Introduction%% Fourteenth0Century%Art%inEurope%and(17 ...Raising of Lazarus (FIGS. 17–8, 17–12)....

Unit

1 Introduction Fourteenth-Century Art in Europe and (17) Fifteenth-Century Art in Northern Europe (chapter 18) Overview In the fourteenth century, great wealth and a growing individualism promoted patronage in Italy. Artists in the modern sense began to emerge. The economic prosperity allowed them freedom to contract with wealthy patrons and civic bodies. There was a new focus on classical learning, literature and humanistic thought. The Florentine artist Giotto di Bondone, expressed these concepts and ideals in the Arena Chapel with his naturalistic depictions of space and show of human emotion. Sienese artists on the other hand continued to work in a strong Byzantine style relying on gold backgrounds and abstract decorative qualities. Other arts such as manuscript illumination, embroidery, and carving became richer and more elaborate. Northern Europe in the fifteenth-‐century included much of present-‐day Belgium and Luxembourg, the Netherlands, and eastern France. These territories were under the rule of the dukes of Burgundy, who were great patrons of the arts. Northern Europe was also affected by the rise of humanism that began in Italy. With this we see the increased interest in empiric observation and the natural world, a shift from the strictly spiritual focus during the Middle Ages. Artists in northern Europe recorded nature with minute detail but also filled their works with complex symbolic representations. At this time, a great interest in individual personalities is evident in the astonishingly life-‐like quality of portraits. Learn About

• Become acquainted with other students. • Familiarize self with the course navigation and policies. • View, read, or listen to an introduction to the history of art. • Read how to write about art with the DICP method. • View how to write comparison essays. • Assess the close connections between the works of art and their patrons in

fourteenth-‐century Europe. • Compare and contrast the Florentine and Sienese narrative painting traditions as

exemplified by Giotto and Duccio. • Discover the rich references to everyday life and human emotions that begin to

permeate figural art in this period. • Explore the production of small-‐scale works, often made of precious materials and

highlighting extraordinary technical virtuosity that continues from the earlier Gothic period.

• Explore the production of small-‐scale works, often made of precious materials and highlighting extraordinary technical virtuosity that continues from the earlier Gothic period.

• Analyze how Flemish painters gave scrupulous attention to describing the textures and luminosity of objects in the natural world and in domestic interiors.

• Trace the development of an extraordinary interest in evoking human likeness in portraits, unlike anything seen since ancient Rome.

• Explore how paintings in northern Europe of the fifteenth century captured in concrete form visions of their meditating donors.

• Uncover the complex symbolic meanings that saturated the settings of Flemish paintings.

• Investigate how prints developed into a major pictorial medium. Chapter Resources Read or listen to chapter 17 and 18 Link to chapter resources in the e-textbook

Homework

Discussion 1 Please post by the Discussion due date listed in the Schedule. Remember to respond to other posts before the due date. Responses need to be well researched and be at least two paragraphs in length. Respond to at least 2 of your classmates with substantive posts. Always cite your sources.

René Magritte, The Son of Man, 1964 http://en.wikipedia.org/wiki/File:Magritte_TheSonOfMan.jpg

1) Briefly introduce yourself in this thread by telling us your name and your major if you have one. Post an image of yourself, or your family if you like to help us get to know you and tell us what you will like to learn in particular in this class. Is there a work of art, a technique, or an artist that you are particularly interested in?

2) Review the DICP method of writing about art as well as the tutorial on how to write a compare and contrast essay, carefully review the course policies.

Note When you write about art history always mention issues of style. Use the appropriate terminology to describe techniques, tools, structures, and periods. Please remember to use examples to answer your questions. Artist Perception 1 Please choose 3 questions to answer from the following list, type them out in a word processing program, spell check them, and then paste them directly to the thread. The questions are due by the date listed in the schedule. A superior contribution will also have all four elements of DICP: Description, Iconography, Context, and Personal Opinion.

1. Discuss the circumstances surrounding the construction and decoration of the Scrovegni (Arena) Chapel, with special attention to relationship its to the life and aspirations of its patron.

2. Compare and contrast Giotto’s and Duccio’s renderings of the biblical story of Christ’s

Raising of Lazarus (FIGS. 17–8, 17–12). 3. Discuss Ambrogio Lorenzetti’s engagement with secular subject matter in his frescos for

Siena’s Palazzo Pubblico (FIG. 17–15). How did these paintings relate to their sociopolitical context?

4. Choose one small work of art in this chapter that is crafted from precious materials with exceptional technical skill. Explain how it was made and how it was used. How does the work of art relate to its cultural and social context?

5. Analyze how the Decorated Gothic style of Exeter Cathedral (FIG. 17–18) preserves certain traditions from the thirteenth-century Gothic that you learned about in Chapter 16, and assess how it departs from the traditional Gothic style.

6. Explain how oil-painting technique allowed fifteenth-century Flemish painters to achieve unprecedented descriptive effects in their work. Support your answer by discussing one specific work in this chapter.

7. Discuss the development of portraiture in northern Europe during the fifteenth century. Choose one example in this chapter and elucidate the portrait’s social purpose for the patron.

8. How have fifteenth-century northern paintings been characterized as devotional visions of the patrons who are portrayed within them? Use a specific work discussed in this chapter as the focus of your answer.

9. Discuss the symbolic meanings that fifteenth-century viewers would have comprehended in the objects contained in the domestic environment of either the Merode Altarpiece (FIG. 18–9) or the Arnolfini double portrait (FIG. 18–1).

10. Why did printmaking become a major pictorial medium in northern Europe during the fifteenth century? Choose a work discussed in this chapter and explain how it supports your answer.

