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Departmental Notes
Subject Code for Art History: ARTH
World Wide Web Address: https://www.queensu.ca/art/home
Departmental Office: Ontario Hall, Room 211
Departmental Telephone: 613-533-2517
Departmental Fax: 613-533-6891
Chair of Undergraduate Studies: Jane Russell Corbett
Undergraduate Office E-Mail Address: art.history@queensu.ca
Chair of Graduate Studies: Norman Vorano, Ron Spronk
Graduate/Communications Assistant: Anna Fischer
Popular courses include the introductory "Art in the West from Antiquity to Modernity" and courses in Gothic, Renaissance, Baroque, Latin American, modern, and contemporary art; the Indigenous Arts of the Americas; Culture and Conflict; Technical Art History; Feminism; and Art and Popular Culture. These explore diverse aspects of visual and material culture, situating art with the contexts of museums, collecting, and cultural policy and in relation to key concerns such as gender, class, and race. Cross-cultural interactions are investigated in post-colonial perspective.
Overview - Art History
The Art History program offers degrees at the undergraduate and graduate level. Art History courses offer students a unique opportunity to develop the essential skill of visual literacy -- learning to look carefully and think critically about the visual images and material objects that surround us. Encompassing global art traditions from prehistory to the present, courses introduce students to a range of interdisciplinary methods, topics, and media. We explore how visual and material culture shapes human society across time and around the world. Queen's Art History students can take advantage of experiential learning opportunities in Venice (Venice Summer School/Venice and Its Biennale) and at Bader College, our 15th-century castle in England, in addition to internships for course credit at the Agnes Etherington Art Centre on campus and in other museums across Canada. Research opportunities abound at Queen's which is home to the magnificent Bader Collection of European art as well as collections of contemporary, Indigenous, African, and Canadian art. Through field trips, internships, and other activities in and out of the classroom, students gain first-hand experience in analyzing and interpreting works of art and architecture in preparation for careers in museums and archives, academic institutions, heritage preservation and tourism, journalism, art business, art law, and cultural policy.
For more information, visit the Art History website: https://www.queensu.ca/art/
Advice to Students - Art History
Languages
Students who plan to proceed to graduate work in Art History are advised to acquire reading skills in languages appropriate to the area of specialization.
Special Study Opportunities
Third and fourth-year students can apply for an internship course at various types of educational, exhibiting, and collecting institutions. Given the importance of studying works of art first hand, students in Art History are also encouraged to take courses at Bader College, Herstmonceux Castle. Summer, fall, and winter courses at Herstmonceux take advantage of architecture, painting, sculpture, and the decorative arts on both sides of the English Channel within easy travelling distance from the Castle. The Department also offers month-long programs in Venice. For more information, visit the website: www.queensu.ca/art.
Departmental Notes
Subject Code for Art Conservation: ARTC
World Wide Web Address: https://www.queensu.ca/art/home
Departmental Office: Agnes Etherington Art Centre Extension, 15 Bader Lane
Departmental Telephone: 613-533-2742
Chair of Graduate Studies: Alison Murray
Graduate Studies E-Mail Address: artcon@queensu.ca
Overview - Art Conservation
The Art Conservation program is offered at the graduate level only. It is the only Master of Art Conservation program in Canada. Art conservation is an exciting and challenging multidisciplinary field that involves the examination, interpretation, analysis, and treatment of cultural, historical, and artistic objects. Professional conservators rely on their knowledge of both the humanities and the sciences in order to understand the creation and production of material culture in the past and present and to ensure its preservation for future generations.
