Professor Amy B. Werbel

Saint Ed’s 133

Office: 802-654-2271

Home: 802-660-4918

e-mail: awerbel@smcvt.edu

office hours: MW 8:30-11, 1:45-3

Syllabus

Art 252 A. Survey of the History of Art II: Renaissance to Modern

Spring, 2010

Tuesday, Thursday 8-9:40 a.m.

SE 104

Students in Art 252 learn to analyze art, and to see, think, write and speak critically about painting, sculpture, and empowered objects from the fifteenth through twentieth centuries in Europe, America, and West Africa. Throughout the course, we analyze art through changing thematic lenses. Stylistic elements, the role of art in society, and the judgment of what is good, are persistent themes.

Required text for this course is Art History vol. II, third edition, by Marilyn Stokstad. Other required readings are posted in “doc sharing” on eCollege.

Jan. 12 Introduction: Art and History

Unit 1: Subject Matter and Iconography: Art as Visual Storytelling

Jan. 14 Early Renaissance Painting in Burgundy and Flanders

Reading: Stokstad, 583-593, 596-605; excerpt from: Linda Seidel, Jan van Eyck’s Arnolfini Portrait (Cambridge University Press, 1993): 19-58 (on eCollege).

Assignment: Let me know today whether you will take the exams or write the papers.

Jan. 19 Early Renaissance Painting and Sculpture in Italy

Reading: Stokstad, 618-623, 628-640, 646-656; Andrew Butterfield, “Art and Innovation in Ghiberti’s Gates of Paradise, in The Gates of Paradise (Yale University Press, 2007), 16-41 (on eCollege).

Jan. 22 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: How did Early Renaissance artists use subject matter and iconography, as well as stylistic techniques, to help them tell secular and religious stories?

Unit 2: Educational Purposes: Images as Teachers

Jan. 21 High Renaissance Painting and Sculpture in Italy

Reading: Stokstad, 659-677, 682-691, 696-7; excerpt from Rona Goffen, “Titian’s Sacred and Profane Love and Marriage,” in The Expanding Discourse (HarperCollins, 1992): 111-121 (on eCollege).

Jan. 26 Renaissance Art in Germany, the Netherlands, and England

Reading: Stokstad 706-719, 728-736; Mitchell B. Merback, ”Torture and Teaching: The Reception of Lucas Cranach the Elder’s Martyrdom of the Twelve Apostles in the Protestant Era,” Art Journal (Spring, 1998): 14-23.

Jan. 29 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: What, and how, did viewers learn from images in the High Renaissance era?

Unit 3: Gender and Sexuality

Jan. 28 Baroque Painting and Sculpture in Italy and Spain

Reading: Stokstad, 742-770

Feb. 2 Baroque Painting in Flanders and Holland

Reading: Stokstad, 772-793

Feb. 4 Susanna for Girls and Guys

Reading: Mary Garrard, “Susanna” in Artemisia Gentileschi Princeton University Press, 1989): 182-209 (on eCollege); Eric Jan Sluijter, “Susanna and the Elders,” in Rembrandt and the Female Nude (Amsterdam University Press, 2006): 113-139 (on eCollege).

Feb. 7 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: How were Baroque artists influenced by their own gender and sexuality, and the expectations of their patrons regarding how masculinity, femininity, and erotic desire should be presented in art?

Feb. 9 Exam #1 (Paper Writers – No class)

Unit 4: Art and Political Order

Feb. 11 and 16 No Class - Break

Feb. 18 Neoclassicism and Eighteenth Century Art of the Americas

Reading: Stokstad, 941-943, 950-952, 963-982

Feb. 23 Romanticism

Reading: Stokstad, 981-1000; Todd Porterfield and Susan L. Siegfried, excerpt from: “Staging Empire: Napoleon, Ingres, and David” (Pennsylvania State University Press), 3-22 (on eCollege).

Feb. 26 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: How did paintings and sculptures contribute to political stability and/or revolutionary change in the late-18^th and early-19^th centuries?

