This course is intended to prepare students for the Advanced Placement History of Art Examination. The fall term covers painting, sculpture, and architecture from the Paleolithic Period through the Early Medieval Era. There are five basic course objectives. First, an emphasis will be placed on visual literacy, that is, the ability to apply art historical methodologies to students’ visual environment (from high art to pop culture) so that the student understands how images encode social and political ideologies. Second, the student will be encouraged to not only appreciate works of art from other cultures, but to value them as well. Third, the student will be encouraged to learn to defer judgment when looking at works of art, developing critical thinking skills by considering the assumptions they bring to an evaluation and learn to collect evidence before forming opinions. Fourth, the student will learn the basic canon of western images and be able to understand the basic problems and flux of that canon. Finally, the student will be encouraged to continue their journey into the intellectual and emotional joys of aesthetic experiences.
Helen Gardner’s Art Through the Ages. Fred S. Kleiner, Christian J. Mamiya, 12th
ed. www.harbrace.com/art/gardner/html (Gateway to Art History to use with Gardner text)
Barron’s A.P. Art History, Nici, John
The College Board: www.collegeboard.com
Art Bulletin, Art Journal (publications of the College Art Association)
Art News, Modern Painting, Art in America
The Grove Dictionary of Art: www.groveart.com
Required Materials: Email address
Three-ring binder, loose-leaf paper, and dividers
Black or blue ink pens
Homework of the required reading assignment is on the dates listed in the syllabus. Additional homework assignments will be announced in class and will be posted on my website. Students should plan to have homework almost every night in the form of reading, study guides, journaling, or reviewing. The student will be expected to follow the on-going reading assignments from the text. This will be an active reading, involving note taking, concept mapping, or outlining. In addition, periodic studio/journal work will be assigned. Supplemental reading will be given from time to time. No late homework will be accepted. In case of excused, unplanned absence, due dates will be extended one day for each class missed. If you have a planned absence such as a field trip or doctor’s appointment, you are expected to either turn in the work the day before the absence or drop it off on the day of the absence or field trip. There will be no extension for unauthorized absences. There will be no extension if you come to school late/leave early and miss class. Students are expected to turn in the work on the day it is due if they are in school at all.
D. STUDENT EVALUATION
Students will be evaluated on the following: homework, journals, papers, studio projects, written tests/quizzes, and class participation. Class participation will be self-assessed weekly. Positive participation includes sharing thoughts, ideas, and questions in class as well as communicating with Ms. Simon in and out of class. It also includes coming to class on time, in dress code, ready to start class when the bell rings and being attentive and positive throughout class. A final exam will be administered at the end of each semester that is worth 20% of the semester grade.
May 6, 2014
E. ADDITIONAL INFORMATION
Students are expected to do their own work. Copying or stealing the work of others is considered plagiarism and is a violation of the HSAB code of conduct.
Make Up Policy
In case of authorized or excused absence, due dates will be extended one day for each class missed. There will be no extension for unauthorized absences. Late work will not be accepted. All missing or late assignments will receive a zero. Tests that can be made up must be done within 48 hours upon return to school. If a test or quiz is missed because of a late arrival or early release, a zero will be given and the test/quiz cannot be made up. In case of special circumstances (doctor’s appt. or extended illness), please make arrangements ahead of time to avoid a zero.
Fall 2013 Calendar
Week 1 Introduction
Week 2 Chapter 1 The Birth of Art, Terms
Week 3 Chapter 2 The Rise of Civilization
Week 4 Chapter 3 Pharaohs and the Afterlife
Week 5 Chapter 4 Minos and the Heroes of Homer
Week 6 Chapter 5: Gods, Heroes, and Athletes
Week 7 Chapter 9: Italy Before the Romans
Week 8 Chapter 10: From Seven Hills to Three Continents
Week 9 Review
Week 10 Chapter 11: Pagans, Christians and Jews
Week 11 Chapter 12: Rome in the East
Week 12 Chapter 16: Europe After the Fall of Rome
Week 13 Chapter 17: The Age of Pilgrimages
Week 14 Chapter 18: The Age of Great Cathedrals
Week 15 Chapter 18 continued
Week 16 Review
Week 17 Exams
Spring 2014 Calendar
Week 18 Chapter 19: From Gothic to Renaissance
Week 19 Chapter 20: Piety, Passion, and Politics
Week 20 Chapter 21: Humanism and the Allure of Antiquity
Week 21 Chapter 22: Beauty, Science, and Spirit in Italian Art
Week 22 Chapter 23: The Age of Reformation
Week 23 Chapter 24: Popes, Peasants, Monarchs, and Merchants
Week 24 Chapter 28: The Enlightenment and its Legacy
Question: What do you know about art and how and why do you know it.
Using one work to illustrate how art historians discuss a work of art
Jan Van Eyck, Portrait of Giovanni Arnolfini and His Wife
Giovanni Cenami, 1434, oil on wood panel, 33x22” National
Elements of design illustrated
Principles of design illustrated
Architectural Analysis Part I
How does the purpose contribute to the design
To what extent does the building manifest its function?
Topography: site specific based upon harmonizing with the landscape
Orientation: siting the building in terms of the directions
How does one enter the space/structure? ( Door/Gate/ Arch)
How is the entrance emphasized
Is there a transition from outside to inside? (Narthex)
How many levels exist?
How is it illuminated? (Natural light/ Electric light/ Candles)
Does the exterior design help the viewer anticipate the interior space or not?
How is the interior decorated?
Spatial Hierarchy: is access controlled?
How does one approach the building? (Ascend/Descend)
How does one move in the space?
