Fine Arts

Associate Professor Triff, Chair and Director of Art History Program; Professor and Director of Studio Arts Program Byrne, Professors Cadogan, Curran, Delano, FitzGerald∙∙, Paul E. Raether Distinguished Professor of Fine Arts Gordon, and Professor Kirschbaum∙∙; Associate Professor Tillman; Visiting Associate Professors Gilbert, and Lewis; St. Anthony Visiting Assistant Professor Dangremond; Visiting Assistant Professors Correa-Carlo, Dougherty, Finnegan, Hyland, Reeds, Wang, and Wertz; Visiting Lecturers Gowen-Segovia, Price

The department offers instruction in two academic majors: art history and studio arts.

Art History

The art history major—Course requirements: Group I (core departmental requirements) AHIS 101, 102, and AHIS 301; a 300 level writing intensive seminar beyond AHIS 301; one course in a non-Western field; plus seven further courses in art history. These must be distributed in three groups as follows: 3 courses in Group II (Classical-1800), including the Western classical/medieval period, the Renaissance, 17th-century Europe, and 18th-century Europe; 2 courses in Group III (1800-present), including 19th-20th-21st century Europe and America; and 2 courses in Group IV (Electives), including additional art history courses, studio arts, architectural drawing, and study abroad courses in art history not approved for specific distribution credit in the major. .

All students must complete a 300-level seminar beyond AHIS 301. AHIS 101 and 102 or a relevant introductory 200-level course are a prerequisite for many upper-level seminars. The Writing Intensive Part II requirement is fulfilled by AHIS 301.

Students should declare the major as early as possible and no later than the deadline for major declaration in the spring of the sophomore year. At the time of declaration, each student should schedule a personal appointment with the department chair to determine the assignment of an advisor, to review the major requirements and to plan for study abroad. No course will be accepted for major credit with a grade lower than C-.

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. Students with a GPA of 3.5 or higher in the major who receive a grade of High Pass or Distinction on the general examination will graduate with honors in art history.

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.

Art History

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. (ART) (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) (ART) (Enrollment limited) –Hyland

202. Close Look at Art and Architecture— In this course we will examine original works of art and discuss major art and architectural materials, techniques and artistic processes. We will focus on works of art from the collections of Trinity College and the Watkinson Library, and we will visit the Wadsworth Atheneum, the New Britain Museum of American Art, the Yale University Art Gallery and the Metropolitan Museum of Art. The course offers one-half credit to be taken conjunction with Art History 102 for students who seek greater depth in the field of art history, for prospective majors, for majors in art history, and for students engaged in internships at art museums. Prerequisite: concurrent or previous enrollment in Art History 102 (0.5 course credit) (ART) (Enrollment limited) –Cadogan, Gordon

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) (ART) (Enrollment limited) –Hyland

[223. Medieval Art and Architecture]— 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. (ART) (Enrollment limited)

[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. (ART) (Enrollment limited)

[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. (ART) (Enrollment limited)

247. Renaissance and Baroque Architecture and Urbanism— 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. (ART) (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. (ART) (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. (Enrollment limited) –Gordon

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. (ART) (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. (ART) (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. (ART) (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. (ART) (Enrollment limited) –FitzGerald

292. History of Photography— Major developments in European and American photography from 1839 to the present. (ART) (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. (WEB) (Enrollment limited) –FitzGerald

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) –Cadogan

[341. Seminar in Baroque Art: Caravaggio]— This course will examine the life, work, and legacy of Michelangelo Merisi da Caravaggio (1571-1610) within the artistic and historical contexts of the Baroque era. Reviled and revered for his shockingly realistic painting style, along with his famous (but disputed) insistence on painting directly from life rather than from preparatory drawings, Caravaggio was the most influential painter of his time. Topics to be examined include Caravaggio’s relationship to Counter-Reformation art and the Inquisition, his controversial religious scenes, themes of violence, eroticism and homoeroticism in his work, his working methods in light of recent technical analyses, his biographers and critical reception, and the works of his followers, or Caravaggisti, in Europe and beyond. This course fulfills the 17th century requirement in art history. Prerequisite: C- or better in Art History 102 or 246, or permission of instructor. (ART) (Enrollment limited)