Note When you write about works of art always identify the work by naming the artist and title of the work. For all factual information used in your responses cite the text page, name the book, or website using footnotes or in-text citations in the MLA style. Include your own ideas. These should be introduced with a phrase such as “I think,” or “one can see.” Write two paragraphs for each of your responses, or about 200 words. These requirements apply for the discussion as well as for each of the essay questions. Each paragraph should be approximately 5 sentences long. Unit

2 Renaissance Art in 15th-Century Italy (chapter 19) Sixteenth Century Art in Italy (chapter 20) Overview

In the fifteenth-century, the development of one-point linear perspective allowed artists to create illusions of reality and naturalism. Religious content is primary in many of the works from this period. The work of Masaccio, Raphael, and Botticelli reflect that interest in the past, while at the same time they produced new works that are relevant to their political and religious present. Renaissance literally means rebirth. Emphasis on recovering and surpassing the achievements of ancient classic literature and art increased further in the sixteenth-century. New ideas and technologies transformed European culture. The printing press caused an explosion of book production expanding knowledge and ideas. Travel became more common and works of art as well as artists were less regional and more international. Leonardo, Raphael, and Michelangelo epitomize the idea of the Renaissance artist at this time. While we see the rise of the middle class and strong economic growth throughout Europe, the Catholic church continues to be a powerful patron of the arts in Italy. In Northern Europe, we see the decline of religious subjects due as a result of the Reformation. Learn About

• Explore the development and use of linear perspective in fifteenth-‐century Florentine painting.

• Examine how sculptors were instrumental in the early development of the Italian Renaissance by increasing the lifelike qualities of human figures and drawing inspiration from ancient Roman sculpture.

• Assess the role of wealthy merchants and condottieri in driving the development of Renaissance art and architecture.

• Consider how the focus on artistic competition and individual achievement created a climate for innovative and ambitious works.

• Evaluate the importance of the Classical past to the development of early Renaissance architecture.

• Trace the shift in the artistic center of Italy from France to Rome, and recognize the efforts of Pope Julius II to create a new “golden age.”

• Understand the Vatican as a site for the creative energies of the most important artists of the Italian Renaissance.

• Explore the intentional subversion of Classical style and decorum in the work of Mannerist artists.

• Compare the emphasis on drawing and clearly structured compositions in the work of Roman and Florentine painters with the expressive potential of color that characterizes the work of their Venetian counterparts.

• Examine the architectural creativity lavished on the design of both grand churches and pleasurable retreats for the wealthy in sixteenth-‐century Italy.

Chapter Resources Read or listen to chapters 2 and 3 Link to chapter resources in the e-textbook

Homework


Michelangelo, The Creation of Adam, detail. http://commons.wikimedia.org/wiki/File:Creation_of_the_Sun_and_Moon_face_detail.jpg

1.Explore this outstanding virtual tour of the Sistine Chapel (use your mouse to move around). http://www.stumbleupon.com/su/1kpcQm/www.vatican.va/various/cappelle/sistina_vr/index.html Or use your text or another resource to look carefully at Michelangelo’s work. Then, choose a scene from the ceiling to discuss why Michelangelo’s work stands out in the Renaissance. Remember to use DICP for this analysis to avoid making judgments of taste, which simply convey weather you like a work or you do not. This link to an animation in Second Life is excellent to understand context. http://www.artbabble.org/video/smarthistory/michelangelo-sistine-ceiling-vassars-recreation-sistine-chapel-second-life. This other link to information about the works can also be useful in your search to find the names, iconography, and location of the scenes. http://mv.vatican.va/3_EN/pages/CSN/CSN_Main.html

Note When you write about art history always mention issues of style. Use the appropriate terminology to describe techniques, tools, structures, and periods. Please remember to use examples to answer your questions. Artist Perception 2

Please choose 3 questions to answer from the following list, type them out in a word processing program, spell check them, and then paste them directly to the thread. The questions are due by the date listed in the schedule. A superior contribution will also have all four elements of DICP: Description, Iconography, Context, and Personal Opinion. 1. Discuss Masaccio’s use of linear perspective in either The Tribute Money or Trinity with

the Virgin, St. John the Evangelist, and Donors. How does he use this technique? Illustrate your points with a comparative reference to a work discussed earlier in this chapter or in a previous chapter.

2. Explain how one Florentine sculptor discussed in this chapter helped establish the increasing naturalism and growing emulation of Classical models that would be central to the early Italian Renaissance.

3. Choose a wealthy merchant or condottiere and discuss how his patronage fostered the emergence of the Renaissance in fifteenth-century Italy. Make reference to specific works in forming your answer.

4. Discuss the 1401 competition to choose an artist to create the bronze doors of the Florence Baptistery. How did the competition affect the careers of the two finalists, Ghiberti and Brunelleschi?

5. Discuss the role of the Classical past in Brunelleschi’s architecture, focusing on one of the buildings he designed in Florence.

6. Summarize the goals and interests of the Counter-Reformation, and explain the impact of the Council of Trent on Italian artists working in its wake. It may be helpful to look back to Chapters 20 and 21 in forming your answer.

7. Discuss how Bernini and Caravaggio established the Baroque style in sculpture and painting respectively. Locate the defining traits of the period style in at least one work from the chapter by each of these artists.

8. Trace the influence of Caravaggio’s painting style by demonstrating how specific stylistic features that he pioneered were adopted by artists in other parts of Europe. Discuss at least one Spanish artist and at least one Northern European artist in your answer.

9. Determine how Poussin’s landscapes depart from other stylistic currents at the time. What is meant by the term “Classicism” in relation to Poussin’s style? Comment on its importance for the future of French art.

