. (May be taken at 100 level with consent; see below.) Wechsler

59 Movement and Time in Painting and Sculpture. Evocation of movement in a still medium and representation of narrative in a single image have been challenges to artists since the Renaissance. Theories and strategies of representing movement and time in works of Leonardo, Michelangelo, Bernini, Caravaggio, Velázquez, Rembrandt, the Rococo, the Impressionists, Cubists, and Futurists. Impact of photography, science, and abstraction. Prerequisites: Art History 1 and 2 or consent. (May be taken at 100 level with consent; see below.) Wechsler

61 American Art. Survey of painting, sculpture, and graphic art from the seventeenth century to World War I. The wealth of original material in the Boston area is especially valuable to the course. Frequent field trips are scheduled and lectures held at the Museum of Fine Arts. (May be taken at 100 level with consent; see below.) Rosenberg

62 Art on Film, Film on Art. The genres, theories, and methods used to represent the visual arts in film. Their interface with art history, new and old. Analysis of the forms of art on film, their impact on our understanding of art, the intersection of interpretation and technical strategies. Weekly viewing of films, written critiques of films and texts, presentation of a storyboard for a film. (May be taken at 100 level with consent; see below.) Wechsler

63 "Black" Arts of the United States. Study of artists' strategies in the negotiation of issues surrounding the construction of a diasporal subject within and without mainstream American culture. In addition, an examination of the representation of blackness. Offered in alternate years. (May be taken at 100 level with consent; see below.)

70 Contemporary Arts of Africa. Examination of African art since the end of colonialism. Consideration of sculpture, painting, performance, film, and architecture. Emphasis on the changing meanings of art within different African contexts. Exploration of the tension between the tribal and the (post)modern with respect to the advent of national cultures and outside factors. (May be taken at 100 level with consent; see below.)

71 Arts of the Afro-Atlantic Diaspora. Examination of the arts of African peoples from both sides of the Atlantic. Emphasis on movement of images and ideas back and forth across the Atlantic. The unique ways artists from different parts of the Afro-Atlantic diaspora have fused indigenous and foreign ideas and forms in their work. Offered in alternate years. (May be taken at 100 level with consent; see below.)

79 German Expressionist Art. (Cross-listed as German 79.) Beginning with the seminal influence of Van Gogh, Cézanne, and Munch and concluding with post-Expressionist trends in the 1930s, German Expressionism will be studied in the larger context of the aesthetic evolution in European art. Formal analysis of Expressionist painting with consideration of its historical setting. Emphasis on major artists of the movement such as Kirchner, Nolde, Kandinsky, Klee, Grosz, and Beckmann. Fall.

80 Feminist Analysis: Women's Voices, Women's Bodies. (Cross-listed as German 50 and World Literature 50.) The construction of difference in European culture; symmetry/asymmetry; the problem of essentialism; the social construction of "femininity" and "masculinities"; gynophobia/misogyny; idealization/demonization; strategies for reading and looking designed to facilitate feminist interpretations of culture and the capacity to recognize those from other orientations. Images and texts from the dominant and popular culture. Caviness, C. Nelson

83 Women in Latin American Art. Women artists in Latin America in the twentieth century and their place within the canon of Latin American art history. Their work in relation to feminist strategies of resistance and the disruption and/or appropriation of dominant artistic and cultural narratives. Artistic expression in relation to emergent women's movements and constructions of gender, race, and ethnicity in distinct Latin American contexts. The representation of women in Latin American art. Zavala

91, 92 Special Studies.

98 Architectural Studies Senior Project Seminar. A spring semester seminar required of all senior architectural studies majors. Open only to senior architectural studies majors. May be registered for by civil engineering double majors in architectural studies as CEE 99 (Internship in Civil and Environmental Engineering) in consultation with Professors Abramson and Sanayei. Abramson

99 Internships. Available in a variety of area museums, galleries, architectural firms, under the supervision of museum staff and coordinated by a faculty adviser from the Department of Art and Art History. One fine-arts internship may be credited toward the major.

Courses for Undergraduate and Graduate Students
Prerequisite to the following 100-level courses: Art History 1, 2, or consent of the instructor.