Unit 5: Artist’s Biographies: The Intersections of Life and Art

Feb. 25 Realism and Early Photography / Thomas Eakins

Reading: Stokstad, 1009-1023; Amy Werbel, “The Epistemology of Thomas Eakins’ Gross Clinic,” (unpublished ms.) (on eCollege).

EXTRA CREDIT OPPORTUNITY - Jonathon Romain ~ “From Prison to Acclaimed Painter; The Power of Arts and Redemption”

Feb. 25, 11am-1p.m. Eddie’s Lounge; or 5-7 p.m. McCarthy

Acclaimed painter, photographer, entrepreneur, speaker and advocate – Jonathon has been an artist for most of his life and a successful gallery-owner for nearly 15 years. One point added to your final grade for attendance at either event, and thoughtful contribution to the threaded discussion “Jonathon Romain” on eCollege.

March 2 Town Meeting Day – No Class

March 4 Impressionism / Mary Cassatt

Reading: Stokstad, 1026-1038; Griselda Pollock, “Mary Cassatt: Painter of Women and Children,” 280-301 (on eCollege).

March 9 Post-Impressionism and Symbolism / van Gogh and Gaugin

Reading: Stokstad, 1038-1050; Debora Silverman, excerpt from: Van Gogh and Gaugin: The Search for Sacred Art (Farar, Straus, and Giroux, 2000) on eCollege.

March 12 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: How important is it to understand the biographical elements of an artist’s life (childhood experiences, education, religion, relationships, emotional health, temperament, etc.) in order to understand the art they produce? (Use Impressionist and Post-Impressionist artists we have read about as your examples).

Unit 6: Art for Personal and Social Empowerment: The West-African Tradition

March 11 West African Art Overview

Reading: Stokstad, 916-939. Babatunde Lawal, “African Art and the Social Order,” excerpt from The Gèlèdé Spectacle: Art, Gender, and Social Harmony in an African Culture (University of Washington Press, 1996): 3-18 (on eCollege).

March 16 and 18 – no class

March 23 African Art in the Diaspora

Reading: Suzanne Preston-Blier, “Vodun Art, Social History and the Slave Trade,” 23-54 (on eCollege).

March 25 The Harlem Renaissance

Reading: Stokstad, 1111-1117; Richard J. Powell, “The Aaron Douglas Effect,” in Aaron Douglas, Modernist (Yale University Press): 53-73.

Assignment: Paper writers submit topic and bibliography for your final presentations.

March 28 Unit Paper # 6 Due – Paper Writers – in dropbox by 10 p.m.

Question: How does art empower people in West-African and African-American traditions?

March 30 Exam #2/ (Paper Writers – no class)

Assignment: Paper writers come to my office hours this week with ideas for research paper topics

Unit 7: Art for the Modern Age

April 1 Cubism

Reading: Stokstad, 1064-1081; Patricia Leighten, “Response: Artists in Times of War,” Art Bulletin (March, 2009): 35-44.

April 6 Dada and Flou

Reading: Stokstad, 1055, 1088-1103, 1112; William Canfield, “Marcel Duchamp’s Fountain” (on eCollege); excerpt from Dawn Ades, ed., The Dada Reader (on eCollege); Susan Laxton, “Flou: Rayographs and the Dada Automatic” October (Winter, 2009): 25-48.

April 9 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: What did early-20^th century artists in Europe and America think art should be and do in the “modern” age?

Unit 8: Art and Its Audience

April 8 Surrealism and Abstract Expressionism

Reading: Stokstad, 1119-1137; Stephen Polcari, Abstract Expressionism and the Modern Experience, (on eCollege).

April 13 Assemblage and Pop Art

Reading: Stokstad, 1145-1154; Cécile Whiting, excerpt from A Taste for Pop: Pop Art, Gender, and Consumer Culture (Cambridge University Press, 1997).

April 16 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: What groups of viewers did American artists in the mid-20^th century try to attract, and how does their art attempt to satisfy those groups?

Unit 9: New Questions, No Experts, The Future of Art?

