CHAPTER ONE - testbanksinstant.eutestbanksinstant.eu/samples/Solution Manual for Art Hist… · Web vieworchestrates a vivid "surround sound" experience of western and world art

Instructor’s Manual by

Sarah Archino, Ph.D., Millsaps CollegeSuzanne Owens, Ph.D., Lorain County Community College

For

Art History FIFTH EDITION

Marilyn StokstadMichael Cothren

ISBN: 02-0-596173-8 Copyright © 2014 Pearson Education, Inc.

Full file at http://testbanksinstant.eu/ Solution-Manual-for-Art-History-Volume-1,-5E-

Table of ContentsIntroduction 3Volume 1 Sample Syllabus – Western Emphasis 5Volume 2 Sample Syllabus – Western Emphasis 15Volume 1 Sample Syllabus – Global Emphasis 25Volume 2 Sample Syllabus – Global Emphasis 36Chapter One Prehistoric Art in Europe 46Chapter Two Art of the Ancient Near East 50Chapter Three Art of Ancient Egypt

55Chapter Four Art of the Ancient Aegean 60Chapter Five Art of Ancient Greece 66Chapter Six Etruscan and Roman Art 70Chapter Seven Jewish and Early Christian Art 76Chapter Eight Byzantine Art 80Chapter Nine Islamic Art 86Chapter Ten Art of South and Southeast Asia Before 1200 91Chapter Eleven Chinese and Korean Art Before 1279 97Chapter Twelve Japanese Art Before 1392 102Chapter Thirteen Art of the Americas Before 1300 106Chapter Fourteen Early African Art 111Chapter Fifteen Early Medieval Art in Europe 116Chapter Sixteen Romanesque Art 121Chapter Seventeen Gothic Art of the Twelfth and Thirteenth Centuries 127Chapter Eighteen Fourtheenth-Century Art in Europe 131Chapter Nineteen Fifteenth-Century Art in Northern Europe 134Chapter Twenty Renaissance Art in Fifteenth-Century Italy 137Chapter Twenty-One Sixteenth-Century Art in Italy 141Chapter Twenty-Two Sixteenth-Century Art in Northern Europe 145

and the Iberian PeninsulaChapter Twenty- Three Seventeenth-Century Art in Europe 149Chapter Twenty- Four Art of South and Southeast Asia after 1200 154Chapter Twenty- Five Chinese and Korean Art after 1279

157Chapter Twenty-Six Japanese Art after 1333 160Chapter Twenty-Seven Art of the Americas after 1300 163Chapter Twenty-Eight Art of Pacific Cultures 166Chapter Twenty-Nine Art of Africa in the Modern Era 169Chapter Thirty Eighteenth- and Early Nineteenth-Century Art

172in Europe and North America

Chapter Thirty-One Mid- to Late Nineteenth-Century Art in Europe 177and the United States

Chapter Thirty-Two Modern Art in Europe and the Americas, 1900-1950 182Chapter Thirty-Three The International Scene since 1950

188

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Stokstad / Cothren Art History, 5th ed., Vol. 1: Instructor’s Manual IntroductionE. Suzanne Owens, Ph.D., Professor of Arts & Humanities

Lorain County Community College, Ohio

The 5th edition of Art History, by Michael Cothren and Marilyn Stokstad, represents an evolution of the traditional survey course. From a rethinking of chapter splits for Volume 1, to revised presentations of key content and expanded images, to new emphases on critical thinking and "crosscurrents" of art history, this updated version of a classic work enriches the possibilities for robust teaching and learning. Paired with Pearson's newest version of MyArtsLab multimedia platform of resources, study tools and assessments, Art History orchestrates a vivid "surround sound" experience of western and world art history.

Instructors of traditional campus-based courses, as well as those creating "virtual" classrooms for online courses can explore Volume 1 through multiple features of the accompanying Manual. Each chapter is summarized at-a-glance in a topic outline, Learning Objectives and Key Terms chart. The Transition Guide lists images removed or added between the 4th and 5th editions, a quick aid for veteran instructors adapting previous course plans. Discussion Topics and Critical Thinking Questions offer starting points for helping students review core content and check reading comprehension, but can also be used as springboards to more interactive Activities and Exercises. Designed to work in tandem with MyArtsLab, these teaching and learning tools offer great flexibility for surveying chapters broadly or pursuing them in more depth to match curriculum goals.