382. The History of the Art Museum, 1750 to the Present— This course will examine the art museum from the mid-eighteenth century to the present day. Focus will be on art museums in Europe and the United States. Topics will include the history of collecting, display methods, and the evolution of museum architecture. The course will involve field trips to local museums. (ART) (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

Spring Term

101. Introduction to the History of Art in the 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. (ART) (Enrollment limited) –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) (ART) (Enrollment limited) –Staff

[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.”) (ART) (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) (ART) (Enrollment limited)

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. (ART) (Enrollment limited) –Cadogan

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. (ART) (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. (ART) (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. (ART) (Enrollment limited) –Lewis

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. (ART) (Enrollment limited) –Curran

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. (ART) (Enrollment limited) –Lewis

[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. (ART) (Enrollment limited)

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. (ART) (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. (GLB1) (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. (WEB) (Enrollment limited) –Cadogan

[361. Seminar in 19th-Century Art: Impressionism in Focus: Paul Cezanne]— Paul Cezanne has long been described as the father of cubism, the essential forerunner of abstract art, or even as the progenitor of modern painting in its entirety. No less than Picasso and Matisse would claim him as the essential forbearer. Yet despite the special place the artist holds in relation to the development of modernism, few 19th-century painters offer an oeuvre so richly varied, powerfully original, or strikingly reflective of the unique moment in history in which it was created. This course will examine the integral layers of biographical, pictorial and larger cultural and historical constructions Cezanne’s painting addresses even in its earliest forms and will aim to situate his work not only at the inception of the 20th-century art but within the heady environment of late 19th-century France, one that Cezanne knew well and embraced. A 300-level offering, this course will consist of lectures, discussion of recent critical readings, museum visits, and student presentations. (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. (ART) (Enrollment limited) –Dangremond

[384. Seminar: Van Gogh, Gauguin, and Symbolism]— This seminar will study the two artists whose paintings, far removed from the constructs of impressionism and avant-garde Paris, would make them forefathers of much of French symbolist and later modernist art. While each offers a biography that in itself has become mythic, this course will focus on Van Gogh’s and Gauguin’s shared vision of the timeless, uncorrupted idyll, their efforts to establish an independent artists’ colony far from the confines of Paris, and their parallel searches for expressive, decorative styles and remote utopian worlds that would both shape their art and reveal much about the society and art world they escaped. (ART) (Enrollment limited)

397. Exhibition Project: Hartford Outdoor Sculpture— upper-level seminar will study the history of large scale bronze sculpture and students will curate an exhibition on sculpture in public places in and near Hartford. The student will do research, write entries, document the sculpture photographically, and create a catalog that may become an online source and a smart device app. This course will fulfill the requirement for an upper-level intensive writing seminar for art history majors. (ART) (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

Studio Arts

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 ten courses in studio arts and two courses in art history. It is structured to provide a foundation in visual thinking within and across the traditional and new disciplines, as well as opportunities for advanced study. Instruction focuses on critical thinking, understanding the integrity of materials, and the relationship between studio arts practice and theory. The following courses constitute the major:

A grade of C+ or above is required for major credit. Up to two course credits transferred from another institution may count toward the major.

Honors—The awarding of departmental honors in studio arts will be based on superior performance in the major, as evaluated by the full-time studio faculty.

The minor in studio arts—The studio arts minor consists of six courses, as follows:
One Visual Thinking designated course, Concepts and Process in Studio Art and any other studio art courses chosen in consultation with minor advisor, based on the students areas of interest.