April 15 Post-1970 / Post-Modernism

Reading: Stokstad, 1160-1168, 1171-90

April 20 Art in the 21^st Century

Reading: John Beardsley, “Hidden in Plain View: The Land Art of Maya Lin” 85-103, in Maya Lin: Systematic Landscapes (Yale University Press, 2006); excerpt from: Fred Wilson: So Much Trouble in this World – Believe it or Not! 10-23 (Hood Museum of Art, 2006)

April 22 Exam #3 (Paper writers – No Class, but come to my office hours this week to discuss your presentations – bring a copy of your PowerPoint on a flash drive, and your bibliography)

April 23 Unit Paper Due – Paper Writers – in dropbox by 10 p.m.

Question: What is the future of art in the 21^st century? (Base your answer on discussion of artists we have covered in this unit).

April 27 Research Presentations

April 29 Research Presentations

May 7, 9-11:30 Final Exam

Grading Percentages:

Exam Takers: Paper Writers and Presenters:

Exam I: 15 pts. (9) 4-page unit papers: 63 points

Exam II: 15 pts. (1) 10-minute research presentation: 17 points

Exam III: 15 pts. 10 Pop Quizzes: 10 points

Final Exam: 35 pts. Class Participation: 10 points

10 Pop Quizzes: 10 points

Class Participation: 10 points

Attendance and Class Participation:

You are permitted two unexcused absences from class. Further absences will be penalized by a two-point reduction in your final grade per extra absence. If you know you need to be absent, please call or e-mail me in advance, so that we can confer about missed work.

Pop Quizzes

There will be 10 pop quizzes given at unannounced times and dates. These will be given online during class. Please bring your fully-charged laptop to class every day, or let me know if you don’t have one so I can make sure to have some extra during pop quiz and exam days. Pop quizzes will consist of 4-5 simple multiple choice or true/false questions that demonstrate whether you have done the reading. Each pop quiz is worth one point.

Unit Papers

Unit papers give you the opportunity to synthesize course information in short, thematic essays. You should use quotes from the readings, and discuss examples of art we have talked about, to provide “evidence” for your answer to the question for the unit paper. These are due in the correct eCollege dropbox at the date and time listed in the syllabus. Late unit papers will be penalized one-third grade for every twelve hours of lateness. These papers should be approximately 1000 words. You should use in-text citations to course materials, e.g. (Stokstad, 754). No bibliography is necessary. Titles of Works of Art should be italicized or underlined. Use the following grading rubric to guide your preparation for this assignment:

Essay Component	Comments
CONTENT & CRITICAL THINKING · Is the unit question and material addressed fully? · Are art historical terminology and concepts understood and discussed correctly? · Does the paper use quotes from the reading, and discussion of appropriate works of art that demonstrate comprehension of assigned course materials?
ORGANIZATION & STRUCTURE · Is the essay focused? · Is the flow of information logical? · Paragraphs: Are they organized in a deliberate and helpful way? · Paragraphs: Are they fully developed and appropriate in length? · Transitions: Do they help the reader move from thought to thought?
LANGUAGE CONTROL · Style: Is it controlled and easy to read? · Style: Is it appropriate to the assignment and a general academic audience? · Language: Are Standard Written English guidelines followed for: o sentence structure o grammar o word choice/usage o punctuation o quotations/citations o spelling
GRADE:

Final Research Presentation

The final research presentation is an opportunity for students to apply extended research, analysis, and interpretation to one work of art on the important works list. Students are expected to formulate an original thesis about the meaning and significance of this work, and to support it well with trustworthy sources. A minimum of five academic peer-reviewed, modern sources should be used in preparing your presentation.

Students must bring their presentation to class on a flash drive.

