StFX Art and Art History Courses

Johannes Vermeer, The Art of Painting
Johannes Vermeer, The Art of Painting, detail, Oil on canvas,1665-67, Kunsthistorisches Museum, Vienna

The Art Department at StFX offers four levels of courses: each advancing level of study allows students to apply skills and knowledge acquired from the earlier level to generate new learning and confidence.

100 Level Courses

100 level courses in both Art Studio and Art History offer essential knowledge and training that form the foundation for all further study in the Art Department. Art Studio courses provide students with the fundamentals of drawing, design, and colour theory. Art History courses survey the development of artistic expression in the Western world from pre-historical cave paintings to concepts expressed by modern artists. Courses at this level are the prerequisites for all upper levels of study.

Art Studio Courses

101 and 102 Drawing
Collage of 4 black and white paintings side by side
StFX student artwork

This complementary pair of introductory courses allows students to acquire the fundamental skills of drawing, and lets them explore form, content, and subject matter in a variety of drawing media. Artistic awareness is achieved by introducing students to the language of art and to the creative accomplishments of the past. Speaking clearly about one's artistic ideas and concerns by using the vocabulary of formal analysis becomes an important aspect of "seeing", as identification allows for critical studio practice and discussion. Art101 establishes basic understanding; Art102 develops skills and themes initiated during Art101.

Art 101 - 3 Credits
No prerequisite.
Art 102 - 3 Credits
Prerequisite Art 101.
Students who have previously taken Art100 are not eligible to enrol in either Art101 or Art102.

115 Introduction to Design
Collage of 4 announcement designs side by side
StFX sudent design solutions Oct 2019 Project 1: a square web announcement for an Antigonish Performing Arts event

This course focuses on design principles and elements such as unity, balance, repetition, line, shape, and colour. The course provides students with a vocabulary and working knowledge of visual communication and how the disciples of design influence and create culture and communication. Students develop their visual problem-solving skills and understanding of visual communication through studio projects and class discussions.

3 Credits
No prerequisite

125 Materials and Methods
Collage of 5 different artworks side by side
StFX student artwork

This course will afford students the opportunity of working in a variety of art media, (two-dimensional and possibly three-dimensional) while exploring techniques, presentations, concept and materials. Projects may include painting, printmaking, sculpture, animation, textiles and more. Students with some prior knowledge of drawing and/or art experience will benefit most from this course.

3 Credits
No prerequisite, though ART101/102 is recommended (previously ART100)

145 Introduction to Colour
3 different colour pallets

This course deals with the vocabulary, nature and physical properties of colour: hue, value and intensity. Studio assignments provide practice in learning colour relationships in unified and contrasting colour schemes.

3 Credits
No prerequisite

Art History Courses

141 Art and Society I:  From Caves to Cathedrals
5 artistic historic symbols
L-r:  Golden Funerary Mask of Tutankhamen, 18th Dynasty;  Colosseum, Rome, 72-80 AD;  La Belle Verriere, Notre-Dame, Chartres ca. 1170;  Emperor Justinian, San Vitale, Ravenna ca. 547;  Hall of The Bulls, Lascaux, France ca. 15,000-10,000 BCE

Long before human beings developed written language, we were making works of art. This introductory survey examines art and architecture within the intellectual and social contexts of thei r historical production. It provides a working knowledge of the history of art from prehistory through Classical Greece and Rome, to the great cathedrals of the Medieval period. Students will begin to develop critical tools for studying visual culture, and achieve a deeper understanding of cultural history.

3 Credits
No prerequisite

142 Art and Society II:  From Renaissance to Revolution
5 famous works of art
L-r:  Caravaggio, Boy with a Basket of Fruit, c.1593;  Michelangelo, David, 1501-04;  Jean-Honoré Fragonard, The Swing, 1767;  Paul Cézanne, Mme. Cézanne;  Grant Wood, American Gothic, 1930

This section of the art history survey begins with works of art and architecture of the Italian Renaissance, where new ideas (including the notion of genius) had major repercussions for the cultural and artistic history of subsequent periods, including the Baroque, Romanticism, the 20th Century, and our contemporary era. Students will learn new ways of observing and interpreting art, enrich their appreciation of art and architecture, and further deepen their understanding of cultural and intellectual history.