For more information, visit the Art Conservation website: http://www.queensu.ca/art/art-conservation
Faculty
Art History:
- Gauvin Alexander Bailey
- Antonia Behan
- Juliana Ribeiro da Silva Bevilacqua
- Pierre du Prey (Emeritus)
- Una D’Elia
- Stephanie Dickey
- Janice Helland (Emerita)
- Cathleen Hoeniger
- Lynda Jessup
- Jennifer Kennedy
- Allison Morehead
- Matthew Reeve
- Katherine Romba
- Jane Russell Corbett
- Joan M. Schwartz
- Ron Spronk
- Norman Vorano
Art Conservation:
Courses
Course provides an introduction to interdisciplinary theories and concepts in the study of visual culture, to critically interrogate our increasingly visual world.
A chronological survey of painting, sculpture and architecture in western culture from Greece and Rome through to the early modern period. The art works will be studied at British galleries, museums and architectural monuments.
NOTE Offered only at Bader College, Herstmonceux, UK. Students must participate in field trips.
LEARNING HOURS 129 (30L;24T;18GL;6I;12O;9OC;24P).
A chronological survey of painting, sculpture and architecture in western culture from c.1700 to the present day. The art works will be studied at British galleries, museums and architectural monuments.
NOTE Offered only at Bader College, Herstmonceux, UK. Students must participate in field trips.
LEARNING HOURS 129 (30L;24T;18GL;6I;12O;9OC;24P).
A survey of famous and lesser-known works of painting, sculpture, architecture, and other art forms from Antiquity, the Middle Ages, the Renaissance, the Baroque, and the Modern Age. Themes include politics, religion, mythology, gender roles, techniques, conservation and intersections with non-western cultures.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
A lecture course on a selected topic. Please contact the Department of Art History and Art Conservation for more details.
This course explores the relationship between the development of a "popular culture" and the visual arts between c. 1700-2000 in Europe and North America.
Covering considerable territory, from the painted caves of Niaux in South-West France to megalithic monuments such as Stonehenge, from the villages of the Middle Ages to the cities of Modernity this course introduces key ideas, monuments, building technologies and protagonists in the history of Architecture from prehistory to present.
A course surveying the study of artists' materials and techniques through methods of examination such as X-radiography, infrared reflectography, dendrochronology, and high-resolution digital imaging.
This course will explore the scientific aspects of art conservation, including the materials found in cultural heritage, their degradation, and the scientific techniques used in their analysis. Topics to be discussed include conservation treatments and preventative conservation, as well as forgeries and conservation controversies in history.
An introduction to the arts of the Middle Ages (c.300-1400) from the origins of Christian art under the Emperor Constantine, through the Early Christian, Byzantine, Romanesque and Gothic Periods.
A study of Renaissance art and architecture before 1500 within the context of the social, political and economic history of Western Europe. Key monuments, themes and concepts will be stressed.
A study of Renaissance art and architecture after 1500 within the context of the social, political and economic history of Western Europe. Key monuments, themes and concepts will be stressed.
An introduction to socially engaged art around the world. Using a case study approach, the course will consider the role of art and artists within social movements and study the practices of individual artists or collectives who use their work as a tool for social change.
This course offers a unique opportunity to study the art of Manet, Degas, Monet and Van Gogh, where many of the paintings studied will be viewed on gallery visits to London and Paris. Some of the classes will take place in the Musée D'Orsay in Paris and the National Gallery and Courtauld Institute in London. Further classes at Herstmonceux Castle explore gender debates, the French nude and Paris as the fashionable centre of modernity.
NOTE Offered only at the Bader International Study Centre, Herstmonceux. Students must participate in field trips.
A comparative study of English and Continental European art in the first half of the 19th century. Topics include landscape as an expression of class and power, art and politics in French Romanticism, gender roles in Pre-Raphaelite painting and the rhetoric of Realism.
NOTE Offered only at Bader College, Herstmonceux, UK. Students must participate in field trips.
LEARNING HOURS 120 (36L;84P).
This course considers the relationship between the fashion and art from the Renaissance to the present. Through an exploration of objects and images, it examines social and cultural changes in Western dress, artists' use of clothing to construct narratives, and fashion itself as a form of artistic representation.