As I prepared this edition of the Instructor's Manual, as with the 4th edition, the expanded resources of MyArtsLab continued to impress. Closer Looks and Architectural Simulations provide detailed examinations of works far beyond the possibilities of static illustrations or text descriptions, while Panoramas create remarkable 360-degree experiences of sites most world travelers would envy. Thanks to superior camera technology, these views exceed in detail, clarity and perspective what might be possible to see in person. Video/Podcasts and Studio Technique demonstrations are invaluable for moving students beyond the confines of their textbooks. While classroom lectures can always be enhanced with dynamic use of such resources projected from MyArtsLab, I rely upon all of these tools to create vivid online experiences for my distance learning students, many of whom report sharing their Lab activities with family members as interest in art history spreads. Needless to say, for students studying online and living far from museum collections or major architectural sites, MyArtsLab experiences can be transformative. And online students without the benefit of hearing textbook content reinforced by their instructor's voice can compensate by listening to the chapter being read aloud on the Lab.

In so many ways, what was once merely "art in the dark" has become an exciting, interactive, globe-trotting journey limited only by an instructor's ingenuity in

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responding to Michael Cothren's most recent itinerary. And, once again, I hope you’ll find this Manual to be a helpful starting point as those adventures begin.

Stokstad / Cothren Art History, Vol. 2: Instructor’s Manual “Introduction”Sarah Archino, Ph.D., Teaching Fellow in Art History

Millsaps College, Mississippi

At a time of increasing pressures to justify liberal arts and humanities departments, it has become increasingly critical that we demonstrate the relevancy and importance of a field such as art history. Now, more than ever, we need to ensure that our survey courses are not simply about rote memorization, but about showing students how meaning is made. In truth – isn’t it this awesome power of visual images that makes us excited about our field and that motivates us through all the preparation for lectures and long hours of grading? It is my hope that the discussion questions and exercises in this instructor’s manual will not only demonstrate to students the importance of studying art, but will also help develop critical thinking and writing skills that will serve them throughout their studies. In writing the instructor’s manual for this new edition of Stokstad’s Art History, I have tried to bring together images and ideas that will inspire close examination and deeper analysis.

The art history survey course is an opportunity to connect with a wide range of students and to impart an interest which can last long after graduation. Although many of our students will ultimately specialize in other fields, through art we can teach them critical skills of analysis, interpretation, and provide a historical context which will form the foundation for a more sophisticated approach to understanding our world.

When I teach the art history survey, I like to emphasize the contemporary social structures surrounding the images – questions of function, patronage, and politics. I have found that this approach helps students to understand that art is not created in a vacuum, but holds rich insight into communities that might otherwise remain unapproachable. In creating this deeper understanding, the resources of MyArtsLab are invaluable. I am very excited about the increased access to primary source documents, which provide a concrete point of entry for students unfamiliar with iconography or formal analysis. Similarly, the study of architecture is vastly helped by the Closer Look features and videos which help to recreate aspects difficult to conjure from a two-dimensional image. Using a Students On Site to study St. Peter’s Basilica gives a much truer sense of scale (and a better understanding of the absolute power of the Papacy during the Baroque period) than any lecture ever could and helps them to see these monuments through the eyes of a peer.

As instructors, we are often reluctant to give time for in-class writing assignments, fearful that they will distract from our already-ambitious syllabi. As you look through this instructor’s manual, I encourage you to explore alternatives to the strict lecture format. Even incorporating a five-minute exercise into a class will help your students become engaged with the material and begin to make connections for themselves. Writing doesn’t need to be a cumbersome burden on your students or yourself – many of these assignments are designed for little or no grading. Because they support the Learn About It points and major emphases of each chapters, these assignments are rewarded through the mastery of test material and do not require extensive grading and feedback. We want our students to work and master this material through their efforts. In my experience, this has led to better classroom discussions and more thoughtful test answers and papers. I hope these suggestions will be useful to you and your teaching.

