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Professor Amy B. Werbel Home phone: 660-4918 e-mail: awerbel (I check this far more often than phone messages)
Syllabus Art 252 A. Survey of the History of Art II: Renaissance to Modern (Honors) Spring, 2009 Mon, Wed 1-2:40 SE 104
Students in Art 252 learn to see, think, write and speak critically about painting, sculpture, architecture, and empowered objects from the fifteenth through twentieth centuries in Europe, America and West Africa. In this honors section, students will present more specialized readings to the class, in addition to completing all elements of the non-honors section.
Required text for this course is Art History vol. II, revised second edition, by Marilyn Stokstad. Paper writers also should buy Sylvan Barnet, A Short Guide to Writing about Art. Other readings are available in “doc sharing” on E-College.
Jan. 12 Introduction: Art and History
Jan. 14 Early Renaissance Painting in Northern Europe Reading: Stokstad, 576-586, 589-598 Assignment: Response Paper: How did Giotto and van Eyck try to enhance spirituality in the viewers of their paintings? Also, let me know today whether you will take the exams or write the papers.
Jan. 19 Early Renaissance Painting and Sculpture in Southern Europe Reading: Stokstad, 610-11, 622-627, 628-643 Assignment: Response Paper: Why was classicism so popular in Italy in the early renaissance? As part of your answer, discuss one work of art that expresses the major elements of classicism.
Jan. 21 High Renaissance Painting and Sculpture in Italy Reading: Stokstad, 644-662, 666-672, 685-689, 695-700 Assignment: Response Paper: How did patrons influence the work of Leonardo, Michelangelo and Raphael? (Chris)
Jan. 26 Renaissance Art in Germany, the Netherlands, and England Reading: Stokstad 671-683, 707-715 Assignment: Discuss the influence of political and religious conditions on art in these three areas. (Jasiu)
Jan. 28 Baroque Painting and Sculpture in the South Reading: Stokstad, 719-722, 728-738, 747-755 Assignment: Response Paper: Why do you think Baroque art spread so rapidly through Europe? As part of your answer, discuss one specific example of art by Caravaggio and why you think it was appreciated and copied by others at the time. (Becca)
Feb. 2 Baroque Painting in the North / Exam Preparation Reading: Stokstad, 763-779 Assignment: Response Paper: Discuss elements of Northern European culture that you see reflected in Baroque art of this area. (Tyler and Alaina)
Feb. 4 No class
Feb. 9 Exam #1 (Paper Writers – No class)
Feb. 11 Neoclassicism and Romanticism Reading: Stokstad, 896-899, 922-926, 929-934, 942-955 Assignment: Response Paper: Which style do you prefer, Neoclassicism or Romanticism, and why? (Nellie and Matt)
Feb. 16 No Class
Feb. 18 Sister Wendy Film Festival
Feb. 23 Realism and Photography Reading: Stokstad, 964-967, 973-975, 1005-1013 Assignment: Response Paper: Discuss the ways that art of the Realist era reflects change in society at this time. (Samantha)
Feb. 25 Impressionism / Mary Cassatt Reading: Stokstad, 979-993; Griselda Pollock, “Mary Cassatt: Painter of Women and Children,” 280-301 (ECollege) Assignment: Response Paper: Why do you think May Cassatt painted women and children? What effect did this have on her career and place within history? (Chris and Alaina) Mar. 2 Post-Impressionism and Symbolism Reading: Stokstad, 993-1001; Richard Schiff, “Cezanne and the End of Impressionism” (on E-College) Assignment: Response Paper: Discuss some of the new ideas that motivated “post-impressionist” and symbolist artists. (Alexandra)
Reading: Stokstad, 1019-1042, 1060-1066; William Canfield, “Marcel Duchamp’s Fountain” (E-College) Assignment: Response Paper: What were the goals of early modern artists? (Matt)
Mar. 9 Exam #2/ Paper Writers meet at 2:10 p.m. (research methods) Assignment: Paper writers bring in ideas for research paper topics
Mar. 11 African Art Reading: Stokstad, 875-892. Babatunde Lawal, “African Art and the Social Order” (on ECollege) Assignment: Response Paper: How do the purposes of art in traditional African societies compare with the purposes of art in Europe and America? (Alexandra)
March 16 and 18 – no classes
Mar. 22 Advising on Paper Topics – 7-9 p.m. Library Reference Area
Mar. 23 Advising on Paper Topics – 8:30-11:30 a.m. Library Reference Area
Mar. 23 African Art in the Diaspora Reading: Suzanne Preston-Blier, “Vodun Art, Social History and the Slave Trade,” 23-54 (on ECollege) Assignment: Response Paper: What purposes did bocio and vodun serve for Africans stolen from their homelands and forced into slavery? (Nellie)
