DePauw U: Catalog Majors, Minors, Courses of Instruction

Faculty: S. Cooper, D. Enochs, C. Fruhan, A. Harris, D. Herrold, K. Johnson, R. Johnson, R. Kingsley, M. Mackenzie, M. Merback, L. Miles, C. O'Dell, F. Solis, T. Stewart

The Department of Art offers courses of instruction in the studio arts, history of art and art education. Students may elect majors or minors in studio art and art history, and a minor in art education is also offered.

Studio courses (in drawing, painting, ceramics, sculpture, photography, graphic arts, video and computer imaging) stress the fundamentals of visual communication and help students cultivate the technical skills necessary for the effective expression of their ideas in a given medium.

Art history courses combine traditional and non-traditional approaches to the study of art, past and present, and stress the importance of viewing visual artifacts and architecture within their social and cultural contexts. In both the studio and the classroom, students are encouraged to look at art (both their own and that of others) in an active, engaged and productive way and to think critically about the meaning of art and visual culture in the contemporary world.

Both programs, studio and art history, prepare students for graduate programs or entry into a wide variety of professional careers in the arts. Studio majors in the department have gone on to successful careers as practicing artists, commercial illustrators and art educators; those with majors in art history have become art critics, art historians, museum or gallery professionals or arts administrators.

Every year, in addition to the usual courses of study, the art department sponsors a number of cultural events that connect the department to the campus at large. The Art Center's galleries provide a changing schedule of 10-12 exhibitions annually; visiting artists, critics and historians present their own work and meet with students for critiques and discussions; department faculty and students get together for group critiques and the annual major-minor mixer, and the department sponsors a popular bus trip each semester to visit museums and galleries in Chicago or St. Louis.

For students wishing to take a semester off-campus (usually recommended for the junior year), the department offers opportunities through the GLCA New York Arts Program, where students intern with recognized artists, photographers, gallery and museum curators--and even with fashion designers, advertising agencies and film or television production companies. Other study-abroad programs, which the department actively encourages for both studio and art history majors, take students to Athens, Florence, London, Rome, Paris and other important centers of art and learning.

Instruction for teaching certification in art (K-12) is also an option for department majors. Students seeking certification to teach art in public schools should review Section V, Teacher Education and consult with their advisor in the art department as well as with the chair of the education department about requirements for admission and certification.

Requirements for a major in Studio Art:

Total courses required: Ten + 2 Art History

Core courses: Four introductory courses--one from each of the three areas (A,B,and C) plus one additional course from any of these areas:
A. ARTS 152, ARTS 153

B. ARTS 175, ARTS 170

C. ARTS 163, ARTS 165, ARTS 160

Other required courses: Three 200-level courses (two of which must be a continuation of a 100-level course). The third course may be a topics course with no prerequisite:
A. ARTS 252, ARTS 253, ARTS 251

B. ARTS 275

C. ARTS 263, ARTS 265, ARTS 290A, 290B, 290C

One 300-level course that continues with a course taken at the 200-level. This course should be taken the first semester of the Senior year and must anticipate the discipline to be pursued in Senior Projects:
A. ARTS 353

B. ARTS 375

C. ARTS 363, ARTS 365, ARTS 390A, 390B, 390C

# 300 and 400 level courses: Three including ARTS 492

Senior requirement: The senior comprehensive requirement consists of the completion of ARTS 492 with a grade of C or better, as well as an exhibition of the student's work in the Art Center Gallery at the end of the senior year.

Additional information: Students must take two art history courses, one of which must be ARTH 132 or ARTH 142. The other must be a 300 level ARTH class, preferably 342 or a contemporary survey course.

Requirements for a major in Art History:

Total courses required: Eight

Core courses:
ARTH 131, ARTH 494
either ARTH 132 or ARTH 142.

Other required courses:
One course (not including 131), which covers pre-Renaissance material, should be chosen from the following: ARTH 212, ARTH 218, ARTH 232, ARTH 235, ARTH 332.

# 300 and 400 level courses: Three including ARTH 494

Senior requirement: The senior comprehensive requirement consists of the completion of ARTH 494 with a grade of C or better, as well as a thesis.

