|The Syllabus I wish I'd made. And will next time. by Lynda Barry, 2013.|
Art History 1101 section 2: TTH10-11:20
Instructor: Dr. Betsy Towns, office Workplace West II, Room 109
Cell 919-428-1717 firstname.lastname@example.org
feel free to contact me with any questions
Office hours: 11:00-12:30 on Tuesdays or by appointment.
The History of Art, Part I: the First 30,000 years of Art (That we know of)
The course introduces practices in reading, contextualizing, and interpreting visual culture from the very earliest handcrafted objects to the beginnings of ‘art for art’s sake’ in the early Renaissance, together with an introduction to the history of those objects. In the words of postmodern novelist David Foster Wallace, Art History 1101 “aims to show you some ways to read [visual art] more deeply, to come up with more interesting insights on how pieces of [art] work, to have informed intelligent reasons for liking or disliking a piece of [art], and to” express yourself “—clearly, persuasively, and above all interestingly—about stuff you’ve read.” I’ll introduce a range of methods for looking at and learning from artworks, and ways to critically analyze art and visual culture more broadly. This approach establishes a foundation on which to build understanding of the development of today’s notions of art-making.
· Build a visual vocabulary to enrich the contents of your work in the arts
· Develop critical appreciation of visual art, or, to paraphrase David Foster Wallace again, means ‘having smart, sophisticated reasons for whatever [art] you like, and being able to articulate those reasons”
· Draw connections between the visual cultures of the past and present
· Learn to analyze the general characteristics of an art period, and to think critically about relationships between works and periods as demonstrated in written assignments and on tests
· Develop the ability to interpret works of art, in other words to express coherent, interesting expression of what a work means, to explore the artists’ intentions, technical choices, and style, and how it impacts you as a viewer or, even better, a participant. (indebted to DFW)
· Explore emotional, visual, and critical responses to works of art. Develop sensitivity to influences, biases, and opinions.
· Consider the contributing factors (social, cultural, religious, historical, technological, political, economic) relevant to significant periods in art, and begin to find the clues to these factors in the visual evidence, informed by readings and demonstrated by participation in class discussions and in written assignments. In other words, to contextualize
Text: Marilyn Stoksdad, Art: a Brief History, 3rd ed., ISBN-10: 0131955411
Supplies: a journal, sketchbook, or notebook dedicated to this class, available every day; also, have available every day of class a couple pens, a couple pencils, and a set of colors (either crayons, colored pencils, or magic markers)
Time Commitment –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
In academic classes students should expect to spend 2 to 3 hours working outside of class for every hour in class. So – for a course that meets three hours a week students should expect to spend 6-9 hours working outside of class.
You are responsible for all the material in this syllabus. If you lose your syllabus, you can find it online.
Grading Procedure Grades will be based on the following:
Class Participation (20%)
Test One (20%)
Writing Project One (in notebook) (20%)
Writing Project Two (in notebook)(20%) due at time of final!
Final Exam (Cumulative) (20%)
Extra credit available via notebook
Grades will take into account Craft (care and attention to detail, unity of work), Creativity (inventive solutions to assignments and original and critical thinking), and Content (accuracy and substance of material created).
If you accomplish all that is required on time, clearly, correctly, thoroughly and in a satisfactory manner, you can expect a B. To earn an A, your must go above and beyond the minimums set, and execute work in an original and exemplary fashion. Incomplete work or work that exhibits minimal effort or limited breadth in thought and/or effort will earn a C or lower; include errors and the work will earn a D. Failure to demonstrate understanding of the material, to follow guidelines of the assignment, and/or to show depth of effort will result in a Failing grade.
NOTE: you will find your specific assignments elaborated and updated on the blog each Thursday evening.
If there are changes in the readings calendar or essays posted on the class blackboard site, I will let you know and will update this syllabus online.
Week One: Where Do We Come From? Who Are We? Where Are We Going? August 27 & 29August 27 Tuesday
Introductions, Who Are We, Why are we Here? What is Visual Culture? Why study Art History, and how?
Syllabus, course practices and technologies, Reading and seeing art.
· Introduction to Commonplace Books and possibilities for your own books
· Art History Maps.
· Introduction to Visual Thinking Strategies/ Reading art
August 29 Thursday
Overview of Elements and Principles of Art; Art History Methods
Homework due today:
· Go to class blog and blackboard and familiarize yourself
· read and understand the syllabus.