Mar. 24 Advising on Paper Topics – 8:30-9:30 a.m. Library Reference Area
Mar. 25 The Harlem Renaissance Reading: Stokstad, 1072-1074; Romare Bearden and Harry Henderson, “The Twenties and the Black Renaissance, 114-135, W.E.B. DuBois, “The Souls of Black Folk,” 1-12, (all on E-College) Assignment: Response Paper: What role did Harlem Renaissance artists and intellectuals see for African influences in accomplishing their goals? Do you think art is powerful enough to raise people up? Paper writers submit topic and bibliography for your final research papers. (Becca)
March 30 Abstract Expressionism and Pop Art Reading: Stokstad, 1083-1105; Stephen Polcari, Abstract Expressionism and the Modern Experience, and Roland Barthes, “That Old Thing, Art,” 21-31 (on ECollege) (on E-College) Assignment: Response Paper: How did “ab ex” artists reflect American culture in the mid-20th Century? Response Paper: What was new in pop art that had not been done before in art? Do you think that pop artists were celebrating mass culture, or criticizing it? (you can do two response papers for today if you need the points . . . ) (Jasiu and Tyler)
Apr. 1 No class
Apr. 6 No class
Apr. 8 Post-Modernism: Earth, Race, and Gender: Reading: Stokstad, 1121-52 Assignment: Response Paper: Discuss two artists who you find especially impressive, or horrible. Be clear about why you hold these opinions. (Samantha)
Apr. 14 Easter Break
Apr. 15 Art: 21 Assignment: Paper writers: write a critique of the artists we saw in class today and hand it in on 4/21
Apr. 20 Art: 21 Assignment: Paper writers: write a critique of the artists we saw in class today and hand it in on Tuesday 4/23
Apr. 22 Exam #3 / Paper writers meet at 2:10 (bring in your thesis statement and presentation outline for workshop)
Apr. 26 Advising on Presentations – 7-10 p.m. Library Reference Area
Apr. 27 Research Presentations
Apr. 27 Advising on Presentations – 7-10 p.m. Library Reference Area
Apr. 29 Advising on Presentations – 8:00-9:45 a.m. Library Reference Area
Apr. 29 Tour of Art on Campus Reading: website: http://academics.smcvt.edu/collegeartcollection Assignment: Response Paper: Discuss two works of art on campus that you find especially impressive, or horrible. Be clear about why you hold these opinions, and make sure to refer to information about the artists, etc. from the website.
May 4 Final Exam 1-3:30 SE 104 Research Papers are due by 1 p.m. in the correct dropbox on E-College
Grading Percentages:
Exam Takers: Paper Writers and Presenters:
Exam I: 20 pts. Response Papers, up to 5 pts. each, Exam II: 20 pts. (max. 60 pts.) Exam III: 15 pts. Research Paper (10 pp.): 20 pts. Comprehensive Final Exam: 35 pts. Research Presentation: 10 pts. 2 “Slam” Presentations: 10 pts. 2 “Slam” Presentations: 10 pts
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 course 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.
Response Papers Response papers should demonstrate that you have completed all the assigned reading for the day, and should include an answer to the question I have asked you to think about. You should use examples from the reading to provide “evidence” or demonstration for your answer. These are due in class on the day of the assigned reading. Late response papers will not be accepted. These papers should be approximately 2 pages, double-spaced. They are graded with a score of 5 (perfect comprehension of reading and critical thinking about question exhibited), 4 (almost perfect), 3 (some good work demonstrated), 2 (not much effort shown) and 1 or 0 (no demonstration of effort to do the reading and answer the question).
“Slam” and Research Paper Presentations Slam Papers – (twice for each student) -- present a five-minute summary of an article or book chapter relevant to the class material for the day, selected by the student in consultation with the Professor. Students should bring hand-outs, flash drives, CDs, or url addresses (please do not log into your e-mail!). See final page of syllabus for some ideas of books with great essays / chapters
Research paper writers also will present a ten-to-fifteen minute overview of their final papers, using PowerPoint programs which they bring in on a flash drive or CD. If students do not already know PowerPoint, or need help with scanning images, they should contact a reference librarian. A rubric listing grading criteria for presentations is included in the back of this syllabus.