Additional information:
In addition to the eight art history courses, art history majors also must take two courses in cognate fields, one of which should be chosen from the following: CLST 100, PHIL 214, REL 132, CLST 262, 263, 264, HIST 111, 112, 201. The other course should be chosen from among the studio courses (any studio course).
It is recommended that art history majors take at least one course in each of the following four time periods: Medieval, Renaissance, Baroque and 19th Century/Modern. First-year seminars on art historical topics may be counted toward an art history major or minor.

Requirements for a minor in Studio Art:

Total courses required: Five

Core courses: Four studio courses (at least one studio course at the 200 level) and one course in art history

Other courses:

# 300 and 400 level courses: One

Requirements for a minor in Art History:

Total courses required: Five

Core courses: Four art history courses, one of which must be ARTH 131, ARTH 132 or ARTH 142, and a studio art course

Other courses:
Of the three non-introductory art history courses, one must cover the pre-Renaissance material (ARTH 212, 218, 232, 235, 321, 332), and another must cover art of the Renaissance or later (ARTH 201, 302, 310, 330, 340, 342).
Students considering a minor in art history should consult with the department by the end of the sophomore year.

# 300 and 400 level courses: One

Requirements for a minor in Art Education:

Total courses required: Five

Core courses:
ARTS 152 or 153; ARTS 170 or 175
ARTH 131 or 132
ARTS 260, ARTE 400EL

Other courses: One beginning studio course in drawing, printmaking or painting is also required for the minor.

# 300 and 400 level courses: One

Courses in Art

Courses in Art History

ARTH 131. Introduction to Art History Ancient to Medieval	Group 3	1 course
This course surveys the major developments in art and architecture from the Paleolithic period through the high Middle Ages. Emphasis falls on the ancient civilizations of the Near East, Egypt, the Aegean, Greece and Rome, the early Christian world, Byzantium, Islam and the Middle Ages in Western Europe. The approach is at once historical, in that visual forms and types of images are studied in their development over time and across cultures, and anthropological, in the sense that cultures are studied at isolated moments as a way of better understanding the significant roles art and architecture play within them. Lectures are complemented by weekly reading groups that meet to discuss key problems and explore alternative theories of human cultural and artistic evolution.

ARTH 132. Introduction to Art History Renaissance to Modern	Group 3	1 course
A survey of Western art from the Renaissance to the present. This course is taught with different narrative structures in alternate semesters. One structure takes a historical overview. It tracks the changes in the place of art in society, its subject matter, patronage and audience. In alternate semesters, the class explores a limited number of art works which are treated as "case studies;" this leaves time for a deeper interrogation of specific historical and cultural issues. With each "case study" (these are organized chronologically) we look at a particular theme or "problem"--art and labor; the narrative tradition in art; the artist as cult figure; "realism" in art--and then examine how a similar problem/issue/theme is played out in a modern (late 19th-20th century) work. Past and present in this narrative are given proximity. In either narrative structure, the operating assumption of the course is that art produces and shapes meaning in the culture and does not simply "reflect" it. As we examine the notion of "meaning" in works of art, we look not only at what images mean, but also at how they acquire meaning. We pay attention to the increasing awareness of art as a distinct category of human endeavor and expression and of the artist's role in society. We focus on how visual images function in the culture; look at the conflicts inherent in the practice and reception of art; and examine the ideological investments of art history's practitioners. Not open to students with credit in ARTH 142.

ARTH 142. Visual Encounters: Critical Approaches to Representation	Group 3	1 course
What is art? Why is it important? How and what do works of art mean? How does art help us both shape and make sense of our world? These are the overarching questions that the course will address as we thread our way through the examination of various genres of art--from traditional (landscape, portraiture) to contemporary (video, performance art); as we explore art in its economic, social and political dimensions (looking, for example, at public art and identity politics or at controversial art and the First Amendment); and as we examine the role art can play in our public and private consciousness. We will be mindful throughout of how the production of meaning in art involves a complex collaboration of artist, viewers and artwork. In this discussion-based course, we will be active viewers and analytical thinkers--reading, writing and looking, in a critical way, at images in slides, at actual works of art, and at films and videos. Not open to students with credit in ARTH 132.

ARTH 197H. First-Year Seminar		1 course
A seminar focused on a theme related to the study of art history. Open only to first-year students.