· Make sure you’re enrolled in the course in blackboard
· Read Stoksdad, xxvi-xxix, 1-9 15-19
Key Terms: line, shape, form, composition, hue, value, saturation, style, naturalism, representational/nonrepresentational, abstract, ideal, iconography, formal qualities
Week Two Sept 3 & 5 Paleolithic ArtSept 3 Tuesday watch Werner Herzog Cave of Forgotten Dreams, available via netflix streaming or on dvd in our library. please do not remove it from the library! View before Tuesday the 10th, and keep good notes!
Sept 5 Thursday:
The oldest Women in the World
Reading: Stoksdad, 20-24; Key Works: Woman from Willendorf, (1-4) Woman from Hohle Fels,(not in book) Lion Human from Hohlenstein Stadel, (1-2), Woman from Brassempouy (1-3), Woman and Man from Cernavoda (1-11)
Key Terms: Paleolithic, Prehistoric, Representational/ Non-Representational, Abstraction Form, Texture, pattern
Week Three September 10 & 12
September 10 TuesdayLascaux real and simulated, found and lost
Reading: Stoksdad, 24-45
Key Terms: Line, Naturalistic, Paleolithic, Neolithic, post and lintel
Key Works: Lascaux Cave(1-6 &7), Chauvet Cave (1-1), Cave of the Hands (not in book), Mimis and Kangaroo (1-18), Stonehenge(-15)
September 12 Thursday
Greatest Hits of Egyptian Art and Mythology (Independent Work or Guest Lecture)
Homework: Stoksdad, 48-55
Key Terms, Old Kingdom, New Kingdom, Upper and Lower Egypt, additional terms tba
Key Works: tba
Week Four September 17 & 19 Huge Civilizations, cont.September 17 Tuesday: Egypt, Propaganda: Egyptian Art with Loryn Pretorius
Homework: Stoksdad 55-61
Key Terms: composition, stylization, mural, additional terms tba
Key Works: tba/
Mesopotamia and the Wars in Iraq, Ziggurats, Giant Villages in Indus River Valley, Living on Rooftops in AnatoliaHomework: Stoksdad, skim 37-47
Key Terms: votive, low-relief (bas-relief), high relief, stele, texture, pattern, Mesopotamia, hieratic scale, register
Key Works: Warka Vase (2-2), Nanna Ziggurat (2-3& 4), Tel Asmar Votive Statues (2-5), Bull Lyre (2-6 & 8), Stele of Naramsin (2-9), Stele of Hammurabi (2-11)Lamassu (2-12)
September 19 Thursday Early Asian Art
Homework: Stoksdad, 63-85 (focus your reading around key terms and ideas)
Key Terms: terra cotta, mausoleum, reliquary, Indus Valley,
Key Works: seals from Indus Valley (3-2), Great Stupa(3-4&5), Bodhisattva (3-8), Seated Buddha (3-16), Camel Carrying Musicians (3-17), Hungry Tigress (3-24)
Week Five September 24 & 26: Crossing Cultures and Recognizing Styles
September 24 Tuesday TEST I Paleolithic Through Egyptian
Homework: Stoksdad 87-100
Key Terms: style: period style, regional style, representational style, saturation, color, naturalism, Minoa, Mycenaean
Key Works: Young Girl Gathering Saffron (4-4), Bull Jumping (4-5), Lion Gate (4-12), Funerary Vase from Dipylon (4-13), Kouros from Attica (4-19), Peplos Kore (4-20), Kritios Boy (4-25), Menkaure and his wife Queen Khamerernebty(2-18), Nefertari making an Offering,(2-31)
Week Six Oct 1 & 3 Classical ArchitectureOct 1 Tuesday The Gods in Color
Homework: Stoksdad, 97-113
Key Terms: Composition, frieze, ekphrasis, doric, ionic, corinthian classical
Key Works: Pediment of Parthenon (Elgin Marbles)4-29, 30 7 31), Temple of Hera (4-15), Exekias vases (4-21 and online sources), Warrior from Riace (4-27), Acropolis (4-28), Hermes and Dionysius (4-36), Millenium Center
Oct 3 Thursday Field Trip Downtown
Reference: Stoksdad 97-161
Finding examples of Classical architecture in our city: a scavenger hunt.
October 4 th: Last day to withdraw from a course.