10. Choose two paintings of monarchs in this chapter and explain how the artists who painted them embodied the ruler’s prestige and power. Are the strategies of these painters different from those employed by painters of powerful people in the sixteenth century?

Note

When you write about works of art always identify the work by naming the artist and title of the work. For all factual information used in your responses cite the text page, name the book, or website using footnotes or in-text citations in the MLA style. Include your own ideas. These should be introduced with a phrase such as “I think,” or “one can see.” Write two paragraphs for each of your responses, or about 200 words. These requirements apply for the discussion as well as for each of the essay questions. Each paragraph should be approximately 5 sentences long. Unit

3 Sixteenth-Century Art in Northern Europe and the Iberian Peninsula (chapter 21) Seventeenth-Century Art in Europe (chapter 22) Overview In the sixteenth-century, Europe was divided between Catholic and Protestant countries. While France, Spain, Flanders, and Belgium and Italy remained Catholic, Switzerland, the northern Netherlands and England became Protestant. The Reformation challenged the Catholic church, but the Church and the Pope ultimately prevailed. One of the concerns of the Protestant Church was the excessive veneration of saints and their relics, which were considered superstitious. This led to the loss of patronage for religious art. Many artists turned to portraiture, secular themes, and still-life. I the seventeenth-century, the permanent division of Catholicism and Protestantism had a profound impact in art. The Catholic church embarked on an ambitious program to regain followers using art as a primary means to engage and inspire. The remodeling of Saint Peter’s is an example of this. A new approach to art, which allowed more freedom of expression, more drama and dynamism, intended to appeal to the emotions and help maintain the faith. The Baroque period was visual theater for the masses as the somber restrained classicism of the Renaissance was left behind. In France, we see that Baroque art served primarily to construct lavish architectural and artistic settings for the aristocracy. The palace of Versailles is a notable example. Learn About

• Investigate the broadening of regional interaction in the art of European courts as artists traveled across Europe to work for wealthy patrons and study with acclaimed masters.

• Evaluate the impact of Italian ideas on the traditions of northern art and architecture, including the developing notion of artists as uniquely gifted individuals.

• Analyze the developments that led to the creation of an art market in the Netherlands. • Assess the relationship between the religious conflicts in northern Europe and the

growing interest in new secular subjects in works of art. • Recognize the continuing interest among northern European artists and patrons in the

virtuosity of works in media such as wood and gold. • Assess the impact of the Council of Trent’s guidelines for the Counter-Reformation art of

the Roman Catholic Church. • Explore how the work of Bernini and Caravaggio established a new dramatic intensity,

technical virtuosity, and unvarnished naturalism that blossomed into the Baroque. • Trace he broad influence of Caravaggio’s style on art across Europe during the

seventeenth century. • Assess the resurgence of Classicism, especially in the work of seventeenth-century

French artists and architects. • Analyze the way that seventeenth-century artists created works that embodied the power

and prestige of the monarchy. • Examine the development of portraiture, still life, landscape, and genre scenes as major

subjects for painting, especially within the prosperous art market of the Netherlands. Chapter Resources Read or listen to chapters 4 and 5 Link to chapter resources in the e-textbook

Homework


Caravaggio, Judith Slaying Holofernes http://commons.wikimedia.org/wiki/File:Caravaggio_-_Giuditta_che_taglia_la_testa_a_Oloferne_(1598-1599).jpg

1. Select a work of art from the Baroque, (painting, sculpture, or architecture) and explain how it expresses characteristics of the Baroque style. If you are interested in architecture this is an outstanding site to see panoramic views and details of Baroque buildings. http://www.learn.columbia.edu/ha/html/baroque.html Here are three videos pertinent to Baroque art, use them to start your research for the AP or to help you find a topic of interest for the discussion.

• The first video is about 5 minutes on Versailles, it gives you a sense of scale of the French palace and how the Baroque style is at work at a grand scale. http://www.youtube.com/watch?v=G93EhIGlVS0&feature=player_embedded

• The second video is about the Baroque artist Gianlorenzo Bernini. Bernini's architectural work is seen in Saint Peter's Basilica, but his sculptures are also outstanding. The video discusses "The Ecstasy of St. Theresa," as well as "David." It is about 10 minutes. If you are interesting in learning more about Bernini, there are several of videos that follow this one on YouTube. http://www.youtube.com/watch?v=nXR2YZxgDV4&feature=player_embedded

• The last video presents Caravaggio to you in about 10 minutes. The name of this artist is also Michelangelo but "Michelangelo Merisi da Caravaggio." His contribution to Baroque painting are notable, particularly the technique of “tenebrism.” http://www.youtube.com/watch?v=NNi2MWBL2-M&feature=player_embedded


1. Choose one European court that patronized artists working in a “foreign” tradition from another part of Europe and assess how this internationalism fostered breaking down regional and national boundaries in European art. Be sure to ground your discussion in the work of specific artists.

2. Explore the impact of Italian art and ideas on the work and persona of German artist Albrecht Dürer. Choose one of his works from the chapter, and discuss its Italianate features and the ways in which it departs from and draws on earlier northern European traditions.

3. Summarize the factors that led to a burgeoning art market in the Netherlands in the

sixteenth century. Who are some of the artists who benefited from this more fluid system of patronage? How and why were they successful within it?

4. Discuss the impact of the Protestant Reformation on the visual arts in northern Europe, focusing your discussion on types of subject matter that patrons sought.

5. Choose a work of art discussed in this chapter that displays extraordinary technical skill in more than one medium. How was its virtuosity achieved, and how is it highlighted as an important factor in the work’s significance?