ARTH 201. Baroque Art: The Age of the Marvelous	Group 3	1 course
The course introduces the major painters and sculptors (Rembrandt, Rubens, Vermeer, Caravaggio, Bernini, Artemisia Gentileschi, Velazques and others) of 17th-century Europe by exploring a few major themes. Using, as an overarching concept, the Baroque as the "age of the Marvelous" allows us to view intersections among the worlds of art, science, theater, printing, mechanical engineering, religion and the occult. The course examines the visual arts in relation to various contexts--economic, historic and domestic--as well as institutions--the Church, the monarchy and academies of art. It investigates the development of certain subjects that emerged as independent genres in the 17th century: still life, landscape and genre painting. The course also looks at how artists perceived themselves and were perceived (some would say "constructed") both by their contemporaries and by subsequent writers up to the present day. We concern ourselves throughout with the complex process of interpretation--looking not only at what works of art mean, but how they mean.

ARTH 212. Image, Cult, Devotion:Medieval Devotional Art and Its Audiences	Group 4	1 course
This course examines the stunning variety of images (paintings, sculptures, prints) that served as catalysts to religious devotion for medieval and Renaissance Christians. Beginning with the first image cults in the 6th century, and concluding with the Reformation's renewed call to restrict, censor or liquidate images in the 16th, it attempts to trace the history of attitudes toward such devotional imagery inside both the "high" intellectual culture and the "low" popular culture of these periods. Why did cults form around certain types of pictures, and why were they considered illegitimate by authorities? How did images such as the tormented Man of Sorrows, or the lamenting Virgin of the Pieta, which had no basis in the Gospels, become so popular and so important to the progress of lay spirituality? How did miraculous images of the saints--images that answered prayers, comforted the sinner or healed the sick with effusions of tears, blood or milk--become invested with such powers? What are the cultural-political implications for the image-controversies of today? Drawing on psychology, anthropology, social history and linguistics, we will see how the makers of devotional art create and shape certain kinds of viewing practices and how, in social terms, new audiences for the new genres are created.

ARTH 216. Art of India	Group 3	1 course
This course examines the art and architecture of the Indian subcontinent and of Southeast Asia, including India, Pakistan, Afghanistan, Cambodia and Indonesia. Although it can appear strange and alien to Western eyes, Indian art is powerful and beautiful in its representation of the human and divine. This course attempts to discover the nature of that power by concentrating on sculpture and architecture produced for sacred contexts (Buddhism, Jainism, Hinduism, Islam), as well as some painting. This art is investigated both in its theological as well as its attendant economic and political historical conditions. The course covers the time period between roughly 250 BCE and the colonial period, although it also examines modern (postcolonial) and contemporary art and architecture. The most important pictorial expression of cultural concerns and religious feeling in the modern nation-state of India is cinema (Bombay produces more films per year than Hollywood), and we spend the last third of the course viewing, analyzing and discussing these. The goals of the course include developing a critical and formal vocabulary for the major art forms we review (sculpture, architecture, painting and film), and developing an understanding of the characteristics of different artistic styles, schools, and traditions, as well as their specific religious, political and cultural contexts.

ARTH 218. Cathedral and Court: Gothic Art	Group 4	1 course
This course explores the spectacular visual culture of European society that emerged during the High Middle Ages (12th and 13th centuries) and the Late Middle Ages (14th and 15th centuries). Many of the artistic and architectural developments studied resulted from the tremendous growth of cities and urban culture in this era; along with economic expansion comes social differentiation, and thus we witness a dynamic interaction between emerging audiences and new genres of art. Through selected case studies of architectural sculpture, stained glass cycles, reliquaries and altarpieces, illuminated manuscripts, luxury ivory carvings and other devotional images (including early graphic arts), as well as medieval maps--students will encounter medieval culture and society in all its dazzling diversity. Issues for investigation include: the rise of devotional art and lay spirituality; the impact of miracle tales, relic cults, pilgrimage and other forms of associational (public) worship; the meteoric rise of the cult of the Virgin, centered on Mary's role as heavenly intercessor at the End of Time, but also branching into forms of bridal mysticism and devotion to the Rosary; the culture of chivalry and the impact of the crusades, warfare, social violence, crime and punishment.