Week Seven October 10th Classical Architecture and its Impact
October 8 Tuesday: No Class Fall BreakOct 10 Thursday: Power, Perfection, and Decline? Hellenism
Homework: Stoksdad 115-123
Due Today: scavenger hunt results
Key works: ***Laocoön and his sons, (p. 17, fig 27 & 28), Nike of Samothrace (5-1), ***Alexander the Great Confronts Darius III at the Battle of Issos (5-2), ***Aphrodite of Melos (5-6), Dying Gallic Trumpeter (5-8)
Key Terms: mosaic, theatricality
Week Eight Oct 15 & 17 EmpireOct 15 Tuesday : Art and Magic; realism and Real Life in the Case of Emperor Qin and Etruscan Votive objects
Homework: Stoksdad 129- 133
Key Terms: Terra Cotta, Mausoleum, Audience (What is the relationship between audience and artwork? If a work of art never had an audience, never met the public, is it artwork? What works might illustrate your answers?)
Key Works: Apollo from Veii (5-16), Tomb of the Reliefs (5-17), Sarcophagus from Cerviteri (5-18), She-Wolf (5-19), Tomb of Emperor Qin (3-1)
Oct 17 Thursday: Roman Art and Architecture—the first postmodernists?
Homework: Stoksdad, 136-161
Key works: Heraklitos, Unswept Floor (6-1), Temple of Portunus (6-4 and 6-5), Pont du Gard (6-6), Augustus of Primaporta (6-7 and 6-8), Wall painting, Lucretius Fronto (6-15), Wall Painting, Villa of Mysteries (6-16), Colosseum, (6-17, 6-18), Pantheon (6-22, 6-23), First Baptist Church, Young Flavian Woman 6-27, Equestrian Portrait of Marcus Aurelius (6-29), Equestrian Portrait of Joshua Reynolds
Key terms: illusionistic, arch, vault, dome, intuitive perspective, atmospheric perspective,
Week 9 Oct. 22 & 24 From Many Gods to OneOct 22 Tuesday Jewish and Early Christian art
Homework: Stoksdad 162-172
Dura Europos and three types of Worship. How art changes with singular religious texts. The relationship between word and art
Key Works: Cubiculum of Leonis (7-1), house-synagogue at Dura-Europos (7-3), Christ as Good Shepherd
Key Terms: basilica, central-plan church, workshop model
Homework: Stoksdad 172- 189
Key Works: Mausoleum of Galla Placidia (7-9), Good Shepherd (7-10), Anthemius of Tralles and Isodorus of Mileutus, Hagia Sophia (7-11 and 12), San Vitale (7-15), Justinian and Theodora from San Vitale (7-16 and 17 )
Key Terms: icon, iconography, iconoclasm, byzantine, mosaic,
Week 10 October 29 & 31October 29 Tuesday: Islamic Art and Architecture /POSSIBLE guest lecture, which would mean changes to the following:
Homework: Stoksdad 191-213
Key Works: The Prophet Muhammad and his Companions Traveling to the Fair (p. 193), Great Mosque at Cordoba (8-7 &8), Palace of the Lions, Alhambra (8-13 7 14), Bahram Gur with the Princess (8-16), Sinan, Sultan Selim Mosque (8-19)
Key Terms: calligraphy, mihrab, mecca, minaret, atelier, interlace
October 31 Thursday Notebook and Writing Lab Session (Betsy at Conference)
Week 11 Nov 5 & 7Nov 5 Notebook/Writing Project one due
Nov 7 Thursday: Building a Cathedral Medieval Architecture
Homework: Stoksdad: 258-287
Key Works: St Etienne (10-19), Modena Cathedral (10-21), Durham Cathedral (10-25), Magi Asleep (10-28), Chartres Cathedral (11-4 & 5 & 7 &8 & 9) Sainte Chapelle (11-14)
Key Terms: Romanesque, Gothic, Medieval, buttress, arch, barrel vault, groin vault, westwork
Week Twelve Nov 12 & 14Nov 12 Tuesday
Field Trip: Medieval Architecture Close to home
Nov 14 Thursday Visual Prayers
Homework: Stoksdad 241-258, Monks tying knots, laying stones, painting letters and otherwise meditating
Key Works: Sutton Hoo Purse Cover (10-3), Chi Rho Page from Book of Kells (10-4), Matthew from Ebbo Gospels, (10-10), Crucifixion, cover of Lindau Gospels(10-11), Bayeux Tapestry (10-18), Saint Faith (Foy) Reliquary (10-18), Giselbertus, Last Judgement (10-27), Virgin and Child in Majesty, 10-34)
Key Terms: Manuscript, Scriptorium, reliquary, interlace
Week Thirteen Nov.19 & 21Nov 19 Tuesday
Later Asian Art
Homework: Stoksdad 215-239
Key Works: The Hour of Cowdust (9-5), Angkor Wat (9-7), Seated Guanyin Bodhisattva (9-8), Xia Gui, Twelve Views from a Thatched Hut (9-10), Shen Zhou, Poet on a Mountaintop, (9-14), Jocho, Amida Buddha, (9-18), Kao Ninga, Monk Sewing (9-21), Suzuki Harunobu, Geisha as Daruma Crossing the Sea (9-25), Katsushika Hokusai, The Great Wave off Kanagawa (9-26)
Key Terms: ukiyo-e, literati painting, connoisseur
Nov 21 Thursday Gothic Painting and Sculpture
