Professor Delano, Chair and Director of Studio Art Program; Professor Cadogan, Director of Art History Program; Professors Byrne, Curran, FitzGerald, Paul E. Raether Distinguished Professor of Fine Arts Gordon, and Professor Kirschbaum; Associate Professors Tillman∙ and Triff∙; St. Anthony Visiting Associate Professor of Art History Lewis; Visiting Associate Professor Margalit; St. Anthony Visiting Assistant Professors of Art History Dangremond, Gilbert, and Hyland; Visiting Assistant Professors Dougherty, Pacheco, and Reeds
The department offers instruction in two academic majors: art history and studio arts.
The art history major—Course requirements: AHIS 101 and 102, AHIS 301; a 300-400 level writing intensive seminar beyond AHIS 301; one studio course; and seven further courses in art history. These must be distributed so that at least one is taken in each of the following six categories: the Western classical/medieval period, the Renaissance, 17th–century Europe, 18th-19th–century Europe, the 20th-21st–century, and a non–Western field. One of the above or a further course must be an architectural history course that concentrates on the analysis of architectural and urban form. All students must complete a 300-400 level seminar beyond AHIS 301. AHIS 101 and 102 or a relevant introductory 200-level course are a pre-requisite for upper-level seminars. The Writing Intensive Part II requirement is fulfilled by AHIS 301.
All majors must declare the major in consultation with the chairman of the Art History Program by the spring sophomore year deadline, but students are urged to seek an adviser as early as possible to facilitate planning for study abroad. A grade of C- or better in each course is required for major credit, with the exception of the studio requirement, which may be taken on a pass/fail basis.
General examination—Senior general examinations are required for all majors, except for honors candidates who choose to write a senior thesis (AHIS 497). The general examination is taken in May on the first of the two officially stated general examination days after the end of regularly scheduled classes. The general examination questions are distributed to students at least three months in advance of the exam.
Honors—All seniors are eligible to compete for honors and may seek to earn honors in the major by pursuing one of two options: writing a senior thesis or taking the general examination. Eligible students who wish to write a senior thesis must have a GPA of 3.5 or better in the major, formulate a project in consultation with a full-time faculty member, and petition the department for admission to the thesis program before the end of classes in the second semester of their junior year. Students undertaking the senior thesis will receive a letter grade for AHIS 497 in the spring of senior year. Those whose grade is A or A- and who maintain a grade point average in art history courses of at least 3.5 shall graduate with honors in art history. Students taking the general examination who achieve a grade of high pass or distinction on the general exam and maintain a GPA in art history courses of at least 3.5 will graduate with honors in art history. All students taking a general examination will have their grade recorded on their transcript. Authorized general examinations grades are distinction, high pass, pass, low pass, fail.
Language Across the Curriculum—Art and architectural history courses may be taken for an additional .5 credit as part of the Language Across the Curriculum Program (see Language and Culture Studies).
