DePauw U: Catalog Majors, Minors, Courses of Instruction

Faculty: S. Cooper, D. Cunningham, C. Fruhan, A. Harris, D. Herrold, K. Johnson, R. Johnson, E. Kennerk, K. Kethcart, R. Kingsley, M. Merback, L. Miles, C. O'Dell, F. Solis, I. Whitmore

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.

Studio courses (in drawing, painting, ceramics, sculpture, photography, video and digital art) 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. Students are encouraged to look at art in an active and engaged 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 three large gallery spaces 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 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. It is recommended that all students go in the junior year; studio students are recommended to go in the second semester. 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 Programs 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: Nine + 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: Two 200-level courses (both of which must be a continuation of a 100-level course).
A. ARTS 253

B. ARTS 275, ARTS 270

C. ARTS 263, ARTS 265

Two 300-level courses one of which 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. The second 300-level course must be a topics course and can be taken at any time.
A. ARTS 353, ARTS 398A

B. ARTS 375, ARTS 370, ARTS 398B

C. ARTS 363, ARTS 365, ARTS 398C

# 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 Visual Arts Gallery at the end of the senior year.

Additional information: ARTS 197S may be counted toward the major. Students must take two art history courses, one of which must be ARTH 131, ARTH 132 or ARTH 142. The other must be ARTH 225, ARTH 326 or ARTH 342 with 342 particularly recommended. Please note: if students plan to go off-campus, it is highly recommended that they do so in the spring semester of their junior year to complete all requirements in time.

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, is to 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 is to be chosen from the following: CLST 100, PHIL 214, REL 132, CLST 262, 263, 264, HIST 111, 112, 201. The other course must 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, 332), and another must cover art of the Renaissance or later (ARTH 201, 225, 302, 310, 326, 330, 336, 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

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. May be counted toward the European Studies interdisciplinary minor.

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--and then examine how a similar problem/issue/theme is played out in a modern (late 19th-20th century) work. In either narrative structure, the operating assumption is that art produces and shapes meaning in the culture and does not simply "reflect" it. Both courses consider 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. May be counted toward the European Studies interdisciplinary minor. 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. May be counted toward the European Studies interdisciplinary minor.

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 Christians in the Middle Ages, Renaissance and Reformation. How did the practice of venerating holy images take shape in early Christianity, why was it attacked as �idolatry�, how was it defended, and what impact did this have on the tradition of picture-making in both Byzantium and the West? How did miraculous images of the holy persons--images that answered prayers, comforted the sinner or healed the sick with effusions of tears, blood or milk--become invested with their powers? What did it mean when, according to pious legend, Jesus authorized his own portraits (as in the Veronica or the Shroud of Turin)? What are the cultural-political implications for the image controversies of today? Drawing on psychology, anthropology, social history and the history of religions, we examine how the makers of devotional art created and shaped certain kinds of viewing practices and how, in social terms, new audiences for the new genres were created.

ARTH 216. Art of India	Group 3	1 course
Art and architecture of India and Pakistan, also Afghanistan, Cambodia, 250 BC to the present. Concentrates on sacred art (Buddhism, Jainism, Hinduism, Islam): sculpture and architecture and some painting, also modern (postcolonial) and contemporary art, architecture, and especially film. Theological, economic, political and historical conditions will be considered. Develop a critical and formal vocabulary for the major art forms reviewed (sculpture, architecture, painting and film), and develop an understanding 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 during the High and Late Middle Ages (roughly 12th-15th centuries). In this period the tremendous growth of cities and urban culture, along with economic expansion and social differentiation, created dynamic new forms of interaction between audiences and emerging genres of art.Through selected case studies of architecture, monumental sculpture, stained glass, reliquaries and altar pieces, illuminated manuscripts, luxury ivory carvings and other devotional images (including early graphic arts), students 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 worship; the rise of the cult of the Virgin, Mary�s role as heavenly intercessor, bridal mysticism and devotion to the Rosary; the culture of chivalry, the impact of the crusades and epic poetry; new forms of social violence, crime and punishment, as well as new models of sexuality and love. May be counted toward the European Studies interdisciplinary minor.

ARTH 225. Modern Art and Modernity	Group 3	1 course
Surveys the history of European and American art of the 20th century and 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. Some topics covered are: non-naturalistic representation and abstraction; rejection of traditional standards of quality and beauty; abandonment of painting and sculpture for new formats; role of the artist in society; mass culture and politics; issues of gender; colonialism; ideals of sincerity and authenticity as they motivated artists and their audiences.

ARTH 228. Jewish Art and Architecture: Middle Ages to the Present	Group 4	1 course
Long regarded as a people obedient to the second commandment prohibiting �graven images,� the Jews have been seen as alienated from visual communication, a �nation without art.� Nothing could be farther from the truth. Throughout the centuries, Jewish communities have made the visual arts an integral part of the Jewish experience, and produced artists and architects who have played pivotal, if not transformative, roles in the mainstreams of art�s history. This course introduces students to the great variety of monuments and masterpieces through which Jews have expressed their religious and cultural aspirations, their folk customs and rituals, identities and memories, both joyous and sorrowful. Among the topics are: the legacy of King Solomon�s Jerusalem Temple in the architecture and decoration of the synagogue; illuminated Hebrew manuscripts for feast and prayer; Jewish-Christian relations; Jewish ceremonial art; the emergence of professional Jewish artists in the 19th century; the role of Jews in the European avant-gardes of the 20th century; Israeli and Zionist art; post-Holocaust art and postmodernism; and we conclude with the World Trade Center project, designed by Jewish architect Daniel Liebeskind.

