ART 100

Art Survey

Ansel Adams

Art 100 Art Survey (3cr)

Instructor: Aaron Johnson Email: acjohnson@lcsc.edu Office:M/W 1:15-2:15 (please make an appointment)

Required book: A World of Art by Henry M. Sayre, 8th

edition Art 100 Study Guide

ART 100 is an introductory survey of art and culture in Western and non-Western contexts. Major cultural sites, monuments, image traditions and technologies will be examined alongside the historical, religious, political, economic and aesthetic contexts that produced them. A theoretically comparative approach will be followed towards an understanding of both similarities and differences between Western and non-Western cultural production.

The course will address basic philosophical questions and issues concerning art. We will explore the tools and processes artists’ use, and using art and culture from around the world, we will examine the role of the artist in society.

Through a combination of reading, discussions, lectures, films, gallery visits, visiting artists, presentations and exams, I hope to increase your understanding and appreciation of art and culture and to stimulate your desire to learn more, see more, and gain more enjoyment from the art in the world around you.

Course Objectives:

The course objectives are to instill:

1. Knowledge of terms relevant to the discipline.

2. Knowledge of theories and underlying assumptions relevant to the discipline.

3. Knowledge of and ability to analyze the components out of which the works studied are constructed.

4. Knowledge of and ability to recognize the historical context of works studied, as well as the underlying aesthetic, cultural, philosophical, political, and social influences.

5. The ability to develop and justify a point of view about matters of value and aesthetic taste.

6. The ability to acknowledge and critically evaluate diverse points of view.

7. The ability to discuss the subject intelligently and to write and speak about it clearly.

8. The ability to extend the concepts of the course beyond the academic setting.

Out of Class Requirements:

An additional 4-6 hours per week, outside of class, will be required for assigned reading. There will be three short papers assigned throughout the semester in addition to a group presentation.

Lectures: ART-100-03 MW 9-10:15 ART-100-02 10:30-11:45

Room: Library TCC

The lectures, in most cases, do not duplicate the readings, but rather explore a related topic or an aspect of something that has been discussed in the reading. If you want to do well in the class, you will need to attend the lectures and do the assigned reading, as the exams are based on both. Consult the course schedule for this information.

People do miss lectures due to illness, family emergencies, participation in sports events, etc. If you miss a lecture, it is your responsibility to fill in your study guide with notes from a fellow student in the course.

You are aloud three excused absences per semester; each absence after three will result in a grade drop. I understand that there are circumstances that may cause you to miss class for an extended period. If this happens please speak to me.

Please turn your phone off during class. It is very distracting to both your fellow students and me. If you plan on using a computer to take notes, please turn down the brightness on the screen and consider sitting on the edges.

The outline provided is subject to change, I may skip or replace aspects of the lecture.

Note-Taking: Helpful tips

I encourage you to take good notes during the lectures. Even though it seems, at the time, as though you will remember most of what you hear, it is not possible for most people to retain that much information fully after only hearing it once. Don’t forget to bring your study guide to lecture as it is designed to help you identify the important concepts and images.

If you do the reading before you come to class and note the important points mentioned in the text, all you will have to do in the lecture is to fill in the points that are outlined in the study guide.

Study Groups:

Many students have found that forming a regular study group to review the lecture and reading material helpful. Different people will write down different things they consider important from the lecture and readings. If your study group gets together on a regular

basis or before exams and compares notes, each person will end up with a more complete set of notes. A review and discussion soon after the lecture will help you to retain the information much more easily than if you simply come to class, take notes, and then do not look at them again until time to study for the exam.

You can also divide up the reading among members of your group. Explaining the information you have read to someone else will help you understand it better. Your studio instructor has taken this class before and understands both the material and the exam format. He/she will be happy to answer your questions and clarify points you may not have understood.

Exams:

There will be three exams with that will consist of multiple-choice, fill in the blank and short answer question. The exams will be worth 100 points each and given during class time.

You will be responsible for both the material presented in the lecture and for the assigned readings from the text. The exams will be passed out as close to the start of class as possible to give those who need it as much time as possible to finish. The slides will be shown at the beginning of the exam so please be on time.

Those who have English as a second language may use a foreign language dictionary (word-to-word only). Please sit in the front and show your dictionary to me before the start of the exam.

If you are working with Student Support Services and wish to take you test there, you will need let me of this at least one week in advance and make arrangements with Student Support Services at least one week in advance.

Lecture Topics

Intro to Course, Line, Shape, Space, Light, Color, Balance, Unity, Drawing, Painting,

Exam Review-First Exam

Printmaking Presentations

Sculpture Presentations

Photography & Cinema Presentations

Craft & Design Presentations

Exam Review - Second Exam

Architecture, Ancient Art, Age of Faith Renaissance – Baroque , Rococo,18th

-19th

Century Art Present Day

Exam Review – Final Exam

Gallery Review Format

Requirements: Pick two pieces of art in the gallery to write about. One work that you are drawn too and one work that you don’t think is successful. Write a two page response to your visit to the gallery.