Exams Each exam requires that test-takers memorize approximately 40-50 “important” works of art (listed on attached pages), which are shown singly in five-minute intervals, and in ten-minute comparisons. Students should make study cards of important works each week, which have an image of the work on one side, and title, artist, date, style and important characteristics on the other side. If you make these in advance, you can quite efficiently take notes on them in class. Also make study cards for each particular style (i.e. Baroque in the North, Early Renaissance in Italy), etc. The final exam covers works chosen from the three important works lists, “unknown works” for which you are asked to identify the style and approximate date based on general principles, and short essays on general themes. Exam Takers may wish to check out the “Art History Interactive” disc included in your textbook. Final Research Paper and PresentationThe final research paper is an opportunity for students to exercise critical thinking in the analysis and interpretation of works of art. Students are expected to formulate an original thesis, and to support it well with trustworthy sources. A minimum of eight published academic sources should be used in preparing these papers. Internet websites are not permissible as sources. Websites can, however, be useful in locating inspiration and images for your presentations, and online full-text versions of printed sources. Citations on long papers should be in the form of endnotes and bibliography in MLA style. In-text citations are not used in art history papers. Students who plagiarize by presenting information written by others as their own will be prosecuted without mercy through the academic review board (I have no sympathy for this whatsoever). Titles of art works discussed in your paper should always be italicized and identified as [fig. 1, 2, 3, etc.]. For example: “Thomas Eakins’ Spinning Wheel Studies [fig. 1] is an excellent example of the artist’s use of preparatory perspective studies.” Xeroxed illustrations of each work should be included behind the endnotes and bibliography with corresponding identification by figure number. These illustrations should also include artist, title, medium, date and location of the work, i.e.: [zerox of Spinning Wheel Studies ] Fig. 3 Thomas Eakins, Spinning Wheel Studies, charcoal on paper, 1883, Pennsylvania Academy of the Fine Arts
Extra Credit Opportunity
Write a review of an art exhibition you see here in the Burlington area or on your travels during breaks. Possible 2 points for a 2-page, double-spaced review
Fleming Museum, UVM website: http://www.uvm.edu/~fleming/index.php?category=exhibitions&page=exhibitions Burlington City Arts Firehouse Gallery website (on Church Street): http://www.burlingtoncityarts.com/firehousegallery/ Art 252 – Spring, 2009 - Important Works List - Exam #1
Early Renaissance Art in the North Detail of page with Thamyris, from Bocaccio’s De Claris Mulieribus, 1402 Paul, Herman and Jean Limbourg, Page with February, from the Tres Riches Heures, 1413-16 Robert Campin, The Mérode Altarpiece, c. 1425-28 Jan van Eyck, Portrait of Giovanni Arnolfini (?) and his Wife, Giovanna Cenami (?), 1434 Rogier van der Weyden, Deposition, c. 1442 Rogier van der Weyden, Portrait of a Lady, c. 1460 Rogier van der Weyden, Last Judgment Altarpiece (open), after 1443
Early Renaissance Painting and Sculpture in Italy Giotto di Bondone, Marriage at Cana, Raising of Lazarus, Resurrection and Noli Me Tangere, and Lamentation, Padua, 1305-6 Anonymous, Ideal City with a Fountain and Statues of the Virtues, c. 1500 Lorenzo Ghiberti, “Jacob and Esau” panel, Gates of Paradise, 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, 1465-74 Fra Angelico, Annunciation, c. 1438-1445 Andrea del Castagno, Last Supper, Resurrection, Crucifixion, and Entombment, c. 1445-50 Sandro Boticelli, The Birth of Venus, c. 1484-86 Giovanni Bellini, St. Francis in Ecstasy, 1480