100 Theories and Methods of Art History. How art history has been studied in the past and how it is currently studied: historiography and methodology. Consideration of early writers on art (Pliny, Vasari) to develop understanding of origins of present discourses, and to see interaction of art, society, and theory in historical perspective. Readings in twentieth-century approaches: from traditional style and connoisseurship and their critics through Riegl's and Panofsky's fundamental works, to contemporary methods such as psychoanalysis, Marxism, feminism, semiotics. Required course for art history major; recommended to be taken in the senior year. Open to nonmajors with consent. Prerequisite: two 100-level art history courses completed or taken concurrently. This course is offered only in the fall term. In order to avoid possible course conflicts, it is recommended that students who plan to double major take this course during their junior year. Members of the department

101 Historiography and Methodology of Art History. Formalism, semiotics, Marxism, feminism, structuralism, poststructuralism. The "crisis in the discipline" and historiographical origins of the present debate. Prerequisite: Art History 100 and senior or graduate standing. Spring. Members of the department

105 Japanese Architecture. (See Art History 15 for course description.) Extra assignments and class meetings. Kaminishi

106 Japanese Narrative Painting. The concepts and development of this major genre of Japanese art from the Heian (794-1185) through the Edo (1615-1867) periods. Focus will be on the subjects, methods of representation, narrative devices, and the relationship between text and image. Trips to museum collections. Prerequisite: Art History 14 or consent. Kaminishi

107 The Japanese Landscape Tradition. Major styles and movements in monochrome ink and color. The role of Zen Buddhism in establishing the tradition and changes effected by new patronage groups and foreign influences. Trips to museum collections. Prerequisite: Art History 14 or consent. Kaminishi

110 Japanese Art and the West. (See Art History 10 for course description.) Extra assignments and class meetings. Kaminishi

112 Aegean Archaeology. (Cross-listed as Archaeology/Classics 163.) The study of the sites and monuments of the Aegean area from the Neolithic period to the end of the Bronze Age, with special emphasis on the art of the Minoan and Mycenaean civilizations. Museum trips will be part of the course. Prerequisite: Classics 27 or consent. 

113 Greek Art and Archaeology. (Cross-listed as Archaeology/Classics 164.) The development of Greek art from the Geometric Age through the fourth century B.C., studied in architecture, sculpture, pottery, painting, and selected sites. Museum trips will be part of the course. Prerequisite: Archaeology/Classics 27 or Art History 1, or consent. 

115 Tyrrhenian Archaeology. (Cross-listed as Archaeology/Classics 167.)  The study of ancient Italy from prehistoric times to the Roman Republic. Special emphasis may be placed on the Etruscan civilization, its possible origins, and its context in the Mediterranean world as shown by its artistic development. Museum trips will be part of the course. Prerequisite: Archaeology/Classics 27 or consent. 

116 Roman Art and Archaeology. (Cross-listed as Archaeology/Classics 168.) The study of Imperial Rome and its provinces, with attention to the Hellenistic background and subsequent contributions to urban development, architecture, sculpture, or painting. Museum trips will be part of the course. Prerequisite: Archaeology/Classics 27 or Art History 1, or consent. 

119 The Classical Tradition in Medieval Art. How deeply were medieval artists affected by the rich heritage of the Greco-Roman tradition and how conscious were they of its influence? Exploration of the role of the classical tradition in the formation of medieval art, and the evolution in both form and meaning of classical sources into new medieval works of art. Hoffman

120 Armenian Art, Architecture, and Politics: Fourth to Fourteenth Century. (Cross-listed as Comparative Religion 120.) Study of castles, churches, sculpture, and manuscripts in an international context. Armenia's political and religious ties with Rome, Byzantium, Islam, the crusaders, Europe, and East Asia. The first country to declare Christianity its official religion, Armenia created art expressing distinctive religious concepts. Its architectural techniques and sculpture anticipated later developments in Western Romanesque and Gothic art. Der Manuelian

121 Early Islamic Art: The Formation of a Culture (690-1250). (See Art History 21 for course description.) Extra assignments and class meetings.

122 Iconoclasm and Iconophobia: Threat of the Image. (See Art History 22 for course description.) Extra assignments and class meetings.