6. Summarize the goals and interests of the Counter-Reformation, and explain the impact of the Council of Trent on Italian artists working in its wake. It may be helpful to look back to Chapters 20 and 21 in forming your answer.

7. Discuss how Bernini and Caravaggio established the Baroque style in sculpture and painting respectively. Locate the defining traits of the period style in at least one work from the chapter by each of these artists.

8. Trace the influence of Caravaggio’s painting style by demonstrating how specific stylistic features that he pioneered were adopted by artists in other parts of Europe. Discuss at least one Spanish artist and at least one Northern European artist in your answer.

9. Determine how Poussin’s landscapes depart from other stylistic currents at the time. What is meant by the term “Classicism” in relation to Poussin’s style? Comment on its importance for the future of French art.

10. Choose two paintings of monarchs in this chapter and explain how the artists who painted them embodied the ruler’s prestige and power. Are the strategies of these painters different from those employed by painters of powerful people in the sixteenth century?

11. Discuss the development of portraiture, still life, and genre painting in the Dutch Republic during the seventeenth century. What accounts for the increased importance of these subjects at this time?


4

Art of South and Southeast Asia After 1200 (chapter 23) Chinese and Korean Art After 1279 (chapter 24) Overview

Indian art is almost exclusively of a religious nature—very few secular works from before the sixteenth-century survive. Its history follows closely the development of Buddhism and the interactions between Buddhism and Hinduism. As Hinduism flourished in the India, temple architecture developed rapidly. Local rulers rivaled each other in the building of temples to their favored deities—Shiva, Vishnu, and Devi the Great Goddess—until the middle of the thirteenth century when Hindu temples reached unparalleled heights of grandeur and complexity. Hindu temples can be classified broadly into two types, northern and southern. A superstructure called a shikhara, which rises as a solid mass above the flat, stone ceiling of a windowless sanctuary, chiefly distinguishes the northern type. A finial leads the eye to the point where earthly and cosmic worlds are thought to join. The temple becomes a conduit between celestial realms and earth. We trace the development of Chinese through many invasions and dynastic changes into modern times. You will see in this unit how important the landscape, calligraphy, and the literati aesthetic remains for Chinese artists of ancient China as well as artists right up to the present day. Korean art, deeply influenced by Chinese culture had once adopted Buddhism, but after 1392 rejected this religion in favor of Neo-Confucianism and took the Ming Dynasty as its model. Korean ceramics and painting reflect Chinese influences but have very distinct qualities. Learn About

• Understand the impact of Islam in India and Southeast Asia. • Understand how exogenous influences affect the form of a nation’s arts. • Recognize how nationalism can be expressed in art. • Understand the way global styles can address indigenous themes. • Recognize the ways in which art of diverse religions is produced simultaneously in the

same nation. • Analyze the continued importance of the three ways of thought (Daoism, Confucianism,

and Buddhism) in Chinese art of the thirteenth century to the present. • Assess the influence of court life and patronage on art in China and Korea.. • Examine the continuing relationship of calligraphy and painting in Chinese art. • Discuss literati values and the scholarly life in art in later China and Korea. • Assess the emergence of expression as value of importance beyond representation in

China and Korea, from the thirteenth century to the present. Chapter Resources Read or listen to chapter 6 Link to chapter resources in the e-textbook

Homework

Discussion 4 Please post by the Discussion due date listed in the Schedule. Remember to respond to other

posts before the due date. Responses need to be well researched and be at least two paragraphs in length. Respond to at least 2 of your classmates with substantive posts. Always cite your sources. Choose one of the two questions below.

1. From the works discussed in this chapter, select a two-dimensional religious artwork from each of two religions practiced in India. Compare and contrast both directly, determining similarities in regional style and technique as well as differences due to their varying religious contexts.

2. Explain the role played by one of the following three ways of thought prevalent in Chinese society—Daoism, Confucianism, and Buddhism—and discuss the implications that it had for the visual arts. Make specific reference to works from this chapter.


Minakshi-Sundareshvara Temple http://en.wikipedia.org/wiki/File:Maduraitemple.jpg

1. Explain some of the ways that Islamic art and culture impacted that of the Indian

subcontinent. Explain how the Taj Mahal demonstrates influence from building styles studied in Chapter 8, and indicate how it departs from prior styles on the Indian subcontinent.

2. Analyze the Shwe-Dagon Stupa (Pagoda) in Yangon, and determine how the structure incorporates influence from Indian buildings. In your answer, compare the stupa to at least one Indian building.

3. Analyze the form of the India Gate (SEE FIG. 23–15) and explain how the ancient Roman form of the triumphal arch (see, for example, the Arch of Titus (SEE FIG. 6–32) is used within a new Indian context.

4. Explain how the artist Anish Kapoor utilizes Indian themes in his work As if to Celebrate, I Discovered a Mountain Blooming with Red Flowers (SEE FIG. 23–19). What other ideas can you infer from this work?

5. Examine a work commissioned by the court at Beijing and distinguish which of its features are typical of court art.

6. Discuss the place that calligraphy held within Chinese society and in relation to other arts. Then, explain why Dong Qichang’s The Qingbian Mountains (SEE FIG. 24–11) has elicited comparison with the art of calligraphy.

7. Discuss the culture of the literati, including their values and their system of art patronage, and distinguish the formats of painting that they used.

8. Theorize reasons for the emergence of individualist painting in China, using works such as Shitao’s Landscape (SEE FIG. 24–13) to support your argument.