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SAMPLE SYLLABUS: “Art History I” (Western European emphasis)Stokstad/Cothren, 5th ed., Volume 1

Week Chapters for Lecture1 Introduction

Learn-About-Its:I.1 Explore the methods and objectives of visual analysis.I.2 Assess the way art historians identify conventional subject matter and symbols in the process called iconography.I.3 Survey the methods used by art historians to analyze works of art and interpret their meaning within their original cultural contexts.I.4 Trace the process of art-historical interpretation in a case study

MyArtsLab Resources:Architectural Panorama: Notre-Dame-du-HautCloser Look: Iconography, Visual Elements of Pictorial Expression, Fra Angelico, Crucifixion (Van der Weyden), Quince (Zhu Da), Still Life with Fruit and Flowers (Peeters), Mme. Charpentier and her Child (Renoir), Madonna of the Goldfinch (Raphael), Humay and Humayun Junayd, Doni Tondo (Michelangelo), Education of the Virgin (De la Tour), Carpet Page from Lindisfarne Gospels, Notre-Dame-du-HautVideo and Podcasts: Student on Site: Sarcophagi of Constantine and Helena

2 Chapter 1. Prehistoric Art

Learn-About-Its:1.1 Explore the variety of styles, techniques, and traditions represented by what remains of prehistoric art and architecture, and probe its technical, formal, and expressive character.1.2 Survey the principal themes, subjects, and symbols in prehistoric painting, sculpture, and objects.1.3 Investigate how art historians and anthropologists have speculated on the cultural meanings of works for which there is no written record to provide historical context.1.4 Grasp the concepts and vocabulary used to describe and characterize prehistoric art and architecture.

MyArtsLab Resources:Architectural Simulations: Post and Lintel Construction, Corbel Construction Closer Look: The Design and Making of Stonehenge, Male and Female Figures from Cernavoda, Lascaux, Spotted Horses and Human Hands Studio Technique Video: Ceramics Video/Podcasts: Prehistoric Sites and Decorated Caves of the Vezere Valley,

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Stonehenge Decoded, Student on Site: Stonehenge Web Resource: The Cave of Chauvet – Pont - D’Arc, Panorama: Stone-henge, Panorama: Skara Brae, OrkneyjarAssessment: Chapter 1 MAL Pre- and Post- Tests: www.myartslab.comArt History Test Item File: www.pearsonmytest.com

3 Chapter 2. Art of the Ancient Near East

Learn-About-Its:2.1 Investigate a series of conventions for the portrayal of human figures through the history of the ancient Near East.2.2 Explore the development of visual narrative to tell stories of gods, heroes, and rulers in sculpted reliefs.2.3 Survey the various ways rulers in the ancient Near East expressed their power in portraits, historical narrative, and great palace complexes.2.4 Evaluate the way modern archaeologists have laid the groundwork for the art-historical interpretation of the ancient cultures of the Near East.

MyArtsLab Resources:Closer Look: Cuneiform Writing in Sumeria, Enemies Crossing the Euphrates to Escape Assyrian Archers, The Ishtar Gate, The Stele of Naram-Sin, The Standard of Ur, front and backStudio Technique Video: Sculpture Carving (Relief)Video/Podcasts: Persepolis, The Iraq Museum Reopens, Students on Site: Lion Hunt FriezeWeb Resource: Iraq (British Museum), The Code of Hammurabi (Louvre Museum), Chicago's Oriental Institute, Panorama: Persepolis, Mesopotamia (British Museum)Primary Source Documents: The Code of Hammurabi, Texts on Gudea Figures from Lagash and Surrounding Areas

Assessment:Chapter 2 MAL Pre- and Post- Tests: www.myartslab.comArt History Test Item File: www.pearsonmytest.com

4 Chapter 3. Art of Ancient Egypt

Learn-About-Its:3.1 Explore the pictorial conventions for representing the human figure in ancient Egyptian art, established early on and maintained for millennia.3.2 Analyze how religious beliefs were reflected in the funerary art and architecture of ancient Egypt.3.3 Examine the relationship of royal ancient Egyptian art to the fortunes and aspirations of the rulers who commissioned it.3.4 Understand and characterize the major transformation of ancient Egyptian art and convention under the revolutionary rule of Akhenaten.