124 Early Medieval Art. (Cross-listed as Comparative Religion 124.) Irish, Carolingian, Ottonian, and Anglo-Saxon art, 600-1100 A.D. Emphasis on metalwork and manuscripts. Caviness

125A The Dome of Heaven. (See Art History 25A for course description.) Extra assignments and class meetings.

125B Medieval Architecture, 250-1300. (See Art History 25B for course description.) Extra assignments and class meetings.

126 Monasteries and the Arts, 1000-1200. (Cross-listed as Comparative Religion 128.) Ascetic and sumptuous architecture, manuscript illumination, and metalwork made in northern Europe for cloistered men and women, and the integration of popular cults: Reichenau, Stavelot, Saint-Omer, Conques, Cluny, Caen, Bury St. Edmonds, Shaftesbury, Saint-Denis, Citeaux. The ideas of Suger and Bernard, Hildegard of Bingen, and Herrad of Landsberg discussed in relation to gendered vision. Caviness

127 Cathedrals and the Arts, 1150-1300. (Cross-listed as Comparative Religion 127.) Secular cathedrals and their city environments: Paris, Chartres, Reims, Canterbury, Salisbury, Strasbourg, Cologne. Artists, artisans, patrons, and audience in a changing society; the functions of the sculpted portals and the great narrative painting cycles in stained glass, and of shrines and illuminated books. Caviness

128 Medieval Art in the Mediterranean:  Pagans, Jews, Christians, Muslims. (See Art History 28 for course description.)  Research papers are required.

129 Gender and Medieval Art and Literature. (See Art History 29 for course description.) Extra assignments and class meetings.

130 Fourteenth-Century Art. (See Art History 30 for course description.) Extra assignments and class meetings.

131 Early Renaissance in Italy. (See Art History 31 for course description.) Extra reading assignments and term paper.

132 High Renaissance in Italy. (See Art History 32 for course description.) Extra reading assignments and term paper.

133 German Renaissance Art. (See FAH 33 for course description.) Extra reading assignments and term paper.  Prerequisite: consent of instructor.  Baskins

134 Renaissance Venice. (See Art History 34 for course description.) Extra reading assignments and term paper.

135 Renaissance Artists Then and Now. (See Art History 35 for course description.) Extra reading assignments and term paper.

137 Van Eyck to Brueghel. (See Art History 37 for course description.) Extra reading assignments and term paper.

141 The Age of Rembrandt and Bernini. (See Art History 41 for course description.) Extra assignments and class meetings.

144 The Renaissance Body. (See Art History 44 for course description.) Extra reading assignments and term paper.

146 British Architecture: Classicism and Ideology. (See Art History 46 for course description.) Open only to graduate students.

148 Nature into Art. (See Art History 48 for course description.) Extra assignments and class meetings.

149 Rococo to Revolution: Art in Eighteenth-Century Europe. Major artists and themes in eighteenth-century European art, including Watteau and the Fête galante, Art and the Enlightenment, Reynolds and the portrayal of gender and class, the country house, nature vs. ideology in landscapes of Gainsborough and Constable, David and the French Revolution. Role of art in society. McClellan

150 History of Drawing. Drawings from the Renaissance to the present. The media and techniques; the functions of drawings; drawing as a way of thinking; drawings as works of art in their own right. Study of original drawings at the Fogg Art Museum and the Museum of Fine Arts. Wechsler

151 Nineteenth-Century Art. (See Art History 51 for course description.) Extra assignments and class meetings.

152 Romanticism and Realism: Art in Europe, 1789-1860. (See Art History 52 for course description.) Extra assignments and class meetings.

153 The Origins of Modern Art in Europe, 1860-1914. (See Art History 53 for course description.) Extra assignments and class meetings.

154 Twentieth-Century Art in Europe and America. (See Art History 54 for course description.) Extra assignments and class meetings.

155 Twentieth-Century Mexican Art. (See Art History 55 for course description.) Extra assignments and class meetings.

156 History of Photography. (See Art History 56 for course description.) Extra assignments and class meetings.

157 History of Modern Sculpture. European and American sculpture from mid-nineteenth century to present. The erosion of the classical aesthetic, the uses of sculpture and the problem of public sculpture, and the changing nature of materials and techniques. Artists include Rodin, Brancusi, Picasso, Giacometti, Moore, and Hepworth.

