Graduate Course Schedules

ARTHIST 569R/369R: Problems in French Painting from Morisot to Matisse

Todd Cronan     TTh 11:30am-12:45pm    Carlos 212    Class #5663

This course will focus on avant-garde art in Paris through the First World War, with a special focus on the highly influential work of Paul Cézanne, Henri Matisse, and Pablo Picasso. Understanding the avant-garde will require intensive treatment of certain core concerns—key works, moments of decisive change, dominant individuals, collective movements. Our aim will be to understand the violent and seemingly irreversible shift in the nature of art-making we associate with the achievement of Cézanne and the struggle to lay claim to his art, Matisse's place in the avant-garde world, the Cubism of Picasso and Braque, and a range of practices around the invention of cubist collage. We will further address artists that inhabit the larger avant-garde of the moment, including the work of Pierre Bonnard and Suzanne Valadon.

ARTHIST 590R: Seminar in Methods of Art Historical Research

Todd Cronan     W 5:15pm-8:00pm    Carlos Hall Conf Rm    Class #3139

This course is an introduction to and analysis of the methods and strategies of art history. The course examines the different kinds of evidence and methodological tools that have been used to identify, explain, and contextualize works of art and other objects, artists, styles, and cultural phenomena. We will read key texts that incorporate or critique such evidence and methods. We will further consider some of the moral and political issues raised by the discipline today. We will also raise the fundamental question: Do we need a method at all?

ARTHIST 592/AAS 558R/ENG 789: Topics in African American Studies: Decolonial Pedagogy and Practice

Tiphanie Yanique    W 2:30pm-5:30pm    Candler 212    Class #5337

This is a graduate seminar drawing on methodologies from various disciplines to identify and demonstrate decolonial pedagogical practices. Seminar students will be from Emory University and Clark-Atlanta University, and will meet at various times on both campuses. A central text for this course is the decolonial symposium hosted by Emory University and co-hosted by Clark-Atlanta University during the same semester, where students will dynamically engage with seminar fellows in art, literature, anthropology, philosophy, and Black spiritual work. Students in this seminar will study seminal texts as well as new decolonial materials presented to them in the form of lectures, working papers, workshops, and art exhibits; and as such, students will be expected to meet outside of the listed seminar schedule. Course work will include creating lesson plans, executing lesson plans by teaching to Emory undergraduates, and refining lesson plans for possible publication. Students will write and be able to articulate a robust and dynamic pedagogy statement with theoretical foundation and practical application. To seek permission to enroll, please contact Dr. Yanique at tiphanie.yanique@emory.edu.

ARTHIST 592M/388: Technical Art History

Renée Stein     Th 1:00pm-3:45pm    Carlos Museum - Tate Room    Class #3136

Questions about material choice, working process, authenticity, provenance, object history, and restoration are addressed through the technical investigation of art(ifacts). This course will introduce these questions and a selection of the imaging analytical methods used to explore them. We will apply those methods to object(s) in the Carlos Museum collection. Case studies will serve as models for our investigative process. In-class workshops will provide practical experiences with art materials and examination methods. We will also consider ways to document and communicate the data we collect through our examination, imaging, and analysis of museum objects.

ARTHIST 596R: Internship in Art History

Coordinator: TBD

May be repeated with permission from the director of internships. Interns must be nominated by the department for internships at the Michael C. Carlos Museum, the High Museum of Art, and elsewhere. Variable credit.

ARHIST 597R: Directed Study

Variable credit.

ARTHIST 599R: Thesis Research

ARTHIST 592H/210: Architectural Visualization and Modeling Lab

Ermal Shpuza    T 6:00pm-9:00pm    M&S E301A    Class #3113

This class serves as an introduction of software mediums that will provide the user with skills in 2-D, 3-D, and motion. The student will use a hands-on approach via the digital world to explore and showcase their ideas in new and unimaginable ways.

ARTHIST 729/475RW: Imago Urbis: Representations of the Eternal City

Sarah McPhee and Eric Varner    T 10:00am-12:45pm    Rose Library, TBA    Class #3630

The earliest surviving map of Rome was monumental and made in marble at the beginning of the third century, the first of a rich and varied succession of images of the city that would appear over the following thirteen centuries. The early modern maps of Bufalini, Ligorio, Maggi, Tempesta, Falda, and Noli, to name a few, were made on paper at a large scale and in multiple plates and constitute a precious record of the understanding of the ancient city and the rapid evolution of the modern city that followed. Working with original editions held by the Rose Library, with facsimiles issued by the Vatican Library, and with digital/archaeological reconstructions, this seminar will consider mapmaking in Italy and the changing constructions of the Imago urbis. Among the issues we will consider: methods for mapmaking, surveying, tools and technology; icnographic plans and bird's eye views; the topography and urban development of the city; ancient roads, monuments, and early modern pilgrimage routes; orchestrated viewing: the relationship of maps to guidebooks and to the tradition of the vedute or pictorial city views.

ARTHIST 735/485RW: Picture Worlds: Greek, Maya, and Moche Pottery

Megan O'Neil    T 1:00pm-3:45pm    Room TBD    Class #3642

This seminar focuses on Picture Worlds: Greek, Maya, and Moche Pottery, the exhibition on view at the Carlos Museum in Fall 2024. By juxtaposing Greek, Maya, and Moche traditions, the exhibition invites conversation about the ways in which three unrelated cultures visualized their society, myths, and cosmos through their pottery and used painted ceramic vessels in storytelling and social engagement. The seminar will explore the vessels, their narrative scenes, and the social contexts in which they were made and used. The seminar also will address the complexities of organizing an exhibition involving major international loans and models for collaboration and consultation in exhibition development and execution. For their research projects, students will study individual pieces and questions of historiography, or the modern hsitories of ancient ceramics.

ARTHIST 759R: Emblem Books and Alba Amicorum in Germany and the Low Countries, 1550-1700

Walter Melion    M 2:30pm-5:15pm    Rose Library, Room TBA    Class #3140

Using the Rose Library, we will be studying the form, function, and argument of emblem books and alba amicorum (friendship albums) produced in the Low Countries—mainly Antwerp and Amsterdam—between the mid-sixteenth and late seventeenth centuries. In the form codified ca. 1530, emblem books adduce their arguments by means of a complex text-image apparatus that operates bi-directionally, reading from text to image, and conversely, from image to text. Generally, a lemma (motto) is attached to a pictorial image, while a longer epigrammatic text (in verse or prose) comments upon this relationship. The connections between text and image are often complex, even paradoxical, for they were devised to test the reader-viewer's powers of observation and interpretation.

ARTHIST 789R: Art, Ethics, Evidence

Susan Elizabeth Gagliardi    Th 10:00am-12:45pm    Carlos Hall Conf Rm    Class #3141

What are ethics? What is evidence? And why is it important to attend to ethics and evidence in the study and presentation of art?

Participants in this seminar will engage with these questions through a wide variety of readings and other assignments. WHile arts linked to the African continent and its diaspora at different moments in time as well as methods for studying and presenting them will serve as starting points, an important goal of the seminar is to prompt probing and informed analysis of the role of ethics and evidence in the study and presentation of arts from any place and time. No prior knowledge of the African continent or African arts is necessary.

The seminar features creative assignments and analytical writing designed for the emerging professional. It also requires attentive listening, thoughtful discussion, and mutual respect; it is not a lecture course. Another aspect of the seminar includes sustained attention to the wellbeing and full humanity of each adn every participant.