3 Credits
Prerequisite: Art and Society I

200 Level Courses

200 level courses build upon the fundamental information students have mastered at the 100 level. Art Studio courses offer a wide variety of artistic media for students to explore and apply their newly-acquired skills and knowledge: theatre design, printmaking, painting, stained glass, and textiles. Art History courses focus on historical periods of artistic expression such as Medieval, Baroque, Modern, and Contemporary art, as well as specific stylistic movements such as Impressionism.

Art Studio Courses

202 Introduction to Scenic Design
3 Different stage performances

This course will cover the steps in the creation of theatre sets and lighting designs. Both sections of the course will be, principally, project based with ‘hands on’ experience at each stage of the growth from conception to finished project. Facts and theory, while covered, will be subordinate to the creative process. There will be a series of smaller projects each week, which in turn will lead to the completion of a major design project for a play chosen by the instructors.

3 Credits
Prerequisite: 100 Drawing or permission of the instructor based on the student’s resume of theatre experience or letter of interest

204 Introduction to Painting I
205 Introduction to Painting II 

Formerly Art 200 Painting I

3 works of art
StFX student artworks

This pair of complementary courses will introduce you to the fundamental principles of representational painting. You’ll begin by exploring colour, the formal language of painting, and the techniques and tools available to an artist to create expressive and dynamic paintings. In the first semester, there is an emphasis placed on developing a disciplined, healthy working practice by managing time, materials and methods effectively. As foundation skills develop, individual exploration is encouraged and fostered by critiques and the exchange of ideas. There will also be lectures on historical themes to provide you with knowledge of the rich history of the medium. Other discussions delve into theory, critical issues and the exciting developments of painting in contemporary art.
Students who have previously taken Art200 Painting I or ST Art299 Introduction to Painting may not enrol in these courses.

Art 204: 3 Credits
Prerequisite: 102 Drawing or portfolio submission

Art 205: 3 Credits
Prerequisite: 204 Introduction to Painting I

211 Stained Glass Studio I
2 pieces of glass art side by side
Details from art student Rowan Murphy, Landscape, 2016

There is nothing quite like a beautiful stained glass artwork to transform a space! Imagine if it were created by---you! Step by step, I'll introduce you to the techniques of working with stained glass using the copper-foil technique: transferring patterns, cutting and grinding, soldering (yes you will melt metal), assembling, soldering, and finishing. Over the course of the term, you will produce a unique 2D panel. You are encouraged and supported to work in your own style, and draw upon your passions, identity, experiences and culture to create the design. Major "ooohh/aaaaw" factor when you bring your project home!

3 Credits
Prerequisite: 101, 102 Drawing (formerly Art 100) or 115 Introduction to Design

212 Stained Glass Studio II

2 pieces of glass art side by side

StFX student artwork

Everything you loved about Stained Glass I, only more! (and in 3 dimensions) This hands-on studio course is a continuation of Stained Glass Studio I, introducing intermediate-level techniques. I'll show you how to design a 3D stained-glass structure such as a lamp, as well as do all the steps in the technical process: transferring patterns, cutting and grinding, soldering panels, assembling, soldering and finishing. You are encouraged to design in your preferred art style, and express your individual identity, experiences, and culture. Imagine the “light bulb moment,” and the amazement of your fans!

3 Credits
Prerequisite: 211 Stained Glass Studio I

221 Batik Studio
3 Images showing Batik art


Have you ever heard of Batik? Not everybody has. But if you have ever seen sarongs from Bali or traditional cloth from West Africa or India, you have probably seen batik! Batik is a Javanese word for an ancient art form practiced in various parts of the world, dating from at least 1000 BCE. Designs and images are created on textiles by the alternate application of dyes and a “resist” such as melted wax. My aim in this course is to provide you with technical batik skills, while encouraging you to create artwork inspired by your own personal journey, identity, and culture. The course also looks at other forms of resist dyeing, such as tie-dye and tritik (shibori).