Key Works: Virgin and Child, Saint-Denis (11-17), Windmill Psalter (11-22), Ambrogio Lorenzetti, Allegory of Good Government series (11-26) and others tba
Key Terms: Gothic, tempera, gilding
Homework: Stoksdad 287-297
Week Fourteen November 26th Strange Tales from VasariNov 26 Tuesday The Master and the Apprentice: The Workshop Model in Italy
Homework: Stoksdad 297- 303, selections from Vasari
Key Works: Duccio, Virgin and Child in Majesty (11-28), Cimabue, Virgin and Child Enthroned (11-29), Giotto, Virgin and Child Enthroned (11-30), Giotto, Arena (Scrovegni) Chapel, (11-31 & 32)
Key Terms: art history, fresco, apprentice, atelier, workshop, master
Week Fifteen Dec 3 & 5
Dec. 3 Tuesday Ladies and Gentlemen, the Bible Adam and Eve (and Masaccio, Masolino, Mantegna and Bernward)Homework: Readings from Genesis, Jonathan Goldstein’s Ladies and Gentlemen: The Bible, and Vasari on the blog.
Key Works: Wiligelmus, Creation and Fall of Adam, (10-26) Bishop Bernward doors (10-14), many other images of Adam and Eve, which will not be on exam and which we will return to in spring term
Dec. 5 Thursday: Review Session
Section 1, (Class Meets TTH 8:30 – 9:50)
EXAM TIME Tuesday, Dec 10, 9:00-11:30am
In class exam/ Writing Project Due
Police Policy ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––
Attendance: Students are expected to attend each class session ready to discuss the readings and artworks. Great discussions are built on respectful learning and thoughtful preparation. Study, thought, and writing about key works or passages from readings will pay off in terms of interesting class sessions and positive evaluations. Students are permitted two unexcused absences after which each absence will result in a five point deduction from the final grade.
Plagiarism: I expect students to adhere to the UNCSA policy regarding plagiarism. We will discuss the appropriate use of your own and borrowed materials in regard to writing assignments. You are expected to create your own work throughout the semester, on project, quizzes, and exams. Iencourage you to study with you peers, to discuss work, share ideas, and discuss readings. Always thank your peers, me, Loryn, and experts and investigators in the field when you use their material. Just give their names. Any attempt to turn in another person's work as your own - whether it is from a book, journal, textbook, fellow classmate, web site, or other media source - will activate the Academic Integrity policy and may result in an F for the course, and a letter to your Dean.
Sensitive Material: we will discuss artwork of a variety of subjects that have been recorded by humans over time, many of them of intense emotional register for us and for their creators. This means that we will look at and discuss some works of art that may effect your sensibilities, works that deal with religion, sexuality, gender, death, violence, race, power, evolution and other sensitive subjects. Please be ready to listen sensitively to different opinions and express your own views.
-Lily Hoang, novelist and New Mexico State Creative Writing Faculty
Accommodation for Students with Disabilities: In compliance with the UNCSA policy and equal access laws, I am available to discuss appropriate academic accommodations that may be required for students with disabilities. Note that accommodations will not be granted without appropriate written documentation. Upon entrance to the course, students are encouraged to register with the Officer for Student Disabilities to verify their eligibility for appropriate accommodations.
Examination Policy: There are three in-class exams this term, including the final exam, which will include materials from class discussions and readings. Please note the date of the exams carefully, and should you have a professional conflict, make arrangements with me at least two weeks prior to the exam. As for the final exam, if it is necessary to take the exam early due to early departure you must discuss this with me one month before the intended departure and complete the Request for Early Departure Form at Academic House.
The Writing Center at UNCSA
Elizabeth Klaimon, Director, Writing Center, Sunnyside, 631-1514 email@example.com,
· Free one-on–one tutoring sessions: between 15 – 45 minutes long.
· Assistance in all stages of the writing process
· Our goal is to work with students to help them become better writers