158 The Roots of Abstraction. (See Art History 58 for course description.) Extra assignments and class meetings.

159 Movement and Time in Painting and Sculpture. (See Art History 59 for course description.) Extra assignments and class meetings.

160 Museum History and Theory. Development of the art museum from its origins in private collections to the present. Issues will include the evolution of museum design; the symbolic values of collections of art for individuals and societies; and the sociological and art historical implications of the display of art objects. Problems facing the contemporary museum: corporate funding, the blockbuster exhibition, revisionist art history. Visits to local museums. Prerequisite: Art History 2. Offered in alternate years. McClellan

161 American Art. (See Art History 61 for course description.) Extra assignments and class meetings.

162 Art on Film, Film on Art. (See Art History 62 for course description.) Extra assignments.

163 "Black" Arts of the United States. (See Art History 63 for course description.) Extra assignments and class meetings.

165 American Architecture. Survey of American architecture from the seventeenth to the twentieth century, with emphasis on its European background. Decorative arts are coordinated into the development.

167 Early French Painting. (See Art History 67 for course description.) Extra assignments and class meetings.

168 Later French Painting. (See Art History 68 for course description.) Extra assignments and class meetings.

170 Contemporary Arts of Africa. (See Art History 70 for description.) Extra assignments and class meetings.

171 Arts of the Afro-Atlantic Diaspora. (See Art History 71 for description.) Extra assignments and class meetings.

175 Boston: Architecture and Urbanism. A history of the Boston area's architecture from the seventeenth through the twenty-first centuries, as seen through the region's urban history. Major buildings, architects, and urban planning schemes examined in terms of economic, political, social, and institutional histories. Course work includes field trips; class presentations; and design, research, and photography projects. Abramson

176 Museum Architecture. Museum design in Europe and America from the later eighteenth century to the present. Focus on the relationship between the building and its contents at the time of construction and subsequently. Case studies of private collections, national art museums, royal collections, exhibition buildings, natural history museums, house museums, and historic parks will be discussed to demonstrate the changing philosophies and purposes of curators, patrons, institutions, and the public. McClellan

181 Independent Study. Guided individual study of an approved topic.

182A, 182B Boston Museum Seminars. Offered by the curators at the Museum of Fine Arts on a variety of topics. Open to seniors and graduate students with the consent of the instructor. Curators of the Museum of Fine Arts

183 Women in Latin American Art. (See Art History 83 for description.) Extra assignments and class meetings.

189 Multimedia and the Visual Arts. A study of art and architecture in the context of new media. Students design and produce their own interactive project for delivery on the Web or CD-ROM. Students may work on art from a range of historical periods, or on works from the Tufts art collection and campus architecture. Exploration of nonlinear, multithreaded structures as presentation tools for art-historical arguments. Prerequisite: consent. Hoffman

284 Collections Management. Every museum has a curator, registrar, or collections manager whose primary role is to oversee the use, management, and care of its collections. While types of collections may vary, these functions are critical to the success of all collecting institutions. This course examines the responsibilities of the collections manager or registrar in documenting, researching, storing, and exhibiting objects. Students are exposed to various collection policies and registration methods, the acquisition process, loan procedures, and the numerous legal and ethical issues that surround accessioning and de-accessioning artifacts. Security, insurance, access to and use of collections are also discussed. The class will make at least one site visit to view collection storage at a local museum. Summer. Prerequisite: Art History 285.

285 Museums Today: Mission and Function. Introduction to the functions of the museum and its role in contemporary society; the history of museums; the functions and interrelationships among various departments and offices, including director, curator, registrar, education, conservation, and marketing. Topics include acquisitions policies, public outreach, and the role of architecture, as well as the philosophical, ethical, and legal issues pertaining to museum administration. Field trips to museums required. Fall. Prerequisite: consent.

