EUR 3100 Foundations of European Art Syllabus Winter 2010 O. Ewald

Time of Class:  Tuesdays 10:30 am – 12:50 pmLocation of Class:  Bertona 3Instructor:  Dr. Owen Ewald E-mail:  ewaldo@spu.eduOffice:  Marston 219Office Hours:  M 11-12 in the SUB, W 1:30-2:30 in the SUB, and by appointmentTelephone:  (206) 281-2070Format of Class:  Lecture/Discussion Mission of SPU: Seattle Pacific University seeks to change the world and engage the culture by graduating students of competence and character, cultivating people of wisdom, and modeling a grace-filled community.

Department Goal:  to understand and appreciate the rich diversity of world languages and cultures, both ancient and modern.

Course Goal:  to learn and understand European Art of all periods and styles, from the Stone Age to the present, including influences from and on art from other continents. Required Textbook:  Wilkins, et al. Art Past, Art Present. 6th edition.  Upper Saddle River, NJ: Prentice-Hall, 2009. ISBN: 0-13-235716-X. I know how expensive it is, but the images are really good. You can get by with the fourth or fifth edition, but you are responsible for figuring out your own page numbers. Learning Objectives (measured by exams, journals, class discussions)·        role of artists·        artistic techniques·        artistic periods and styles·        meanings of images·        political, cultural, and religious contexts of art·        language used to discuss art and art history·        identification of selected works of art·        discussion of particular works with instructor and peers

Hopes and Dreams (unmeasurable)·        lifelong interest in art·        regular visits to museums, especially with kids·        development of preferences or “favorites” in art·        enrichment and deepening of future travel experiences, even within USA·        enrichment and deepening of other courses when art comes up in discussion·        increased ability to talk with other educated people·        selecting art for your own environment—home, shop, office.

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EUR 3100 Foundations of European Art Syllabus Winter 2010 O. Ewald

Course Evaluation:  It is my expectation that you will participate in an online evaluation of this course and its instructor in a thoughtful and constructive manner.  The evaluation data is used to make improvements in the course, and your feedback is considered when selecting textbooks, designing teaching methods and preparing assignments.  Courses are evaluated using the Banner Course Evaluation System.  All answers are completely confidential - your name is not stored with your answers in any way. In addition, your instructor will not see any results of the evaluation until after final grades are submitted to the University.

Academic Integrity: The current edition of the SPU Undergraduate Catalog describes the University’s commitment to academic integrity, which is breached by academic dishonesty of various kinds. Among these is turning in another’s work as your own and committing plagiarism, which is the copying of portions of another’s words from a published or electronic source without acknowledgement of that source. The penalty for a breach of academic integrity is a failing grade for the work in question on the first offense and a failing grade for the course as a whole with repeated offenses. You will be reported to the AVPAA’s office.

Disability statement: In accordance with Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act of 1990, students with specific disabilities that qualify for academic accommodations should contact Disabled Student Services (DSS) in the Center for Learning. DSS in turn will send a Disability Verification Letter to the course instructor indicating what accommodations have been approved.

Emergency procedure: Note the emergency procedures posted in the classroom, and note the emergency exits at three corners of the room. In case of an emergency (fire, earthquake, hazardous material spillage, bomb threat, etc.), the class will evacuate the building and gather in the nearby parking lot (the “Ross Lot”); if the lot is unusable, gather at the baseball field across Nickerson. Also, the amber digital clock will provide emergency alert information as it becomes available. Please try to stay together so that we can check that everyone has made it safely out of the building.

Course Evaluation:  It is my expectation that you will participate in an online evaluation of this course and its instructor in a thoughtful and constructive manner.  The evaluation data is used to make improvements in the course, and your feedback is considered when selecting textbooks, designing teaching methods and preparing assignments.  Courses are evaluated using the Banner Course Evaluation System.  All answers are completely confidential - your name is not stored with your answers in any way. In addition, your instructor will not see any results of the evaluation until after final grades are submitted to the University.

Inclement Weather: The University maintains an Emergency Closure Hotline (206-281-2800). In the event of inclement weather or an emergency that might close the university, please call the Hotline for the most up-to-date closure information or check the SPU website. Both will be updated before 6:00 a.m. Information on evening classes, events, and athletic games will also be updated.

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EUR 3100 Foundations of European Art Syllabus Winter 2010 O. Ewald

Requirements for class: Participation, Journals, Midterm, Final

Participation:  10%:  this is not attendance, but participation in small-group discussions known as the ArtLab. Sometimes I may group by interest, by major, or even by language.

Weekly journals: · 40% of grade· due every Friday by 4 pm· please submit electronically via e-mail but do not use attachments· Journals will be graded on a credit/no credit basis. · Your journal must answer a question posed on the syllabus about the reading

or the departmental Symposium, which features some art-related presentations.

· Your journal must be at least four complete sentences and at least 60 words, or you will receive no credit. 

· Answer the question with the help of owned knowledge!  Journals that consist entirely of opinions or simply download facts from the chapter will receive no credit. You should also cite specific works, at least two per journal, like so: Giotto’s Last Judgment (Wilkins 225, Fig. 4.96).

· Your journal must not be copied from another student—you can quote from or cite the book like this (Wilkins 225) but please put quotation marks “” around a quotation to acknowledge that the words are not your own.  Plagiarism = failure with no retry.