Use the following grading rubric to guide your preparation for this assignment:

PRESENTATION COMPONENT	COMMENTS
ORGANIZATION: Provides overview at outset Provides necessary context for material in introduction – acknowledges prior audience understanding and/or need for background information presents information in a logical order sums up important points in a conclusion
CONTENT: Student articulates a critical argument about the work discussed General information is provided as necessary, but the presentation also “goes deep” on important points and artwork Student demonstrates mastery of content through clear discussion of trustworthy scholarly sources and artwork that is appropriate to the topic Each work of art shown has a caption underneath, listing artist, title, and date The student makes clear reference to sources used, and presents a bibliography in MLA style as the final slide of the presentation.
PRESENTATION: The presentation is fully-prepared and well rehearsed, with smooth transitions Speech is audible and clear, with moderate pace and good volume The student looks out at the audience frequently, and directs attention to important elements of art work displayed PowerPoint frames are clear and helpful, with little text, no typos, and appropriate stylistic choices Time is well used and appropriate to the assignment
GRADE:

Exams

Each 80-minute exam requires that test-takers demonstrate their understanding of themes and “important” works of art presented in class and readings. The exams will be conducted on eCollege, using laptops in class. Each exam will include a variety of types of questions, including multiple choice and short essays. The 120-minute final exam is comprehensive, and includes these types of questions, plus analysis of “unknown works” for which you are asked to identify the style and approximate date of works based on general principles.

Each exam has its own important works list. You may look at the important works list during exams, but be warned that these tests will contain many questions. If you aren’t already VERY familiar with course materials, and able to answer most questions without reference to other materials, you will not have time to complete the exam.

Art 252 – Spring, 2010 - Important Works List - Exam #1

Note - * indicates that the work is in a reading on eCollege, not in the Stokstad textbook.

Early Renaissance Painting in Burgundy and Flanders

Detail of page with Thamyris, from Bocaccio’s De Claris Mulieribus, 1402

Paul, Herman and Jean Limbourg, January, The Duke of Berry at Table, from the Tres Riches Heures, 1411-16

Robert Campin, The Mérode Altarpiece, c. 1425-28

Jan van Eyck, Double Portrait; Traditionally Known as Giovanni Arnolfini and his Wife, Giovanna Cenami (?), 1434

Jan and Hubert van Eyck, Ghent Altarpiece (closed and open), 1432

Rogier van der Weyden, Deposition, c. 143-1438

Rogier van der Weyden, Portrait of a Lady, c. 1455

Rogier van der Weyden, Last Judgment Altarpiece (open), after 1443

Early Renaissance Painting and Sculpture in Italy

Perugino, The Delivery of the Keys to St. Peter, 1481

Anonymous, Ideal City with a Fountain and Statues of the Virtues, c. 1500

* Lorenzo Ghiberti, Gates of Paradise, full view, “Jacob and Esau” and “Adam and Eve”panels 1425-1452

Donatello, David, c. 1446-1460(?)

Donatello, Equestrian Monument of Erasmo de Narni, 1443-53

Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, c. 1425-27/8

Andrea Mantegna, Frescoes in the Camera Picta, Ducal Palace, Mantua, 1465-74

Fra Angelico, Annunciation, c. 1438-1445

Andrea del Castagno, Last Supper, Resurrection, Crucifixion, and Entombment, 1447

Sandro Boticelli, The Birth of Venus, c. 1484-86

Giovanni Bellini, St. Francis in Ecstasy, c. 1470s

High Renaissance Painting and Sculpture in Italy

Leonardo, The Last Supper, 1495-98

Leonardo, Mona Lisa, c. 1503

Leonardo, Vitruvian Man, c. 1490

Michelangelo, Pietá, c. 1500

Michelangelo, David, 1501-4

Michelangelo, Sistine Chapel Ceiling, interior, ceiling top to bottom, Creation of Adam (all 1508-12), and Last Judgment, 1536-1541

