Students will be expected to develop, in the course of the semester, the following:

-Ready recognition of selected works, and knowledge of basic facts related to them. A basic understanding of the historical development of painting, sculpture, architecture and other art forms from the late 18^th C through early 21stC within the cultural, political and ideological contexts of the periods.

-Awareness of problems of interpretation, in relation to the study of selected works; basic familiarity with the subject matter and meaning, function, issues of patronage, sponsorship and identity, and purpose of selected works.

-Development of the visual and analytic skills of looking. The student should achieve a recognition of major representative moments; also essential is a perception of the ways in which form and meaning are conjoined. An awareness of the development of different art forms and the ideas and cultures which shape them is also to be gained.

-A grasp of the changing function of art as a shifting expression of the individuals, institutions and belief systems in different moments of history and in different nations and cultures.

-Furthering of writing skills: declaration and development of a clearly stated theme, development of methods of argumentation and organization, written expression and structure.

-Furthering of oral communication skills, through class discussion, questions and comments.

The course is intended to offer an introduction to the most significant examples and trends of European and American art and architecture from the late 18^th to the 21^st C. Several sections will also include non Western art in order to explore the intersection of other cultures, past and present, with the Western tradition.

Emphasis will be on the art of Europe and the emergence and gradual independence of modern art in the United States, in order to provide the student with a basic knowledge of the most influential developments in Western art of this period. From the French Revolution and a concept of art as a means of moral elevation, we will turn to the Romantic celebration of individual sensibility, and to the Impressionist’s discovery of new techniques and subjects within the modern Parisian society. In the late 19^thC, artists begin to emphasize emotion and spirituality over naturalistic representation; in the early 20thC, Modernist artists begin to examine the very nature of art itself. With the explosion of movements as varied as, for instance, Futurism, Dada and Surrealism, issues concerning the role of the artist and the relationship of art to reality become ever more vital, leaving those in the later part of the century to wrestle with questions concerning, among others, the value of social engagement or aesthetic isolation. Finally, more recent trends of the last decades of the 20thC and first decade of the 21^st will be examined through a selection of works which exemplify the expanding borders of “what is art” and which can challenge the by now “classic” status of the avant-garde.

We will also take the opportunity to investigate how 19^th and 20^th C artists and architects in Europe and the U.S. developed an increasing awareness of visual worlds outside of their own Western framework, and absorbed and reinvented this cultural material according to their own interests. Alternatively, some attention will be given to the way in which artists from other countries, often emerging from a colonized past, achieve an art expressive of their own cultural identity, traditions, and modern experiences.

This course is designed both for the student with no previous art history background, and for the student with some experience seeking a general historical overview. Through lectures, class discussions, readings and a few visits to sites and museums, the student will become familiar with a variety of period styles and cultures, artists and major works from the Modern and Contemporary periods. In addition, the course should stimulate consideration of some of the various approaches of art-historical study – the different ways of looking and thinking about art, and an awareness of the contexts in which art is made. In this way, the student will be introduced to the basic methods of the field, as well as to the tools which enable more informed appreciation of painting, sculpture, architecture, and more contemporary art forms.

The range of artworks presented in this course is selective rather than all-inclusive, in the belief that deeper knowledge of a few key works will supply students with essential art-historical skills, and a foundation for a what may be hoped to be a continued involvement with art. In order to achieve a firm grasp of the basic issues relevant to the quite vast spectrum of art to be investigated, students are expected to arrive in class having already carefully read the assigned sections in the textbooks. Several additional brief readings, especially of texts contemporary with the artists and works under investigation, will also be required. The class lessons will consists of both lecture and class discussion, with stress on individual student engagement.

Timely Submission of Work

Late work is not accepted.  Assignments submitted after the due date will earn a grade of 0.  No exceptions.

Academic Honesty

All work submitted for this course must conform to professional standards of academic integrity.  In particular, it is essential and required that you give appropriate credit to the authors of any and all intellectual material employed in the preparation of the Research Project.  As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.


An outstanding exam essay:

·         Addresses the question precisely and thoroughly, without straying from the theme;

·         Demonstrates a detailed, global command of readings and technical vocabulary; truly outstanding essays show ample evidence of extra reading and art-observation, beyond the course assigments;

·         Supports all generalizations with reference to specific works of art thoroughly and accurately identified as in the slide-identification section of the exam;

·         Has a rigorous and orderly structure, beginning with a clear and concise thesis statement, developed in an orderly fashion in the remainder of the essay;

·         Consists wholly of correct, standard English.

See below for more specific grading criteria. Plagiarism or cheating of any sort will result in an automatic grade of F for the exam and, at the instructor’s discretion, for the course. Please note that there will be a clean-desk policy during exams.  You may have nothing on your desk other than a pen.  Cell phones must be turned off, and you may not wear a hat or sunglasses.  If you leave the room once an exam has begun, your examination must be handed in and will not be returned for further additions or corrections.  Make-up exams are not possible, except in cases of serious, documented illness, and so please do not ask.

Attendance, Punctuality, Participation

Attendance and punctuality at all class meetings are mandatory and count heavily in your professionalism grade.  Make-up quizzes and exams cannot be given, and so please do not ask.  In case of severe illness, please talk to the Dean.

If you have a mobile phone, please turn it off at the start of each class meeting and do not turn it on again until class has ended.  This is a matter of respect toward the professor, other students in the class.

Schedule of Classes

(NB: the professor reserves the right to adjust the schedule of classes with the agreement of the class, – Should a there be a special exhibition or other opportunity in Rome appropriate to our study of the art and architecture of the Modern and Contemporary periods, a Friday morning visit may be scheduled; forthcoming)