Full File at Solution-Manual-For-Art-History-Volume-1,-5E

Full file at Solution-Manual-for-Art-History-Volume-1,-5E-

Instructor’s Manual

by

Sarah Archino, Ph.D., MillsapsCollege

Suzanne Owens, Ph.D., LorainCountyCommunity College

For

Art History

FIFTH EDITION

Marilyn Stokstad

Michael Cothren

ISBN: 02-0-596173-8

Copyright © 2014 Pearson Education, Inc.

Table of Contents

Introduction3

Volume 1 Sample Syllabus – Western Emphasis5

Volume 2 Sample Syllabus – Western Emphasis15

Volume 1 Sample Syllabus – Global Emphasis25

Volume 2 Sample Syllabus – Global Emphasis36

Chapter OnePrehistoric ArtinEurope46

Chapter TwoArtofthe Ancient Near East50

Chapter Three Art of Ancient Egypt55

Chapter FourArt of the Ancient Aegean60

Chapter FiveArt of Ancient Greece66

Chapter SixEtruscan and Roman Art70

Chapter SevenJewish and Early Christian Art76

Chapter EightByzantine Art80

ChapterNineIslamic Art86

ChapterTenArt of South and Southeast Asia Before 120091

ChapterElevenChinese and Korean Art Before 127997

Chapter TwelveJapanese Art Before 1392102

Chapter ThirteenArt of the Americas Before 1300106

Chapter FourteenEarly African Art111

Chapter FifteenEarly Medieval Art in Europe116

Chapter SixteenRomanesque Art121

ChapterSeventeenGothic Art of the Twelfth and Thirteenth Centuries127

Chapter EighteenFourtheenth-Century Art in Europe131

ChapterNineteenFifteenth-Century Art in Northern Europe134

Chapter TwentyRenaissance Art in Fifteenth-Century Italy137

ChapterTwenty-OneSixteenth-Century Art in Italy141

Chapter Twenty-TwoSixteenth-Century Art in Northern Europe145

and the Iberian Peninsula

ChapterTwenty-ThreeSeventeenth-Century Art in Europe149

ChapterTwenty-FourArt of South and Southeast Asia after 1200154

ChapterTwenty-FiveChinese and Korean Art after 1279157

ChapterTwenty-SixJapanese Art after 1333160

ChapterTwenty-SevenArt of the Americas after 1300163

ChapterTwenty-EightArt of Pacific Cultures166

ChapterTwenty-NineArt of Africa in the Modern Era169

ChapterThirtyEighteenth- and Early Nineteenth-Century Art172

in Europe and North America

ChapterThirty-OneMid- to Late Nineteenth-Century Art in Europe177

and the United States

ChapterThirty-TwoModern Art in Europe and the Americas, 1900-1950182

Chapter Thirty-ThreeThe International Scene since 1950188

Stokstad / Cothren Art History, 5th ed., Vol. 1: Instructor’s Manual Introduction

E. Suzanne Owens, Ph.D., Professor of Arts & Humanities

Lorain County Community College, Ohio

The 5th edition of Art History, by Michael Cothren and Marilyn Stokstad, represents an evolution of the traditional survey course. From a rethinking of chapter splits for Volume 1, to revised presentations of key content and expanded images, to new emphases on critical thinking and "crosscurrents" of art history, this updated version of a classic work enriches the possibilities for robust teaching and learning. Paired with Pearson's newest version of MyArtsLab multimedia platform of resources, study tools and assessments, Art History orchestrates a vivid "surround sound" experience of western and world art history.

Instructors of traditional campus-based courses, as well as those creating "virtual" classrooms for online courses can explore Volume 1 through multiple features of the accompanying Manual. Each chapter is summarized at-a-glance in a topic outline, Learning Objectives and Key Terms chart. The Transition Guide lists images removed or added between the 4th and 5th editions, a quick aid for veteran instructors adapting previous course plans. Discussion Topics and Critical Thinking Questions offer starting points for helping students review core content and check reading comprehension, but can also be used as springboards to more interactive Activities and Exercises. Designed to work in tandem with MyArtsLab, these teaching and learning tools offer great flexibility for surveying chapters broadly or pursuing them in more depth to match curriculum goals.

