Questions?Department of Studio Arts & Art HistoryMS-B1801Hamline University1536 Hewitt AvenueSaint Paul, MN 55104
P: 651-523-2457F: 651-523-3066
Aida AudehDepartment Chair651firstname.lastname@example.org
The study of studio arts involves learning the fundamental principles of perception, technical skills, and aesthetic concepts corresponding to the individual disciplines of painting, sculpture, printmaking, and drawing. Studio courses are taught in a developmental sequence tailored to the needs of the individual student. Discussions of art history and criticism are integral to all studio courses.
The Department of Studio Arts and Art History maintains a collection of more than 80,000 slides and digital images. The 2,000-square-foot painting studio has almost 1,000 square feet of north light. The printmaking studio is equipped for the intaglio printmaking process. Housed in separate buildings are 2,130 square feet of sculpture and drawing studios. The sculpture studio is equipped for clay modeling and plaster casting. A new 900-square-foot, secure and climate-controlled gallery was opened in 1996 in the Drew Fine Arts Center. The gallery, which houses the permanent collection, has also featured exhibitions that have brought national attention to the university.
Art History students Virginia Buck, Carrie Coursolle, and Chelsea Starke will present their research on the art of Jan Vermeer, Jacques-Louis David, and Berthe Morisot, respectively, at this year's National Conference on Undergraduate Research at the University of Wisconsin-La Crosse in April. Virginia and Chelsea will also present abbreviated versions of their papers at the ACTC Women's Studies Student Conference held this year at the University of St. Thomas. Please contact Prof. Audeh for further information at email@example.com.
Review: Dante in the long nineteenth century: nationality, identity, and appropriation, ed. by Aida Audeh and Nick Havely, Choice (March 2013)
The "long nineteenth century" began with Dante's name and writings barely emerging (thanks to the impetus provided by nascent Romanticism) from the neglect to which the "enlightened" taste of the previous century had consigned them. It ended with Dante installed as the national poet of a newly united Italy, and his work--chiefly, of course, the Commedia--accepted as a touchstone of artistic achievement and historical significance among readers both within Italy and far beyond its recently delineated borders. This remarkably rich and informative collection of essays, by 19 scholars from six countries, offers a wide-ranging overview of Dante's 19th-century fortuna in criticism, scholarship, literature, the visual arts, music, cinema, politics, education, and cultural theory. Much space is rightly devoted to Dante's importance in debates about Italian nationality and identity during the Risorgimento; Audeh (art history, Hamline Univ.) and Havely (literature, Univ. of York, UK) also find room for studies of his appropriation by French, British, Irish, German, and American writers and thinkers and their counterparts in such less predictable locales as Turkey and Bengal. Readable and fascinating throughout, this book is indispensable for those interested in Dante, comparative literature, and interdisciplinary cultural studies. Summing Up: Highly recommended. Upper-division undergraduates through faculty. -- S. Botterill, University of California, Berkeley
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