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 Raphael, School of Athens, 1510-11 Raphael, Leo X with Cardinals, c. 1517 Michelangelo, Sistine Chapel Ceiling (interior, ceiling top to bottom, 1508-12, and Last Judgment, 1536-1541 Michelangelo, Rondanini Pieta, 1559-64 Titian, Venus of Urbino, c. 1538 Titian and Giorgione, The Pastoral Concert, c. 1508 Titian, Isabella d’Este, 1534-1536 Sofonisba Anguissola, Self-Portrait, c. 1552
High Renaissance Art in Germany, the Netherlands, and England Tilman Riemenschneider, Altarpiece of the Holy Blood, c. 1499-1505 Matthias Grünewald, Isenheim Altarpiece, closed and open, c. 1510-15 Albrecht Dürer, Self-Portrait, 1500 Albrecht Dürer, Adam and Eve, 1504 Albecht Altdorfer, Danube Landscape, c. 1525 Hieronymus Bosch, Garden of Earthly Delights, c. 1505-1515 Pieter Breughel the Elde, 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
Baroque Painting and Sculpture in the South Gianlorenzo Bernini, David, 1623 Gianlorenzo Bernini, Saint Teresa of Ávila in Ecstasy, 1645-52 Pietro da Cortona, Glorification of the Papacy of Urban VIII, 1632-9 Caravaggio, Entombment, c. 1603-4 Caravaggio, Calling of St. Matthew, 1599-1600 Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630 Artemisia Gentileschi, Judith and Maidservant with the Head of Holofernes, 1625 Diego Velasquez, Las Meninas, 1656 Francisco de Zurbarán, Saint Serapion, 1628
Baroque Painting in the North Jan Breughel and Peter Paul Rubens, Allegory of Sight, c. 1617-18 Rembrandt, Three Crosses (fourth state), 1663 Frans Hals, Catherina Hooft and Her Nurse, c. 1620 Frans Hals, Officers of the Harlem Militia, c. 1627 Judith Leyster, Self-Portrait, 1635 Rembrandt, Captain Frans Banning Cocq Mustering His Company, 1642 Rembrandt, The Jewish Bride, c. 1665 Gerard Ter Borch, The Suitor’s Visit, c. 1658 Jan Vermeer, View of Delft, c. 1662 Jan Vermeer, Woman Holding a Balance, 1664 Rachel Ruysch, Flower Still Life, after 1700 Art 252 – Spring, 2009 - Important Works List - Exam #2
Neoclassicism and RomanticismBenjamin West, The Death of General Wolfe, 1770 John Singleton Copley, Samuel Adams, c. 1770-2 John Henry Fuseli, The Nightmare, 1781 Adéläide Labille-Guiard, Self-Portrait with Two Pupils, 1785 Marie-Louise Élisabeth Vigée Lebrun, Portrait of Marie Antoinette with Her Children, 1787 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 Angelica Kauffmann, Cornelia Pointing to her Children as Her Treasures, 1785 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, Women of Algiers, 1834 Francisco Goya, Third of May, 1805
Realism and Photography in EuropeLouis-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 Rosa Bonheur, Plowing in the Ninervais: The Dressing of the Vines, 1849 Gustave Courbet, The Stone Breakers, 1849 Gustave Courbet, A Burial at Ornans, 1849 Honoré Daumier, The Third-Class Carriage, c. 1862 Realism and Photography in the United StatesAlexander Gardner, Confederate Dead Gathered for Burial, Antietam, September, 1862 Harriet Hosmer, Zenobia in Chains, 1859 Albert Bierstadt, The Rocky Mountains, Lander’s Peak, 1863 Winslow Homer, Snap the Whip, 1872 Winslow Homer, The Life Line, 1884 Thomas Eakins, The Gross Clinic, 1875 Augustus Saint-Gaudens, The Robert Gould Shaw Memorial, 1884-1887 Alfred Stieglitz, Winter on Fifth Avenue, 1893 Jacob Riis, Tenement Interior in Poverty Gap, 1889