Fall Term
102. Introduction to the History of Art in the West II— A survey of the history of painting, sculpture, and architecture from the Renaissance to the present day. (Enrollment limited)-Cadogan, Gordon
103. Introduction to Asian Art— An introductory survey of the art of India, China, and Japan with reference to the cultural and religious contexts that gave rise to the architecture, sculpture, and painting of each civilization. (May be counted towards International Studies/Asian Studies) (Enrollment limited)-Hyland
207. The Arts of China— This course will focus on the arts of China from the Neolithic period through the Qing Dynasty (ca. 6000 B.C.E.-1850 C.E.) We will study art produced for burial, Buddhist temples, the imperial court, and the scholar elite. We will consider architecture, sculpture, painting, bronze, jade lacquer, and ceramics, placing the art within its historical context and identifying what makes it uniquely Chinese. This 200-level lecture survey course will require a paper, a mid-term, and a final examination. (May be counted towards International Studies/Asian Studies) (Enrollment limited)-Hyland
[223. Medieval Art and Architect]— The art and architecture of the Middle Ages beginning with the emergence in the 4th century of distinct styles, subjects and forms from the Christian and pagan art of the late Roman empire to the works of the Greek East and Latin West. The course also surveys the monuments of the Carolingian Renaissance and of the Romanesque and Gothic periods in Western Europe. (Enrollment limited)
234. Early Renaissance Art in Italy— A study of painting, sculpture and architecture in Italy from the later Middle Ages through the 15th century, with emphasis on masters such as Pisani, Giotto, Brunelleschi, Piero della Francesca, Botticelli, and Bellini. Themes of naturalism, humanism, the revival of antiquity, and the growth of science as they relate to the visual arts will be explored. (Enrollment limited)-Cadogan
[244. Empire Building: Architecture and Urbanism in Spanish America]— Following the overthrow of the Aztec and Incan Empires, the Spanish Empire instituted programs of political, religious, and social control throughout Central and South America that permanently altered the cultural and artistic landscape of this region. Beginning with the foundation of the city of Santo Domingo in 1502 and ending with the “mission trail” of churches established by Junipero Serra in 18th-century Spanish California, this course will examine the art, architecture, and urbanism that projected the image of Spain onto the “New World.” Other issues to be discussed include the interaction between Spanish and local traditions, symbolic map-making, the emergence of a “Spanish Colonial” sensibility, and the transformations of form and meaning at individual sites over time. (Enrollment limited)
[246. Art in the Age of Absolutism: The European Baroque]— During the seventeenth century, Europe underwent a series of civil, religious, and economic upheavals which paradoxically resulted in a period of extraordinarily innovative art. This course begins with the rise of the Roman Baroque, from the disturbing realism of Caravaggio to the multi-media theatricality of Bernini, examining artistic patronage and production in the highly charged political, social, and cultural contexts of Europe during and after the Thirty Years’ War. It continues with a study of the broad range of artistic response to these developments in both Southern and Northern Europe, from the elaborate state pageantry of Rubens to the intensely personal portraiture of Rembrandt. Other artists to be studied include Poussin, Le Brun, Zurbaran, Velazquez, Van Dyck, and Vermeer. (Enrollment limited)
258. History of the Decorative Arts— This course examines the history of interior architecture and the many types of moveable objects that filled these spaces for both ceremonial and daily use in urban European cultures. While there will be some consideration of the 19th-20th centuries, the main emphasis will be on the 17th and 18th centuries in France, Italy, Germay and Britain. The course will fall into three parts: the study of interior architecture and the uses of interior spaces in palaces and private residences; the history of styles; the history of indivudual crafts, materials, and makers. The course will consider textile and tapestry, furniture, ceramics, metalwork and sculpture, crystal and glass. Prerequisite: C-or better in Art History 102, Art History 241, or PARIS 251 or equivalent. (Enrollment limited)-Gordon
261. 19th-Century Painting and Sculpture— A study of European painting and sculpture from the Romanticism of the late 18th century to the emergence of new directions at the end of the 19th century. The course is adapted each year to take advantage of major exhibitions. Museum visits and extensive readings will be integral to the makeup of the course. (Enrollment limited)-Lewis
265. 19th-Century Architecture— Broad developments in Western European and American architecture and urbanism from the period 1750 to 1900. Specific developments include international Neoclassicism, the crisis of historicism and the search for style, the rise of new building types and technologies, and the emergence of the architectural profession and modern city planning. (Enrollment limited)-Curran
[271. The Arts of America]— This course examines major trends in painting, sculpture, architecture, and the decorative arts in the United States from the colonial period to 1900. Emphasis will be placed on how the arts in the United States reflect the social and cultural history of the 18th and 19th centuries. (Enrollment limited)