3 Credits
Prerequisite: 101, 102 Drawing (formerly 100 Drawing), 115 Introduction to Design or 145 Introduction to Colour or, a portfolio demonstrating drawing and design skills

222 Weaving Studio
3 weaving artworks
Student Work L-R: Aggie Hennessy, Theora Holden, Danielle Makar

This course offers an introduction to tapestry weaving and its techniques. Students will initially learn to weave a tapestry based on a sampler designed by the instructor. Students will then apply this knowledge to a small-format tapestry of their own design. An artist’s statement and a written exam are also aspects of course evaluation.

Tapestry is a technique of weaving that is more than 2000 years old; it is practiced by cultures around the world. The cloth produced by various groups of weavers takes on different aesthetics and functions according to each culture. Besides sharing a common technique, tapestry woven cloth plays numerous cross-cultural roles: social, spiritual, political, economic, and artistic. These many facets of tapestry will be explored through a series of videos that highlight cultural traditions and international perspectives.

3 Credits

 233 Introduction to Printmaking

formerly Selective Topic 298 Printmaking

3 works of art

An introduction to printmaking, this course presents intaglio and relief print through three printmaking techniques: line etching, 2-plate linocut and 4-colour reductive linocut. Each technique is explained through instructional demonstrations following examination of printmaker’s works. While creating three original images, students will acquire design skills, learn to use safely etching and carving tools on metal and linoleum blocks, gain appreciation for materials such as specialty papers and inks, and learn how to print on a traditional intaglio press and by hand with a spoon. This course will foster artistic expression while developing technical accuracy and precision. There is no pre-requisite for this course, all are welcome. Find out more about printmaking from the Museum of Modern Art, New York - What is a Print?

3 Credits

 240 Pastels
Two images showing pastel artwork

The essence of pastels is the aesthetic experience of drawing with colour. The course is designed to introduce chalk pastels as a painting medium. With the various techniques that create the beautiful effects of pastel painting, the student will learn basic colour theory and composition. Class participation in problem solving discussions about painting will be encouraged. The course will explore the various ways to mix, layer and blend colours with chalk pastel. Class assignments will explore the genres of still life, landscape and portrait. Drawing skills are strongly recommended.

3 Credits
Prerequisite: 100 Drawing or, equivalent portfolio

 255 Watercolour - Techniques and Approaches
Watercolour artworks

In this course students familiarize themselves with the materials and the basic techniques of transparent watercolour painting. Instruction will include various classic and innovative approaches to this versatile medium, using works by well-known masters of watercolour painting as a jumping-off point for student's own exploration in the medium.

3 Credits
Prerequisite: Art102 Drawing (formerly Art100 Drawing) or, a portfolio

265 Introductory Animation
3 animated drawings

In this course, students will learn the basics of animation. Projects include simple 2D animation (flip-book, hand drawn and digital animation) and Stop Motion. There is a self-directed final project in which students will expand on acquired technical and theoretical knowledge of animation fundamentals. There are many different ways to approach animation, so a high level of drawing skill is not necessary. A laptop and digital camera are necessary. Open-access free animation software will be used.

3 Credits

259 Introductory Filmmaking
clapperboard on a table

Students will learn the basic principles of storytelling, cinematography, sound, editing, interviewing, and producing. Operating as a one-person crew, each student will create three video projects using their own equipment (usually their phone) and free editing software. Additionally, students will expand their understanding of cinema through watching films, focusing on independent documentary works by Canadian filmmakers who are underrepresented in the industry (women, Indigenous, Black, People of Colour, and LGTBQ2S+).

3 Credits

271 Introduction to Digital Photography
Camera lens among electronic chips
Image: Kevin Dooley

This class is designed for students interested in learning to effectively use digital photography as a means for self-expression, artistic medium, or cultural comment. No equipment will be needed except for a smart phone.