ARTH 225. Modern Art and Modernity	Group 3	1 course
This course examines the history of European and American art from the mid 19th century up to the present, paying attention to changes in the artists' goals and understanding of what art is, as well as changes in materials, subject matter, audience and marketing. Modernism is by definition a period of constant upheaval and transformation, but the course also looks for what has remained constant and what might define a "tradition" of modernism. Some topics covered are: non-naturalistic representation and abstraction and the rejection of traditional standards of quality and beauty; the abandonment of painting and sculpture for new forms of artistic production; the shifting role of the artist in society; Modernism's relationship to modern, urban society, capitalism and industrialization, and to mass culture and politics; the complexities of gender in the male-dominated world of art, and the view of the wider world from the capitals of the western colonial empires; ideals of sincerity and authenticity as they motivate artists and their audiences.

ARTH 232. Islamic Art and Architecture	Group 3	1 course
This course is an introduction to Muslim visual culture from its Arabian origins, through the medieval period of its asendance and international dominance, to the Turkish conquest of Constantinople in 1453 and the Mughal dynasty's rule in India. Through slide-based lectures and group discussions, students encounter the astonishing beauty of monuments such as the Dome of the Rock in Jerusalem, Great Mosque of Cordoba, Alhambra Palace in Granada, Taj Mahal in Agra and many others. An introductory section surveys the historical and geographical parameters of Islamic civilization, its religious worldview, forms of authority and social organization. Other historical issues include the cultural politics of conquest, appropriation of Jewish and Christian holy sites, impact of the Crusades and Reconquista in Spain and the transmission of Greek science and philosophy to Western Europe through Arabic learning. Students take different approaches to a diversity of architectural monuments and examine their decoration in a variety of media (painting, mosaic, stucco, ceramic tile). The luxury arts--breathtaking carvings in ivory or gold, lavishly illustrated manuscripts--are also studied in their cultural context. A final section examines Islamic attitudes towards the arts, the prohibition of figurative imagery, the preeminence of calligraphy and textiles, and the dazzling complexity of geometrical designs. Throughout the course students are made aware of the process of creative assimilation from pre-Islamic or non-Muslim traditions, a process by which Islam gradually took on its own distinct visual identity and generated its own cultural ambiance.

ARTH 235. Women and Medieval Art	Group 4	1 course
What was the role of images in women's experience in the Middle Ages? This course seeks to answer that question through an examination of images made of, for and by women in this dynamic period of history. The course is framed by the legalization of Christianity (in 313) and Luther's declaration of Protestantism (in 1517), thereby focusing on the entire medieval tradition and its exploration of gender and image. Issues and characters surrounding the representation of women include the fundamental figures of Eve and Mary, the varying roles of female saints, and the figuration of women in medical manuscripts. The patronage of women in art shaped several long-lasting traditions, including courtly love and its accompanying allegorical imageries of chess, gardens and castles; it also invites investigation into the artistic creativity of women, and the role of women patrons in historical manuscripts and their concurrent political claims. The course considers the use and manipulation of images by women such as nuns and their visions of Christ, and aristocratic women and their personalized books of hours (medieval prayer books). A variety of media present the issues of the course: panel painting, manuscript illumination, sculpture, stained glass, tapestry and ivory. The course seeks to understand the construction and subversion of gender roles through images. Reading of medieval sources in translation; discussion-based class. This course is cross-listed with Women's Studies.

ARTH 290H. Topics in The History of Art		1 course
An in-depth study of a particular topic in the history of art. It may be an examination of a specific artist, group or movement or an exploration of a particular theme or issue in art.

ARTH 302. Italian Renaissance Art	Group 4	1 course
The course explores developments in the visual arts (primarily painting and sculpture) in 15th- and 16th-century Italy. It includes such artists as Masaccio, Donatello, Sofonisba Anguissola, Botticelli, Leonardo and Michelangelo. The course is partly a chronological survey and partly a thematic exploration of important issues--the social construction of the artist; the problematic notion of "secularism" as it applies to Renaissance art; the concept of humanism and its effect on creative developments; the problems of Renaissance historiography; the question of whether or not women had a Renaissance. The class is also concerned with the presuppositions on which art historians have based their interpretations of Renaissance art and culture and on the methods that they have applied to support these presuppositions. A portion of the readings are from contemporary sources - the writings of Vasari, Alberti, Ghiberti, Michelangelo and Castiglione to name a few. Class sessions will be mostly discussion.