282. 20th-Century Avant Garde in Painting and Sculpture— This course addresses the position of art in European and American society from 1890 to 1945 when the concept of the artist as a rebel and visionary leader defined art’s relation to contemporary social, political, and aesthetic issues. The movements of symbolism, expressionism, cubism, dada, and surrealism are discussed. Current exhibitions and the collection of the Wadsworth Atheneum are used whenever appropriate. (Enrollment limited)-FitzGerald
[283. Contemporary Art]— Following the Second World War, artists transformed the avant-garde tradition of their European predecessors to establish a dialogue with the mass media and consumer culture that has resulted in a wide array of artistic movements. Issues ranging from multiculturalism and gender to modernism and postmodernism will be addressed through the movements of abstract expressionism, pop, minimalism, neo-expressionism and appropriation in the diverse media of video, performance, and photography, as well as painting and sculpture. Current exhibitions and criticism are integral to the course. Art History 282 is recommended. (Enrollment limited)
292. History of Photography— Major developments in European and American photography from 1839 to the present. (Enrollment limited)-FitzGerald
301. Major Seminar in Art Historical Method— Required of and limited to art history majors, as one of the first courses they take after declaring their major. Studies in the tradition and methodology of art historical research. Readings in classics of the literature of art history; discussions of major issues and meeting with scholars and museum professionals; students will pursue an active research project and present both oral reports and formal written research papers. (Enrollment limited)-FitzGerald
342. Seminar in Baroque Art: Art in the Age of Rembrandt— Rembrandt van Rijn (1606-1669), was one of the most prolific and profoundly original painters and printmakers to emerge in seventeenth-century Holland’s Golden Age. The newly independent republic, a mercantile power and middle-class urban society with strong Calvinist leanings, found expression in the painting of Rembrandt and his contemporaries. This course will examine Rembrandt’s imaginative reinventions of the genres of self-portrait and group portrait painting, his naturalistic and often eroticized female nudes, and how his biblical narratives draw upon modern Protestant Amsterdam, where an important emigrant Jewish population found refuge. Questions of attribution, workshop production and art market manipulation will also be explored. (Enrollment limited)-Lewis
[351. Seminar: Topics in 18C Art: Patronage, Collecting and Display]— This seminar will explore leading figures and institutions of art patronage and the art markets in Europe in the 17th and 19th centuries including consideration of how works of art were used in private residences and royal palaces and how they were made available to the public in the first museums in Dresden, Paris and Rome. Royal patrons Louis XIV and Augustus the Strong of Saxony will be studied alongside individual patrons such as Madame de Rambouillet and Madame de Pompadour. Students will do intensive independent research projects leading to oral presentations and term papers. (Enrollment limited)
377. Suburbua/Urbia— Arguments for and against living in a city–versus a suburb–about in current literature. Though the suburban lifestyle is now shared by the majority of Americans, that way of living has been thrown into question. Suburbs themselves have evolved into more complex entities in the past fifty years. This course takes advantage of the rich literature on suburbia and the city. We will read time-honored writings on the city, as well as more recent literature by historians and critics. Topics include: housing types, land-use patterns, the impact of the automobile, suburban vs. urban values, and the portrayal of suburbs and the city in film. We will also discuss new movements such as the New Urbanism and the resurgence of traditional town planning. Prerequisite: A grade of C- or better in AHIS265 or AHIS 286 or AHIS161 or CTYP202. (Enrollment limited)-Curran
[385. Seminar: Topics in 20th Century Art: Picasso and Contemporary Art]— This seminar will examine the central role of Pablo Picasso in 20th century art during his lifetime (1881-1973) and the global impact of his art and reputation on art in the nearly four decades since his death. The seminar will be linked to an exhibition Professor FitzGerald is organizing for Museu Picasso in Barcelona, and the process of curating an exhibition will be an integral part of the discussions. Students will have the opportunity to undertake projects on artists internationally (including France and Spain in the Europe, as well as in Asia and Africa) and museological and commercial systems of the art world. (Enrollment limited)
399. Independent Study— Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and program director are required for enrollment. (1-2 course credits) -Staff
460. Tutorial— Individual research and reading under the guidance of a department member. Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment. (Hours by arrangement) -Staff
466. Teaching Assistantship— Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and program director are required for enrollment. (0.5-1 course credit) -Staff
Courses Originating in Other Departments
Paris 352. Seminar. Major Figures in French Art:— This advanced seminar in art history will change its topic each year and will take advantage of the current major art exhibition planned for that season. Students will be required to utilize the resources in Paris (museums, libraries, and architectural sites) as part of their class assignments. (Offered if enrollments are sufficient. May be offered as an independent study.)-Sapolis
[Religion 253. Indian and Islamic Painting]— View course description in department listing on p. 796.