3 Credits

Art History Courses

244 History of Photography
Old black and white image showing lady jumping over chair
Eadweard Muybridge, Motion Study (Woman jumping over a chair), 1867; Collotype, The Metropolitan Museum of Art

From the public announcement of a viable process in 1839, to the present day, photographic images have come to dominate our visual world. This course will examine the history of photography through its technology and through the work of key photographers, styles, and purposes. It will also consider photography as a medium for art in itself, its position and relationships with the traditional arts, and its extraordinary power to construct a world.

3 Credits 
No Prerequisite

251 Medieval Art
4 images representing medieval art
Catacombs of Peter and Marcellinus,Rome 2-4 C.; Chartres Cathedral, Jamb Statues of Saints, 12th C.; Lindisfarne Gospels, Carpet Page c.700; The Good Shepherd, Mausoleum of Galla Placidia, Ravenna 5th C.

This course examines major developments in art and architecture of the Middle Ages, from the triumph of Christianity in Imperial Rome through the late Gothic period of the 14th Century. The Bible and most early Church theologians associated images with idolatry and paganism, yet this 1000-year period was one of exceptional richness and diversity in Christian visual arts. We will see how medieval art and architecture reflect and respond to changing theological, devotional and societal needs.

3 Credits

252 Baroque Art
4 images representing baroque art
Caravaggio, The Conversion of St Paul, 1601; Rembrandt van Rijn, Self-portrait, c.1665; Diego Velázquez, Las Meninas, detail, 1661; Johannes Vermeer, Girl with a Pearl Earring, c.1665; Gian Lorenzo Bernini, The Ecstasy of St Teresa, 1647-52

This course explores developments in the visual arts in Europe during the 17th Century. Works of art and architecture will be examined in their social and cultural contexts, including discussion of the Italian Counter-Reformation and new ideas about the function of religious images and buildings, urban planning and the glory of Rome, absolutist monarchies and visual propaganda, specialization in the art market and Dutch genre painting, and the rise of art academies and art theory.

3 Credits

260 20th Century: Modern Art
4 images representing modern art
Frida Kahlo, Self-portrait, 1940; Salvador Dali, The Persistence of Memory, 1931;

This course examines the origins of modernist endeavor in the late 19th century and covers art up to the end of World War II. Attention will be paid to major movements and artists, parallel movements in literature and music, the social and political context, and new technologies.

3 Credits
Prerequisite: 141 History of Art I, 142 History of Art II (or equivalent)

261 Contemporary Art
an image of a lady in the woods
Peter von Tiessenhausen, Sanctuary, 2012, Installation and performance

This course examines art from the end of World War II to the present day. Attention will be paid to major movements and artists, the social and political context, and the changing assumptions of what art should be and do.

3 Credits
Prerequisite: 141 History of Art I, 142 History of Art II (or equivalent)

269 The Body in Art: History & Theory
5 images showing different parts of the human body in art
Copy of Praxiteles, Aphrodite of Knidos (4th century BCE) by Ippolito Buzzi, marble © Ludovisi Collection; Kongo artist and nganga, Yombe group, Mangaaka Power Figure, second half of the 19th century, 118 x 49.5 x 39.4 cm © Metropolitan Museum of Art; Jacques-Fabien Gautier Dagoty, The Anatomical Angel, 1746, colour mezzotint, 61.2 x 46 cm, © National Gallery of Art; Robert Strange after Jan van Rymsdyk, plate VI, engraving, 58.4 x 43.8 cm, in William Hunter, The Anatomy of the Human Gravid Uterus (London, 1774), © University of Glasgow Library; Yoko Ono performing Cut Piece at Carnegie Recital Hall, New York, 1965, © Yoko Ono. Photo: Minoru Niizuma - All images are in the public domain. 

Intimately linked to identity and experience, the human body has constituted a wellspring of formal and conceptual explorations for artists across time and space. This thematic art history survey critically examines the relationship between ideas about the body and artistic representation. Students will use visual analysis and key concepts, like the Gaze and intersectionality, to study a wide range of artworks, from scientific illustrations to performances, that stem from a variety of cultural contexts.