This course examines the histories, meanings, and sites of modern arts in a globalizing world. Students become familiar with key art works, transnational and global networks of art, shifts in critical conceptions, and art historical problems surrounding modernity, modernisms, and modern arts.
This course will examine the histories, meanings and sites of contemporary art in a globalizing world. Students will become familiar not only with the works themselves, but with shifts in critical conceptions and popular media that affect the production, display, circulation, and reception of contemporary art.
An introduction to the histories of Indigenous and settler art in Canada from pre-contact to the end of the 20th century. Through close study of visual and material culture, students will become familiar not only with the works themselves, but with the historical, cultural, political, and social contexts of their production and reception.
An introduction to the arts and visual culture of Africa, encompassing traditional or classic African arts, as well as modern and contemporary artists. The course also examines how the African art field was shaped, and its critical turning points.
Learning Hours: 120(36L;84P)
An introduction to the history of photography as technology, art, and social practice. Within the larger historical contexts of society and culture, this course surveys key developments and applications in France, England, and the United States, and their spread to other parts of the world, and considers the work of major photographers and their influence.
Instruction in Venice based on daily study tours to the city's monuments and galleries. Each week a visit will be organized to an important centre in the Venice region.
NOTE Costs of travel and accommodation abroad must be paid by the student. Consult the Department for the costs involved.
An introduction to the arts and visual culture of the Indigenous peoples of North America from north of the Rio Grande to the Arctic, encompassing pre-history, colonialism, and the modern period. Key works from six regional zones are studied in their historical and cultural contexts.
An introduction to the social conditions and cultural movements that shaped European visual art of the nineteenth century in its global context. The course will stress the tension between modernity and anti-modernism as well as competing views on the very nature of visual art.
NOTE Only offered online. Consult Arts and Science Online.
A survey of the visual culture of Europe and its colonies in the Baroque age (ca. 1580-1750). Attention is given to developments in all aspects of the visual arts, with emphasis on painting, sculpture, architecture, and the graphic arts, and on the achievements of artists such as Rembrandt, Rubens, Poussin, Velasquez, and Bernini.
An investigation of the impact of war on art and architecture, as well as human attempts to preserve cultural heritage. A chronological or thematic approach may be taken, with focus placed on one or more case studies, such as: the Sacks of Rome, the Napoleonic wars, Nazi looting, the Cultural Revolution in China, and Afghanistan under Taliban rule.
A thematic introduction to the threats posed to cultural heritage, in the past and the present, and approaches to the preservation of heritage. The course will consider both environmental disasters and damage caused by human hands. Case studies will feature many UNESCO World Heritage sites.
Surveys the art and architecture of Latin America from the pre-Hispanic period to the present, from Patagonia to California. Particular attention is paid to the contribution of aboriginal artists and traditions to colonial visual culture and the built environment. Considers the rise of the academies, Nationalism, Indigenism, Romanticism, Modernism (Kahlo, Rivera, Tarsila), Madí and Chicano muralism.
This course will introduce students to the history of design from the eighteenth-century to the present day in the context of global exchange, colonialism, and industrialization.
Focusing on a selection of thematic studies from across history, from the Indus Valley Civilization to the present day, this course examines a range of artistic and artisanal works across South Asia including painting, architecture, arts of the book, sculpture, textiles, metalwork, and ceramics, as well as theories of aesthetics and craftsmanship.
This course introduces students to key institutions of art by studying their histories, current practices, and future challenges. Using a case study approach to institutions including museums, artist-run centres, auction houses, and private galleries, the course develops students' understanding of art worlds both in Canada and globally.
An examination of architecture as it has developed in relation to the economies, technologies, and social practices of the modern world. Our focus will include architectural aesthetics, materials, structures, technologies, and spaces.
From ancient Egyptian mummies to contemporary selfies, visual portraits have reflected and shaped ideals of personal and collective identity in diverse cultures and historical periods. This course explores the art of portraiture and its significance in human society. Specific case studies may vary.