Suggestions for writing a gallery review:

Introduction:1. Include the Name of Artist, Title of Artwork, Year, Medium2. Include name and location of the gallery and the title of the show if applicable3. Briefly describe the subject matter/form. This is where you describe what you see.

Body of the Paper:

1. Discuss the contents of the art works at length

2. USE VOCAB WORDS. Look through your study guide and/or the glossary of the book for terms that apply to the artwork you choose. Don’t just list these terms but describe what you see using these terms

Conclusion:

1. Sum up how the subject matter/form and content of the piece work together to create an experience for you the viewer.

Remember, it is ok to include criticism in your paper.

There will be three papers assigned during the semester.

You will have two weeks for each paper. Please type your paper in 12 point, using Times New Roman or a similar font. The length of the paper will vary from 1-3 pages. The subject of the papers will be given to you when assigned.

Put a header with your name, class time, and subject in the top left corner. See example

Your Name Art 100 9:00 a.m Van Gogh’s Ear

1 2 3

4. Start your paper 4 spaces after the header.

Lecture & Reading Outlines For The First Exam

Principle of Design: Line Chapter 4

Types of line: Contour Line/Outline

Expressive Line/Gesture/Continuous Gesture

Hatching & Cross Hatching (see also Chapter 6, p.99-100)

Communicative qualities of line:

Implied Line:

Jacques Louis David, The Death of Socrates, 1787, oil on canvas How is line used in this painting?

Eugene Delacroix, The Death of Sardanapalus, 1827, oil on canvas How is line used in this painting?

Principle of Design: Shape & Space Chapter 5

Shape

Form or Mass

Negative Shape/Space

Positive Shape/Space

How does Kathe Kollowitz use positive & negative space?

How does M.C Escher use positive & negative space?

Geometric Shape vs. Organic Shape

Representing Three Dimensional Space on a Two Dimensional Surface

Ways to create space...

Overlapping

Size

Placement or vertical stacking

Color

Texture

Atmospheric Perspective:(see also Chapter 6 p.94-96) Edgar Payne ‘Big Pine Lake’ 1930s

Rules:

Objects farther away appear:

Objects closer appear:

Picture Plane

Linear Perspective

Developed during the:

Linear Perspective is based on 5 fundamental concepts:

1. Objects appear to in size as they recede into the distance.

2. The point at which objects disappear entirely is called a .

3. In basic one – and two –point perspective, all vanishing points are positioned on a line, which is level with the viewer’s eyes.

4. Because all proportional relationships shift with each change in your position, a position is essential.

5. Only a area is clearly visible from a fixed position.

One Point Linear Perspective

Leonardo da Vinci, The Last Supper, 1495-98, oil and tempera on plaster.

Pieter Brueghel the Elder, The Wedding Dance, c.1566, oil on panel

Two-point Linear Perspective

Gustave Caillebotte, Place de l’Europe on a Rainy Day, 1876-77, oil on canvas

Foreshortening:

Andrea Mantegna, The Dead Christ, 1501, tempera on canvas.

Scale:

Pieter Brueghel the Elder, Return of the Hunters, 1565, oil on wood

Henri Matisse, Harmony in Red, (The Red Room), 1908-09, oil on canvas How is Matisse using perspective in this painting?

Principles of Design: Light & Color Chapter 6

Value

Color:

Shade

Tint

Hue =

Additive Color

Subtractive Color

Primary colors are:

Secondary colors are:

How are they created?

Intermediate or Tertiary colors are:

How are they created?

Color Schemes:

Monochromatic

Analogous

Complementary

Triadic

Color Temperature

Cool

Warm

Intensity or Saturation

Polychromatic

Charles Searles, Filas for Sale (from the Nigerian Impressions series), 1972 Acrylic on canvas

Local Color

Expressive or Arbitrary color

Perceptual Color

Claude Monet, Grainstacks (Sunset), 1891, oil on canvas

Impressionists’ use of perceptual color:

Optical Color

Chuck Close

Symbolic use of color

Thomas Cole, The Oxbow (Connecticut River near Northampton), 1836, oil on canvas

Form & Content (see also chapter 2, p. 29-35)

Form is:

Content is:

Iconography

Form vs. Content: Fridah Kahlo

Form vs. Content: Addi-Color, Pink

Principles of Design: Texture & Pattern, Time & Motion Chapter 7

Texture

Actual texture

Michelangelo, Pieta, 1501, marble, Rome, 6’ x 8 1∕2’

Visual texture

Ingres, Le grande Odalesque, 1814, oil on canvas

Pattern

Time and Motion

Jackson Pollock, Blue Poles, 1952, oil on canvas 7’ x 16 1∕2’

Kinetic Art

Alexander Calder, Untitled, 1976, aluminum and steel, Theo Jansen, Strandbeast

Visual Weight

How can an artist change visual weight?