3 Credits

300 Level Courses

300 level courses offer increased challenges and applications building upon students’ knowledge and skill. Art History courses offer new explorations of Italian and Northern European Renaissance art, Christian art, and studies in modern Canadian art. There are also courses cross-listed to other departments, each with their own particular focus. Art Studio classes offer advanced levels of study in drawing and painting, and applications of both in botanical illustration. Further, both Art History and Art Studio allow dedicated students the opportunity to create their own course of study with the supervision of a willing instructor.

Art Studio Courses

320 Painting II
4 paintings side by side
Student work l-r: Landscape with Snow by S. McKan, Still-life by Hilary MacDonald, Winter Landscape by A.H., Still-life with Beach Chair by Candance MacIsaac

This course is a continuation of 204/05 Introduction to Painting. Students will develop their painting technique during the course, and there will be an emphasis on composition and creativity within their artworks.

6 Credits
Prerequisite: 204/205 Introduction to Painting (previously 200 Painting I)

346 Botanical Art and Illustration
4 paintings of flowers
Student work in pencil and ink

This course will be concerned with developing drawing to accurately reproduce plant forms. Non flowering and flowering plant form and diversity will be covered using pencil, pen and ink.

3 Credits
Prerequisite:101/02 Drawing or 100 Drawing or a portfolio demonstrating drawing or painting skills

351 Anatomy for the Artist: Drawing
4 paintings of human anatomy
Annibale Carracci, Nude Study, Chalk drawing; Anonymous French, Musculature Study, Pen and Ink; Clorion, Skeleton Study, Pen and Ink; William Holman-Hunt, Female Nude, Chalk and Graphite

This course provides intensive study of human anatomy with the purpose towards figure drawing. We will focus on the skeletal and muscular systems studying both anatomy models and live models. Using graphite and charcoal students will gain the knowledge to accurately draw the human figure and place their work within the context of figurative art.

3 Credits
Prerequisite: Art 100 or portfolio submission

359 Intermediate Filmmaking
clapperboard on a table

Intermediate Filmmaking builds on Introductory Filmmaking. Students will learn key components of cinematic grammar (for example, tone, casting, and pacing) and will create projects, to which they will bring their unique creative vision. Students will also analyze films, primarily those created by underrepresented filmmakers (women, BIPOC, and 2SLGTBQ+). To take this course, students must have access to a mobile device that can shoot video and also a computer that can run basic editing software.

Selected topic courses permit students of exceptional ability and motivation to pursue, on a tutorial basis, individual programs of study in areas not normally offered by the department.

3 Credits
Prerequisite: approved by the instructor
See: Academic Calendar Section 3.5

363 Advanced Drawing I
student artwork
Student artwork

A continuation of 100 Drawing, this course covers the direct observation of still-life, figure drawing, composition, expression, and critical analysis. A variety of drawing media, both colour and black and white, will be used. Projects to be done outside of class will be assigned on a regular basis.

3 Credits
Prerequisite: 100 Drawing or a portfolio approved by the instructor

364 Advanced Drawing II
student artwork
Student artwork

This course will concentrate on the development of individual expression. There will be greater emphasis on the expressive potential of the figure. Projects to be completed outside the class will be assigned on a regular basis.

3 Credits
Prerequisite: 363 Advanced Drawing I

Art History Courses 

343 Issues in Canadian Art Through World War II
4 different works of art
Big Raven, 1931, by Emily Carr; The Jack Pine, 1916-17, by Tom Thomson; Haida Gwaii Spirit Mask, c. 1870; Temps Leger, 1956, by Jean-Paul Riopelle

This course reviews Canadian art practice from the pre-contact period through World War II. Topics will include native peoples as producers and as represented, the development of landscape painting and the Group of Seven, Emily Carr, the Beaver Hall Group, war art, David Milne, the Canadian Group of Painters, and the development of abstraction in Quebec.