ARTH 310. Painting, Piety and Power: Northern Renaissance Art	Group 3	1 course
This course examines the major painters working in the Low Countries (present-day Belgium, Luxembourg and the Netherlands) during the dynamic era stretching from the mid-14th to the mid-16th century, the period known as the "Renaissance of the North." An initial survey covers the great Flemish "primitives" Robert Campin, Jan van Eyck and Rogier van der Weyden; then their brilliant line of followers, Hans Memling, Hugo van der Goes, Geertgen tot Sint Jans, Hieronymus Bosch and Pieter Brueghel, are studied. Through group discussions, collaborative visual analyses and illustrated lectures, students become engaged not only with the unique visual character of these marvelous works of art, but also with their cultic, devotional, social and political uses, the constellation of meanings they embodied for their makers, their patrons and their beholders. Special topics include: the development of a northern European realist tradition, changing forms of patronage and aesthetic production, rising social status of the artist, changing character of piety and religious experience, creation of new devotional genres, impact of humanism and Reformation and evolution of secular imagery.

ARTH 326. Abstract vs. Figurative Painting	Group 3	1 course
This course explores the origins and envelopments of abstract painting in Europe and America in the 20th century. We learn how to look at, interpret, discuss and differentiate between different kinds of abstract painting. We ask questions of abstraction such as: Is it possible to recognize or find meaning in abstract art, and do different styles of abstraction mean different things? Is it possible to distinguish between good and bad abstract art? Can we best interpret abstract painting as a set of natural or arbitrary codes in which visual marks mean something other than what they look like, or as an exploration of design ideas and painting techniques, or as a record of an artist's interior life or as a kind of blank slate onto which the artist's audience projects its own concerns and values? Does the meaning of a work of abstract art change over time? What is the relationship between abstract painting and the political and social upheavals of the 20th century, given that abstract paintings are not pictures of the larger world?

ARTH 330. Van Gogh, Gauguin and "Post Impressionism"	Group 4	1 course
This course considers how art historians have conceptualized "Post Impressionism" and explores the institutions (Academy, Salon, Ecole des Beaux Arts) and market structure (dealers, auction houses, the apparatus of art criticism) that influenced or controlled how, for whom and under what conditions art in 19th- century France was produced and how, where and by whom art was consumed (that is, used, purchased or viewed). Other issues considered are the social and financial consequences of the artists' independence from traditional institutions in 19th-century France and how women artists did or did not fit into these institutional and market structures. The "Post Impressionist" artists studied will be used as springboards to discuss some larger themes about art, artists, critics and audiences in a particular historical moment. Some of these artists were involved in the social movements of their time and can, therefore, be discussed against a background of modern urbanization and the philosophical, cultural, scientific and social theories of some of their contemporaries. Readings include primary sources--artists' letters, journals and other writings as well as excerpts from contemporary works and art criticism from specialized and mainstream journals of the late 19th-century.

ARTH 332. Sin, Fear and Death in European Art, 1050-1550	Group 4	1 course
This course explores a range of visual genres which, for medieval and early modern Europeans, thematized ideas about sin and vice, guilt and penance, contempt for the world, death, burial and decay, the horror of Hell, the quest for purgation and the hope of resurrection at the end of time. Illustrated manuscripts of the Apocalypse; panoramic Last Judgment scenes from church portals; gruesome depictions of saints' deaths; miraculous images of Christ as the tortured Man of Sorrows; the sculpture of the so-called transi tombs (which show the deceased as a worm-eaten skeleton); visions of Hell and its torments; and the "Dance of Death" of the early Renaissance, are all studies in the cultural context of Christian theology, popular religion and devotions, the monastic literature of the macabre, the catastrophes of the Black Death era, radical millenarianism and the repression of groups deemed deviant (heretics, homosexuals, Jews, witches) through to the Protestant Reformation and its aftermath. Did the Middle Ages bequeath to us, as one historian claims, a distinctly Western "guilt culture," and if so, how has the iconography of sin and death persisted in Western art up to the present day?