9. Explain how, in the modern period, both Chinese and Korean artists retained aspects of traditional practice while also introducing decidedly new elements into their work in your essay, you should identify and briefly analyze one work by a modern artist of each of the two cultures.


5

Japanese Art After 1333 (chapter 25)

Art of the Americas After 1300 (chapter 26) Overview Japan’s proximity to China and Korea had great impact in their culture. Korea was often the route through which Chinese influences came to Japan. Values of the indigenous Shinto religious practices and imported religious practices based on Buddhism permeated the arts of Japan. To understand Japanese attitudes towards the materials used in art and subjects drawn from nature, you need a familiarity with the spiritual l orientation of both religions. The Americas, consisting of two vast continents, have been home to immigrant groups from their first colonization between 12,000 and 30,000 years ago by groups arriving from Asia. A combination of time, the nature of climates and materials and the wholesale destruction of material culture by the latest colonizers, Europeans, leaves us with only a glimpse of the sophisticated systems of written documentation and metallurgical techniques employed before contact with Europeans. Learn About

• Evaluate the importance of Zen Buddhism to Japan’s visual arts. • Compare art created in Kyoto to art made in the city of Edo during the Edo period. • Appraise the role and significance of crafts in Japanese artistic culture. • Recognize foreign influences on Japanese art in the Muromachi and Edo periods. • Understand the changing role of patronage in the development of Japanese art. • Distinguish the styles, symbols, and techniques characteristic of Native American arts

and crafts. • Explore the cultural developments and achievements of the Aztec and Inca empires. • Assess the role of portable and ephemeral media in the arts of the Americas. • Observe how indigenous arts have changed in the centuries since contact with Europe. • Explore the gender divisions in the production of the arts of the Americas.

Chapter Resources Read or listen to chapter 7 Link to chapter resources in the e-textbook

Homework


Choose one of the two questions below.

1. Using online resources, research the contemporary art of Japan, particularly Tokyo. Please use one specific example (give us the reference for the image) and reflect on how this work reflects both traditional Japanese sensibilities and contemporary experimental approaches. Make sure to use DICP to answer the question to avoid making simply judgments of taste. For your responses to peers remember that you need to add to the discussion rather than only show agreement or disagreement. You can begin your search by using this link: http://nezumi.dumousseau.free.fr/japon/japcontarta.htm

Takashi Murakami exhibit at Versailles http://commons.wikimedia.org/wiki/File:Takashi_Murakami_Exhibit_at_Versailles_2010_%283%29.jpg

Machu Picchu http://en.wikipedia.org/wiki/File:Machupicchu_intihuatana.JPG

2. Why do you think that Machu Picchu is considered one of the great architectural developments and civilizations of the world? Read chapter 26 to find initial information on this topic, then, research the Internet to find some additional feature of interest that will add to the discussion regarding this citadel. Try not to repeat what others have said. Use examples and reasons to explain your points. You can begin exploring here: http://www.rutahsa.com/mp-‐fountains.html


1. Discuss the unique characteristics of Japanese Zen gardens, and explain how the rock garden at Ryoanji embodies the ideals of Zen Buddhism.

2. Explain how differences between pictorial styles of artists from the cities of Kyoto and Edo reflect the variations in the social status, and cultural and intellectual interests of the residents. Build your discussion upon a comparison of a painting or lacquer box by a Rinpa-school artist from Kyoto with a woodblock print that was made in Edo.

3. Discuss how the Japanese tea ceremony works and observe the role that craft arts play within it. Explore the unique aesthetics of the tearoom and craft arts associated with the ceremony, making reference to at least one work from this chapter.

4. Discuss Chinese influences on Japanese art styles and techniques in the Muromachi and Edo periods; for your answer, look back to Chapter 24 and draw specific comparisons between two works from each chapter.

5. Distinguish at least three different patron groups for Japanese arts and architecture in the Muromachi, Momoyama, and Edo periods. Discuss the kinds of arts and architecture each group preferred and how they were used by these patrons.

6. Distinguish characteristic styles and techniques developed by three Native American cultures, and discuss their application in one work from each of these three cultures considered in the chapter.

7. Discuss Aztec and Inca achievements in the area of architecture and urbanism. Identify and analyze the function of one achievement of each culture and explain its importance.

8. Explain the idea of portable architecture, citing at least one specific example discussed in the chapter. Discuss the unique advantages of portable architecture.

9. Explore two examples of work from the chapter that exhibit influence from other cultures.

10. Discuss the gender system in Navajo society, and explain the roles for making art assigned to different genders.

Note When you write about works of art always identify the work by naming the artist and title of the work. For all factual information used in your responses cite the text page, name the book, or website using footnotes or in-text citations in the MLA style. Include your own ideas. These should be introduced with a phrase such as “I think,” or “one can see.” Write two paragraphs for each of your responses, or about 200 words. These requirements apply for the discussion as well as for each of the essay questions. Each paragraph should be approximately 5 sentences long.

Unit

6 Art of the Pacific Cultures (chapter 27) Art of Africa in the Modern Era (chapter 28) Overview In this unit we will survey the immense region between the Americas and Asia. We will see the variety of materials artists used for their works in four cultural-geographic areas of Australia, Melanesia, Micronesia and Polynesia. We will also explore the role of ancestors had in art in

some of these cultures. In the sampling of works from Africa we will see that objects were often endowed with tremendous power and experienced as conveying that power on or through their users. If you approach this art with eyes trained in the dominant western mode of experiencing sculpture and painting, as disengaged objects for aesthetic contemplation, you will miss the living dimensions of the piece. Learning to seek and understand the social context for African art can make us more attuned to possible social context for African art can make us more attuned to possible social meanings in western art because we will come away asking new and different questions of art. Learn About

• Recognize how the availability of raw materials affects artistic choices and styles throughout the Pacific.