ImpressionismÉdouard Manet, Olympia, 1863 Édouard Manet, The Luncheon on the Grass, 1863 Édouard Manet, A Bar at the Folies-Bergère, 1881-2 Claude Monet, Boulevard des Capuchines, 1873-4 Claude Monet, Rouen Cathedral, 1894 Pierre-August Renoir, Moulin de la Galette, 1876 Pierre-August Renoir, Bathers, 1887 Edgar Degas, The Rehearsal on Stage, c. 1874 Mary Cassatt, Woman in a Loge, 1879 Mary Cassatt, Reading “Le Figaro”, c. 1878 Mary Cassatt, Maternal Caress, 1891
Post-Impressionism and SymbolismPaul Cézanne, Still Life with Basket of Apples, 1890-1894 Paul Cézanne, Mont Sainte-Victoire, 1885-7 Georges Seurat, A Sunday Afternoon on the Island of La Grand Jatte, 1884-86 Paul Gaugin, Mahana no atua (Day of the God), c. 1894 Vincent Van Gogh, The Starry Night, 1889 Henri Rousseau, The Sleeping Gypsy, 1897 Edvard Munch, The Scream, 1893
Early Modernism in EuropeGustave Klimt, The Kiss, 1907-8 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 Vasily Kandinsky, Improvisation No. 30, 1913 Paul Klee, Hammamet with its Mosque, 1914 Pablo Picasso, Guernica, 1937 Pablo Picasso, Les Damoiselles D’Avignon, 1907 Pablo Picasso, Ma Jolie, 1911-1912 Pablo Picasso, Glass and Bottle of Suze, 1912 Sonia Delaunay-Terk, Clothes and Citröen B-12, 1925 Umberto Boccioni, Unique Forms of Continuity in Space, 1913 Hugo Ball Reciting the Sound Poem “Karawane”, 1916 Marcel Duchamp, Fountain, 1917
Art 252 – Spring, 2009 - Important Works List - Exam #3 African ArtKojo Bonsu, Finial of a Spokesperson’s Staff, Ghana, 1960s-1970s Nankani compound, Sirigu, Ghana, 1972 Akiode, Twin Figures (Ere Ibeji), Yoruba, 20th Century Two Masks in Performance, Bwa Culture, 1984 Sowei helmet headdress, Mende Culture (in Lawal reading) Power Figure (nkisi nkonde), Kongo culture, 19th century Kente cloth, Ashanti culture, 20th century Togo, Ouatchi Sculptures (in Blier reading)
Harlem RenaissanceAaron Douglas, Aspects of Negro Life: From Slavery through Reconstruction, 1934 James VanDerZee, Couple Wearing Raccoon Coats with a Cadillac, 1932
Abstract Expressionism and Pop ArtJackson Pollock, Male and Female, 1942 Jackson Pollock, Autumn Rhythm (Number 30), 1950 Willem de Kooning, Woman I, 1950-1952 Mark Rothko, No. 61, Brown, Blue, Brown on Blue, 1953 Robert Rauschenberg, Canyon, 1959 Jasper Johns, Target with Four Faces, 1955 Roy Lichtenstein, Oh Jeff. . .I Love You Too, But , 1964 Andy Warhol, Marilyn Diptych, 1962 Claes Oldenberg, Lipstick Ascending on Caterpillar Tracks, 1969-1974
Post-Modernism Robert Smithson, Spiral Jetty, 1969-70 Betye Saar, The Liberation of Aunt Jemima, 1972 Faith Ringgold, Tar Beach, 1988 Judy Chicago, The Dinner Party, 1974-9 Ana Mendieta, Untitled Work from the Tree of Life Series Jean-Michel Basquiat, Horn Players, 1983 Jeff Koons, The New Shelton Wet/Dry Triple Decker, 1981 Cindy Sherman, Untitled Film Still #21, 1978
Robert Mapplethorpe, Ajitto (Back, 1981 Presentation Scoring Sheet
Use this set of criteria when planning your presentations.
Grade:
Work on these elements:
FORMAL ESSAY GRADING CHECKLIST Students: Use this list to help you revise your papers before you hand them in. Start at the top; fulfilling the assignment and developing critical thinking are the first and most important things you need to do to write a good essay. Work your way down the list as the semester progresses. A good idea is to have a partner read your essay and give you feedback, using this list. Or take it to the Writing Center (Library 119, Su-Th, 4-11 pm).
Essay Component
CONTENT __Assignment: Is it addressed fully? __Class concepts: Are they understood and applied correctly? __Other:
CRITICAL THINKING __Thesis: Is it explicit and arguable? __Argument: Is it logical? __Evidence: Is it sufficient, appropriate, credible? __Analysis: Does it show how evidence supports thesis? __Counter-arguments: Are they addressed, if necessary? __Focus: Does the essay stay on topic?