Actual Weight

Balance

Symmetrical Balance

Asymmetrical Balance

Radial Balance

Principles of Design: Balance & Unity Chapter 8

Focal Point

In what ways can an artist create focal point?

Anna Valayer-Coster, Still Life with Lobster, 1781, oil on canvas

Scale & Proportion

Do-Ho Su, Public Figures, 1998-99, fiberglass/resin, steel pipes, pipe fittings

Hierarchical Scale

Unity

Repetition

Rhythm

Materials & Methods: Drawing Chapter 9

Materials

Binders

Pigments

Dry Media

Silver point/Metal Point

Chalk and charcoal

Kathe Kollwitz, Self Portrait, 1933, charcoal on brown paper

Graphite

Pastel

Oil Stick

Liquid Media

Pen & Ink

Materials & Methods: Painting Chapter 11, up to page 243

Painting Terms:

Pigment

Binder or medium

Support

Ground

Solvent

Types of Painting:

Encaustic

Fresco

True Fresco:

Fresco Secco:

Tempera

Andrew Wyeth, Braids, 1979, egg tempera on canvas

Oil Painting

Glazing

Jan van Eyck, Giovanni Arnolfini and his Bride, 1434, oil on wood.

Impasto

Vincent Van Gogh, Starry Night, 1889, oil on canvas.

Watercolor

Gouache

Synthetic Media

Acrylic

Featured Artist

Note: This concludes the lecture material for exam one.

Lecture & Chapter Outlines For The Second Exam

Materials & Methods: Printmaking Chapter 10

Printmaking Terms:

Print or Impression

Matrix

Edition

The numbering system in art prints: What do the numbers mean?

Proof

Types of Printmaking:

Relief – Woodcut Artist Tom Killion

The Traditional Japanese Woodcuts

Ukiyo-e Prints

Katsushika Hokusai, The Great Wave off Kanagawa, Thirty-six Views of Mount Fuji, 1822, Woodblock print.

Influence on European Artists

Intaglio Processes

Engraving

Albrecht Durer, Adam and Eve, 1504, engraving

Etching

Rembrandt

Lithography

Honore Daumier, Rue Transnonian April 13th

, 1834, 1834, lithograph.

Silkscreen

Artist Andy Warhol

Methods and Materials: Sculpture Chapter 13

Methods in Sculpture:

Additive Methods

Subtractive Methods

Casting

Three Basic Ways We Experience Sculpture:

1. Relief

2. Sculpture-in-the-round

Artist Ron Mueck

3. An Environment, either an Installation or an Earthwork

Artist Andy Goldsworthy/Artist Robert Smithson

Performance Art or Living Sculpture

Marina Abromovic and Ulay, Imponderabilia, Performance at the Galleria Communale d’Arte Moderna, Bologna, Italy, 1977

Public Sculpture (see also chapter 3, p 48-49)

Richard Serra, Tilted Arc, 1981, Cor-ten steel, 12’ x 120’ x 2 1∕2”

Michelangelo, David, 1501-1504, marble

Methods & Materials: Photography Chapter 12, up to page 275

What existed in the art world prior to photography?

How did photography change the way we view the world?

Camera Obscura Daguerreotype

“Today Painting is Dead” – What does this mean?

Photographic Truth

Myth of Photographic Truth

Objective:

Subjective:

Rodney King Trial

Civil War Photography

Ansel Adams

Arno Minniken

Charlie White

Photography & Science:

Contemporary ideas about truth in scientific practices are the product of the past

Film

Persistence of Vision

Suspension of Disbelief

Space

Sound

Montage or the Juxtaposition of Images

Kuleshov Experiment

Sergei Eisenstein, Battleship Potemkin, 1925

Long Shot

Methods and Materials: Craft Chapter 14, up to page 337

Functional objects:

Common craft media:

Craft vs. fine art: basic differences

Craft and Nonwestern Attitudes:

In many cultures, both past and present, the distinctions between Fine Art, Applied Art, and Craft do not exist.

Kane Kwei, Coffin Orange, in the Shape of a Cocoa Pod,1970, Wood.

Contemporary Craftsmen PBS Craft in America

Design Arts Chapter 16, up to page 396

Applied Art:

Designers vs. artists

Arts and Crafts Movement

William Morris

Gustav Stickley

Art Nouveau

Louis Comfort Tiffany, Tiffany Studios, WaterLily Table Lamp, c.1904-15.

Art Deco

Avant Garde

De Stijl or The Style

Gerrit Rietveld, Red and Blue Chair, 1918, wood, painted

The Bauhaus:

Graphic Design

The goal of graphic design

The use of words and visual images in graphic design

The value of original design or object

Advertising

Note: This concludes the lecture materials for the Second Exam.