• Investigate ways that ancestor rituals influence the art in different Pacific cultures. • Examine the role of the human body plays as a subject art of the Pacific. • Compare the difference between ephemeral and enduring materials in different societies

across the Pacific. • Assess the impact of Western contact on art in the Pacific. • Examine the role of the visual arts in the expression of power and authority by modern

African leaders. • Summarize the role of the arts in divination to disclose the cause of misfortune in several

African cultures. • Examine the role of African arts in its reaction to colonial experience. • Contrast the ways in which African contemporary artists explore their search for an

identity through their art. • Evaluate the role of masquerade in African rites of passage such as initiation and funeral

rituals. Chapter Resources Read or listen to chapters 8 and 9 Link to chapter resources in the e-textbook

Homework


Choose one of the two questions below.

Maori Meeting House, detail http://commons.wikimedia.org/wiki/File:Maori_meeting_house_carvings_in_Wellington.jpg

1. Find a works from Pacific art from the text or the Internet and use it to assess the importance of ancestors in Pacific art and the different ways in which ancestors are engaged, honored, or invoked through various art forms. Please watch what other students have posted and try not to use the same examples.

2. Compare and contrast the ways two African leaders express their power and authority through the visual arts. Please watch what other students have posted and try not to use the same examples.


1. Discuss how differences in environment, affecting available resources, impact the visual arts, including architectural forms and body adornment.

2. Discuss the ways in which the human body is adorned and/or depicted in art across the Pacific, and how these define or enhance status, authority, and gender roles.

3. Discuss the variety of materials used in ceremonies and adornment throughout the Pacific and explain how their permanence or impermanence reflects cultural difference.

4. Examine the impact of contact with Western society on the arts and cultures of the

peoples of the Pacific. Discuss the different ways in which contemporary indigenous artists throughout the Pacific are addressing issues that remain today.

5. Explain the use of art during divination rituals and discuss one artwork from the chapter that is used in the practice.

6. Analyze the initiation wall panels shown in FIGURE 28–10 and discuss how the artist addresses the experience of colonialism in the work.

7. Compare and contrast the works of two African-born contemporary artists, El Anatsui’s Flag for a New World Power and Julie Mehretu’s Dispersion. Assess what, if anything, about these works ties them to long-standing African traditions, and what, if anything, about them demonstrates influence from external sources, particularly Western sources, including works treated in Chapters 31 and 32.


7 Eighteenth- And Early Nineteenth-Century Art in Europe and North America (chapter 29) Overview The eighteenth-century was a time of pivotal change in the history of Western art. Inspired by the Reformation ideas we see the emergence of Enlightenment thought, which in turn leads to great social, economic, and political changes. The American and French Revolutions mark the end of two powerful monarchic rules. The Declaration of Independence and the Declaration of the Rights of Man place the individual at the helm of his own life. The notion of liberty, equality, and the right to pursue one’s own happiness change the way people perceived the world. The new emphasis on rationality, which emerged also from mathematical and scientific discoveries, inspired many artists. The Neoclassical style pays homage to ancient ideals or rationality, order, and democratic ideals. Popular themes are often political, moralizing, or aggrandizing. They directly reject the lighthearted Rococo style popularized by artists of the French court before the Revolution, earlier in the century. The Enlightenment’s faith in reason and empirical knowledge was countered by a new style known as Romanticism. Artists, disillusioned with the limitations of reason in life and in art, celebrated emotion, subjective experiences, and were concerned with political and social

commentary, as well as nature or exotic scenes. Learn About

1. Discover how the Rococo era was a reflection of salon life among the aristocracy in eighteenth-century France.

2. Investigate Neoclassicism as a reflection of Enlightenment values with roots in the study of Classical antiquity in Rome.

3. Explore the subjects of Romanticism, from the sublime in nature to the cruelty of the slave trade with a common interest in emotion and feeling.

4. Examine the Grand Manner in history painting and portraiture and the role of art academies.

5. Trace the complex political climate of the times through the work of Francisco Goya. Chapter Resources Read or listen to chapters 10 and 11 Link to chapter resources in the e-textbook

Homework

Discussion 7 Please respond to the questions below, post by the Discussion due date listed in the Schedule. Remember to respond to other posts before the due date. Responses need to be well researched and be at least two paragraphs in length. Respond to at least 2 of your classmates with substantive posts. Always cite your sources.

Honoré Fragonard, The Meeting http://commons.wikimedia.org/wiki/File:Fragonard_meeting.jpg

1. How did the Reformation thinkers contribute to the Enlightenment? What are your ideas on this topic? Look at some of the images in your book and give one example of how the ideals of the Reformation are embodied or reflected in a work of art. Please note the differences between Rococo and Neoclassical art and see how these styles serve (or not) the ideals of the Enlightenment.


1. Summarize some of the key stylistic traits of French Rococo art and architecture, and explain how these traits relate to the social context of salon life. Then analyze one Rococo work from the chapter and explain how it is typical of the period style.

2. Write about how the Enlightenment interest in archaeology propelled the new movement of Neoclassicism in the eighteenth century.

3. Explain why artists as visually diverse as Delacroix and Friedrich can be classified under the category of Romanticism. Then evaluate the merits and pitfalls of “Romanticism” as a classifying term.

4. Discuss attitudes toward subject matter in the academies of Europe, particularly France and England. Explain what was included and excluded in the academic Grand Manner

and why. 5. Write about the political climate during Francisco Goya’s life, and then, through an

analysis of his Third of May, 1808 (FIG. 29–43), demonstrate how politics affected his art.