Studio Arts

Fall Term

113. Visual Thinking: 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. (ART) (Enrollment limited) –Dougherty

[121. Drawing I]— Study of line and mass as a means to articulate and explore formal and spatial concepts. (ART) (Enrollment limited)

[122. Painting I]— Beginning study utilizing color, shape, and space in a variety of media. Prerequisite: C- or better in Studio Arts 121. (ART) (Enrollment limited)

[124. Sculpture I]— Basic problems in three-dimensional form in a variety of media. (ART) (Enrollment limited)

[125. Printmaking I]— An examination of basic techniques of mechanical reproduction, with emphasis on the serial development of images and concepts. (ART) (Enrollment limited)

[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 Studio Arts121. (ART) (Enrollment limited)

[132. Visual Thinking: On Demand: Books for One, Books for All!]— In this course we will look at the process by which ideas are communicated in printed books, and use what we learn to produce our own books through the processes of digital desktop publishing and print-on-demand services like Blurb. By studying a variety of printed books, from the earliest printed examples to contemporary artist’s books, we will devise strategies for telling our own stories. Students will learn about page composition and typography, and use those skills to design their own book, with their own personal content. Each student will produce at least one book. This course is open to students from any major who have already created source material upon which they can draw for the content of the book(s) they will make.–Segovia (ART) (Enrollment limited)

135. Visual Thinking: Building Pictures—Collage and Assemblage— This course centers on the activity of thinking visually through physical materials. You will use materials such as paper, cloth, cardboard, metals, or wood, some new, but most old, discarded and recycled. All will be explored and exploited for their particular material, physical, and visual qualities and characteristics, to discover how they can be combined into new contexts in ways that transform the materials into an entirely new reality. Assignments will be structured with a particular theme or concept as its motivation. You will experiment with various options for adhesives and constructing technique, including the addition of paint. Expect to work on average six hours per week on assigned work outside of class. (ART) (Enrollment limited) –Correa-Carlo, Reeds

140. Visual Thinking: Drawing from Observation— This course is an introduction to the fundamental problems involved in drawing from observation. We will develop the skill to “see” freshly and purposefully, and the ability to interpret that perception onto paper. We will learn to transform a flat piece of paper into a container of light and air, in which can be created the illusion of space and 3-dimensional form. The course identifies and explores the full vocabulary of visual thinking through drawing, utilizing a variety of observational subjects. The goal is to help you develop a personal commitment to drawing—to your own way of seeing—and to help you express it with control and authenticity. Expect to spend around six hours each week on assigned work between classes. (ART) (Enrollment limited) –Dougherty, Kirschbaum

[145. Visual Thinking: Drawing in Space]— This course introduces students to the formal language of art while exploring interconnections between the mediums of drawing and sculpture. Students will use wire and other materials to explore three-dimensional design problems as well as avenues of personal expression. Projects will involve using drawing as an exploratory process to discover parallels with sculpture including surface, structure, scale and content. (ART) (Enrollment limited)

150. Visual Thinking: Digital Photography in the Documentary Tradition— An introduction to the practice of digital photography as a means to document or comment on the world around us. We will learn the functions of the DSLR camera, basic digital editing skills, and the grammar and syntax of visual thinking as a vehicle to articulate a personal point of view. This class focuses on visual narrative and engagement with ideas and forms beyond the photographic process itself. You should expect to work a minimum of six hours per week in addition to class time and spend significant time photographing off-campus. You must have access to a DSLR camera. (ART) (Enrollment limited) –Wertz

155. Visual Thinking: Introduction to Printmaking— Utilizing traditional and experimental printmaking media, students will explore line, tone, form and space, working primarily in black and white. The reproductive qualities of printmaking will be used to encourage developing images and ideas in a serial manner. As students develop skills and a working knowledge of the formal language of picture-making, they will be encouraged to pursue their own vision, culminating in a body of related images. (ART) (Enrollment limited) –Kirschbaum

[201. Art Studio: Artist’s Books]— Explore the confluence of language, image, sequence, motion, and structure in the form of artists’ books. Thinking conceptually about the possibilities inherent in the book form will go hand in hand with investigating techniques and materials. Students will complete group and individual projects using a variety of media. (ART) (Enrollment limited)

