Models, Contexts, and Afterlives of the Bayeux Tapestry In this course we will look closely at the late eleventh-century Bayeux Tapestry (also known as the Bayeux Embroidery), examining its historical and literary sources, the details of its creation, and its reverberations throughout the arts of the medieval and modern eras. We will also consider how this embroidered textile entangled its medieval and modern viewers in the stories it tells and those it avoids. We will discover that it can tell us much about attitudes toward gender and masculinity, the taming of the natural world, and the terrors of war. Hands-on assignments will familiarize us with some of the techniques and materials used to create this monument of medieval European Art History. This course is part of the Public Humanities Labs Initiative administered by the Axinn Center for the Humanities.*

Court, Castle, and Cathedral: The Gothic World This survey course will consider closely the major architectural monuments of the Gothic period in Western Europe, using them as a point of departure in a larger consideration of the artistic culture of this time.  In looking at Gothic art and architecture, the class will ask some of the following questions: How were buildings embedded in the promotion of distinct political programs?  How do liturgical considerations determine the shapes of buildings and sites?  How can we track the emergence of a non-Christian "other" in art of all media?  How can we characterize the visual and intellectual culture of "courtly love"?

Understanding Early Medieval and Romanesque Art: Seeing Ste. Foy This course is an introduction to key artworks and architectural monuments made and built in Europe during the eighth through twelfth centuries.  We will study such structures as Charlemagne's Palace Chapel and the reliquary statue of Ste. Foy at Conques to explore how these monuments were products of independent cultures that valued the creation of a visual fusion between the Judeo-Christian God and humankind.  Likely lines of inquiry include: the persistence of a Classical ideal and its myriad adaptations; the coordination of art objects to specific locations; and, not least, the self-conscious staging of political and ecclesiastical power. 3 hrs lect.

Northern Renaissance Art: The Rhetoric of the Real This course will provide students with an overview of art objects created in a variety of media in Northern Europe between the 15th and 16th centuries.  We will analyze the changing uses of art in cultures where people defined themselves and the depths of their piety in relation to their material wealth and social standing.  During the last few weeks of the semester, the class will look at the emergence of genre painting and the representation of peasant life.  We will consider how these phenomena were tied to the histories and careers of individual artists and their workshops.  General questions will include: How does the convincing representation of "reality" make for a persuasive image?  What are the benefits of fusing secular and religious subject matter?  Is it valid to speak of a new artistic self-awareness?

The Bayeux Tapestry: Models, Contexts, and Afterlives In this course we will take a close look at the late eleventh-century Bayeux Tapestry (also known as the Bayeux Embroidery), examining its historical and literary models, the details of its creation, and its varied reverberations throughout the arts of the medieval and modern eras. Along the way, we will consider how this 230-foot long embroidered textile entangled its medieval and modern viewers in the stories it tells and those it avoids. We will discover that it offers much food for thought in relation to issues of gender and masculinity in the European Middle Ages, the representation of the Other, the visualization of disability, the taming of the natural world, and the terrors and banalities of war. Hands-on assignments will familiarize us with some of the techniques and materials used to create this monument of medieval European Art History. No prerequisites. Some familiarity with art history and/or medieval history helpful but not required. (Not open to students who have taken FYSE 1032) 3 hours lct/disc.

Eliza Garrison

Reviews and ratings for Eliza Garrison at Middlebury College.Eliza Garrison teaches Bayeux Tapestry, Court, Castle, & Cathedral, Early Medieval &Romanesque Art and more.  Explore top rated instructors and find the best for you.Is Eliza Garrison good ? Find out on MiddCourses.

Prof Garrison is an enthusiastic lecturer and medievalist and really structured her class to give underclassfolks and non-HARC majors the tools they needed to succeed in class discussions and when writing their papers. 

There is a good amount of reading for each class- at least 30 pages per class, which usually contains high level art history vocabulary which you may have to look up. Professor is easily accessible for help and direction for term papers and general questions, as well as for extensions. Also, knowledge of the Bible will be very helpful throughout this course, although not required. 

Great professor! Genuinely cares about us and interested in making sure we are understanding the material. Clearly very excited about the work. Not too hard to understand and not too harsh of a grader.