As I prepared this edition of the Instructor's Manual, as with the 4th edition, the expanded resources of MyArtsLab continued to impress. Closer Looks and Architectural Simulations provide detailed examinations of works far beyond the possibilities of static illustrations or text descriptions, while Panoramas create remarkable 360-degree experiences of sites most world travelers would envy. Thanks to superior camera technology, these views exceed in detail, clarity and perspective what might be possible to see in person. Video/Podcasts and Studio Techniquedemonstrations are invaluable for moving students beyond the confines of their textbooks. While classroom lectures can always be enhanced with dynamic use of such resources projected from MyArtsLab, I rely upon all of these tools to create vivid online experiences for my distance learning students, many of whom report sharing their Lab activities with family members as interest in art history spreads. Needless to say, for students studying online and living far from museum collections or major architectural sites, MyArtsLabexperiences can be transformative. And online students without the benefit of hearing textbook content reinforced by their instructor's voice can compensate by listening to the chapter being read aloud on the Lab.

In so many ways, what was once merely "art in the dark" has become an exciting, interactive, globe-trotting journey limited only by an instructor's ingenuity in responding to Michael Cothren's most recent itinerary. And, once again, I hope you’ll find this Manual to be a helpful starting point as those adventures begin.

Stokstad / Cothren Art History, Vol. 2: Instructor’s Manual “Introduction”

Sarah Archino, Ph.D., Teaching Fellow in Art History

Millsaps College, Mississippi

At a time of increasing pressures to justify liberal arts and humanities departments, it has become increasingly critical that we demonstrate the relevancy and importance of a field such as art history. Now, more than ever, we need to ensure that our survey courses are not simply about rote memorization, but about showing students how meaning is made. In truth – isn’t it this awesome power of visual images that makes us excited about our field and that motivates us through all the preparation for lectures and long hours of grading? It is my hope that the discussion questions and exercises in this instructor’s manual will not only demonstrate to students the importance of studying art, but will also help develop critical thinking and writing skills that will serve them throughout their studies. In writing the instructor’s manual for this new edition of Stokstad’s Art History, I have tried to bring together images and ideas that will inspire close examination and deeper analysis.

The art history survey course is an opportunity to connect with a wide range of students and to impart an interest which can last long after graduation. Although many of our students will ultimately specialize in other fields, through art we can teach them critical skills of analysis, interpretation, and provide a historical context which will form the foundation for a more sophisticated approach to understanding our world.

When I teach the art history survey, I like to emphasize the contemporary social structures surrounding the images – questions of function, patronage, and politics. I have found that this approach helps students to understand that art is not created in a vacuum, but holds rich insight into communities that might otherwise remain unapproachable. In creating this deeper understanding, the resources of MyArtsLab are invaluable. I am very excited about the increased access to primary source documents, which provide a concrete point of entry for students unfamiliar with iconography or formal analysis. Similarly, the study of architecture is vastly helped by the Closer Look features and videos which help to recreate aspects difficult to conjure from a two-dimensional image. Using a Students On Site to study St. Peter’s Basilica gives a much truer sense of scale (and a better understanding of the absolute power of the Papacy during the Baroque period) than any lecture ever could and helps them to see these monuments through the eyes of a peer.

As instructors, we are often reluctant to give time for in-class writing assignments, fearful that they will distract from our already-ambitious syllabi. As you look through this instructor’s manual, I encourage you to explore alternatives to the strict lecture format. Even incorporating a five-minute exercise into a class will help your students become engaged with the material and begin to make connections for themselves. Writing doesn’t need to be a cumbersome burden on your students or yourself – many of these assignments are designed for little or no grading. Because they support the Learn About It points and major emphases of each chapters, these assignments are rewarded through the mastery of test material and do not require extensive grading and feedback. We want our students to work and master this material through their efforts. In my experience, this has led to better classroom discussions and more thoughtful test answers and papers. I hope these suggestions will be useful to you and your teaching.

SAMPLE SYLLABUS: “Art History I” (Western European emphasis)