[221. Drawing II]— A continuation of the basic drawing course. Students are encouraged to develop and sustain their own concepts.–Margalit Prerequisite: C- or better in Studio Arts 121. (ART) (Enrollment limited)

[222. Painting II]— Intermediate problems in color, shape, and space relationships in a variety of media. Prerequisite: C- or better in Studio Arts 122. (ART) (Enrollment limited)

235. Oil Painting for Today— This course focuses on the techniques and processes of traditional oil painting as a vehicle for contemporary, personal expression. You will learn the basic methodology of western oil painting; the innovations of modern painting in the 20th Century; the structures of color theory and the all-encompassing importance of compositional design. Throughout this learning process the goal is to find your own voice as a painter, to develop a personal esthetic. It is recommended, but not required, that you first take a Visual Thinking course focused on drawing. Suggested prequisites: Observational Drawing STAR-140 or Color in Action STAR 138. Prerequisite: Students must complete one unit in a Visual Thinking Course (ART) (Enrollment limited) –Byrne

241. Art Studio: Life Studies/Life Drawing— This course focuses on intense visual study of life—in this case defined as human life. In the studio, most classes will center on rigorous life drawing sessions with models, both clothed and nude, in order to fully comprehend the anatomical form, proportional relationships, and gestural dynamics of the human body. Outside of class, and the studio, work will involve the observation and study of life situations, people in various settings and different degrees of interaction. There will be experimentation with varied drawing materials, including inter-mixing them, and a range of scales from small to large will be worked with. On average, you should expect to work six hours per week outside of class on assigned drawings. Suggested prerequisite course: Oversational Drawing, STAR-140. Prerequisite: Students must complete one unit in a Visual Thinking Course (ART) (Enrollment limited) –Byrne

250. Photography Without Pixels Film, Paper, Darkroom— This class focuses on using traditional photographic processes (non-digital) as a means of personal expression. Students focus on developing a personal esthetic while learning the photographic techniques that dominated the 20th Century film processing and darkroom printing. Students must have access to a fully functional film camera. It is helpful, but not required, for students to have some familiarity with the basic concepts of the photographic process. Suggested prerequisite: Digital Doc Photography, STAR-150. Prerequisite: Students must complete one unit in a Visual Thinking Course (ART) (Enrollment limited) –Wertz

260. Art Studio: Metal Sculpture— An exploration of ideas about 3D form utilizing the medium of metal. A variety of personal approaches will be encouraged in several introductory exercises (using mild steel). Students will be introduced to art historical examples of the use of metal in sculpture in the history of art ranging from assemblage to large-scale site-specific works. The final project will be a medium to large-scale sculpture in metal. May be repeated for credit. Prerequisite: Students must complete one unit in a Visual Thinking Course (ART) (Enrollment limited) –Tillman

301. Concept and Process in Studio Art— This is an advanced-level studio practice course. Students may work in any medium, or combination of media. Emphasis is placed on creating a consistent body of work that draws upon the students’ life experience or concerns, related readings and research. It is open to STAR majors and non-majors but recommended that STAR majors take this course as early as possible, preferably in sophomore or junior year. Prerequisite: Any two 200/300 level Studio Art courses. (ART) (Enrollment limited) –Kirschbaum

[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. (ART) (Enrollment limited)

[322. Painting III]— Studio in painting. Prerequisite: C- or better in Studio Arts 222. (ART) (Enrollment limited)

335. Oil Painting for Today II— This course is a continuation of Oil Painting for Today. This course focuses on the techniques and processes of traditional oil painting as a vehicle for contemporary, personal expression. You will learn the basic methodology of western oil painting; the innovations of modern painting in the 20th Century; the structures of color theory and the all-encompassing importance of compositional design. Throughout this learning process the goal is to find your own voice as a painter, to develop a personal esthetic. It is recommended, but not required, that you first take a Visual Thinking course focused on drawing. Prerequisite: A grade of C- or better in STAR235. (ART) (Enrollment limited) –Byrne