3 Credits
Prerequisites: 141 History of Art I, 142 History of Art II, or equivalent

344 Issues in Contemporary Canadian Art
Contemporary art examples
Antipersonnel, 1998 and continuing, knitted sculpture by Barb Hunt; A Night of Moons, 2008, installation of mixed media by Ed Pien; Cultural Briefs, 1996, rawhide, wood, and hardware by Teresa Marshall

After examining the “crisis” of abstraction in sculpture and painting, we will look at the critique of representation and the question of reality as representation in the society of mass consumption. We will explore issues such as gender and feminism, contemporary aboriginal production, subjectivity, and the role of images in globalizing culture.

3 Credits

354 Women, Art & Gender: Rewriting Art History
5 paintings of women's portraits
Rosalba Carriera, Self-Portrait, c. 1743-47, pastel on blue paper, 31 x 25 cm, © Gallerie dell’Accademia; Henri Rocher, Portrait of Edmonia Lewis, c. 1870, photograph, 9.2 x 5.2 cm, © National Portrait Gallery, Smithsonian Institution; Élisabeth Louise Vigée-LeBrun, Self-Portrait, 1791, oil on canvas, 100 x 81 cm, © National Trust Collections; Portrait of Hilma af Klint, 1901, unknown photographer, © Moderna Museet; Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, c. 1638-39, oil on canvas, 98.6 x 75.2 cm, © Royal Collection Trust. - All images are in the public domain.

Recentering women in the history of art, this course critically examines the structures that excluded them and the narratives that erased them. It looks at how gender has shaped the discipline of art history and at texts that envision more inclusive methods. Students will draw on their experiments with looking techniques to write about women’s contributions to various visual and material cultures, from the discovery of butterfly metamorphosis to the secret “invention” of abstraction.

3 Credits

356 Iconography of Christian Art: Life of Christ
5 Examples of Christian art

Christ of Saint John of the Cross, 1951, oil on canvas, 205 x 116 cm, by Salvador Dali, Kelvingrove Art Gallery, Glasgow; Entry into Jerusalem, 1308-11, tempera on wood, 100 x 57 cm by Duccio, Museo dell'Opera del Duomo, Siena; Good Shepherd sarcophagus, 4th C AD, marble, Museo Pio Christiano, Vatican; Resurrection c. 1515, oil on wood, 269 x 141 cm by Matthias Grunewlad, Colmar; Christ Pantocrator, 12th C AD, mosaic, Cefalu, Sicily

Iconography is the identification and interpretation of images. This course is an introduction to the iconography of Christian art, with an emphasis on images of the Life and Passion of Christ. The course will examine how images develop over history, and how they may be understood in light of historical events, changes in theological thought, and in the artist's own spirituality.

3 Credits

357 Iconography of Christian Art: The Saints
5 Examples of Christian art
St Francis Receiving the Stigmata, 1300 by Giotto; Sts Agatha and Lucy, 1480s by Guidoccio Cozzarelli; St George Slaying the Dragon,1503-05 by Raphael; St Mary Magdalene, c. 1532 by Titian; The Martyrdom of St Peter, 1601 by Caravaggio

This course is an introduction to the iconography of Christian art, with an emphasis on images of Mary and the saints. The course will examine how images develop over history, and how they may be understood in light of historical events, changes in theological thought, and in the artist's own spirituality. Discussion will include how such images were used as objects of personal devotion but also for the conveying of important theological and social values.

3 Credits

371 Italian Renaissance Art I
4 images representing Italian renaissance art
The Birth of Venus, 1486 by Sandro Botticelli; David,1430-40, The Meeting at the Golden Gate, 1305 by Donatello; Giotto; Saint Francis in The Desert, 1480 by Giovanni Bellini

During the Italian Renaissance, humanists began to look back to the Classical past for inspiration. At the same time, some religious leaders led followers to an increased interest in the natural world and contemporary everyday life. These new trends deeply affected the visual arts. This course will examine this period of profound innovation in painting, sculpture and architecture, from the time of Giotto to the precursors of High Renaissance style in Florence and Venice.