ESSAY STRUCTURE __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: __sentence structure/grammar __word choice/usage __punctuation/mechanics __quotations/citations __spelling
GRADE: Art 252 – Spring, 2009 - Important Works List – FINAL EXAM
Early Renaissance Art in the North Paul, Herman and Jean Limbourg, Page with February, from the Tres Riches Heures, 1413-16 Robert Campin, The Mérode Altarpiece, c. 1425-28 Jan van Eyck, Portrait of Giovanni Arnolfini (?) and his Wife, Giovanna Cenami (?), 1434 Rogier van der Weyden, Deposition, c. 1442 Rogier van der Weyden, Portrait of a Lady, c. 1460
Early Renaissance Painting and Sculpture in Italy Donatello, David, c. 1446-1460(?) Anonymous, Ideal City with a Fountain and Statues of the Virtues, c. 1500 Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, c. 1425-27/8 Andrea del Castagno, Last Supper, Resurrection, Crucifixion, and Entombment, c. 1445-50 Sandro Botticelli, Primavera, c. 1482 Giovanni Bellini, St. Francis in Ecstasy, 1480
High Renaissance Painting and Sculpture in Italy Leonardo, The Last Supper, 1495-98 Michelangelo, David, 1501-4 Raphael, School of Athens, 1510-11 Michelangelo, Sistine Chapel Ceiling (interior, ceiling top to bottom, 1508-12, and Last Judgment, 1536-1541 Leonardo, Vitruvian Man, c. 1490 Titian, Venus of Urbino, c. 1538 Titian and Giorgione, The Pastoral Concert, c. 1508 Sofonisba Anguissola, Self-Portrait, c. 1552
High Renaissance Art in Germany, the Netherlands, and England Matthias Grünewald, Isenheim Altarpiece, closed and open, c. 1510-15 Albrecht Dürer, Adam and Eve, 1504 Albecht Altdorfer, Danube Landscape, c. 1525 Hans Holbein the Younger, Henry VIII, 1540
Baroque Painting and Sculpture in the South Gianlorenzo Bernini, David, 1623 Gianlorenzo Bernini, Saint Teresa of Ávila in Ecstasy, 1645-52 Caravaggio, Entombment, c. 1603-4 Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630 Diego Velasquez, Las Meninas, 1656 Baroque Painting in the North Frans Hals, Catherina Hooft and Her Nurse, c. 1620 Judith Leyster, Self-Portrait, 1635 Rembrandt, Captain Frans Banning Cocq Mustering His Company, 1642 Rembrandt, The Jewish Bride, c. 1665 Jan Vermeer, View of Delft, c. 1662 Jan Vermeer, Woman Holding a Balance, 1664
Neoclassicism and RomanticismJohn Singleton Copley, Samuel Adams, c. 1770-2 Adéläide Labille-Guiard, Self-Portrait with Two Pupils, 1785 Marie-Louise Élisabeth Vigée Lebrun, Portrait of Marie Antoinette with Her Children, 1787 Jaques Louis-David, Oath of the Horatii, 1784-1785 Angelica Kauffmann, Cornelia Pointing to her Children as Her Treasures, 1785 Antoine-Jean Gros, Napoleon in the Plague House at Jaffa, 1804 Jean-Auguste Dominique Ingres, Large Odalisque, 1814 Théodore Géricault, Raft of the “Medusa,” 1818-1819 Francisco Goya, The Third of May, 1805
Realism and Photography in EuropeOscar Rejlander, The Two Paths of Life, 1857 Rosa Bonheur, Plowing in the Ninervais: The Dressing of the Vines, 1849 Gustave Courbet, The Stone Breakers, 1849 Honoré Daumier, The Third-Class Carriage, c. 1862 Realism and Photography in the United StatesAlexander Gardner, Confederate Dead Gathered for Burial, Antietam, September, 1862 Winslow Homer, The Life Line, 1884 Thomas Eakins, The Gross Clinic, 1875 Augustus Saint-Gaudens, The Robert Gould Shaw Memorial, 1884-1887 Alfred Stieglitz, Winter on Fifth Avenue, 1893
ImpressionismÉdouard Manet, Olympia, 1863 Claude Monet, Rouen Cathedral, 1894 Pierre-August Renoir, Moulin de la Galette, 1876 Edgar Degas, The Rehearsal on Stage, c. 1874 James Abbott McNeill Whistler, Nocturne, Blue and Gold: Old Battersea Bridge, 1872-5 Mary Cassatt, Maternal Caress, 1891
Post-Impressionism and SymbolismPaul Cézanne, Mont Sainte-Victoire, 1885-7 Georges Seurat, A Sunday Afternoon on the Island of La Grand Jatte, 1884-86 Paul Gaugin, Mahana no atua (Day of the God), c. 1894 Vincent Van Gogh, The Starry Night, 1889 Edvard Munch, The Scream, 1893
Early Modernism in EuropeHenri Matisse, The Joy of Life, 1905-6 Vasily Kandinsky, Improvisation No. 30, 1913 Pablo Picasso, Guernica, 1937 Pablo Picasso, Les Damoiselles D’Avignon, 1907 Pablo Picasso, Ma Jolie, 1911-1912 Umberto Boccioni, Unique Forms of Continuity in Space, 1913 Marcel Duchamp, Fountain, 1917