341. Art Studio: Life Studies/Life Drawing II— This course is a continuation of Life Studies / Live Drawing. In the studio, most classes will center on rigorous life drawing sessions with models, both clothed and nude, in order to fully comprehend the anatomical form, proportional relationships, and gestural dynamics of the human body. Outside of class, and the studio, work will involve the observation and study of life situations, people in various settings and different degrees of interaction. There will be experimentation with varied drawing materials, including inter-mixing them, and a range of scales from small to large will be worked with. On average, you should expect to work six hours per week outside of class on assigned drawings. Prerequistie: A grade of C- or better in STAR241 (ART) (Enrollment limited) –Byrne

360. Art Studio: Metal Sculpture II— This course is a continuation of Art Studio: Metal Sculpture. An exploration of ideas about 3D form utilizing the medium of metal. A variety of personal approaches will be encouraged in several introductory exercises (using mild steel). Students will be introduced to art historical examples of the use of metal in sculpture in the history of art ranging from assemblage to large-scale site-specific works. The final project will be a medium to large-scale sculpture in metal. May be repeated for credit. Prerequisite: A grade of C- or better in STAR260. (ART) (Enrollment limited) –Tillman

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

401. Concept and Process in Studio Art II— This is a continuation of Concept and Process. This is an advanced-level studio practice course. Students may work in any medium, or combination of media. Emphasis is placed on creating a consistent body of work that draws upon the students’ life experience or concerns, related readings and research. It is open to STAR majors and non-majors but recommended that STAR majors take this course as early as possible, preferably in sophomore or junior year. (ART) (Enrollment limited) –Kirschbaum

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. (WEB) (Enrollment limited) –

Spring Term

113. Visual Thinking: 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. (ART) (Enrollment limited) –Dougherty

[122. Painting I]— Beginning study utilizing color, shape, and space in a variety of media. Prerequisite: C- or better in Studio Arts 121. (ART) (Enrollment limited)

[124. Sculpture I]— Basic problems in three-dimensional form in a variety of media. (ART) (Enrollment limited)

[125. Printmaking I]— An examination of basic techniques of mechanical reproduction, with emphasis on the serial development of images and concepts. (ART) (Enrollment limited)

[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 Studio Arts121. (ART) (Enrollment limited)

[132. Visual Thinking: On Demand: Books for One, Books for All!]— In this course we will look at the process by which ideas are communicated in printed books, and use what we learn to produce our own books through the processes of digital desktop publishing and print-on-demand services like Blurb. By studying a variety of printed books, from the earliest printed examples to contemporary artist’s books, we will devise strategies for telling our own stories. Students will learn about page composition and typography, and use those skills to design their own book, with their own personal content. Each student will produce at least one book. This course is open to students from any major who have already created source material upon which they can draw for the content of the book(s) they will make.–Segovia (ART) (Enrollment limited)

135. Visual Thinking: Building Pictures—Collage and Assemblage— This course centers on the activity of thinking visually through physical materials. You will use materials such as paper, cloth, cardboard, metals, or wood, some new, but most old, discarded and recycled. All will be explored and exploited for their particular material, physical, and visual qualities and characteristics, to discover how they can be combined into new contexts in ways that transform the materials into an entirely new reality. Assignments will be structured with a particular theme or concept as its motivation. You will experiment with various options for adhesives and constructing technique, including the addition of paint. Expect to work on average six hours per week on assigned work outside of class. (ART) (Enrollment limited) –Correa-Carlo

140. Visual Thinking: Drawing from Observation— This course is an introduction to the fundamental problems involved in drawing from observation. We will develop the skill to “see” freshly and purposefully, and the ability to interpret that perception onto paper. We will learn to transform a flat piece of paper into a container of light and air, in which can be created the illusion of space and 3-dimensional form. The course identifies and explores the full vocabulary of visual thinking through drawing, utilizing a variety of observational subjects. The goal is to help you develop a personal commitment to drawing—to your own way of seeing—and to help you express it with control and authenticity. Expect to spend around six hours each week on assigned work between classes. (ART) (Enrollment limited) –Byrne, Finnegan, Gowen-Segovia