Spring Term
101. Introduction to the History of Art West I— A survey of the history of art and architecture from the Paleolithic period to the Middle Ages, examining objects in their cultural, historical, and artistic contexts. (Enrollment limited)-Curran, Triff
103. Introduction to Asian Art— An introductory survey of the art of India, China, and Japan with reference to the cultural and religious contexts that gave rise to the architecture, sculpture, and painting of each civilization. (May be counted towards International Studies/Asian Studies) (Enrollment limited)-Hyland
[105. History of World Cinema]— A survey of the art of the cinema examining different national schools with special attention to major commercial and avant-garde filmmakers such as Coppola, Hitchcock, Fellini, Bergman, Godard, Eisenstein, Welles, and Renoir. In order to address individual films in a broad cultural context, one film will be screened and analyzed each week. (Note: Replaces “Film as a Visual Art.”) (Enrollment limited)
[207. The Arts of China]— This course will focus on the arts of China from the Neolithic period through the Qing Dynasty (ca. 6000 B.C.E.-1850 C.E.) We will study art produced for burial, Buddhist temples, the imperial court, and the scholar elite. We will consider architecture, sculpture, painting, bronze, jade lacquer, and ceramics, placing the art within its historical context and identifying what makes it uniquely Chinese. This 200-level lecture survey course will require a paper, a mid-term, and a final examination. (May be counted towards International Studies/Asian Studies) (Enrollment limited)
208. The Arts of Japan— This course will focus on the arts of Japan from the Jomon period through the Edo period (circa 10,500 BCE - 1868 CE). Pre-Buddhist art will concentrate on pottery and bronze as well as Shinto architecture. Buddhist art will include architecture, sculpture, and painting. Secular art will explore the tradition of the narrative hand scroll as well as portraits and landscapes. Castle architecture and woodblock prints are other important topics. The art will be placed within its historical context, especially considering what makes it uniquely Japanese and whether or not it incorporates Chinese influence. (May be counted toward International Studies/Asian Studies) (Enrollment limited)-Hyland
[236. High Renaissance Art in Italy]— Italian painting, sculpture, and architecture from the end of the 15th century through the 16th century. Examines the work of the creators of the High Renaissance style, including Leonardo, Raphael, Michelangelo, and Titian. The emergence of mannerism in central Italy and its influences on North Italian and Venetian painters will also be explored. (Enrollment limited)
[243. El Greco to Goya: The Golden Age of Painting in Spain]— This course will focus on the art of Spain between the late-16th and 18th centuries, with particular emphasis on the interaction between painting and the social and political cultures that shaped the works of El Greco, Ribera, Velasquez, Murillo, and Goya. As a leading European power in this period, Spain was in constant contact with artistic centers in Italy and the Netherlands, and thus the course will also discuss the role of patrons and collectors in Spain’s Golden Age, whose growing wealth and activities affected both the production of art and the social status of the Spanish artist. Finally, echoing the strangely contradictory position of the Spanish monarchy in this period of European history-as both politically dominant and culturally peripheral-this course will describe how Spain transformed the artistic influences it received from abroad to fit the needs of its changing society. (Enrollment limited)
[245. Design and Ritual Space in Rennaissance and Baroque Europe]— While their feudal prototypes emphasized defensibility and the protection of private space, palaces, and country home in Western Europe were transformed during the Rennaisance into elaborately planned sites of public and private ritual. As competing courts developed increasingly intricate rules of conduct and decorum, palace architecture and decoration evolved into a complex theatrical setting for the politicized ceremonies staged by their owners. This course will examine the evolution of architecture and interior design in Western Europe, from the extensive palace built by Taddeo Barberini in Rome to the compact, Palladio-influenced Mauritshuis in the Hague. Other issues to be explored include gender differences in the design and decoration of private space, and the influence of different patronage models on palace and country house design and appearance. Prerequisite: Art History 102, 161 or the equivalent. (Enrollment limited)