NOTE Also offered at the Bader International Studies Centre, Herstmonceux. Learning Hours may vary.
This course introduces students to key themes in health and healthcare equity through in-depth study of art from the Agnes Etherington Art Centre, with the goal of developing students' cultural awareness, safety, humility, empathy, inclusive observation, and inclusive communication skills. Among others, themes include: the human body; healthcare knowledge; determinants of health; mental health; and palliative care.
A study of selected objects with a focus on materials and meanings.
This course examines intersections between art and popular culture in the late twentieth and twenty-first centuries. Students will develop an understanding of the histories of the terms "ART" and "popular culture", how they have been defined, historically opposed, and are contemporary art (e.g. Fluxus, manga, Tropicalia, net.art and post-internet).
A selective examination of issues in Canadian art history and historical practice, especially as they inform the production and critique of the history of Canadian art.
An examination of one aspect of modern and/or contemporary art history. Possible areas of investigation include the study of an issue important to the art of the modern and/or contemporary period, as well as the study of the methods and historiographic positionings of art historians working today.
This course examines German architecture, 1815 to 1945, as an important part of social practice. Buildings and monuments from German Confederation to the Third Reich will be understood according to the values they expressed and perpetuated, through their aesthetics, their materials, and their spaces.
This course considers the retrospective tendencies in art of the so-called 'Romanesque period' leading up to the 'Gothic'. Considering monuments across all media, we discuss concepts of artistic development in cathedral, monastic and secular settings. We will also consider modes of 'reading' and interpretation of medieval art in terms of contemporary modes of perception.
This course examines the changes in European art later known as 'Gothic'. With a focus on England, France, Spain, Italy and Germany, this class will consider major monuments across the media, from manuscript painting, to architecture, stained glass, sculpture and ars sacra. Throughout, monuments will be placed in their appropriate social, historical and patronal contexts.
An investigation of the connections between art, art history and intersectional feminisms. Students will be introduced to a number of the key issues and critical frameworks that have informed diverse feminist approaches to art, art history and art criticism.
A study of gender in relation to modern visual culture from the mid-nineteenth to the mid-twentieth centuries using theoretical frameworks drawn from feminist art history and gender studies. Topics to be studied include fashion and modernity, consumer culture, gendered and transgendered artistic identities, and the gendering of Modernism.
An examination of selected topics in 15th-century Italian Renaissance painting.
A study of Renaissance art and architecture through examples found in Britain and British collections.
NOTE Offered only at Bader College, Herstmonceux, UK. Students must participate in field trips.
LEARNING HOURS 129 (30L6S;24T;18GL;6I;12O;9OC;24P).
This course examines the impact of networked and digital technologies on the production, display and reception of global contemporary art. From artists' experiments with computers in the late 1960s to the post-internet and algorithmic art of the 21st century, students will be introduced to key practices, technologies, theories and debates.
A study of European art and sculpture of the early nineteenth century in its political, social and scientific contexts. Topics may include revolutionary painting and caricature, national romanticism, orientalism and empire, realism and popular culture, universal exhibitions, and the interplay of art and modern science.
A study of late nineteenth- and early twentieth-century French art in its changing institutional, social and art historical contexts. Topics may include the institutions of exhibiting and artistic training, the art market, modernity, the new Paris, impressionism and sensation, the decorative, the cult of the self, primitivism and colonialism.
This course explores fashion and its representation in art in the nineteenth century. Through an analysis of objects, paintings, and other media, we will examine how visual culture might inform our interpretation of the material world, and how a study of dress might expose the "fugitive meanings" in nineteenth century art.
An examination of selected visual representations of the British landscape, from 18th-century paintings to recent developments in a variety of media such as sculpture and earthworks. Issues of national identity, collecting and exhibiting will be addressed.
NOTE Offered only at Bader College, Herstmonceux, UK. Students must participate in field trips.