 Final and Midterm Exams: 

·        Midterm 20%, Final 30% of grade·        objective format (multiple choice and fill-in-the-blank)·        exams will cover both lecture and textbook material·        includes questions on slides shown during exam·        no books or notes may be consulted during the exams·        cheating on the midterm or final will result in a zero for the exam (see

Academic Integrity, above) 

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EUR 3100 Foundations of European Art Syllabus Winter 2010 O. Ewald

Important Terms for Course:  includes every important term, but not every important ideaWhole Course Terms (not in caps):naturalismabstractionidealismchiaroscurocontrappostodevotional gazeMidterm Terms (down to end of column)PaleolithicNear Eastern:  Sumerian, AssyrianEgyptianEarly Greek:  Minoan, MycenaeanEtruscanGreek Vase Painting:  Black-figure,

Red-figureGreek Sculpture:  Archaic, Severe,

Classical, 4th-century/Transitional, Hellenistic

Greek Architecture:  Doric, Ionic, Corinthian

Roman Sculpture:  Republican Naturalism, Imperial Idealism

Roman FrescoRoman Architecture:  temple, basilica,

archEarly Christian Sculpture, Painting &

MosaicEarly Christian ArchitectureByzantine Art:  Mosaic, Icon,

ManuscriptsByzantine Architecture:  Greek cross

planHiberno-Saxon Manuscript

Illumination:  Lindisfarne Gospels, Book of Kells

Islamic Art & ArchitectureOttonian Art & ArchitectureRomanesque ArchitectureRomanesque SculptureGothic ArchitectureGothic Sculpture

Final Terms (this whole column)Flemish Painting:  Van EyckEarly Renaissance Sculpture &

Architecture:  Brunelleschi, Donatello

Early Renaissance Painting:  Giotto, Da Vinci

Michelangelo:  Painting & SculptureHigh Renaissance Painting:  RaphaelNorthern Renaissance:  DürerMannerism:  late Michelangelo,

ParmigianinoBaroque:  Tintoretto, Caravaggio,

Velazquez, Rembrandt, Vermeer, Bernini, Borromini

Rococo Architecture & SculptureNeoclassical Architecture, Painting, &

SculptureGothic Revival ArchitectureRomanticism: FriedrichRealism: CourbetImpressionism:  Turner, Manet, Monet,

RodinRomanesque Revival Architecture:

RichardsonPost-Impressionism:  Van GoghCubism:  Analytical & Synthetic: 

PicassoGerman Expressionism: KirchnerAbstract Expressionism:  PollockFantasy: De ChiricoModernism: DemuthSkyscraper:  SullivanModernist Architecture:  WrightDe Stijl & Bauhaus:  GropiusInternational Style Architecture:  Van

der RoheMinimalism: RothkoPop Art:  LichtensteinOp Art: RileyNew/Photo-Realism:  Hanson, CloseInstallation Art: HolzerConceptual ArtVideo Art:  AndersonPostmodern/Deconstructive

Architecture: Graves

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EUR 3100 Foundations of European Art Syllabus Winter 2010 O. Ewald

Week Month & Day

Topic or Prompt Pages of Reading

Artlabs

1 Jan 5 Intro; Cave & Ancient Art None; 1-39 Art experience? Cave Paintings and Sculpture

1 Jan 8      Journal #1: How do Egyptian artists represent 3-dimensional objects on flat or nearly flat surfaces?

44-57

2 Jan 12 Sumer through Etruscans, including Egyptians; Ancient Greeks

40-113 Egyptian Art; Pergamon Altar

2 Jan 15 Journal #2:  How does Roman art draw from Greek art? You may focus on sculpture, architecture, or painting, but use at least two specific examples.

114-129, but look back at 72-79 and 104-107

3 Jan 19 Ancient Romans: continuity, innovation, and comparisons; Early Middle Ages to 800 AD

114-195 Pompeii; Book of Kells/LindisfarneGospels

3 Jan 22 Journal #3: How does Gothic art differ from the earlier Romanesque?

238-243, 258-261

4 Jan 26 Romanesque and Gothic; Early Renaissance, part 1; Review

195-265 Cathedral Sculpture & Bible stories; Tres Riches Heures

4 Jan 29 Journal #4: What is new and what is rediscovered in Early Renaissance art?

Review 1-233

5 Feb 2 Midterm Exam; Early Renaissance, part 2 Review 1-233; 266-295

Sketches and finished products

5 Feb 5 Journal #5: How does the High Renaissance treat religious figures and Biblical narratives?

296-331

6 Feb 9 High Renaissance and Mannerism 296-359 Composition; Changing Aesthetics

6 Feb 12 Journal #6: How do you distinguish Baroque works from Mannerist works?

360-393

7 Feb 16 Baroque, Rococo, and Neo-Classicism 360-423 Dutch Baroque: Vermeer; Neo-Classical Sketchbook

7 Feb 19 Journal #7: What were some relationships between art and societal roles (king, queen, revolutionary, bishop, general, husband, wife, artist, etc.) in the period 1800-1850?

424-465 (look ahead)

8 Feb 23 1800-1850: Romanticism and other movements; 1851-1899: Impressionism and Post-Impressionism

424-529 Romanticism and Ideas;Impressionism and the Art of the Past

8 Feb 23 Optional event: Marston Lecture, Dr. Ewald, 7:30 pm in DH 150

8 Feb 26 Journal #8: What are the advantages and disadvantages of abstraction? Please do not use bullet points!

9 Mar 2 1900-1949: Abstraction and other trends; possible student presentation?

530-564 False Color

9 Mar 5 Journal #9: Pick a movement from the period 1950-1999 and describe how it reacts against a previous movement.

Select from 565-606

10 Mar 9 1950-1999: Concepts; 21st century and Review for Final 565-621 Architectural Failures; Mystery Works for Review

10 Mar 12 Journal #10 Which art movements of the period 1950-2000 continued to inspire further creative effort in the new millennium, and why?

606-621 with lookback to 565-605 as needed

Mar 16 Final Exam: 10:30am – 12:30 pm in our usual room, Bertona 3

234-621

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