145. Visual Thinking: Drawing in Space— This course introduces students to the formal language of art while exploring interconnections between the mediums of drawing and sculpture. Students will use wire and other materials to explore three-dimensional design problems as well as avenues of personal expression. Projects will involve using drawing as an exploratory process to discover parallels with sculpture including surface, structure, scale and content. (ART) (Enrollment limited) –Tillman

150. Visual Thinking: Digital Photography in the Documentary Tradition— An introduction to the practice of digital photography as a means to document or comment on the world around us. We will learn the functions of the DSLR camera, basic digital editing skills, and the grammar and syntax of visual thinking as a vehicle to articulate a personal point of view. This class focuses on visual narrative and engagement with ideas and forms beyond the photographic process itself. You should expect to work a minimum of six hours per week in addition to class time and spend significant time photographing off-campus. You must have access to a DSLR camera. (ART) (Enrollment limited) –Wertz

155. Visual Thinking: Introduction to Printmaking— Utilizing traditional and experimental printmaking media, students will explore line, tone, form and space, working primarily in black and white. The reproductive qualities of printmaking will be used to encourage developing images and ideas in a serial manner. As students develop skills and a working knowledge of the formal language of picture-making, they will be encouraged to pursue their own vision, culminating in a body of related images. (ART) (Enrollment limited) –Reeds

201. Art Studio: Artist’s Books— Explore the confluence of language, image, sequence, motion, and structure in the form of artists’ books. Thinking conceptually about the possibilities inherent in the book form will go hand in hand with investigating techniques and materials. Students will complete group and individual projects using a variety of media. (ART) (Enrollment limited) –Price

[221. Drawing II]— A continuation of the basic drawing course. Students are encouraged to develop and sustain their own concepts.–Margalit Prerequisite: C- or better in Studio Arts 121. (ART) (Enrollment limited)

[222. Painting II]— Intermediate problems in color, shape, and space relationships in a variety of media. Prerequisite: C- or better in Studio Arts 122. (ART) (Enrollment limited)

[224. Sculpture II]— Intermediate study in three-dimensional form. Prerequisite: C- or better in Studio Arts 124. (ART) (Enrollment limited)

[226. Photography II]— A continuation of Studio Arts 126. Prerequisite: C+ or better in Studio Arts 126. (ART) (Enrollment limited)

235. Oil Painting for Today— This course focuses on the techniques and processes of traditional oil painting as a vehicle for contemporary, personal expression. You will learn the basic methodology of western oil painting; the innovations of modern painting in the 20th Century; the structures of color theory and the all-encompassing importance of compositional design. Throughout this learning process the goal is to find your own voice as a painter, to develop a personal esthetic. It is recommended, but not required, that you first take a Visual Thinking course focused on drawing. Suggested prequisites: Observational Drawing STAR-140 or Color in Action STAR 138. Prerequisite: Students must complete one unit in a Visual Thinking Course (ART) (Enrollment limited) –Dougherty

250. Photography Without Pixels Film, Paper, Darkroom— This class focuses on using traditional photographic processes (non-digital) as a means of personal expression. Students focus on developing a personal esthetic while learning the photographic techniques that dominated the 20th Century film processing and darkroom printing. Students must have access to a fully functional film camera. It is helpful, but not required, for students to have some familiarity with the basic concepts of the photographic process. Suggested prerequisite: Digital Doc Photography, STAR-150. Prerequisite: Students must complete one unit in a Visual Thinking Course (ART) (Enrollment limited) –Wertz

255. Art Studio: Printmaking Workshop— An open studio workshop. Students with prior knowledge of some printmaking or book arts techniques will propose, and carry out, a semester-long project as outlined in consultation with the instructor at the beginning of the semester. Students may work in any printmaking or printmaking-related medium, to develop a body of work related in both form and content. Students are expected to pursue independent research, as directed by the instructor to deepen their understanding of the ideas and concepts utilized in their work. Prerequisite: Any studio arts class in printmaking or book arts (Introduction to Printmaking, Printmaking in Full Color, Ttching and Relief Printing, Artist’s Books) or demonstrable prior knowledge of printmaking processes. (ART) (Enrollment limited) –Reeds