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MyArtsLab Resources:Architectural Simulation: Mastaba to PyramidCloser Look: Akhenaten and His Family, Funerary Temple of Hatshepsut,Palette of Narmer, Book of the Dead, Tomb of Ramose, Abu SimbelVideo: Ancient Thebes with its NecropolisWeb Resource: Seated Scribe (Louvre Museum), Panorama: Memphis and its NecropolisPrimary Source Documents: A Hymn to Aten


5 Chapter 4. Art of the Ancient Aegean

Learn-About-Its:4.1 Compare and contrast the art and architectural styles developed by three Aegean Bronze Age cultures.4.2 Evaluate how archaeology has recovered, reconstructed, and interpreted ancient Aegean material culture despite the limitations of written documents.4.3 Investigate the relationship between art and social rituals or communal practices in the ancient Aegean cultures.4.4 Assess differences in the designs and use of the large architectural complexes created by the Minoans and the Mycenaeans.

MyArtsLab Resources:Closer Look: Palace of Knossos or Citadel of Mycenae, Vapheio Cups, Toreador Fresco, Harvester Rhyton Web Resource: The Palace of Knossos


6 Chapter 5. Art of Ancient Greece (Part 1) "Emergence of Greek Civilization" through "Early Classical Period"

Learn-About-Its:5.1 Trace the emergence of a distinctive Classical style and approach to art and architecture during the early centuries of Greek civilization and assess the ways Hellenistic sculptors departed from its norms.5.2 Explore the principal themes and subject matter of ancient Greek art, rooted in the lives—both heroic and ordinary—of the people who lived in this time and place as well as the mythological tales that were significant to them.5.4 Understand the differences between and assess the uses of the three orders used in temple architecture

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MyArtsLab Resources:Architectural Panorama: Greek OrdersCloser Look: The Euphronios Krater, Funerary Vase (Krater), Charioteer of Delphi, Red-Figure and Black-Figure VesselsVideo / Podcasts: Student on Site: Achilles and Ajax,


7 Chapter 5. Art of Ancient Greece (Part 2)"High Classical Period" through "Hellenistic Period"

Learn-About-Its:5.1 Trace the emergence of a distinctive Classical style and approach to art and architecture during the early centuries of Greek civilization and assess the ways Hellenistic sculptors departed from its norms.5.3 Explore the nature and meaning of the High Classical style in relation to the historical and cultural situation in Greece during the fifth century BCE.

MyArtsLab Resources:Architectural Simulation: Theater of DionysiosCloser Look: Altar of Pergamon, Nike of Samothrace, Alexander Mosaic: Temple at AeginaVideo / Podcasts: Winged Victory of Samothrace, Student on Site: Doryphoros, Student on Site: Lapith and Centaur, Student on Site: LaocoonPrimary Documents: Pliny the Elder, Natural History


8 Chapter 6. Etruscan and Roman Art (Part 1)"The Etruscans" through "The Early Empire"

Learn-About-Its:6.1 Explore the various ways Romans embellished the walls and floors of their houses with illusionistic painting in fresco and mosaic.6.2 Trace the development and use of portraiture as a major artistic theme for the ancient Romans.6.3 Examine the ways that Etruscan funerary art celebrates the vitality of human existence.