Lecture & Chapter Outlines ForThe Third Exam

Architecture Chapter 15

Form and function:

Topography or Environment:

Technology:

Shell System or Load Bearing Construction

Pyramids & Ziggurats

Skeleton & Skin System

Post and Lintel Construction

First Temple of Hera, Paestum, Italy, 550 BCE

Columns

Doric

Ionic

Corinthian

Colonnade

Arches, Vaults and Domes

Arch

Barrel Vault or Tunnel Vault

Groined Vault

Colosseum, Rome, 72-80 B.C

Dome

Pantheon, 117-125 CE

Romanesque Architecture

St. Sernin, Toulouse, France, 1080-1120

Gothic Architecture

Defining Characteristics:

Cast Iron Construction

Gustav Eiffel, Eiffel Tower,1887-9, cast iron

Frame Construction or Skeleton & Skin System

Steel and Reinforced Concrete Construction

Frank Lloyd Wright

Community Life

Establishing the values of rural life in the urban context: New York’s Central Park

Frederick Law Olmsted and the concept of the suburb

Contemporary Architecture

Placing the Arts in Historical Context: The Ancient WorldChapter 17

The Earliest Art

Venus of Willendorf, Lower Austria, c. 25,000-20,000 BCE

Cave Paintings

Megaliths

Mesopotamian Cultures

Ziggurat

Prayer Statues

Egyptian Civilization

Pyramids

Canon of ideal proportions

Aegean Civilizations

The “Toreado” fresco, Knossos, Crete, c. 1500 bce.

Greek Art

Celebration of human strengths and powers over the power of nature

Canon of proportion(see also chapter 2, p 158)

Contrapposto(see also chapter 13, p 293)

Roman Art

Attributed to Apollodorus, Column of Trajan, Rome, 113 BCE. Marble. 128’

Placing the Arts in Historical Context: The Age of FaithChapter 18

BC & AD

Images of Buddha

Early Christian and Byzantine Art

Basilica

Theodora and Her Attendants, c. 547, Mosiac, sidewall of the apse, San Vitale

Islam

Mosque

Calligraphy (see also chapter 2, p. 21 & 24-25)

Christian Art in Northern Europe

Fusion of Celtic art and Christian art

Romanesque Art

Emphasis on geometry

Tympanum

Gothic Art

Use of light

Sculptural decoration

Asia

Landscape painting

Africa

Head of a King (Oni), Ife culture, Nigeria, c. 13th

century, brass

Sunken Churches

Placing the Arts in Historical Context: The Renaissance through the Baroque Chapter 19

Renaissance: “rebirth,” A revival of interest in arts and sciences

Early Renaissance

Era of the individual, study of the “Humanities”

Florence, cultural center of the Early Renaissance Three leading innovators during this time:

Masaccio

Donatello

Brunelleschi

High Renaissance

Florence, cultural center of the High Renaissance Three leading innovators during this time:

Leonardo

Michelangelo

Raphael

Art in China & Japan

Cheng Sixiao, Ink Orchids, Yuan Dynasty, 1306, handscroll, ink on paper

Art in Mexico & South America

Machu Picchu, Inca Culture, Peru c. 1450

The Mannerist Style in Europe

Characteristics

The Baroque

Characteristics

Gialorenzo Bernini, The Ecstasy of St. Theresa, marble, 1645-52

Caravaggio

Rembrandt

The Rococo

China & Europe: cross-cultural contact

Neoclassicism

Jacques Louis David

Thomas Jefferson

Romanticism

Francisco Goya

The Sublime & Landscape Painting

Placing the Arts in Historical Context: The 18th

& 19th

Centuries Chapter 20

Realism

Scientific and empirical observation

Abandoning tradition: Edouard Manet, Olympia, 1863, oil on canvas

Impressionism

Claude Monet

Post-Impressionism

Vincent Van Gogh

Paul Gauguin

Georges Seurat

Paul Cezanne

Cubism

Georges Braque

The Fauves

Henri Matisse

German Expressionism

Wassily Kandinsky

Futurism

Placing the Arts in Historical Context: From 1900 to the Present Chapter 21

Umberto Boccioni, Unique form of Continuity in Space, 1913, bronze

Dada

Marcel Duchamp

Surrealism

Salvador Dali

Abstract Expressionism

Willem de Kooning

Jackson Pollock

Modernism

Edward Hopper

Robert Rauschenberg

Pop Art & Minimalism

Andy Warhol

Roy Lichtenstein

Post Modern

Bettye Saar, The Liberation of Aunt Jemima, 1972, mixed media

Fridah Kahlo

Cindy Sherman

Barbara Kruger

Yasumasu Morimura

Featured Artist

Note: This concludes the lecture materials for the third exam.