246. Art in the Age of Absolutism: The European Baroque— During the seventeenth century, Europe underwent a series of civil, religious, and economic upheavals which paradoxically resulted in a period of extraordinarily innovative art. This course begins with the rise of the Roman Baroque, from the disturbing realism of Caravaggio to the multi-media theatricality of Bernini, examining artistic patronage and production in the highly charged political, social, and cultural contexts of Europe during and after the Thirty Years’ War. It continues with a study of the broad range of artistic response to these developments in both Southern and Northern Europe, from the elaborate state pageantry of Rubens to the intensely personal portraiture of Rembrandt. Other artists to be studied include Poussin, Le Brun, Zurbaran, Velazquez, Van Dyck, and Vermeer. (Enrollment limited)-Triff
247. Architecture and Urbanism from 1500 to 1750— This course explores major trends in Western architecture and urbanism from the emergence of Italian Renaissance architecture and planning to the extensive Baroque palaces at Versailles and elsewhere in absolutist Europe. Topics to be examined include the classical tradition, the influence of patronage, the rise of architecture as a profession, and the legacy of European theory and practice in North and South America during the colonial period. In addition to exploring the relationship between architectural and urban theory and form, this course will examine buildings and cities in the evolving social, political, and religious contexts of the period. (Enrollment limited)-Triff
252. 18th-Century Art and Architecture— This course will examine the major artists, patrons, critics, and art movements of Europe in the Age of the Enlightenment, with emphasis on the reflections in the arts of the political, social, and technological changes that marked this early modern era. In early 18th-century France, we will trace the significance of the Academie Royale in Paris, of the French academy in Rome, and of state patronage and critical support for royal portraiture, secular and religious painting and the theatrical landscapes. As well as the more liberal climate that fostered the French Rococo, naturalists genre and still life painting. In Italy, we will focus on Venice and the Grand Tour. After a brief look at Goya’s early career and seminal student trip to Italy, we will consider the rise of satire, history painting, and portraiture in the 18th-century England. In conclusion, we will return to Paris to trace in its art, political, and social history the waning years of the ancient regime and the onset of the French Revolution. (Enrollment limited)-Gordon
[261. 19th-Century Painting and Sculpture]— A study of European painting and sculpture from the Romanticism of the late 18th century to the emergence of new directions at the end of the 19th century. The course is adapted each year to take advantage of major exhibitions. Museum visits and extensive readings will be integral to the makeup of the course. (Enrollment limited)
[282. 20th-Century Avant Garde in Painting and Sculpture]— This course addresses the position of art in European and American society from 1890 to 1945 when the concept of the artist as a rebel and visionary leader defined art’s relation to contemporary social, political, and aesthetic issues. The movements of symbolism, expressionism, cubism, dada, and surrealism are discussed. Current exhibitions and the collection of the Wadsworth Atheneum are used whenever appropriate. (Enrollment limited)
283. Contemporary Art— Following the Second World War, artists transformed the avant-garde tradition of their European predecessors to establish a dialogue with the mass media and consumer culture that has resulted in a wide array of artistic movements. Issues ranging from multiculturalism and gender to modernism and postmodernism will be addressed through the movements of abstract expressionism, pop, minimalism, neo-expressionism and appropriation in the diverse media of video, performance, and photography, as well as painting and sculpture. Current exhibitions and criticism are integral to the course. Art History 282 is recommended. (Enrollment limited)-FitzGerald
286. Modern Architecture: 1900 to the Present— This course surveys broad developments in Western European and American architecture and urbanism from 1900 to the present. Topics include Viennese Modernism, the legacy of the Arts and Crafts movement, the Bauhaus, the International Style and the birth of Modernism, and reactions of the past 25 years. Close attention will be paid to such major figures as Le Corbusier, Frank Lloyd Wright, Walter Gropius, Mies van der Rohe, Louis Kahn, Robert Venturi and Frank Gehry. (Enrollment limited)-Curran
294. The Arts of Africa— An examination of the art and architecture of sub-Saharan Africa as modes of symbolic communication: the ritual context of art, the concept of the artist, the notion of popular art, and the decorated body. (Enrollment limited)-Gilbert
301. Major Seminar in Art Historical Method— Required of and limited to art history majors, as one of the first courses they take after declaring their major. Studies in the tradition and methodology of art historical research. Readings in classics of the literature of art history; discussions of major issues and meeting with scholars and museum professionals; students will pursue an active research project and present both oral reports and formal written research papers. (Enrollment limited)-Cadogan
