Page 127 of Boston College 2005-2006 University Catalog by Boston College University

FA 340 German and American Expressionist Painting in the Twentieth Century (Fall: 3) The twentieth century witnessed periods of the greatest growth and worst carnage in human history. The exuberance and terror, hope and despair inspired by these circumstances was particularly profound in Germany and America where artists turned their personal experiences into outward manifestations of their emotions. The images they created, both figurative and abstract, constituted a general orientation called Expressionism. This course will explore the varied manifestations of Expressionism beginning with the German Brucke and Blaue Reiter groups, continuing with the American Figurative Expressionists and Abstract Expressionists, and concluding with Neo-Expessionists in both countries in the later decades of the century. Judith Bookbinder FA 342 Age of Rembrandt (Fall: 3) In the seventeenth century the prosperous Dutch middle class became passionate art collectors. Wealthy merchants and tradesmen, and even butchers and bakers, bought art of the highest quality and displayed it proudly in their homes and shops. The artists living in the Netherlands responded by producing wonderful genre pictures, landscapes, still lifes and portraits as well as religious and mythological pictures for this, the first free market in the history of art. Among the artists we will study are Rembrandt, Jan Vermeer, Frans Hals. Kenneth Craig FA 347 Age of Baroque: Seventeen Century Art in Italy (Fall: 3) This course will study the painting, sculpture, architecture and urban development of Italy during the late sixteenth and seventeenth century. We will focus on the abundant artistic projects in Rome, the home to the papacy and the birthplace of the Baroque. Particular emphasis will be placed on the relationship between artistic endeavors and powerful patrons, many of whom were members of the Roman Catholic Church. We will investigate the meanings and uses of art in relation to its social and cultural contexts to understand how art served both sacred and secular goals. Stephanie Leone FA 356 Art Since 1945 (Fall/Spring: 3) An analysis of artistic movements from 1945 to the present: Abstract Expressionism, Color Field, Neo-Dada, Pop Art, Minimalism, Post-Minimalism, Performance Art, Conceptual Art, Photo-Realism, Earthworks, Neo-Expressionism, and the more recent manifestations of appropriation associated with the Postmodern. Claude Cernuschi FA 401 Seminar in Art Historical Research (Fall: 3) The seminar acquaints the student with the bibliography and research methods necessary for scholarly work in art history. The student prepares a substantial research paper under the direction of the professor and presents it to the class. Claude Cernuschi FA 403 Independent Work (Fall: 3) This course may be given on an as needed basis to allow students to study a particular topic that is not included in the courses that are offered. The Department FA 406 Independent Study III (Fall: 3) Aileen L. Callahan FA 451 Symbolism and Art Nouveau (Fall: 3) This seminar will be an exploration of the parallels between the visual arts and literature of this era. The course will involve study of some of the most intriguing artists of the period, such as Gustave Moreau, Gauguin, Redon, Fernand Khnopff, Edvard Munch and Gustav Klimt. Corresponding themes in Symbolist literature will be examined to enlarge the context of the inquiry. Readings will include works by Baudelaire, Mallarme, Maeterlinck, J.-K Huysmans and Oscar Wilde. As Symbolism was truly a multidisciplinary movement, the sculpture of Rodin and Art Nouveau architecture and decorative arts will also be included. Jeffery Howe FA 453 Psychoanalytic Approaches to Art (Fall: 3) How can art be approached psychoanalytically? The focus of this seminar is on late nineteenth century artists such as Manet, Gauguin, Cezanne, and Van Gogh, and on those psychoanalytic ides that have been, and have yet to be applied to art. Our particular concern is the lack of attention paid, as Meyer Schapiro and others have noted, to the historic, iconographic and stylistic context of artistic expression. We will explore how the formal means of the artist might be used toward a psychoanalytic interpretation. Katherine Nahum FA 454 Abstract Expressionism (Spring: 3) An analysis of the artistic movement commonly called Abstract Expressionism and the New York School. Emphasis on gestural painting and color field with particular attention to issues of intellectual context, criticism and interpretation. Among the artists covered are Baziotes, Gorky, de Kooning, Kline, Pollock, Motherwell, Hofmann, Gottlieb, Rothko, Newman, Krasner, Still, Reinhardt, as well as lesser known figures such as Stamos, Poussette-Dart, Tworkov, Tobey, and Tomlin. Attention shall also be given to sculptural manifestations of Abstract Expressionism in Smith, Roszack, Feber, etc. Claude Cernuschi FA 456 Bad Boy Gauguin (Spring: 3) Thumb sucking self portraits in paintings and ceramics define one side of Paul Gauguin; the other comes off as an aged sophisticate. We will explore several dualities in the life and work of Gauguin (saint/sinner, French/Spanish, male/female, real/hallucinatory) against the art-historical and social background. Katherine Nahum FA 461 Frank Lloyd Wright (Spring: 3) A seminar investigating the architecture of Frank Lloyd Wright. Arguably Americas greatest architect, his career spanned eight decades, from the 1880s to the 1950s. We will explore his roots in the Shingle style and his experience as a young architect in Chicago, where he forged the Prairie Style. His evolving conception of architecture and urbanism in his later career will also be studied. Jeffery Howe FA 499 Advanced Independent Research (Fall/Spring: 6) Arts and Sciences students who want the challenge of working intensively on a scholarly or creative project of their own design during their senior year should consider applying for this program. The application deadline is usually in the late fall of a students junior year. See the Arts and Sciences section of this Catalog or contact the Deans Office for a full description of the requirements. The Department 124 The Boston College Catalog 2005-2006 ARTS AND SCIENCES

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