Art 252Absurvey of the History of Art II: Renaissance to Modern

Professor Amy B. Werbel

Saint Ed’s 133

Office: 802-654-2271

Cell: 802-355-3568

e-mail:

office hours: t.b.a.

Syllabus

Art 252ABSurvey of the History of Art II: Renaissance to Modern

Spring, 2013

Section A (Honors): Tuesday, Thursday 11:30-1:05

Section B: Tuesday, Thursday 1:15-2:50

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, fourth edition, by Marilyn Stokstad. Other requiredreadings are posted in “doc sharing” on eCollege.

Jan. 15Introduction: Art and History

Unit 1: Subject Matter and Iconography: Artists as Storytellers

Daily Response Papers for this unit should reflect on the ways artists tell stories with images. What types of stories do the artists in this unit tell, why, and what methods do they use to enhance interpretive significance?

Jan. 17Early Renaissance Painting in Burgundy and Flanders

Reading: Stokstad, XXIX-XXXVI, 560-568, 571-580; excerpt from: Linda Seidel, Jan van Eyck’s Arnolfini Portrait (Cambridge University Press, 1993): 19-58 (on eCollege).

Jan. 22Early Renaissance Painting and Sculpture in Italy

Reading: Stokstad, 593-595, 601-615, 620, 625-9; Andrew Butterfield, “Art and Innovation in Ghiberti’s Gates of Paradise, in The Gates of Paradise (Yale University Press, 2007), 16-41 (on eCollege).

Unit 2: Educational Purposes: Images as Teachers

Daily Response Papers for this unit should reflect on art’s instructional role in society. How, and what, do images teach individuals in these societies?

Jan. 24High Renaissance Painting and Sculpture in Italy

Reading: Stokstad, 631-645, 654-664, 666-668; excerpt from Rona Goffen, “Titian’s Sacred and Profane Love and Marriage,” in The Expanding Discourse (HarperCollins, 1992): 111-121 (on eCollege).

Jan. 29Renaissance Art in Germany, the Netherlands, and England

Reading: Stokstad676-689, 696-706;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.

Unit 3: Gender and Sexuality

Daily Response Papers in this unit should discuss the ways that art reflects attitudes towards gender and sexuality operative in their cultural context.

Jan. 31Baroque Painting and Sculpture in Italy and Spain

Reading: Stokstad, 710-712, 715-716, 718-734.

Watch:

Feb. 5Baroque Painting in Flanders and Holland

Reading: Stokstad, 735-755.

Watch:

Feb. 7Susanna 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. 12Worldcat, JStor, and RefworksInstruction – Library

Feb. 14 Artstor, Scanning, Photoshop, and PowerPoint instruction - Library

Feb. 19Section A: Research Presentations (Group A)

Section B: Exam #1 (Paper Writers – No class)

Unit 4: Art and Political Order

Daily Response Papers in this unit should address the role art plays in creating and preserving political power and social order.

Feb. 21Rococo andNeoclassicism

Reading: Stokstad, 902-904, 906-910, 920-930, 932-938.

Watch:

Feb.26Romanticism

Reading: Stokstad, 938-941, 943-956; Todd Porterfield and Susan L. Siegfried, excerpt from: “Staging Empire: Napoleon, Ingres, and David” (Pennsylvania State University Press), 3-22 (on eCollege).

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

Daily Response Papers in this unit should reflect on the ways that artist’s personal life stories and points-of-view contribute to artistic innovation.

Feb.28Early Photography and Realism

Reading: Stokstad, 961, 967-983.

Watch:

March 5Impressionism

Reading: Stokstad, 984-991; Griselda Pollock, “Mary Cassatt: Painter of Women and Children,” 280-301 (on eCollege).

March 7Post-Impressionism and Symbolism

Reading: Stokstad, 991-1003; Debora Silverman, excerpt from: Van Gogh and Gaugin: The Search for Sacred Art (Farar, Straus, and Giroux, 2000) on eCollege.