286 Museum Education and Interpretation. (Cross-listed as Education 280.) The role and functions of the museum in education, and analysis of the activities employed to enhance learning by students of all ages. Methods of selecting, designing, and evaluating public programs appropriate to the learning levels and interests of children, adolescents, and adults in a variety of museum settings. Principles of learning and teaching will be discussed as they relate to educational practice in museums. Instructional methods and materials, including exhibits, demonstrations, role-enactment through living history portrayals, discovery rooms, curriculum materials, self-guided instruction, labels, and publications will be analyzed. Prerequisite: consent.

287 Exhibition Planning. Classes are organized for students to carry out an actual exhibition from conception to opening reception. Discussions revolve around issues specific to the special exhibition, such as priorities, deadlines, grantsmanship, legal matters, and educational goals. Students experience hands-on involvement in scouting for works, generating the necessary paperwork, designing and installing the show, preparing objects for return to the owners. Prerequisites: Art History 285 or equivalent experience and consent.

288 Collections Care and Preservation. (Cross-listed as History 291.) Principles and techniques of museum collections maintenance, with special attention to specific applications for small to midsized museums and historic properties. Study of the material attributes of museum artifacts and documents, their documentation, preservation, storage, environmental control and monitoring, and display. Some class sessions will be conducted at museum sites. Prerequisite: Art History 285.

289 Museum Internship. (Cross-listed as Education 284 and History 292.) Available to students in the Museum Studies Program only. A one-semester, intensive internship with specific projects and responsibilities to be arranged by the student, the museum resource person, and the Tufts Museum Studies adviser, culminating in a written report.

190 Special Studies. Credit as arranged. Members of the department

Seminar Courses
Open to qualified undergraduates. Seminar courses may be repeated once for credit provided there is no duplication of subject matter.

191 Seminar in Asian Art. Kaminishi

191A Seminar in African and African Diasporal Arts.

192A Seminar in Armenian or Byzantine Art. (Cross-listed as Comparative Religion 192A.) Der Manuelian

192B Seminar in Western Medieval Art. (Cross-listed as Comparative Religion 192B.) Caviness

193 Seminar in Classical Art.  

194 Seminar in Renaissance Art. Baskins

195 Seminar in Baroque Art. McClellan

196 Seminar in Nineteenth-Century European Art. McClellan, Wechsler

197A Seminar in Modern Art. Rosenberg, Wechsler

197B Seminar in Latin American Art. Zavala

198 Seminar in Architectural History and Theory.

198A Seminar in African-American Art.  

199AT, 199BT Senior Honors Thesis. A thesis by arrangement with the department for seniors majoring in art history. Two courses. Members of the department

293, 294 Qualifying Papers. Guided research on a topic that has been approved for a master's qualifying paper. Members of the department

295, 296 Thesis. Guided research on a topic that has been approved for a master's thesis. Two courses. Members of the department

401PT Master's Continuation, Part-time.

402FT Master's Continuation, Full-time.

503 MAT Studio Art.

504 MFA Studio Art.

Studio Courses
Through a cooperative agreement between Tufts University and the School of the Museum of Fine Arts (the Museum School) at 230 The Fenway in Boston, students may elect courses in studio art for credit at Tufts. Two studio courses may be taken to fulfill the arts distribution requirement. Classes are taught both on the Tufts campus, in studios located in Lane Hall and Jackson Gymnasium, and at the Museum School in Boston. More than eighty studio credits are offered to Tufts students each semester. They range from foundation- through advanced-levels and are distributed throughout the following media and areas: art foundations, calligraphy, clay/ceramics, computer art, design, drawing, film, graphic design, metals/silversmithing, painting, photography, printmaking, sculpture, sound, stained glass, and video.

A listing of the specific studio art courses that are being taught during the current school year are available at www.smfa.edu/tuftscourses.  These classes are coded as follows: FAM - Medford/Somerville campus; FAMB - Museum School, night; FAMD - Museum School, day. Registration for FAM and FAMB courses takes place through the regular registration process at Tufts. FAMD courses must be registered for at the Museum School during its registration period.

Students who have questions about studio courses or need help in planning a comprehensive program of study should contact Patrick Carter, Studio Coordinator at Tufts, Fine Arts Department, 11 Talbot Avenue. Phone: 617-627-2014.

Questions regarding registration procedures can be directed to the Museum School’s Office of the Registrar. Phone: 617-369-3099.