Stokstad/Cothren, 5th ed., Volume 1

Week / Chapters for Lecture
1 / Introduction
Learn-About-Its:
I.1 Explore the methods and objectives of visual analysis.
I.2 Assess the way art historians identify conventional subject matter and symbols in the process called iconography.
I.3 Survey the methods used by art historians to analyze works of art and interpret their meaning within their original cultural contexts.
I.4 Trace the process of art-historical interpretation in a case study
MyArtsLab Resources:
Architectural Panorama: Notre-Dame-du-Haut
Closer Look: Iconography, Visual Elements of Pictorial Expression, Fra Angelico,Crucifixion (Van der Weyden), Quince (Zhu Da), Still Life with Fruit and Flowers (Peeters), Mme. Charpentier and her Child (Renoir), Madonna of the Goldfinch (Raphael), Humay and Humayun Junayd, Doni Tondo (Michelangelo), Education of the Virgin (De la Tour), Carpet Page from Lindisfarne Gospels, Notre-Dame-du-Haut
Video and Podcasts: Student on Site: Sarcophagi of Constantine and Helena
2 / Chapter1. Prehistoric Art
Learn-About-Its:
1.1 Explore the variety of styles, techniques, and traditions represented by what remains of prehistoric art and architecture, and probe its technical, formal, and expressive character.
1.2 Survey the principal themes, subjects, and symbols in prehistoric painting, sculpture, and objects.
1.3 Investigate how art historians and anthropologists have speculated on the cultural meanings of works for which there is no written record to provide historical context.
1.4 Grasp the concepts and vocabulary used to describe and characterize prehistoric art and architecture.
MyArtsLab Resources:
Architectural Simulations: Post and Lintel Construction, Corbel Construction Closer Look: The Design and Making of Stonehenge,Male and Female Figures from Cernavoda,Lascaux,Spotted Horses and Human Hands StudioTechnique Video: Ceramics Video/Podcasts: Prehistoric Sites and Decorated Caves of the Vezere Valley, Stonehenge Decoded, Student on Site: Stonehenge Web Resource: The Cave of Chauvet – Pont - D’Arc, Panorama: Stone-henge, Panorama: Skara Brae, Orkneyjar
Assessment:
Chapter 1 MAL Pre- and Post- Tests:
Art History Test Item File:
3 / Chapter2. Art of the Ancient Near East
Learn-About-Its:
2.1 Investigate a series of conventions for the portrayal of human figures through the history of the ancient Near East.
2.2 Explore the development of visual narrative to tell stories of gods, heroes, and rulers in sculpted reliefs.
2.3 Survey the various ways rulers in the ancient Near East expressed their power in portraits, historical narrative, and great palace complexes.
2.4 Evaluate the way modern archaeologists have laid the groundwork for the art-historical interpretation of the ancient cultures of the Near East.
MyArtsLab Resources:
Closer Look: Cuneiform Writing in Sumeria, Enemies Crossing the Euphrates to Escape Assyrian Archers, The Ishtar Gate, The Stele of Naram-Sin, The Standard of Ur, front and back
Studio Technique Video:Sculpture Carving (Relief)
Video/Podcasts: Persepolis, The Iraq Museum Reopens, Students on Site: Lion Hunt Frieze
Web Resource: Iraq (British Museum), The Code of Hammurabi (Louvre Museum), Chicago's Oriental Institute, Panorama: Persepolis, Mesopotamia (British Museum)
Primary Source Documents: The Code of Hammurabi, Texts on GudeaFigures from Lagash and Surrounding Areas
Assessment:
Chapter 2 MAL Pre- and Post- Tests:
Art History Test Item File:
4 / Chapter 3. Art of Ancient Egypt
Learn-About-Its:
3.1 Explore the pictorial conventions for representing the human figure in ancient Egyptian art, established early on and maintained for millennia.
3.2 Analyze how religious beliefs were reflected in the funerary art and architecture of ancient Egypt.
3.3 Examine the relationship of royal ancient Egyptian art to the fortunes and aspirations of the rulers who commissioned it.
3.4 Understand and characterize the major transformation of ancient Egyptian art and convention under the revolutionary rule of Akhenaten.
MyArtsLab Resources:
Architectural Simulation: Mastaba to Pyramid
Closer Look:Akhenaten and His Family, Funerary Temple of Hatshepsut,
Palette of Narmer, Book of the Dead,
Tomb of Ramose, Abu Simbel
Video: Ancient Thebes with its Necropolis
Web Resource:Seated Scribe (Louvre Museum), Panorama: Memphis and its Necropolis
Primary Source Documents: A Hymn to Aten
Assessment:
Chapter 3 MAL Pre- and Post- Tests:
Art History Test Item File:
5 / Chapter 4. Art of the Ancient Aegean
Learn-About-Its:
4.1 Compare and contrast the art and architectural styles developed by three Aegean Bronze Age cultures.
4.2 Evaluate how archaeology has recovered, reconstructed, and interpreted ancient Aegean material culture despite the limitations of written documents.