African ArtKojo Bonsu, Finial of a Spokesperson’s Staff, Ghana, 1960s-1970s Akiode, Twin Figures (Ere Ibeji), Yoruba, 20th Century Two Masks in Performance, Bwa Culture, 1984 Power Figure (nkisi nkonde), Kongo culture, 19th century
Harlem RenaissanceAaron Douglas, Aspects of Negro Life: From Slavery through Reconstruction, 1934 James VanDerZee, Couple Wearing Raccoon Coats with a Cadillac, 1932
Abstract Expressionism and Pop ArtJackson Pollock, Autumn Rhythm (Number 30), 1950 Lee Krasner, The Seasons, 1957 Willem de Kooning, Woman I, 1950-1952 Mark Rothko, No. 61, Brown, Blue, Brown on Blue, 1953 Robert Rauschenberg, Canyon, 1959 Jasper Johns, Target with Four Faces, 1955 Roy Lichtenstein, Oh Jeff. . .I Love You Too, But , 1964 Andy Warhol, Marilyn Diptych, 1962 Claes Oldenberg, Lipstick Ascending on Caterpillar Tracks, 1969-1974
Post-Modernism Robert Smithson, Spiral Jetty, 1969-70 Betye Saar, The Liberation of Aunt Jemima, 1972 Ana Mendieta, Untitled Work from the Tree of Life Series Jeff Koons, The New Shelton Wet/Dry Triple Decker, 1981
Robert Mapplethorpe, Ajitto (Back, 1981 A “Perfect 5” Response Paper: The Question: How did Giotto change painting in Europe, and which of his innovations did Jan van Eyck employ? Giotto di Bondone brought noteworthy change to painting in Europe during the Renaissance. Some of the change that he initiated would be reflected in the works of later artists. As a part of the cultural and artistic rebirth during the Renaissance, Giotto re-invented the way people were painted on canvas to reflect a truer depiction of the way people were in natural settings. Just as Petrarch wrote his poetry during the time in vernacular instead of in Latin, the language of the educated, Giotto painted his subjects more realistically, painting feelings and movements of people he saw in their natural environment. These more natural portrayals of people created powerful imagery that before then was not common to fine art. In paintings like, the Marriage at Cana, Rising of Lazarus, Noli Me Tangere, and Lamentation, the subjects in the painting are depicted in a way which conveys the emotion occurring in each picture. In the Lamentation, Mary is clutching Jesus in a manner we would expect a grieving mother to be clutching a dead son. The reactions of sadness on each of the mourner’s faces and the sullen curiosity of the male onlookers in the picture serve as a reflection of what one could expect at such a scene. Giotto changed painting in Europe by creating imagery which emphasized realism not in the stylistic sense, but realism in the thematic choices and emotions he used for his subjects. Giotto is well known for his paintings of religious scenes and stories found in the Bible. Jan Van Eyck, a later Dutch painter, is also well known for his realistic styling and religious themed paintings. When comparing some of their works together, similarities can be drawn from the two. Both painters painted in a developed realistic style that sought to imitate the lighting features on their subjects and portray them as more realistic people using body language in their paintings to convey emotion. Also, both men focused on religious themes, but juxtaposed the imagery they used in their paintings with intertwining themes. In Giotto’s Rising of Lazarus, Noli Me Tangere, and Lamentation, the juxtaposition is between death and life. In the Rising of Lazarus, Lazarus is resurrected from the dead by Jesus to the amazement of onlookers. Lazarus, still wrapped in cloth to show that just earlier, he was in a grave, symbolizes this resurrection from the dead. In the Lamentation, Jesus lays dead in the arms of Mary in a crowd of mourners. Above Jesus, is a group of angels watching over him, to symbolize his passage to heaven and resurrection in God’s kingdom. This juxtaposition of religious themes of the afterlife and resurrection were used in this work to create a dynamic image. Great Exam Answers: Part I. Short-Answer Ids Page with Thamyris from Bocaccio’s “Concerning Famous Women,” 1402, Northern Early Renaissance, anonymous This is an illumination. The woman is a famous painter from classical times. It displays the way paint was crushed. Full view of table top allows us to see everything on it - this concept taken from Intl. Gothic style. Women who could paint learned in their homes, from brother or other family members because not allowed to be apprentices.