8 Mid-to Late Nineteenth-Century Art in Europe and the United States (chapter 30) Overview In the mid-to late nineteenth-century we see the largest economic change ever in history. The Industrial Revolution increases production and capital to an unprecedented level. Advances in manufacturing, transportation, and communication fueled the rise of large urban centers. Lifestyles changed dramatically as displaced farmers moved to the cities, women and children also worked. Many suffered abuse and exploitation. New scientific discoveries reshape perceptions of the world. Artists too are influenced by modernization and industrialization and challenged the academic rules that dictated the quality and value of art. Artists seek to depict contemporary life and rebel against tradition. At this time we see the shift from Neoclassicism and Romanticism towards a less structured style called Impressionism. Developments in photography changed the need of artist to record the real world and opened the possibilities for artists to express emotion or engage in technical and formal experimentation.

Learn About

• Evaluate the role played by academic art and architecture in the art world of the late nineteenth century.

• Examine the early experiments that led to the emergence of photography as a new art form.

• Analyze the ways in which the movement toward realism in art reflected the social and political concerns of the nineteenth century.

• Investigate the origins of Impressionism and describe its form and content. • Compare the several manifestations of Post-Impressionism.


Homework

Discussion 8 Please choose and respond to the questions from the list below, post by the Discussion due date listed in the Schedule. Remember to respond to other posts before the due date. Responses need to be well researched and be at least two paragraphs in length. Respond to at least 2 of your classmates with substantive posts. Always cite your sources.

Edouard Manet, Luncheon in the Grass http://en.wikipedia.org/wiki/Le_d%C3%A9jeuner_sur_l%27herbe

1. In 19th Century Paris, Edouard Manet had become the unofficial leader of a group of progressive artists and writers. Manet, Monet, Renoir, Degas and Pissarro would soon exhibit together as the 'Impressionists'. Manet is most famous for his painting, 'Le Dejeuner Sur l'Herbe' (The Luncheon on the Grass). There are several motives, which have been ascribed to this painting. Some critics say Manet was creating deliberate allusions to Renaissance works. Some say this painting is about the alienation of society. Some conservative types were offended by the painting because it seemed to focus on 'loose' women and upper class men. After reading pages 1026-1028 and seeing Manet's other controversial work "Olympia," (below) and doing your own research on this artist, what is your opinion about "The Luncheon in the Grass"? Back up your reasoning.

Note When you write about art history always mention issues of style. Use the appropriate terminology to describe techniques, tools, structures, and periods. Please remember to use examples to answer your questions.

Artist Perception 8 Please choose 3 questions to answer from the following list, type them out in a word processing program, spell check them, and then paste them directly to the thread. The questions are due by the date listed in the schedule. A superior contribution will also have all four elements of DICP: Description, Iconography, Context, and Personal Opinion.

1. Discuss the interests and goals of French academic painters and sculptors and explain how their work differed from other art of the same time and place, such as that of the Realists and Impressionists.

2. Explain how the photographic process works and write about the roles played by Louis-Jacques-Mandé Daguerre and Henry Fox Talbot in the emergence of this medium.

3. Discuss Gustave Courbet’s Realism in works such as The Stonebreakers (FIG. 30–12) and A Burial at Ornans (FIG. 30–13) in relation to the social and political issues of mid-century France.

4. Discuss the novel form and content of Impressionist paintings, and explain how both differ from those of traditional European painting. Make sure to reference works discussed in the chapter.

5. Distinguish among the various responses to Impressionism that constitute the concept of Post-Impressionism. Compare and contrast two Post-Impressionist paintings by different artists discussed in the chapter and explain how each offers an alternative to Impressionism.

Note When you write about works of art always identify the work by naming the artist and title of the work. For all factual information used in your responses cite the text page, name the book, or

website using footnotes or in-text citations in the MLA style. Include your own ideas. These should be introduced with a phrase such as “I think,” or “one can see.” Write two paragraphs for each of your responses, or about 200 words. These requirements apply for the discussion as well as for each of the essay questions. Each paragraph should be approximately 5 sentences long. Unit

9

Modern Art in Europe and The Americas (chapter 31) Overview By the beginning of the twentieth-‐century many believed that “progress” was the logical result of a world based on democratic ideals, capitalism, and the advance of technological innovations. But the competitive nature of colonialism and capitalism created instability in Europe and World War I erupted in 1914. United States and the Soviet Union emerged from World War I as the world’s most powerful nations and soon we engaged in the Cold War. Modern artists continued to question and overthrow tradition. The notion that modern art could bring about “the new” led artists to experiment with new themes, materials, and ideas. In the first half of the twentieth-century we see the rise of many styles, in a continuous conversation about the meaning and purpose of art, one style rejecting the previous, and so on, always in search of the new. Learn About

• Assess the impact of Cubism on abstract art in the early twentieth century. • Examine the different ways that artists in the Modern period responded directly or

indirectly to the violence of war. • Investigate how Dada and Surrealism changed form, content, and concept of art. • Analyze the relationship between function, form, and technology in the early twentieth-

century architecture. • Determine the political and economic impact of the Great Depression on interwar

European and American art. • Assess how and why Abstract Expressionism transformed painting after 1940


Homework

Discussion 9 Please respond to the questions below, post by the Discussion due date listed in the Schedule. Remember to respond to other posts before the due date. Responses need to be well researched and be at least two paragraphs in length. Respond to at least 2 of your classmates with substantive posts. Always cite your sources.