4.3 Investigate the relationship between art and social rituals or communal practices in the ancient Aegean cultures.
4.4 Assess differences in the designs and use of the large architectural complexes created by the Minoans and the Mycenaeans.
MyArtsLab Resources:
Closer Look: Palace of Knossos or Citadel of Mycenae, Vapheio Cups, Toreador Fresco, Harvester Rhyton
Web Resource: The Palace of Knossos
Assessment:
Chapter 4 MAL Pre- and Post- Tests:
Art History Test Item File:
6 / Chapter 5. Art of Ancient Greece (Part 1)
"Emergence of Greek Civilization" through "Early Classical Period"
Learn-About-Its:
5.1 Trace the emergence of a distinctive Classical style and approach to art and architecture during the early centuries of Greek civilization and assess the ways Hellenistic sculptors departed from its norms.
5.2 Explore the principal themes and subject matter of ancient Greek art, rooted in the lives—both heroic and ordinary—of the people who lived in this time and place as well as the mythological tales that were significant to them.
5.4 Understand the differences between and assess the uses of the three orders used in temple architecture
MyArtsLab Resources:
Architectural Panorama: Greek Orders
Closer Look: The Euphronios Krater, Funerary Vase (Krater),Charioteer of Delphi, Red-Figure and Black-Figure Vessels
Video / Podcasts: Student on Site: Achilles and Ajax,
Assessment:
Chapter 5 MAL Pre- and Post- Tests:
Art History Test Item File:
7 / Chapter 5. Art of Ancient Greece (Part 2)
"High Classical Period" through "Hellenistic Period"
Learn-About-Its:
5.1 Trace the emergence of a distinctive Classical style and approach to art and architecture during the early centuries of Greek civilization and assess the ways Hellenistic sculptors departed from its norms.
5.3 Explore the nature and meaning of the High Classical style in relation to the historical and cultural situation in Greece during the fifth century BCE.
MyArtsLab Resources:
Architectural Simulation: Theater of Dionysios
Closer Look: Altar of Pergamon, Nike of Samothrace, Alexander Mosaic: Temple at Aegina
Video / Podcasts: Winged Victory of Samothrace, Student on Site: Doryphoros, Student on Site: Lapith and Centaur, Student on Site: Laocoon
Primary Documents: Pliny the Elder, Natural History
Assessment:
Chapter 5 MAL Pre- and Post- Tests:
Art History Test Item File:
8 / Chapter6. Etruscan and Roman Art (Part 1)
"The Etruscans" through "The Early Empire"
Learn-About-Its:
6.1Explore the various ways Romans embellished the walls and floors of their houses with illusionistic painting in fresco and mosaic.
6.2 Trace the development and use of portraiture as a major artistic theme for the ancient Romans.
6.3 Examine the ways that Etruscan funerary art celebrates the vitality of human existence.
MyArtsLab Resources:
Architectural Simulation: Barrel and Groin Vaults, Round Arch
Closer Look:Gemma Augustea, House of the Vetti, Augustus of Primaporta, Ficoroni Cista
Video / Podcasts: The Flavaian Amphitheater (Colosseum), Pont du Gard (Roman Aqueduct), Reawakened Ancient City: Archaeological Areas of Pompei
Student on Sites: Augustus of Primaporta, Marcus Aurelius, Ara Pacis, Colosseum, She-Wolf, Villa of Mysteries, Arch of Titus
Primary Source Documents: Vitruvius, “On Symmetry”
Assessment:
Chapter 6 MAL Pre- and Post- Tests:
Art History Test Item File:
9 / Chapter 6. Etruscan and Roman Art (Part 2)
"High Imperial Art" through "Late Empire"
Learn-About-Its:
6.4 Investigate how knowledge of Roman advances in structural technology furthers our understanding of Roman civic architecture.
MyArtsLab Resources:
Architectural Simulation: Concrete
Closer Look: Dish from Mildenhall, England, The Column of Trajan, Sarco-phagus with the Indian Triumph of Dionysus, The Forum Romanum and Imperial Forums, Arch of Constantine, Mosaic
Video / Podcasts: Pantheon, Tetrarchs
Assessment:
Chapter 6 MAL Pre- and Post- Tests:
Art History Test Item File:
10 / Chapter7. Jewish and Early Christian Art
Learn-About-Its:
7.1 Investigate of the ways in which late antique Jewish and Christian art developed from the artistic traditions of the ancient Roman world.
7.2 Interpret how late antique Jewish and Christian artists used narrative and iconic imagery to convey the foundations of the Christian faith for those already initiated into the life of the Church.
7.3 Understand the relationship between the art and architecture of Jewish and Christian communities and their cultural and political situation within the late Roman Empire.
7.4 Analyze the connection between form and function in buildings created for worship
MyArtsLab Resources:
Architectural Panorama: Mausoleum of Galla Placidia, Santa Sabina, Santa Costanza