Raphael, School of Athens, 1510-11

Raphael, Leo X with Cardinals, c. 1517

Titian, Venus of Urbino, c. 1538

Titian, The Pastoral Concert, c. 1510

Titian, The Pesaro Madonna, 1519-1526

Titian, Isabella d’Este, 1534-1536

Sofonisba Anguissola, Self-Portrait, c. 1552

* Titian, Sacred and Profane Love, 1514

High Renaissance Art in Germany, the Netherlands, and England

Matthias Grünewald, Isenheim Altarpiece, closed and open, c. 1510-15

Albrecht Dürer, Self-Portrait, 1500

Albrecht Dürer, Adam and Eve, 1504

Lucas Cranach the Elder, Nymph of the Spring, c. 1537

Albecht Altdorfer, Danube Landscape, c. 1525

Caterina van Hemessen, Self-Portrait, 1548

Pieter Breughel the Elder, Return of the Hunters, 1565

Hans Holbein the Younger, Henry VIII, 1540

Attributed to Levina Bening Teerling or William Scrots, Elizabeth I when Princess, c. 1559

* Lucas Cranach the Elder, Martyrdom of Saint James the Lesser, c. 1512 (woodcut)

Baroque Painting and Sculpture in Italy and Spain

Gianlorenzo Bernini, David, 1623

Gianlorenzo Bernini, Saint Teresa of Ávila in Ecstasy, 1645-52

Caravaggio, Bacchus, 1595-1596

Caravaggio, Entombment, c. 1603-4

Artemisia Gentileschi, Judith and Maidservant with the Head of Holofernes, 1625

Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630

Giovanni Battista Gaulli, The Triumph of the Name of Jesus and the Fall of the Damned, 1672-1685

Francisco de Zurbarán, Saint Serapion, 1628

Diego Velasquez, Las Meninas, 1656

* Artemisia Gentileschi, Susanna and the Elders, 1610

Baroque Painting in Flanders and Holland

Jan Breughel and Peter Paul Rubens, Henry IV Receiving the Portrait of Marie deMedici, c. 1621-25

Frans Hals, Catherina Hooft and Her Nurse, c. 1620

Frans Hals, Officers of the Harlem Militia Company of St. Adrian, c. 1627

Judith Leyster, Self-Portrait, 1635

Rembrandt, Captain Frans Banning Cocq Mustering His Company, 1642

Rembrandt, The Jewish Bride, c. 1665

Rembrandt, Three Crosses (fourth state), 1663

Jan Vermeer, View of Delft, c. 1662

Jan Vermeer, Woman Holding a Balance, 1664

Gerard Ter Borch, The Suitor’s Visit, c. 1658

Rachel Ruysch, Flower Still Life, after 1700

*Rembrandt, Susanna and The Elders, 1636

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Art 252 – Spring, 2010 - Important Works List - Exam #2

Note - * indicates that the work is in reading on eCollege, not in Stokstad textbook.