Axial pilgrimage/ procession
Post and Lintel
Are the structural materials concealed or exposed
Architectural Analysis Part II
Vocabulary and Syntax of the Building ( the architectural language)
Vocabulary: Individual parts or elements
Syntax: The arrangement of the part
How important is the style that has been selected?
Is the building heavily embellished?
What message does the building send to the viewer?
September: Week TWO
Read and be prepared to discuss art and terms listed
What is the difference between the terms power and authority?
1-1: Waterworn pebble resembling a human face, from Makapansgat, South Africa, ca. 3,000,000 BCE. Reddish brown jasperite, approx. 2 3/8” wide.
1-2: Animal facing left, from the Apollo 11 Cave, Namibia, ca. 23,000 BCE. Charcoal on stone, approx. 5” X 4 1/4”. State Museum of Namibia, Windhoek.
1-3: Human with feline head, from Hohlenstein-Stadel, Germany, ca. 30,000–28,000 BCE. Mammoth ivory, 11 5/8” high. Ulmer Museum, Ulm.
1-4: Nude woman (Venus of Willendorf), from Willendorf, Austria, ca. 28,000–25,000 BCE. Limestone, approx. 4 1/4” high. Naturhistorisches Museum, Vienna.
1-7: Two bison, reliefs in cave at Le Tuc d’Audoubert, Ariège, France, ca. 15,000–10,000 BCE. Clay, each approx. 2’ long.
1-8: Bison with turned head, fragmentary spearthrower, from La Madeleine, Dordogne, France, ca. 12,000 BCE. Reindeer horn, approx. 4” long. Musée des Antiquités Nationales, Saint-Germain-en-Laye.
1-9: Bison, detail of a painted ceiling in the Altamira cave, Santander, Spain, ca. 12,000–11,000 BCE. Each bison approx. 5’ long.
1-10: Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long.
1-13: Rhinoceros, wounded man, and disemboweled bison, painting in the well, Lascaux, Dordogne, France, ca. 15,000–13,000 BCE. Bison approx. 3’ 8” long.
1-14: Great stone tower built into the settlement wall, Jericho, ca. 8000-7000 BCE.
1-15: Human figure, from Ain Ghazal, Jordan, ca. 6750-6250 BCE. Plaster, painted and inlaid with cowrie shell and bitumen, 3' 5 3/8 high. Louvre, Paris.
1-17: Deer hunt, detail of a wall painting from Level III, Çatal Höyük, Turkey, ca. 5750 BCE. Museum of Anatolian Civilization, Ankara.
1-19: Stonehenge, Salisbury Plain, Wiltshire, England, aerial view, ca. 2550-1600 BCE. Circle is 97' in diameter; trilithons approx. 24' high.
September: Week THREE
Chapter 2 Read and be prepared to discuss art and terms listed
2-1: White Temple and ziggurat, Uruk (modern Warka), Iraq, ca. 3200–3000 BCE.
2-3: Female head (Inanna?), from Uruk (modern Warka), Iraq, ca. 3200–3000 BCE. Marble, approx. 8" high. Iraq Museum, Baghdad.2.4 Warka Vase, p. 34
2-4: Presentation of offerings to Inanna (Warka Vase), from Uruk, Iraq, ca. 3200–3000 BCE. Alabaster, 3’ 1/4" high. Iraq Museum, Baghdad.
2-5: Statuettes of worshipers, from the Square Temple at Eshnunna (modern Tell Asmar), Iraq, ca. 2700 BCE. Gypsum inlaid with shell and black limestone, tallest figure approx. 2’ 6" high. Iraq Museum, Baghdad. Votive Figures, Modern Tell Asmar Iraq,
2-7: Fragment of the victory stele of Eannatum (Stele of the Vultures), from Girsu (modern Telloh), Syria, ca. 2600–2500 BCE. Limestone, full stele approx. 5’ 11" high. Louvre, Paris.
2-8(a): War side of the Standard of Ur, from Tomb 779, Royal Cemetery, Ur (modern Tell Muqayyar), Iraq, ca. 2600 BCE. Wood inlaid with shell, lapis lazuli, and red limestone, approx. 8" x 1’ 7". British Museum, London.
2-8(b): Peace side of the Standard of Ur, from Tomb 779, Royal Cemetery, Ur (modern Tell Muqayyar), Iraq, ca. 2600 BCE. Wood inlaid with shell, lapis lazuli, and red limestone, approx. 8" x 1’ 7". British Museum, London.
Terms and Vocabulary
4. Epic of Gilgamesh
6. Cylinder seals
7. Lapis Lazuli
8. Hierarchic Scale
AKKADIAN, NEO-SUMERIAN, BABYLONIAN, AND HITTITE ART
2-12: Head of an Akkadian ruler, from Nineveh (modern Kuyunjik), Iraq, ca. 2250-2200 B.C. COPPER, 1' 2 3/8" HIGH. IRAQ MUSEUM, BAGHDAD.
2-13: Victory stele of Naram-Sin, from Susa, Iran, 2254-2218 B.C. PINK SANDSTONE, APPROX. 6' 7" HIGH. LOUVRE, PARIS.
2-14: Ziggurat (northeastern façade with restored stairs), Ur (modern Tell Muqayyar), Iraq, ca. 2100 B.C.
Week 3 continued
· 2-16: Stele with law code of Hammurabi (upper part), from Susa, Iran, ca. 1780 B.C. Basalt. Louvre, Approx. 7'4" High, Paris.
· 2-17: Investitureof Zimri-Lim, facsimile of a mural painting, from court 106 of the palace at Mari, (modern Tell Hariri), Syria, ca. 1775-1760 B.C. Louvre, Paris.