History of the discipline, methodological orientations, and the conceptual and technical framework for art-historical research. Required of all M.A. candidates in Art History during first year of study.

This course addresses the art of the 1950s and '60s in Europe, from its relationship to World War II and the Holocaust to the era of the Cold War and the Bomb. The 1950s saw a major shift in the art world from a focus on abstract painting to new experiments in assemblage, Combines, Pop strategies, Neo-Data, New Realism, and the Situationist International. The course takes Cobra as a case study, focusing on the Fall 2016 UMCA exhibition "Human Animals: The Art of Cobra," curated by the professor.

This course surveys the art of China's modern age, beginning in the mid-nineteenth century with the treaty port cultures following the second Opium War in 1860, and ending with the 2008 Olympics. Topics include urban print cultures, modern ink painting, Sino-Japanese exchanges, arts institutions, popular and mass culture, socialist state art, experimental art and exhibitions in the Reform era, and art of the diaspora.

The concept of landscape, or "mountains and waters" (shanshui), was a central preoccupation for Chinese artists, viewers, and collectors. Focusing primarily on the ninth to the eighteenth centuries, this course surveys historical changes in representations of nature through paintings produced for tombs, the imperial court, scholars, and merchants, but also through the decorative arts, private gardens, and imperial grounds. We think about what it meant to make paintings but also what it meant to view paintings.

This lecture course examines the history of the modernist movement from 1914 to the present in relationship to the primary ideologies of the 20th and 21st centuries, socialism, capitalism, and globalism. It considers the work of the founding figures - Wright, Mies, Gropius and Le Corbusier - and significant themes such as the individual vs. the collective; European vs. American approaches; modernism beyond the West; and the impact of popular culture and new technologies.

Art in the United States from 1860 to 1940 with a concentration on painting and sculpture. As new technologies and ideologies transformed the political, economic, and social fabric of the United States after the Civil War, changes in the arts were equally rapid and as dramatic, culminating in the introduction of abstraction after 1900. Some artists sought strategies to connect their work to this new, fast-paced modern world; others held to traditions and resisted change.

This course explores European art and visual culture in the eighteenth and nineteenth centuries, with an emphasis on painting, sculpture, drawing, prints, and photography. We begin with the festive yet decadent Rococo, which leaves its place to Neoclassicism's utopian search for a new world in the second half of the eighteenth century. We then investigate the emergence of Romanticism from a deep disappointment with Enlightenment ideals as it transforms into a fascination with the dark recesses of the human psyche.

The development of the visual arts in the major artistic centers of Italy during the 16th century, including Florence, Rome, Venice, Mantua, Ferrara, Parma, and Bologna. The lives and works of specific artists, such as Leonardo, Raphael, Titian, and Michelangelo.