March 12 and 14 – No class. Break.

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

Daily Response Papers for this unit should discuss the ways that creating and consuming art can help individuals and societies gain empowerment.

March 19West African Art Overview

Reading: Stokstad, 879-901. BabatundeLawal, “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 21African Art in the Diaspora

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

March 26The Harlem Renaissance

Reading: Stokstad, 1061, 1964-5; Richard J. Powell, “The Aaron Douglas Effect,” in Aaron Douglas, Modernist (Yale University Press): 53-73.

March 28Section A: Research Presentations (Group B)

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

Section B: Exam #2/ (Paper Writers– no class)

Unit 7: Art for the Modern Age

Daily Response Papers for this unit should discuss the elements of “modernity” in art of the early 20th century.

April 2Cubism and Dada

Reading: Stokstad, 1016-1043

Assignment: Section B paper writers and all Section A students submit topic and bibliography for your final presentations.

April 4Surrealism throughAbstract Expressionism

Reading: Stokstad, 1056-1081; Stephen Polcari, Abstract Expressionism and the Modern Experience, (on eCollege).

April 9Assemblage, Pop, and Conceptual

Reading: Stokstad, 1082-1103.

Watch:

Unit 8: Conclusion. The Future of Art

DRPs for this unit should address the current and future status of art, and reflect on the role that art does (and should) play in society.

April 11Post-Modernism

Reading: Stokstad, 1106-1122, 1125-1135

April16Section A:Field Trip

Section B: Exam #3 (Paper writers no class -- meet with me this week)

April 18Art in the 21st Century

Watch:

April 23Art in the 21st Century

Watch:

April 25Final Research Presentations

April 30Final Research Presentations

Final Exam t.b.a. Final Papers Due on the same day as the exam.

Section A (Honors). Grading Percentages:

(10) pop quizzes: 10 points

(13) 2-page daily response papers: 52 points

(1) 10-minute research presentation: 10 points

(1) 20-minute research presentation: 18 points

Class Participation: 10 points

Section B. Grading Percentages:

Exam Takers:Paper Writers and Presenters:

Exam I: 20 pts.(15) 2-page daily response papers: 60 points

Exam II: 20 pts.(1) 15-minute research presentation: 30 points

Exam III: 20 pts.Class Participation: 10 points

Final Exam: 30 pts.

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

In Section A, there will be 10 pop quizzes given at unannounced times and dates. 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.

Daily Response Papers

Daily Response papersgive 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 eCollegedropboxbefore class on the day listed. Late daily response papers are not accepted for credit. These papers should be approximately 600 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:

DRP Component / Comments
CONTENT & CRITICAL THINKING

• Is the unit question and daily 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:
• sentencestructure
• grammar
• word choice/usage
• punctuation
• quotations/citations
• spelling

GRADE:

10-minute Presentations:

These are 10-minute presentations of a book chapter or article that adds dimension and depth to one of the artists or themes we study during the first three units. Reference librarians will teach students use of tools to assist in learning how to find appropriate sources and present images to the class. You are REQUIRED to clear your choice with me before proceeding

15- or 20-minute Research Presentation

The final research presentation is an opportunity for students to applyextended 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 sevenacademicpeer-reviewed, modern sources must be used in preparing your presentation.

Students must bring their presentationsto class on a USBdrive.

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 throughclear 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 of the three 90-minute exams requires that test-takers demonstrate their understanding of themes and “important” works of art presented in class and readings. 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, which you may bring to class, covered with as many notes as you can fit. Although you may look at the important works list during exams (no other materials are allowed), please be aware that these tests will contain many questions. If you aren’t already VERY familiar with course materials, you will not have time to complete the exam.

Art 252 – Spring, 2011 - 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’sDe Claris Mulieribus, 1402

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

Workshop of the Master of Flémalle, The Mérode Altarpiece, c. 1425-30s

Jan van Eyck, Double Portrait of Giovanni Arnolfiniand his Wife, 1434

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

Rogier van der Weyden, Deposition, c. 1435-1438

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

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

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

Donatello, EquestrianMonumentof Erasmo de Narni, 1443-53

Perugino, The Delivery of the Keys to Saint Peter, and SchematicDrawingShowing the Orthogonals and Vanishing Point, 1481.