3 Credits

372 Northern Renaissance Art
4 images representing Northern renaissance art
The Garden of Earthly Delights, detail c. 1500 by Hieronymous Bosch; Sir Thomas More, 1527 by Hans Holbein; The Assumption of Mary Magdalene, 1490 by Tilman Riemenschneider; The Arnolfini Wedding, 1434 by Jan van Eyck

This course explores the innovative artistic legacy of Northern Renaissance Europe. New technical developments such as oil painting allowed artists to create unprecedented levels of realistic illusion in paintings. The rise of the printing press opened up new avenues for the dissemination of imagery in the form of woodcuts and engravings. The religious turmoil of the Protestant Reformation also had profound consequences for the development of art - and its subject matter - in the North.

3 Credits

373 Italian Renaissance Art II
4 images representing Italian renaissance art
Moses, 1513-15 by Michelangelo; The Madonna of the Long Neck, 1534-40 by Parmigianino; Danaë, c.1553 by Titian; The Last Supper, detail, 1495-98 by Leonardo da Vinci

This course examines Italian art and architecture during the late 15th and 16th Centuries, beginning with the monumental “High Renaissance” style established by Leonardo da Vinci, Michelangelo, and Raphael. The role these artists and others played in the rise of the notion of artistic genius led to problems linked to artistic license as the century progressed. We will consider works of art from the point of view of style and technique, but also how art functions in its social and political context.

3 Credits

Cross-Listed Courses


300 A Cultural and Intellectual History of Canada
Painting showing people and dogs in the snow

This course is an historical analysis of Canadian literature, art, and architecture, and the intellectual forces that have shaped Canadian society.

6 Credits
Cross-listed HIST 300

312 Art and Politics
Painting showing parents and children sitting in the camp

This course introduces students to what modern artists have to say about politics and what governments do and say about art. It provides some of the historical and theoretical tools needed to analyze the political role of art in our time. Students will examine literary works, painting, music, and architecture, and discuss specific policies on art.

6 Credits
Cross-listed PSCI 312

321 Celtic Art
Celtic symbol logo

Weave your way through Celtic knots and horror vacui (fear of empty space), and discover the art of the Celts. From the Battersea Shield to the Book of Kells, we will trace our way through the extraordinary legacy of weaponry, jeweller, illuminated manuscripts, Celtic crosses, and Sheela-na-Gigs to arrive at a deeper understanding of the people who made them. Acceptable as a course in the Dept of History.

3 Credits
Cross-listed CELT 325 and ANTH 321

331/32 Catholicism and the Arts I&II
Painting showing catholic priest.

This course traces literary, musical, or artistic themes in great Catholic artists. Consideration is given to some of the following periods: early Christian art; medieval art, architecture, and music; Christian themes in Renaissance humanism and art; Christian themes in the Baroque; contemporary religious art.

6 Credits
Cross-listed CATH 331/32

400 Level Courses

400 level courses offer students specialized courses in both Art History and Art Studio. Topics in Italian Renaissance art provide the focus for a seminar class. The subject matter for this course becomes the starting point for students to pursue their own study and present their research to fellow classmates. Both Art History and Art Studio provide further opportunity for dedicated students to create their own focus of study.

Art History Courses

435 Seminar in Italian Renaissance Art
4 images representing Italian renaissance art

This course is an intensive investigation into an aspect of Italian Renaissance art. Topics may include, among others: Michelangelo and his biographers; Giorgio Vasari’s Lives of the Artists; Raphael in Rome; Renaissance art in Venice; Italian Mannerism (please check the Art Department webpage to see which topic is offered). Students will learn to use and assess important primary sources from the Renaissance period, and will also examine the secondary scholarly literature in some depth.

3 Credits
Prerequisite: 371 Italian Renaissance Art I, 372 Northern Renaissance Art, 373 Italian Renaissance Art II or permission of instructor

Timetable for Art courses offered in the 2022-23 Academic year.


Art Department

2nd Floor Immaculata Hall
2360 Notre Dame Avenue
Antigonish NS B2G 2W5