MyArtsLab Resources:Architectural Simulation: Barrel and Groin Vaults, Round ArchCloser Look: Gemma Augustea, House of the Vetti, Augustus of Primaporta, Ficoroni Cista

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Video / Podcasts: The Flavaian Amphitheater (Colosseum), Pont du Gard (Roman Aqueduct), Reawakened Ancient City: Archaeological Areas of PompeiStudent on Sites: Augustus of Primaporta, Marcus Aurelius, Ara Pacis, Colosseum, She-Wolf, Villa of Mysteries, Arch of TitusPrimary Source Documents: Vitruvius, “On Symmetry”


9 Chapter 6. Etruscan and Roman Art (Part 2)"High Imperial Art" through "Late Empire"

Learn-About-Its:6.4 Investigate how knowledge of Roman advances in structural technology furthers our understanding of Roman civic architecture.

MyArtsLab Resources:Architectural Simulation: ConcreteCloser Look: Dish from Mildenhall, England, The Column of Trajan, Sarco-phagus with the Indian Triumph of Dionysus, The Forum Romanum and Imperial Forums, Arch of Constantine, MosaicVideo / Podcasts: Pantheon, Tetrarchs


10 Chapter 7. Jewish and Early Christian Art

Learn-About-Its:7.1 Investigate of the ways in which late antique Jewish and Christian art developed from the artistic traditions of the ancient Roman world.7.2 Interpret how late antique Jewish and Christian artists used narrative and iconic imagery to convey the foundations of the Christian faith for those already initiated into the life of the Church.7.3 Understand the relationship between the art and architecture of Jewish and Christian communities and their cultural and political situation within the late Roman Empire.7.4 Analyze the connection between form and function in buildings created for worship

MyArtsLab Resources:Architectural Panorama: Mausoleum of Galla Placidia, Santa Sabina, Santa CostanzaCloser Look: The Mosaic Floor of the Beth Alpha Synagogue, Sarcophagus of Junius Bassus, Santa Costanza, Good Shepherd Mosaic from Oratory of Galla Placidia

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Video / Podcast: Student on Site: Santa Sabina


11 Chapter 8. Byzantine Art

Learn-About-Its:8.1 Survey the variety of stylistic sources and developments that characterize the long history of Byzantine art.8.2 Understand the principal themes and subjects—secular as well as sacred—used by Byzantine artists.8.3 Assess the central role of images in the devotional practices of the Byzantine world and explore the reasons for and impact of the brief interlude of iconoclasm.8.4 Trace the growing Byzantine interest in conveying human emotions and representing human situations when visualizing sacred stories.

MyArtsLab Resources:Architectural Panorama: Monastery Church of Christ in Chora, Monastery Churches of Hosios LoukasArchitectural Simulation: PendentivesCloser Look: Paris Psalter, Virgin and Child with Saints and Angels, Kariye Camii, Hagia Sophia, David Battling Goliath Plate, Icon of Saint Michael the ArchangelVideo / Podcasts: Student on Site: San Vitale MosaicsPrimary Source: Procopius of Caesarea, from Buildings


12 Chapter 9. Islamic Art

Learn-About-Its:9.1 Explore the stylistic variety of art and architecture created in the disparate areas of the Islamic world.9.2 Explore the use of ornament and inscription in Islamic art.9.3 Interpret Islamic art as a reflection of both religion and secular society.9.4 Recognize the role of political transformation in the creation of Islamic artistic eclecticism as well as its unification around a shared cultural and religious viewpoint.

MyArtsLab Resources:Architectural Panorama: Alhambra (Cordoba, Spain)Architectural Simulation: Islamic ArchesCloser Look: A Mamluk Glass Oil Lamp, Dome of the Rock, Mihrab from

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Madrasa Imami, Isfahan Baptistry of St. Louis, Court of GayumarsVideo / Podcasts: Historic Centre of Cordoba (video)Web Resource: Panorama of Shah-i Zinda


13 Chapter 15. Early Medieval Art in Europe (Part 1)"Early Middle Ages" through "The Viking Era"

Learn-About-Its:15.1 Identify and investigate the rich variety of early medieval artistic and architectural styles across Europe, as well as the religious and secular contexts in which they were developed.15.2 Appreciate and understand the themes and subjects used to illustrate early medieval sacred books.15.4 Recognize and evaluate the “barbarian” and Islamic sources that were adopted and transformed by Christian artists during the early Middle Ages.