ARTH 342. Art Theory and Criticism	Group 3	1 course
Learning to read contemporary criticism involves identifying the issues and assumptions at stake in such writing but are often expressed indirectly or not at all. Art criticism seeks to put into language something which is inherently non-verbal, which does not unfold in an orderly, linear way (as writing must) and which leaves meaning open and unfixed. Thus, learning to read the literary genre of art criticism is a challenging goal. In this course we try to accomplish several closely interrelated things: we discuss the idea of art theory ("aesthetics") and some art-theoretical texts which have been foundational for Modernist and contemporary art; we discuss art criticism as a very particular kind of creative writing; we look at some central examples of this genre, texts which distinguish themselves by having a theory of art underpinning them; we read and discuss contemporary art criticism; and we write some art criticism of our own.

ARTH 345. History of Self-Portraiture	Group 3	1 course
The self-portrait has a long and varied history: part manifesto, part self-expression, part philosophical investigation, the self-portrait invites questions of creativity and identity. How does an artist construct a self-portrait to represent both the self and the artistic project? The answers to this question provoke an examination of the changing uses and transformations of the genre. The course begins with the early explorations of self-portraiture in the Middle Ages and continues through to the emergence of the self-portrait in the Northern and Italian Renaissances, its full expression in the Baroque period, its politicization in the Neo-Classicism of the 18th century, its controversies in the 19th century and its powerful and increasingly pervasive presence in the 20th century. The artists studied include van Eyck, Botticelli, Caravaggio, Artemisia Gentilleschi, Rembrandt, David, Courbet, Munch, van Gogh, Malevich, Andy Warhol, Frida Kahlo and Cindy Sherman among others. At stake is the process through which an artist presents his or her artistic mission through the self-portrait. What are Botticelli's motivations for including his self-portrait in a painting representing members of the powerful Medici family as the Three Magi? With what messages does van Gogh send Gauguin a self-portrait as a Japanese monk? How does Frida Kahlo construct a radical political identity for herself through her self-portraits? The course incorporates both original sources written by the artists themselves and scholarly sources contextualizing the artists and their self-portraits. Discussion-based course.

ARTH 390H. Advanced Topics in the History of Art		1/2-1 course
An independent directed study centered on a specific topic arranged with the instructor.

ARTH 494. Art History Projects		1 course
Advanced work in art history. Prerequisite: senior classification and a major in art history.

Courses in Studio Art

ARTS 152. Drawing I	Group 6	1 course
Designed for the student with little or no prior drawing experience. This is an introduction to, and the practice of, the fundamental principles of drawing,(i.e., light and shade, perspective, composition, line and form). These basic principles are taught in conjunction with slide lectures and discussions of the drawing ideology of the masters. Not offered pass/fail.

ARTS 153. Painting I	Group 6	1 course
Designed for the student with little or no prior oil painting experience. This introduction includes development of a basic understanding of oil painting, color principles, line, form and composition. Principles are taught in conjunction with slide presentations and discussions of the painting ideology of past as well as contemporary masters. Not offered pass/fail.

ARTS 160. Digital Art I	Group 6	1 course
The course involves the exploration of a sequence of computer imaging concepts that begins with an introduction to object and bit map image making. These types of images are then used in context of computer animation that is output as video or run on the computer. The course concludes with an introduction to hypermedia authoring in which the imaging and animation techniques explored earlier are applied to the creation of computer documents that also incorporate sound and interactivity. Not offered pass/fail.

ARTS 163. Photography I	Group 6	1 course
An introduction to the art of black-and-white photography, this course provides opportunities for learning personal expression, critical thinking, and the aesthetics of photography through darkroom experiences and camera assignments. A 35-millimeter camera with a manual control is required. Some cameras are available for student checkout. Please see the instructor. Not offered pass/fail.

ARTS 165 . Video I	Group 6	1 course
An introduction to digital video art production through camera and editing assignments. This course includes readings and screenings on contemporary and historical issues surrounding the medium of video art. Not offered pass/fail.

ARTS 170. Sculpture I	Group 6	1 course
An introduction to the concepts and technical skills associated with three dimensional media. The class explores the principles of 3D design, such as structure, organic/inorganic forms and spatial relationships. The curriculum introduces these concepts through a series of projects which develop basic technical skills with a variety of materials that include clay, plaster, steel, paper and wood.