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

Andrea Mantegna, Two Views of the Camera Picta, Ducal Palace, Mantua, 1465-1474

SandroBoticelli, 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. 1503-1506

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, Stanza dellaSegnatura and 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

Bronzino, Portrait of a Young Man, c. 1540-1545

SofonisbaAnguissola, Self-Portrait, c. 1552

* Titian, Sacred and Profane Love, 1514

High Renaissance Art in Germany, the Netherlands, and England

Albrecht Dürer, Self-Portrait, 1500

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

Albrecht Dürer, Adam and Eve, 1504

Lucas Cranach theElder, Nymphofthe Spring, c. 1537

Albecht Altdorfer, DanubeLandscape, c. 1525

Hieronymus Bosch, Garden ofEarthlyDelights, c. 1505-1515

Caterina van Hemessen, Self-Portrait, 1548

Pieter Breughel the Elder, Return of the Hunters, 1565

Hans Holbein the Younger, The French Ambassadonrs, 1533

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

Baroque Painting and Sculpture in Italy and Spain

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

Gianlorenzo Bernini, David, 1623

Annibale Carracci, Ceiling of Gallery, Palazzo Farnese, Rome, 1597-1601

Caravaggio, Bacchus, 1595-1596

Caravaggio, The Calling of Saint Matthew, 1599-1601

Artemisia Gentileschi, Susanna and the Elders, 1610

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, Judith and Maidservant with the Head of Holofernes, 1625

Baroque Painting in Flanders and Holland

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, The Company ofCaptain Frans Banning Cocq, 1642

Rembrandt, Three Crosses (first state), 1653

Rembrandt, Self-Portrait, 1658

Jan Vermeer, View of Delft, c. 1662

Jan Vermeer, Woman Holding a Balance, 1664

Gerard TerBorch, The Suitor’s Visit, c. 1658

Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, c. 1670

Rachel Ruysch, Flower Still Life, after 1700

*Rembrandt, Bathsheba at her Bath, 1654

*Rembrandt, Susanna and The Elders, 1636

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, Thomas Mifflin and Sarah Morris, 1773

Jean-Honoré Fragonard, The Swing, 1766

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

John Singleton Copley, Watson and the Shark, 1778

Marie-Louise ÉlisabethVigée 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

AdéläideLabille-Guiard, Self-Portrait with Two Pupils, 1785

Jean-Antoine Houdon, George Washington, 1788-1792

*Charles Willson Peale, Staircase Group, 1795

Romanticism

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

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

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

ThéodoreGéricault, The Raft of the “Medusa,” 1818-1819

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

Jean-Auguste Dominique Ingres, Large Odalisque, 1814

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

1830

*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

Timothy O’Sullivan, The Home of the Rebel Sharpshooter: Battle Field at Gettysburg, 1863

Julia Margaret Cameron, Portrait of Thomas Carlyle, 1867

Gustave Courbet, The Stone Breakers, 1849

Gustave Courbet, A Burial at Ornans, 1849

Jean-François Millet, The Gleaners, 1857

Frederick Church, Heart of the Andes, 1859

Rosa Bonheur, The Horse Fair, 1853-5

ÉdouardManet, The Luncheon on the Grass, 1863

ÉdouardManet, Olympia, 1863

Thomas Eakins, The Gross Clinic, 1875

Edmonia Lewis, Forever Free, 1867

Impressionism

Claude Monet, Impression: Sunrise, 1872

Pierre-August Renoir, Moulin de la Galette, 1876

Mary Cassatt, Mother and Child, c. 1890

Edgar Degas, The Rehearsal on Stage, c. 1874

GustaveCaillebotte, Paris Street, Rainy Day, 1877

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

Post-Impressionism and Symbolism

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