Auguste Rodin, Burghers of Calais http://en.wikipedia.org/wiki/File:Auguste_Rodin-Burghers_of_Calais_%28photo%29.jpg

1. Auguste Rodin's "Burghers of Calais" (1884-86) is a good example of what continues today—the controversy of public art. What are similar controversies surrounding public art of the 21st century? Please choose an example and compare and contrast it to the issues that were problematic with Rodin's sculpture.

Note When you write about art history always mention issues of style. Use the appropriate terminology to describe techniques, tools, structures, and periods. Please remember to use examples to answer your questions.

Artist Perception 9 Please choose 3 questions to answer from the following list, type them out in a word processing program, spell check them, and then paste them directly to the thread. The questions are due by the date listed in the schedule. A superior contribution will also have all four elements of DICP: Description, Iconography, Context, and Personal Opinion.

1. Discuss the impact that Cubism had on other avant-garde art styles in the early part of the twentieth century. Analyze its pattern of influence in at least two works from the chapter that demonstrate a substantial debt to Cubism.

2. Explain how World Wars I and II had an impact on the visual arts in Europe and North America in both direct and indirect ways. Give examples of both with reference to works from the chapter.

3. Explain how both Dada and Surrealism changed the form, content, and concept of art. Focus your answer around an analysis of one artwork discussed in the chapter from each of these two movements.

4. Write about Walter Gropius and the Bauhaus’s attitude towards questions of form and function and discuss how Gropius and other early twentieth-century architects embodied those attitudes in their buildings. Contrast these buildings and attitudes with those studied in previous chapters.

5. Summarize the events of the Great Depression and discuss its impact on European and American art.


10 The International Scene Since 1950 (chapter 32)

Overview After World War II, Global capitalism increased the economic interdependence among all nations, and wealthy countries like the U.S. saw increasing prosperity. The United States’ stature after World War II as the most powerful democratic nation was soon reflected in the arts. American artists and architects assumed leadership in artistic innovation, which by the late 1950s was acknowledged across the Atlantic, even in Paris. Although realism had dominated American art before WWI, some American artists of the period maintained an interest in the nonrepresentational styles of European art. Abstract Expressionism became the dominant style of the late 1940s and 950s in the United States. Artists reasoned that since the two world wars had discredited all notions of humanity as reasonable, they as artists had the duty to invent a new and more authentic concept of mankind. In New York, American artists, deeply affected by the ideas of Surrealism and the teaching of Hans Hofmann, a German-born teacher and painter who had come to the United States before World War II. The style collectively called Abstract Expressionism designates a wide variety of work produced between 1940 and roughly 1960. By the late 1970s, after a display of a plethora of “isms” the Modern movement seemed to exhaust its impulse to react against a previous style in search for the new. This is when a plurality of styles, artists, and approaches to art arise and cannot be defined as having a common goal. Postmodernism reflects the globalized world and the desire to create art for all purposes and to appeal to a variety of viewers. Learn About

• Assess the ways in which artists since 1950 have introduced popular culture into their art. • Account for the “dematerialization” of the object since 1950 and it return after 1980. • Compare the impact of three “waves” of feminism on art after 1950. • Examine how and why artists since 1950 have engaged with social, political, cultural, or

religious issues. • Evaluate how globalism has created new opportunities, strategies, and subjects for artists

today.


Homework

Discussion 10-- or Final Project worth 200 points—There is no final exam for this course.

Andy Warhol’s Campbell Soup Cans at MoMA http://upload.wikimedia.org/wikipedia/commons/0/07/Andy_Warhol_Campbell%27s_Soup_Cans_%28MoMA_-_New_York%29.jpg This assignment is due a day before the end of the term. This is to allow students to comment on your work. See rubric in the Grading and Evaluation in the Syllabus for more detail. For this assignment you will curate and exhibition of modern and contemporary art from 1945 on. Here are the guidelines: Read Chapter 32 of your text and let it be your guide to understanding styles, recognizing artists, and placing the works in chronological order. Find 7 images of works of 7 different styles you find most interesting. Please make your choices from the styles in the text, which are also listed below. Each slide you create should have a short paragraph on the characteristics of the style, something about the artist, and something about the work. Example 1 (preferred) Virtual Exhibition Using PowerPoint saved as PDF Example 2 Virtual Exhibition Using Word

1. Abstract Expressionism 2. Neo-Dada, Color Field Painting, 3. Assemblage 4. Pop Art 5. Minimalism, 6. Happenings, 7. Conceptual art

8. Arte Povera 9. Earth Works 10. Site specific art 11. Feminist art 12. Neo Expressionism 13. Performance art 14. Postmodern art

Please make sure to identify all works, place them in chronological order. Each slide you create should have a short paragraph on the characteristics of that period style, something about the artist, and something about the work. Arrange the works in chronological order in a PowerPoint Presentation, Identify the works by name, artist, and country of origin and style. In about 400 works develop a narrative that would guide the viewer through the exhibit mentioning important formal qualities we should look for in each work. Write a short introduction and a conclusion. In the introduction explain why you chose those works and in the conclusion tell us what you learned about the series of works you are displaying. Don't rely solely on the text or Wikipedia please. Note: makes sure that your presentation is not larger than 5 megabytes so you can post it to the thread easily. If you can post a PDF file of your PP it would be the best way to see it and post it. If you have any problems using PowerPoint you can use Word to create a document that has images. Contact me if you have any issues with the clarity or requirements of this assignment. Artist Perception 10 In about 200 works, reflect on what you have learned over the course of the term. What was your favorite chapter, artist or work of art and why? Do you have any suggestions on how to improve the course? Please feel free to elaborate, your input is important to the development of more engaging and better online courses.

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