Neoclassicism and Eighteenth Century Art of the Americas

John Singleton Copley, Samuel Adams, c. 1770-2

Jean-Honoré Fragonard, The Meeting, 1771-1773

Joshua Reynolds, Lady Sarah Bunbury Sacrificing to the Graces, 1765

Angelica Kauffmann, Cornelia Pointing to her Children as Her Treasures, 1785

Benjamin West, The Death of General Wolfe, 1770

John Henry Fuseli, The Nightmare, 1781

Marie-Louise Élisabeth Vigée Lebrun, Portrait of Marie Antoinette with Her

Children, 1787

Adéläide Labille-Guiard, Self-Portrait with Two Pupils, 1785

Jaques Louis-David, Oath of the Horatii, 1784-1785

Jaques-Louis David, The Death of Marat, 1793

Anne-Louis Girodet-Trioson, Portrait of Jean-Baptiste Belley, 1797

Romanticism

John Singleton Copley, Watson and the Shark, 1778

Antoine-Jean Gros, Napoleon in the Plague House at Jaffa, 1804

Jean-Auguste Dominique Ingres, Large Odalisque, 1814

Jean-Auguste Dominique Ingres, Portrait of Madame Desiré Raoul-Rochette,

1830

Théodore Géricault, Raft of the “Medusa,” 1818-1819

Eugéne Delacroix, Liberty Leading the People: July 28, 1830, 1830

Francisco Goya, The Sleep of Reasons Produces Monsters, 1796-8

Francisco Goya, Third of May. 1808, 1814-5

*Jean-Auguste Dominique Ingres, Napoleon I on his Throne, 1806

*Jacques-Louis David, Le Sacre, 1808

Realism and Early Photography

Louis-Jaques-Mandé Daguerre, The Artist’s Studio, 1837, daguerrotype

Oscar Rejlander, The Two Paths of Life, 1857

Julia Margaret Cameron, Portrait of Thomas Carlyle, 1867

Gustave Courbet, The Stone Breakers, 1849

Gustave Courbet, A Burial at Ornans, 1849

Rosa Bonheur, Plowing in the Ninervais: The Dressing of the Vines, 1849

Honoré Daumier, The Third-Class Carriage, c. 1862

Thomas Eakins, The Gross Clinic, 1875

Impressionism

Édouard Manet, The Luncheon on the Grass, 1863

Édouard Manet, Olympia, 1863

Claude Monet, On the Banks of the Seine, Bennecourt, 1868

Claude Monet, Rouen Cathedral, 1894

Pierre-August Renoir, Moulin de la Galette, 1876

Edgar Degas, The Rehearsal on Stage, c. 1874

Gustave Caillebotte, Paris Street, Rainy Day, 1877

Pierre-August Renoir, Bathers, 1887

Mary Cassatt, Woman in a Loge, 1879

Mary Cassatt, Maternal Caress, 1891

*Mary Cassatt, Reading “Le Figaro”, c. 1878

Post-Impressionism and Symbolism

Paul Cézanne, Mont Sainte-Victoire, 1885-7

Paul Cézanne, Still Life with Basket of Apples, 1890-1894

Paul Cezanne, The Large Bathers, 1906

Georges Seurat, A Sunday Afternoon on the Island of La Grand Jatte, 1884-86

Vincent Van Gogh, The Starry Night, 1889

Vincent van Gogh, Japonaiserie: Flowering Plum Tree, 1887

Paul Gaugin, Mahana no atua (Day of the God), c. 1894

Edvard Munch, The Scream, 1893

* Vincent van Gogh, Self-Portrait Dedicated to Paul Gaugin, 1888

* Paul Gaugin, Self-Portrait: Les Misérables, 1888

West-African and African Diaspora Art

Kojo Bonsu, Finial of a Spokesperson’s Staff, Ghana, 1960s-1970s

Nankani compound, Sirigu, Ghana, 1972

Doll (Biiga), Burkina Fasso, mid-20^th Century

Twin Figures (Ere Ibeji), Yoruba, 20^th Century

Temne Nowo Masquerade with Attendants, Mende Culture 1980

Power Figure (nkisi nkonde), Kongo culture, 19^th century

Spirit Spouse Blolo Bla, Democratic Republic of Congo, 19^th century

Ifa Divination Session, Yoruba culture, Nigeria

Mbap Mabbinc Mambeky, photograph by Eliot Elisofon, 1947

Kente cloth, Ashanti culture, Ghana, 20^th century

Initiation Wall Panels, Nkanu Peoples, Democratic Republic of Congo, Early 20^th century

El Anatsui, Flag for a New World Power, 2004

*Basinjom Anti-Witchcraft Mask

*Togo, Ouatchi Sculptures

Harlem Renaissance

Diego Rivera, Man, Controller of the Universe, 1934

Aaron Douglas, Aspects of Negro Life: From Slavery through Reconstruction, 1934

Augusta Savage, La Citadelle: Freedom, 1930

Dorothea Lange, Migrant Mother, Nipomo, California, 1936

Jacob Lawrence, During the World War there was a Great Migration North by Southern Negroes, 1940-1

James VanDerZee, Couple Wearing Raccoon Coats with a Cadillac, 1932

*Aaron Douglas, Cover for The American Negro, 1928

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Art 252 – Spring, 2010 - Important Works List - Exam #3