LEARNING HOURS 129 (30L;6S;24T;18GL;12O;9OC;24P).
Selected problems in the development of Canadian painting and sculpture in the modern period.
An examination of a range of historical conditions that have encouraged and challenged the growth of a visual and media arts practice in Canada since the mid-1950s.
An introduction to the processes, practices and histories of photography; the changing topics address its interpretation and application since the 1840s.
Through lectures, readings, and research, this course explores the nature, practice, and impact of photography in Canada between 1839 and 1939. By examining how the new medium was used to confirm, complement, and contest older forms of aesthetic expression, written documentation, or visual evidence, it traces the role of photography in Canadian society during this critical period of Canadian nation building.
The sources of High Renaissance art will be examined and special attention will be given to the works of Leonardo, Raphael and Michelangelo, up to about 1520.
This course will examine the sculptures that filled Italian cities from the fourteenth to the sixteenth centuries, some heroic, others pathetic or erotic. We will explore how sculptors worked with a variety of materials to bring to life effigies of diverse bodies, in relation to Renaissance debates about gender, sex, religion, class, and politics.
Painting and sculpture in the period following the High Renaissance will be examined, with emphasis placed on the emergence and meaning of mannerism in Florence and Rome.
A study of the arts and visual culture of the Indigenous peoples of the northern circumpolar region encompassing Alaska, Canada, and Greenland, with a main focus on Dorset, Thule, and post-1950 Inuit arts. Students will examine the development of modern Inuit art markets, including reception, promotion, and circulation in the south.
This course will examine the ways in which visual culture can function as social,
political or religious propaganda. With reference to examples produced from c.1600 to the present, it will deal with a variety of media and the ways in which developments in technology contribute to the spread of propaganda.
NOTE Only offered online.
A chronological survey of the history of printmaking in Western Europe from its beginnings in the 15th century to the Industrial Revolution. Topics include the cultural impact of the reproducible image, the development of woodcut, engraving, etching and lithography, and the achievements of printmakers such as Dürer, Goltzius, Callot, Rembrandt, Hogarth and Goya.
A detailed study of painting and related arts in Flanders (present-day Belgium) in the 17th century, with emphasis on the achievements of artists such as Rubens, Van Dyck and Jordaens.
A detailed study of painting and related arts in the Netherlands, ca.1580-1700. Developments in style and the growth of subject types such as genre, portraiture, landscape, and still life are examined in the cultural context of life in the Dutch Republic, with particular attention to the achievements of artists such as Rembrandt, Hals, and Vermeer.
NOTE Also offered online. Consult Arts and Science Online. Learning Hours may vary.
Theory and practice of architecture and town planning from the 15th to the late 16th centuries in Italy and elsewhere in Europe.
Baroque and Rococo architecture and urbanism of Europe and beyond including Italy, France, Iberia, Central and Eastern Europe, Scandinavia, New Spain (Mexico), Peru, Brazil, India, Macau, Philippines. Includes Italian bel composto, impact of theater, salon culture in Paris, indigenous contributions outside Europe, ephemera, gardens.
Considers art, architecture, and ephemera in Colonial Latin America (1492-1820) with particular attention to the aboriginal contribution to visual culture and built environment and the impact of multiculturalism (Africans, Asians, mestizos, Europeans of various nationalities).
This course surveys painting in the geographic area of the Low Countries, now roughly the kingdoms of Belgium and the Netherlands, between 1400 and 1500.
This course surveys painting in the geographic area of the Low Countries, now roughly the kingdoms of Belgium and the Netherlands, between 1500 and 1600.
This course traces the global flows of textiles including South Asia, the Americas, Europe, and Africa. Topics include the role of textiles in cross-cultural exchange, the industrial revolution, colonialism, and slavery, and textiles as markers of cultural identity and creative expression.
A four-week travel study course that gives students the opportunity to experience the Venice Biennale first hand. Through on-site and experiential learning at the Biennale and other arts institutions in Venice, students will study the production, display and circulation of global contemporary art.