[306. Seminar: Arts of the Ming Dynasty 1368-1644]— The arts flourished during the Ming Dynasty with the restoration of Chinese rule. The Imperial court patronized painters and supported ceramic production, especially undgerglaze blue painted porcelain. Architectural accomplishments included the Forbidden City in Beijing as well as Buddhist temples. The gardens of Suzhou remain among the finest in the world. Scholar-amateur painters subtly reworked earlier styles. Other significant areas of artistic excellence were sculpture, textiles, lacquer, furniture, and cloisonné enamel. (May be counted towards international studies/Asian studies.) (Enrollment limited)
[334. Patrons and Artists in the Italian Renaissance]— Readings and discussion will center on the collaboration between patrons and artists, focusing on the tangible and intangible goals and results for both parties. Case studies of civic, ecclesiastic and family commissions will be drawn from the period 1300-1500 in central Italy. (Enrollment limited)
381. Seminar: Museum Issues— The art museum in the United States is a unique social institution because of its blend of public and private support and its intricate involvement with artists, art historians, collectors, the art market, and the government. This course will study the art museum’s history and status in our society today. Special consideration will be given to financial, legal, and ethical issues that face art museums in our time. The emphasis will be on American institutions and particularly on the Wadsworth Atheneum. Short papers, oral reports, and visits with directors, curators, and other museum officials in nearby museums will be included along with a detailed study of a topic of one’s choice. (Enrollment limited)-Dangremond
385. Seminar: Topics in 20th Century Art: Picasso and Contemporary Art— This seminar will examine the central role of Pablo Picasso in 20th century art during his lifetime (1881-1973) and the global impact of his art and reputation on art in the nearly four decades since his death. The seminar will be linked to an exhibition Professor FitzGerald is organizing for Museu Picasso in Barcelona, and the process of curating an exhibition will be an integral part of the discussions. Students will have the opportunity to undertake projects on artists internationally (including France and Spain in the Europe, as well as in Asia and Africa) and museological and commercial systems of the art world. (Enrollment limited)-FitzGerald
391. Prints and Printmaking— Images created in multiple have been the most powerful way of disseminating visual imagery in human history. Woodcut, engraving, etching, lithography, silkscreen and now digital processes have all been used to create images which could be used alone as artistic expression or aids in collective enterprises such as book illustration, propaganda, journalism or advertising. The seminar will provide an opportunity for students to to learn the rudiments of print connoisseurship and to study the history of printmaking, print publishing and the history of the illustrated book. The students will work with original prints in the collections of Trinity College and at other Connecticut institutions and works in private collections. (Enrollment limited)-Gordon
399. Independent Study— Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and program director are required for enrollment. (1-2 course credits) -Staff
466. Teaching Assistantship— Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and program director are required for enrollment. (0.5-1 course credit) -Staff
497. Senior Thesis— An individual tutorial to prepare an extended paper on a topic in art history. An oral presentation of a summary of the paper will be delivered in the spring term. Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and program director are required for enrollment in this single-semester thesis. (1 course credit to be completed in one semester.) -Staff
Courses Originating in Other Departments
Classical Civilization 214. Greek and Roman Architecture— View course description in department listing on p. 320. -Risser
[Paris 352. Seminar. Major Figures in French Art:]— This advanced seminar in art history will change its topic each year and will take advantage of the current major art exhibition planned for that season. Students will be required to utilize the resources in Paris (museums, libraries, and architectural sites) as part of their class assignments. (Offered if enrollments are sufficient. May be offered as an independent study.)
Religion 254. Buddhist Art— View course description in department listing on p. 799. -Findly
The Studio Arts Program offers courses in the practice and theory of visual art to students, majors and non-majors alike.
