Art

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The School of Art, fully accredited by the National Association of Schools of Arts and Design, was established in 1893 and its first graduate degree was conferred in 1932. The curriculum is divided into seven areas of study: art history, ceramics, graphic design, jewelry and metalsmithing, painting and drawing, printmaking, and sculpture. Curricula within these areas lead to the Bachelor of Fine Arts (BFA) in Graphic Design and Studio Arts; and the Bachelor of Arts (BA) in Art History, Art Education K-12 Broadfield, and Liberal Arts Studio.

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    The Mythmaker: Hyam Maccoby and the Invention of Christianity
    (2017-07) Moore, Rebecca
    This essay examines the writings of Hyam Maccoby, a twentieth-century Jewish scholar of rabbinic Judaism and early Christianity. After locating Maccoby in the context of Jewish anti-Christian writings, it presents his critical view of Christian doctrines. This scholar claimed in numerous publications that Christianity was inherently antisemitic due to the teachings of Paul the apostle, especially his doctrine of the vicarious atonement. It is therefore worth presenting, assessing, and challenging Maccoby\'s views as a barrier to Jewish and Christian dialogue.
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    Fourth Style responses to 'period rooms' of the Second and Third Styles at Villa A ("of Poppaea") at Oplontis
    (2015-02) Gee, Regina
    This essay presents selected examples of the Fourth Style at Villa A (\of Poppaea\") at Oplontis as viewed through a particular analytical lens (for a plan of Villa A, see Abb. 1 in J. R. CLARKE’S article in this volume). The Fourth Style visually dominates at Villa A in total area, but with the exception of the spectacularly vivid garden rooms of the east wing, appreciated for their glowing colour and sophisticated alignment, it is the least-well examined among the three styles present. Not without reason the show-stopping Second Style rooms, particularly the atrium (5) and triclinia (*4, 2ª), have garnered the lion\'s share of attention. In *9+7, J. CLARKE published the first detailed study of all the third Style ensembles 1. The complete record of surviving wall paintings reveals an art historical narrative more complex than a sequenced unfolding of Second, Third, and Fourth Styles 2. This history is shaped by but not utterly dependent on the attendant story told by earth- quakes and economics, and the style narrative undermines attempts to create a straightforward progression through discrete categories, offering up instead a series of permutations and combinations. 5ithin the larger and longer dialog in contemporary scholarship on diachronic studies versus the synchronic consideration of wall paintings as meaningful markers of social use, this examination is intended to mediate between the two. I use both methods of inquiry to consider Fourth Style paintings inserted within earlier decorative programs at the villa. The corpus of \\ampanian wall painting gives examples of painting preservation in the comprehensive decorative system of a house along a calibrated scale of removal, true restoration, or a combination of old and new sections3. This examination considers all three responses in the material record of the villa with an emphasis on the choice by the artists to reveal or conceal the stylistic intervention within the earlier work. The Fourth Style\'s complexity in terms of repertoire and the ability to respond to previous styles is made explicit in a new way in this case study.
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