-Spring 2011 Portraiture and Self-Portraiture by Mark Rosen
This course examined the portraits of early modern Europe in an on-going project with the Dallas Museum of Art to study the lesser-known and potentially important late 16th century portrait of the Grand Duchess of Tuscany Bianca Capello de Medici by Florentine artist Alessandro Allori. The course also examined Medici portraiture and the issues associated with museum studies and the curating of objects and exhibitions.
-Spring 2012 Conceptual Art 1966-72: Dematerialization of Art by Charissa Terranova
This course’s material dealt in large part with conceptualism and the challenges of this period by historicizing the dematerialization of the work of art while looking at conceptualism as a long-term endeavor. In conjunction with the Dallas Museum of Art, the Nasher Museum and the Rauchofsky House.
-Fall 2012 Leonardo da Vinci by Mark Rosen
This course examined all of Leonardo’s artistic production, from his beginnings in Florence in Verrochio’s studio, to his ducal appointment in Milan from 1482 to 1499 and his time in France through its invasion of mainland Italy starting in 1494 through to 1499. An in depth look at his few finished masterpieces and abundance of drawings and sketches, highlighting Leonardo’s genius in terms of technology and innovation. The course was designed to help students question issues of style, patronage and the business of art even during the Italian Quattrocento, where reputation and appearances mattered greatly to wealthy Italian dukes and their consortium. This course also took place while the Dallas Museum of Art was considering the purchase of a newly discovered Leonardo painting entitled Salvator Mundi which raised questions concerning connoisseurship and private funding.
Ste Anne with the Virgin and Christ (and Lamb), c. 1500-1515 and taken to France where Leonardo worked on the painting, now at the Louvre Museum. This work is believed to be unfinished as per an epigram discovered in 1537 written by Greek scholar Janus Lascaris, describing the painting in a few poetic lines, when he spent the last year’s in the French king’s court, Francis I, with Leonardo:
“In reference to the unfinished Ste-Anne.
It was left thus so as not to rival with other famous ancient masterpieces
Anne, your painter, the Florentine, has left us
Far beyond a Venus, which even Apelles never finished
You will be revered for your brilliant dynasty”
Salvator Mundi, the work considered for purchase by the Dallas Museum of Art in 2012
-Spring 2013 The Object in Dada/Surrealism by Catherine Craft
Subversion, dreams, protest, jokes, collaboration, incursions into everyday life – hallmarks of contemporary art that all have roots in Dada and Surrealism, two avant-garde movements that flourished in the first half of the twentieth-century. This graduate course, which meets at the Nasher Sculpture Center, will examine these two movements and their legacy via the rich and varied roles played by objects. The approach of this course will be thematic, defined by a series of topics related to sculpture, including readymades, assemblage, the fetish, and installation art.
The seminar will make use of the permanent collection of the Nasher, as well as special exhibitions that will be open during the semester (Ken Price Sculpture and Sightings: Nathan Mabry), and related programming. Students should be familiar with major developments in twentieth-century art. Course requirements include class presentations on readings, participation in individual and group projects, and a final paper.