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 ascendance, to the Turkish conquest of Constantinople in 1453 and Mughal rule in India. An introductory section surveys the historical and geographical parameters of Islamic civilization, its religious worldview, forms of political authority and social organization. Through slide-based lectures and group discussions, students then encounter the astonishing beauty of monuments such as the Dome of the Rock in Jerusalem, the Great Mosque of Cordoba, the Alhambra Palace in Granada, the Taj Mahal in Agra, 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, fine pottery and glasswork--are studied against the backdrop of Islamic attitudes towards the arts, the prohibition of figurative imagery, the preeminence of calligraphy and textiles, and the cosmological meaning of geometrical design. 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 acquired its own distinct visual identity, and projected its own cultural ambiance far beyond the Middle East.

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. The course seeks to understand the construction and subversion of gender roles through images. May be counted toward the Women's Studies and European Studies interdisciplinary minors.

ARTH 290. 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 and includes such artists as Masaccio, Donatello, Sofonisba Anguissola, Botticelli, Leonardo and Michelangelo. It is partly a chronological survey and partly a thematic exploration of important issues--the social construction of the artist; 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. Emphasis is on primary readings. Class sessions will be mostly discussion. May be counted toward the European Studies interdisciplinary minor.

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 encompassing the later Middle Ages, Renaissance and Reformation. Our survey covers the early Flemish painters Robert Campin, Jan van Eyck and Rogier van der Weyden, and their brilliant line of followers, Hans Memling, Hugo van der Goes, Geertgen tot Sint Jans, Hieronymus Bosch and Pieter Brueghel. Through group discussions and illustrated lectures, students become engaged not only with the distinctive visual character of these marvelous works of art, but also with their cultic, devotional, social and political uses. Special topics include: the development of a northern European realist tradition, changing forms of patronage and aesthetic production, the rising social status and self-consciousness of the artist, the changing character of piety and religious experience, the impact of humanism and Reformation and evolution of secular imagery (portraiture, landscape, satire and more). May be counted toward the European Studies interdisciplinary minor.

ARTH 326. Abstract vs. Figurative Painting	Group 3	1 course
Explores origins and developments of abstract painting. Look at, interpret, discuss, and differentiate between different kinds of abstract painting. 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? Is abstract painting a secret code, an exploration of design ideas and painting techniques, a record of an artist�s interior life, or a blank slate onto which we project our own ideas? What is the relationship between abstract painting and the political and social upheavals of the 20th century?May be counted toward the European Studies interdisciplinary minor.

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. Readings include primary sources--artists' letters, journals, excerpts from contemporary novels and art criticism from specialized and mainstream journals of the late 19th-century.May be counted toward the European Studies interdisciplinary minor.

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 horrors of Hell, the quest for purgation and the hope of resurrection at the end of time. Panoramic Last Judgment scenes from church portals; gruesome depictions of saints� deaths and the Passion of Christ; tomb sculpture showing the deceased as a worm-eaten skeleton; visions of Hell and its torments; the �Dance of Death� and other macabre themes--all are studied in the cultural context of Christian theology, popular religion and devotions, the catastrophes of the Black Death era, radical millenarianism and the repression of dangerous minority groups (heretics, Jews, witches, homosexuals). Did the Middle Ages and Reformation period 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? May be counted toward the European Studies interdisciplinary minor.

ARTH 336. Art and Literature Paris and Berlin	Group 4	1 course
The Paris of the 19th century, of Zola and the Impressionist painters was the city where the large-scale development of new methods of industry, finance, merchandising, government, and culture were given their most coherent concrete form. In the 20th century Berlin was at the center of, successively, German Expressionist painting, the European film industry, Nazism, and the Cold War. These two European capitals were at the intersection of individual personal experience and titanic historical forces. Close examination of painting, novels, film, architecture and urban planning, and the context within which they were produced.May be counted toward the European Studies interdisciplinary minor.

ARTH 342. Art Theory and Criticism	Group 3	1 course
Art criticism is a challenging literary genre. It seeks to put into language something which is inherently non-verbal, and leaves meaning open and unfixed. 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 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 incorporates both original sources written by the artists themselves and scholarly sources contextualizing the artists and their self-portraits. Discussion-based course.May not count toward the European Studies interdisciplinary major.

ARTH 390. 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. Generally it is recommended that students take Drawing I before Painting I. 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 through a variety of materials including clay, plaster, steel, paper and wood. Not offered Pass/Fail.

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 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
Continuing work in traditional and experimental techniques of photography. Some technical areas may cover color printing, studio lighting, mural printing and alternative processes. Emphasis on individual development of both conceptual and technical concerns. Prerequisite: ARTS 163. 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. Not offered Pass/Fail.

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 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 398. 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.Not offered Pass/Fail.

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 studio art. Not offered Pass/Fail.

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: 8/16/2005