Part II. Comparisons Portrait of Giovanni Arnolfini and his Bride, Jan van Eyck, Early Northern Renaissance, 1434 (left) The Jewish Bride, Rembrandt, Dutch Baroque, 1665, (right) The portrait of Giovanni Arnolfini is loaded with images and symbols, which is typical of Early Northern Ren. art. This is known as iconography. Many of the images contained are symbols: the one candle could be a wedding taper or it could be the presence of God. The small dog is a symbol of fidelity the beads and the finial on the bed are symbols of St. Margaret, protector of childbirth, and the frame around the mirror portrays Christ’s passion. Clearly there is a lot of religious influence in this work. In fact, through use of iconographic elements, van Eyck places more of the emphasis on holiness and God than on the married couple even though it is a portrait. The picture is so loaded up with other stuff that the focus is taken away from the couple a little. Rembrandt’s painting The Jewish Bride places all of the emphasis on the married couple. Instead of allover lighting as in the van Eyck work, Rembrandt uses the Baroque contrast of light and dark, or tenebrism to highlight only the couple. Clearly, they are the most important element in the painting that deserves the focus and attention of the viewer. Rembrandt also differed from van Eyck in that in his painting, the faces and actions are a lot more humanistic. The man and woman’s faces show such caring emotion for each other that the viewer can feel some of that emotion almost tangibly. This is a very strong viewer participation. In the van Eyck, there is no sense of this at all. There is no sense of emotion, the bride and groom hardly look at each other.
Slam Presentations: The following books may be helpful in choosing a chapter for your slam presentation. You may also download an article you have found through the full-text database “ProQuest.”
Theory-Based Compilations:
Race-ing Art History: Critical Readings in Race and Art History, ed. by Kymberly Pinder.
Art and Psychoanalysis, by Laurie Schneider Adams. Suggested: “Freud’s Leonardo” “Michelangelo’s Moses” or “Psychobiography: Caravaggio, Artemisia, Brancusi”
The Expanding Discourse: Feminism and Art History, ed. by Norma Broude and Mary Garrard.
Michael Harris, Colored Pictures: Race and Visual Representation
Artists and Movements:
Virtue and Beauty: Leonardo’s Ginevra di Benci and Renaissance Portraits of Women, ed. by David Alan Brown. Choose any essay
Rembrandt’s Women, ed. by Julia Lloyd Williams. Choose any essay
Mary Garrard, Artemisia Gentileschi
Mary D. Sheriff, The Exceptional Woman: Elisabeth Vigée-Lebrun and the Cultural Politics of Art
Ingres’s Eroticized Bodies, by Carol Ockman. Suggested: “A Woman’s Pleasure: The Grand Odalisque”
Petra ten-Doesschate Chu, Most Arrogant Man in France: Gustave Courbet and Nineteenth-Century Media Culture
American Iconology, ed. by David Miller. Suggested: “Peale’s Mammoth” “Mary Cassatt and the Maternal Body”
Manet/Manette, by Carol Armstrong. Suggested: “Two Retrospectives” “Finale: The Bar at the Folies Bergere”
The Politics of Vision: Essays on Nineteenth-Century Art and Society, by Linda Nochlin Suggested: “The Invention of the Avant-Garde” “The Imaginary Orient” “Seurat’s La Grande Jatte
Janice Tomlinson, Goya in the Twilight of Enlightenment
Tamar Garb, Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth Century Paris
Erica Hirschler, et al., Mary Cassatt: Modern Woman
Patricia McCluskey, Art from Africa: Long Steps Never Broke a Back
Michelle Coquet, African Royal Court Art
Celeste Connor, Democratic Visions: Art and Theory in the Stieglitz Circle
Kathleen A. Pyne, Modernism and the Feminine Voice: O’Keefe and the Women of the Stieglitz Circle
Paul Wood, et al., Modernism in Dispute: Art Since the 1940s
Diana Crane, The Transformation of the Avant Garde: The New York Art World, 1940-85
Douglas Shand Tucci, The Art of Scandal: The Life and Times of Isabella Stewart Gardner
Jules Prown, Art as Evidence: Writings on Art and Material Culture
Jules Prown, et al., Discovered Lands, Invented Pasts: Transforming Views of the American West
Alan Trachtenberg, Reading American Photographs
Marianne Doezema and Elizabeth Milroy, eds., Reading American Art
Amy Werbel, Thomas Eakins: Art, Medicine, and Sexuality in Nineteenth-Century Philadelphia
Alejandro Anreus, Diana Linden, and Jonathan Weinberg, The Social and the Real: Political Art of the 1930s in the Western Hemisphere
David Lubin, Shooting Kennedy: JFK and the Culture of Images
Steven Dubin, Arresting Images: Impolitic Art and Uncivil Action
Jonathan Weinberg, Ambition and Love in Modern American Art
Lisa E. Farrington, Creating Their Own Images: The History of African-American Women Artists
There are so many more in the library!!!! |