NOTE Accommodation/Travel: estimated cost $4,000. Costs of travel and accommodation abroad must be paid by the student. Consult the Department of Art for more information.
This course examines the phenomenon of the city, a settlement of high density that has, throughout history, offered many distinctive social and cultural experiences. The focus of this course will be urban art, architecture, planning, and material culture, and their relationship to those experiences. Specific urban case studies, Western and non-Western, will provide the foundation for our study.
An examination of the history of the discipline and the epistemological assumptions underpinning art historical research and writing in the past and present.
This course examines forgeries of art and their impact on society through an interdisciplinary approach taking into consideration history, economics, law, and science.
Students in Art History and Fine Art can apply to take a practical internship in a museum or gallery, where they would undertake research or curatorial activities. All internships must be approved in advance by written application to the Undergraduate Chair. Approval will depend on the quality of the proposal and the academic record of the applicant. Students are required to write a report about their experience and are evaluated jointly by the employer and a faculty member from the Department of Art. It is the responsibility of students to arrange internships.
NOTE Depending on location, substantial travel and subsistence costs may be involved.
Selected studies of the English Country house, its architecture, landscape gardens, interior design, and contents.
NOTE Offered only at Bader College, Herstmonceux, UK. Students must participate in field trips.
LEARNING HOURS 129 (30L;6S;24T;18GL;6I;12O;9OC;24P).
The study of a selected theme within the subject matter of Western art, concentrating on its changing modes of representation in response to historical and artistic circumstances.
An in-depth study of Renaissance painting techniques in Italy and/or Northern Europe. Selected issues of technique and conservation will be examined within a broader art-historical framework.
This project-based seminar explores the interface of digital technologies, museums, and cultural heritage interpretation. Students build practical knowledge and theoretical understandings around technology, audience interpretation and knowledge creation.
A detailed study of selected topics in the conservation of art, architecture and material culture. Topics may include: the history and theory of conservation, the development of conservation as a profession, the ethics of conservation, conservation practice in the context of the museum, conservation and art history.
An investigation of how cultural heritage has been preserved in different parts of the world in the past and the present, focusing on methods used to ameliorate or prevent damage and destruction caused by the environment, war, looting and restoration. Case studies will be drawn from the UNESCO World Heritage list.
Studies in the textiles and dress of selected periods with a focus upon visual culture and/or material culture.
A detailed study of one area or topic in the history of medieval European art.
A seminar/practicum course that focuses on the development of new and experimental media arts since the 1960s.
An examination of both modern and postmodern contemporary art as activism sampled from Western and non-Western practices. The chronological period of study is from the end of the 1960s to the present. Theoretical frameworks to be used include social movement theory, postcolonial theory, and critical museum studies.
A detailed study of one area or topic in the history of early 20th-century art.
A detailed study of one area or topic in contemporary art
This course considers the house as a central typology in the history of architecture and will explore it in its fullest theoretical and literary contexts. We consider the house as an idea and a material whole, including the art that it housed, the functions and performances that it staged, and the patrons, architects and designers that created it.
120(36S;84P)
A detailed study of one area or topic in the history of 19th-century art.
120 (36S;84P)
An examination of the relationship of art and tourism. Topics include the role of tourism in the creation of tourist, Folk and Primitive art, souvenir and craft; the relationship of museums and cultural tourism to the rise of global capitalism; the ways in which art in a tourism economy participates in the politics of identity and representation.
A consideration of the history of collecting and public collections; of museum policy and practice; and of Western notions of art and culture as they are applied in the museum to non-Western art.
An introduction to key structuralist, poststructuralist, and marxist theories and to those art historians on whose work they have been most influential.
This course will examine a range of theories from anthropology, which offers a number of concepts for exploring the social in the visual, material, and spatial world. We will assess the potential roles of the theory for art historical analysis.