The studio arts major—The studio arts major consists of 10 courses in studio arts and two courses in art history. It is structured to provide a foundation in drawing and design with an introduction to the disciplines of painting, sculpture, printmaking, drawing, and photography; and opportunities for advanced study in each of these studio areas. A grade of C or above is required for major credit. The following introductory one-semester courses are required for the studio arts major:
These courses should be taken as early as possible in the student’s career. The intermediate course STAR 221 and one course out of the group of the following four (STAR 222, STAR 224, STAR 225, STAR 226) must also be taken. Upon completion of the intermediate-level courses, studio arts majors are required to declare a “studio concentration” in drawing, painting, sculpture, printmaking, or photography. By special arrangement a studio concentration in intermedia work can be structured. To complete the major, STAR 321 and an additional 300-level course in studio arts must be completed. The studio arts degree culminates with the completion of a thesis in studio arts. Up to two course credits transferred from another institution may count towards the major. The studio art major must also complete two 200-level or above art history courses. The Writing Intensive Part II requirement is fulfilled by STAR 497.
The thesis in studio arts is conceived as an independent studio project that has as its goal the production of a solo exhibition reflecting the student’s grasp of content and critical issues, as well as the student’s mastery of the medium selected as the studio concentration. The thesis project is conceived as the integration mechanism for the major. It consists of works presented as a solo exhibition; any additional artwork created within the pre-arranged parameters of the project; an 8- to 10-page paper that should address the artwork created, its antecedents, and the structure, ideas, and issues presented in the work; and participation in the weekly seminar involving group critiques, workshops, and discussions.
Focus in architecture—Recognizing that studio arts provides a model for artistic practice well suited to the pursuit of a career in architecture, students may opt to modify the major so that it provides a 15-course “focus in architecture,” as follows:
Honors—The awarding of departmental honors in studio arts will be based on superior performance in the major, as evaluated by the entire studio faculty.
The minor in studio arts—The studio arts minor consists of the following six course requirements: the student must complete a track of 100, 200, and 300 levels of a chosen discipline and take any three additional studio arts courses.
Fall Term
113. Design— An exploration of the fundamentals of visual language through digital and hands-on studio work. Projects emphasize process and include investigations of form, composition and sequence as vehicles of communication and expressions. (Enrollment limited)-Staff, Victor
121. Drawing I— Study of line and mass as a means to articulate and explore formal and spatial concepts. (Enrollment limited)-Byrne, Dougherty, Kirschbaum, Margalit
122. Painting I— Beginning study utilizing color, shape, and space in a variety of media. Prerequisite: C- or better in Studio Arts 121. (Enrollment limited)-Byrne
124. Sculpture I— Basic problems in three-dimensional form in a variety of media. - Pachenco (Enrollment limited)-Pacheco
125. Printmaking I— An examination of basic techniques of mechanical reproduction, with emphasis on the serial development of images and concepts. (Enrollment limited)-Kirschbaum
126. Photography I— An introduction to the language of photographic image-making. Digital camera and printer will serve as the primary vehicle for learning to articulate a personal viewpoint on the world around us in visual terms. Students should have access to a digital SLR camera. Prerequisite: C+ or better in Studio Arts 113 or 121. (Enrollment limited)-Delano
221. Drawing II— A continuation of the basic drawing course. Students are encouraged to develop and sustain their own concepts. Prerequisite: C- or better in Studio Arts 121. (Enrollment limited)-Margalit
222. Painting II— Intermediate problems in color, shape, and space relationships in a variety of media. Prerequisite: C- or better in Studio Arts 122. (Enrollment limited)-Byrne
321. Advanced Concepts in Studio Art— In depth studio for student-proposed, semester-long projects. Can also count as third level drawing requirement. Prerequisite: C- or better in Studio Arts 221. (Enrollment limited)-Kirschbaum
322. Painting III— Studio in painting. Prerequisite: C- or better in Studio Arts 222. (Enrollment limited)-Byrne