Cubism

Pablo Picasso, Guernica, 1937

Henri Matisse, The Woman with the Hat, 1905

Henri Matisse, The Joy of Life, 1905-6

Karl Schmidt-Rotluff, Three Nudes, 1913

Paula Modersohn-Becker, Self-Portrait with an Amber Necklace, 1906

Egon Schiele, Self-Portrait Nude, 1911

Vasily Kandinsky, Improvisation 28, 1912

Paul Klee, Hammamet with its Mosque, 1914

Pablo Picasso, Family of Saltimbanques, 1905

Pablo Picasso, Les Damoiselles D’Avignon, 1907

Pablo Picasso, Ma Jolie, 1911-1912

Pablo Picasso, Glass and Bottle of Suze, 1912

*Picasso, The Dream and Lie of Franco, plate 1, 1937

Dada and Flou

Gustave Klimt, The Kiss, 1907-8

The Dada Wall in Room 3 of the “Degenerate Art” Exhibition, Munich, 1937

Hugo Ball Reciting the Sound Poem “Karawane,” 1916

Marcel Duchamp, Fountain, 1917

Marcel Duchamp, L.H.O.O.Q., 1919

Hannah Höch, Dada Dance, 1922

Alfred Stieglitz, The Flatiron Building, 1903

Georgia O’Keefe, City Night, 1926

Frida Kahlo, The Two Fridas, 1939

* Man Ray, esoRRose sel à vie, 1922

Surrealism and Abstract Expressionism

Salvador Dali, Birth of Liquid Desires, 1931-2

Meret Oppenheim, Object (Luncheon in Fur, 1936

Jackson Pollock, Male and Female, 1942

Hans Namuth, Photograph of Jackson Pollock Painting, 1950

Jackson Pollock, Autumn Rhythm (Number 30), 1950

Lee Krasner, The Seasons, 1957

Willem de Kooning, Woman I, 1950-1952

*Grant Wood, American Gothic, 1930

Assemblage and Pop Art

Robert Rauschenberg, Canyon, 1959

Jasper Johns, Target with Four Faces, 1955

Yves Klein, Anthropométries of the Blue Period, 1960

Richard Hamilton, Just What is it that Makes Today’s Homes so Different, so Appealing?, 1955

Andy Warhol, Marilyn Diptych, 1962

Andy Warhol, Birmingham Race Riot, 1964

Roy Lichtenstein, Oh Jeff. . .I Love You Too, But , 1964

Claes Oldenberg, Lipstick Ascending on Caterpillar Tracks, 1969-1974

*Tom Wesselman, Still Life #30, 1963

*Robert R. McElroy, Claes Oldenberg in his Store, 1961

*Kenneth Heyman, Andy Warhol and Campbell Soup Can Pyramids at Bianchini Gallery, 1965

Post-1970 / Post-Modernism

Bruce Nauman, Self-Portrait as a Fountain, 1966-1967

Robert Smithson, Spiral Jetty, 1969-70

Betye Saar, The Liberation of Aunt Jemima, 1972

Faith Ringgold, Tar Beach, 1988

Ana Mendieta, Untitled Work from the Tree of Life Series

Judy Chicago, The Dinner Party, 1974-9

Cindy Sherman, Untitled Film Still #21, 1978

Anselm Kiefer, Heath of the Brandenburg March, 1974

Jean-Michel Basquiat, Horn Players, 1983

Judith F. Baca, The Division of the Barrios, 1976-83

Jaune Quick-to-See Smith, The Red Mean: Self-Portrait, 1992

Rachel Whiteread, House, 1993

Chris Ofili, The Holy Virgin Mary, 1996

Ann Hamilton, Indigo Blue, 1991

Nam June Paik, Electronic Superhighway, 1995

Art in the 21^st Century

Maya Lin, Vietnam War Memorial, 1981-3 (Stokstad, xliv)

*Maya Lin, “Eclipstic” Ice Rink (Grand Rapids, Michigan), 2001

*Maya Lin, The Wave Field, 2007-8

*Fred Wilson, Installation detail of Louisian Purchase Exposition Life-Cast Heads, from exhibition “So Much Trouble in this World – Believe it or Not!, ” 2006

*Fred Wilson, Installation detail of a “Kongo” Man from the Louisian Purchase Exposition, 2006

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Art 252 – Spring, 2010 - Important Works List – FINAL EXAM