120(36S;84P)
This seminar offers an in-depth study of a topic in North American Indigenous arts and visual culture, including theoretical and methodological readings.
This seminar focuses on historical and contemporary critical writing to explore historical and contemporary perspectives on the nature, theory, and practice of photography. It is a course about ideas rather than images - ideas about photographs, about looking at photographs, and about reading photographs - ideas that have governed the way we look at, respond to, and draw meaning from photographs.
A detailed study of one artist or theme in the visual culture of northern Europe, primarily The Netherlands and/or Germany. Topics may focus on the Renaissance and/or Baroque era (ca. 1400-1750).
Explores Caravaggio, Artemisia Gentileschi and contemporaries in Baroque Italy. Considers issues such as naturalism/idealism, patronage, populist piety, gender. One of the goals is to look at the ways in which these artists' personalities have been projected onto their work by scholars, essayists, novelists, and filmmakers.
This seminar, held at the Agnes Etherington Art Centre, integrates historical, theoretical, and practical approaches to contemporary curatorial issues.
An assessment of hybrid art focusing on the period of European evangelization of non-European civilizations, 15th-19th c., a global encounter involving the widest spectrum of peoples, races, cultures, and religions. Will consider the transformation of the arts of Early Modern Europe in contact situations in Asia, Africa, Latin America, and Quebec.
120(36S;84P)
A study of the evolution of Gothic sculpture from the mid-12th century to the 15th century. Topics will range from the elaborate sculptural programs of great cathedrals to the work of Claus Sluter and other major sculptors of the late Middle Ages.
The course will explore the diverse materials used for sculpture (marble, bronze, wood, clay, wax, etc.) and their social functions - how sculptures were a part of cult practices, dressing sculptures, speaking statues, miraculous sculptures, iconoclasm, reliquaries, and domestic objects.
An examination of selected topics in the painting of Venice and the Veneto.
The study of how words and images interact in visual and material culture. Topics may vary to address a selected theme, historical period, artist, movement, or art form, such as: illustrated books or manuscripts; art as inspiration for literary works or vice versa; scientific and technical illustration; words as images; film; digital media.
The detailed, analytic study of a selected body of texts within the literature of art, directed towards gaining an understanding of the dominant theories, critical attitudes, or historical perspectives on art during a particular period.
A study of selected topics in the art of the 17th century.
A detailed study in the history of prints and drawings.
Exceptionally qualified students entering their third- or fourth-year may take a program of independent study provided it has been approved by the Department or Departments principally involved. A Department may approve an independent study program without permitting it to be counted toward a concentration in that Department. It is, consequently, the responsibility of students taking such programs to ensure that the concentration requirements for their degree will be met.
NOTE Requests for such a program must be received one month before the start of the first term in which the student intends to undertake the program.
Exceptionally qualified students entering their third- or fourth-year may take a program of independent study provided it has been approved by the Department or Departments principally involved. A Department may approve an independent study program without permitting it to be counted toward a concentration in that Department. It is, consequently, the responsibility of students taking such programs to ensure that the concentration requirements for their degree will be met.
NOTE Requests for such a program must be received one month before the start of the first term in which the student intends to undertake the program.
Exceptionally qualified students entering their third- or fourth-year may take a program of independent study provided it has been approved by the Department or Departments principally involved. A Department may approve an independent study program without permitting it to be counted toward a concentration in that Department. It is, consequently, the responsibility of students taking such programs to ensure that the concentration requirements for their degree will be met.
NOTE Requests for such a program must be received one month before the start of the first term in which the student intends to undertake the program.
Exceptionally qualified students entering their third- or fourth-year may take a program of independent study provided it has been approved by the Department or Departments principally involved. A Department may approve an independent study program without permitting it to be counted toward a concentration in that Department. It is, consequently, the responsibility of students taking such programs to ensure that the concentration requirements for their degree will be met.
NOTE Requests for such a program must be received one month before the start of the first term in which the student intends to undertake the program.