260. Art Studio: Metal Sculpture— An exploration of ideas about 3D form utilizing the medium of metal. A variety of personal approaches will be encouraged in several introductory exercises (using mild steel). Students will be introduced to art historical examples of the use of metal in sculpture in the history of art ranging from assemblage to large-scale site-specific works. The final project will be a medium to large-scale sculpture in metal. May be repeated for credit. Prerequisite: Students must complete one unit in a Visual Thinking Course (ART) (Enrollment limited) –Tillman

301. Concept and Process in Studio Art— This is an advanced-level studio practice course. Students may work in any medium, or combination of media. Emphasis is placed on creating a consistent body of work that draws upon the students’ life experience or concerns, related readings and research. It is open to STAR majors and non-majors but recommended that STAR majors take this course as early as possible, preferably in sophomore or junior year. Prerequisite: Any two 200/300 level Studio Art courses. (ART) (Enrollment limited) –Tillman

[322. Painting III]— Studio in painting. Prerequisite: C- or better in Studio Arts 222. (ART) (Enrollment limited)

[324. Sculpture III]— Studio in sculpture. Prerequisite: C- or better in Studio Arts 224. (ART) (Enrollment limited)

[326. Photography III]— A continuation of Studio Arts 226. Prerequisite: C+ or better in Studio Arts 226. (ART) (Enrollment limited)

335. Oil Painting for Today II— This course is a continuation of Oil Painting for Today. This course focuses on the techniques and processes of traditional oil painting as a vehicle for contemporary, personal expression. You will learn the basic methodology of western oil painting; the innovations of modern painting in the 20th Century; the structures of color theory and the all-encompassing importance of compositional design. Throughout this learning process the goal is to find your own voice as a painter, to develop a personal esthetic. It is recommended, but not required, that you first take a Visual Thinking course focused on drawing. Prerequisite: A grade of C- or better in STAR235. (ART) (Enrollment limited) –Dougherty

350. Art Studio: Photography and the Darkroom II— This course is a continuation of Photography and the Darkroom. This class focuses on using traditional photographic processes (non-digital) as a means of personal expression. Students focus on developing a personal esthetic while learning the photographic techniques that dominated the 20th Century film processing and darkroom printing. Students must have access to a fully functional film camera. It is helpful, but not required, for students to have some familiarity with the basic concepts of the photographic process. Suggested prerequisite: Digital Doc Photography, STAR-150. Prerequisite: A grade of C- or better in STAR250 or STAR 226. (ART) (Enrollment limited) –Wertz

355. Art Studio: Printmaking Workshop II— This course is a continuation of Printmaking Workshop. An open studio workshop. Students with prior knowledge of some printmaking or book arts techniques will propose, and carry out, a semester-long project as outlined in consultation with the instructor at the beginning of the semester. Students may work in any printmaking or printmaking-related medium, to develop a body of work related in both form and content. Students are expected to pursue independent research, as directed by the instructor to deepen their understanding of the ideas and concepts utilized in their work. Prerequisite: A grade of C- or better in STAR255 (ART) (Enrollment limited) –Reeds

360. Art Studio: Metal Sculpture II— This course is a continuation of Art Studio: Metal Sculpture. An exploration of ideas about 3D form utilizing the medium of metal. A variety of personal approaches will be encouraged in several introductory exercises (using mild steel). Students will be introduced to art historical examples of the use of metal in sculpture in the history of art ranging from assemblage to large-scale site-specific works. The final project will be a medium to large-scale sculpture in metal. May be repeated for credit. Prerequisite: A grade of C- or better in STAR260. (ART) (Enrollment limited) –Tillman

[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. (WEB) (Enrollment limited)