399. Independent Study— Independent research and the execution of a project with the guidance of a faculty member, as per the College curriculum. (1-2 course credits) -Staff
466. Teaching Assistant— Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment. (0.5-1 course credit) -Staff
Spring Term
113. Design— An exploration of the fundamentals of visual language through digital and hands-on studio work. Projects emphasize process and include investigations of form, composition and sequence as vehicles of communication and expressions. (Enrollment limited)-Staff, Victor
121. Drawing I— Study of line and mass as a means to articulate and explore formal and spatial concepts. (Enrollment limited)-Dougherty, Kirschbaum, Tillman
122. Painting I— Beginning study utilizing color, shape, and space in a variety of media. Prerequisite: C- or better in Studio Arts 121. (Enrollment limited)-Dougherty
124. Sculpture I— Basic problems in three-dimensional form in a variety of media. - Pachenco (Enrollment limited)-Tillman
125. Printmaking I— An examination of basic techniques of mechanical reproduction, with emphasis on the serial development of images and concepts. (Enrollment limited)-Kirschbaum
126. Photography I— An introduction to the language of photographic image-making. Digital camera and printer will serve as the primary vehicle for learning to articulate a personal viewpoint on the world around us in visual terms. Students should have access to a digital SLR camera. Prerequisite: C+ or better in Studio Arts 113 or 121. (Enrollment limited)-Delano
221. Drawing II— A continuation of the basic drawing course. Students are encouraged to develop and sustain their own concepts. Prerequisite: C- or better in Studio Arts 121. (Enrollment limited)-Margalit
222. Painting II— Intermediate problems in color, shape, and space relationships in a variety of media. Prerequisite: C- or better in Studio Arts 122. (Enrollment limited)-Byrne
224. Sculpture II— Intermediate study in three-dimensional form. Prerequisite: C- or better in Studio Arts 124. (Enrollment limited)-Tillman
225. Printmaking II— Continued investigation of mechanical reproduction processes, with particular emphasis on intaglio and relief. Prerequisite: C+ or better in Studio Arts 125. (Enrollment limited)-Reeds
226. Photography II— Prerequisite: Studio Arts 126. Prerequisite: C+ or better in Studio Arts 126. (Enrollment limited)-Delano
[321. Advanced Concepts in Studio Art]— In depth studio for student-proposed, semester-long projects. Can also count as third level drawing requirement. Prerequisite: C- or better in Studio Arts 221. (Enrollment limited)
322. Painting III— Studio in painting. Prerequisite: C- or better in Studio Arts 222. (Enrollment limited)-Byrne
324. Sculpture III— Studio in sculpture. Prerequisite: C- or better in Studio Arts 224. (Enrollment limited)-Tillman
325. Printmaking III— Studio in printmaking. Prerequisite: C+ or better in Studio Arts 225. (Enrollment limited)-Reeds
326. Photography III— Prerequisite: Studio Arts 226. Prerequisite: C+ or better in Studio Arts 226. (Enrollment limited)-Delano
[383. Special Issues: Video Studio]— For artists, video serves as sketchbook and as diary, as sculpture and as cinema, as a tool for creation and as a tool for documentation. This digital studio course offers an introduction to video as a fine art medium. Students will learn about the history and theory of video art, and will produce solo and collaborative experiments that explore the technical and creative capabilities of video. Students do not need to own a camera or video editing equipment; camera access will be provided in class and shared editing stations are available at Trinity. Studio Art Majors may take this class for major credit as a substitute for Photography I, if they are not concentrating in Photography. (Enrollment limited)
399. Independent Study— Independent research and the execution of a project with the guidance of a faculty member, as per the College curriculum. (1-2 course credits) -Staff
466. Teaching Assistant— Submission of the special registration form, available in the Registrar’s Office, and the approval of the instructor and chairperson are required for enrollment. (0.5-1 course credit) -Staff
497. Thesis in Studio Arts— Independent studio work toward the completion of a sustained project in the student’s chosen area of concentration that is the basis for an exhibition in the Broad Street Gallery, and is accompanied by a 6-10 page paper outlining their process conceptually, technically, and formally placing their work within the context of both contemporary and historical art practice. This will involve regular individual meetings with the professor of this course, as well as several group critiques, workshop, and discussions. (Enrollment limited)-Byrne