ARTS 175. Ceramics I	Group 6	1 course
Basic experience with fired clay as an art material. This course includes techniques of shaping, glazing and firing clay. An introduction to the chemistry of glazes and heat treatment. Not offered pass/fail.

ARTS 197S. First-Year Seminar	Group 6	1 course
A seminar focused on a theme related to the study of studio art. Open only to first-year students.

ARTS 251. Collage	Group 6	1 course
This studio course investigates the use of found or non-traditional media in the production of 2-D and 3-D works of art. Slide lectures, projects and critiques will explore the theoretical, historical and critical base of the media from modernist developments to post-modernist, with applied elements of creative design. Students are expected to merge critical thought with design and craft sensibilities toward the end of developing personal forms of expression. Not offered pass/fail.

ARTS 252. Drawing II	Group 6	1 course
Designed to teach the student the fundamentals of drawing the human figure. Proportion, muscular reference points, line quality and mass are stressed in developing the student's figure drawing ability. Work is done directly from the human figure along with slide presentations to enhance the student's knowledge of the masters and the historical figure ideology. Not offered pass/fail.

ARTS 253. Painting II	Group 6	1 course
A continuation of the formal painting issues with attention given to individual concept development. Prerequisite: ARTS 153. Not offered pass/fail.

ARTS 263. Photography II	Group 6	1 course
A continuation of the formal painting issues with attention given to individual concept development. Prerequisite: ARTS 153. Not offered pass/fail.

ARTS 265. Video II	Group 6	1 course
Continuing work in traditional and experimental techniques of digital video art. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 165.

ARTS 270. Sculpture II		1 course
Continuing work in traditional and experimental aspects of sculpture. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 170. Not offered pass/fail.

ARTS 275. Ceramics II	Group 6	1 course
Advanced work with clay and glazes. Emphasis on kiln stacking and firing and individual projects. Prerequisite: ARTS 175. Not offered pass/fail.

ARTS 290S. Topics	Group 6	1 course
A. Drawing and Painting; B.Ceramics and Sculpture; C. Photography, Video and Digital Art. Studio work in specialty media not otherwise offered.

ARTS 353. Painting III	Group 6	1 course
Attention given to individual painting proposals supported with lectures and critiques. Prerequisite: ARTS 253. Not offered pass/fail.

ARTS 363. Photography III	Group 6	1 course
Students will pursue their own photographic project proposals supported with critiques and individual instruction. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 263. Not offered pass/fail.

ARTS 365. Video III	Group 6	1 course
Students will pursue their own digital video art project proposals supported with critiques and individualized instruction. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 265. Not offered pass/fail.

ARTS 370. Sculpture III		1 course
Continuing work in traditional and experimental aspects of sculpture. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 270. Not offered pass/fail.

ARTS 375. Ceramics III	Group 6	1 course
Advanced work with clay and glazes. Emphasis on kiln stacking and firing and individual projects. Prerequisite: ARTS 275. Not offered pass/fail.

ARTS 390S. Studio Art Topics	Group 6	1/2-1 course
A. Drawing and Painting; B. Ceramics and Sculpture; C. Photography, Video and Digital Art. Studio work in specialty media not otherwise offered.

ARTS 492. Senior Projects	Group 6	1 course
The capstone course for senior studio art majors. Students develop a body of work in their chosen medium leading to an exhibition at the end of the year. Prerequisite: senior classification and a major in art.

Courses in Art Education

ARTE 400. Art Teaching Methods		1 course
Meets the requirements of students seeking a teaching certificate in art K-12. (This course is a study of the philosophy of education.) Includes lesson planning, courses of study, sources of supplies and equipment used in teaching art. Prerequisite: an art major with junior or senior classification.

ARTE 400E. Art Teaching Methods for Elementary Schools		1 course
Designed to introduce the elementary teaching majors to the purposes and methods of art education at the elementary level. (This course is a study of the philosophy of education.) Practically, the course introduces the various media available to the classroom teacher and the role of art education in the grades. Prerequisite: junior or senior classification.

�2001 DePauw University

email: sbates@depauw.edu

Last Updated: 4/15/2004