MyArtsLab Resources:Architectural Simulation: Stave ChurchesCloser Look: Sutton Hoo Clasp


14 Chapter 15. Early Medieval Art in Europe (Part 2)"Carolingian Empire" through "Ottonian Europe"

Learn-About-Its:15.2 Appreciate and understand the themes and subjects used to illustrate early medieval sacred books.15.3 Assess the Carolingian and Ottonian revival of Roman artistic traditions in relation to the political position of the rulers as emperors sanctioned by the pope.

MyArtsLab Resources:Closer Look: Psalm 23 in the Utrecht Psalter, Coronation Gospels St. Matthew Compared to Ebbo St. Matthew, Saint Gall PlanWeb Resource: The Palace Chapel of Charlemagne (video)Primary Document: From The Rule (St. Benedict of Nursia)


15 Chapter 16. Romanesque Art (Part 1)

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"Europe in the Romanesque Period" through "Architecture"

Learn-About-Its:16.1 Explore the emergence of Romanesque architecture—with its emphasis on the aesthetic qualities of a sculptural wall—out of early masonry construction techniques.16.3 Assess the cultural and social impact of monasticism and pilgrimage on the design and embellishment of church architecture.

MyArtsLab Resources:Architectural Panorama: Cathedral of Saint-Lazare at Autun, Durham CathedralCloser Look: Durham CathedralVideo / Podcasts: Speyer Cathedral, Student on Site: Cathedral Complex, PisaWeb Resources: Routes of Santiago de Compostela in France (video), Cathe-dral of Saint James, Santiago de CompostelaPrimary Document: Description of Cluny, From Pilgrim's Guide to Santiago de Compostela: Part 1 and Part 2, From Apologia to Abbott William of Saint-Thierry

Assessment: Chapter 16 MAL Pre- and Post- Tests: www.myartslab.comArt History Test Item File: www.pearsonmytest.com

16 Chapter 16. Romanesque Art (Part 2)"Architectural Sculpture" through "Textiles and Books"

Learn-About-Its:16.1 Explore the emergence of Romanesque architecture—with its emphasis on the aesthetic qualities of a sculptural wall—out of early masonry construction techniques.16.2 Investigate the integration of painting and sculpture within the Romanesque building, and consider the themes and subjects that were emphasized.16.4 Explore the eleventh- and twelfth-century interest in telling stories of human frailty and sanctity in sculpture, textiles, and manuscript painting—stories that were meant to appeal to the feelings as well as to the minds of viewers.

MyArtsLab Resources:Architectural Simulation: Romanesque PortalCloser Look: The Bayeux Embroidery, The Last Judgment Tympaum at Autun,Renier of Huy Baptismal FontWeb Resources: Bayeux Tapestry


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17 Chapter 17. Gothic Art of the Twelfth and Thirteenth Centuries (1100-1300)

Learn-About-Its:17.1 Investigate the ideas, events, and technical innovations that led to the development of Gothic architecture in France.17.2 Understand how artists communicated complex theological ideas, moralizing stories, and socio-political concerns, in stained glass, sculpture, and illustrated books.17.3 Analyze the relationship between the Franciscan ideals of empathy and the emotional appeals of sacred narrative painting and sculpture in Italy.17.4 Explore and characterize English and German Gothic art and architecture in relation to French prototypes.

MyArtsLab Resources:Architectural Panorama: Abbey Church of Saint-Denis; Cathedral of Notre Dame, Reims; Chartres Cathedral; Sainte-Chapelle; Salisbury CathedralArchitectural Simulation: Ribbed VaultCloser Looks: The Opening of Psalm 1 in the Windmill Psalter; Rose Windows and Lancets, North Transept, Chartres Cathedral; Reims Cathedral, Annunciation and Visitation; Nicola Pisano pulpit; Abbey Church of Saint-Denis; Sainte-Chapelle; Stained GlassWeb Resources: Chartres Cathedral (video)Students On Site Videos: Salisbury Cathedral; Pisa Baptistery PulpitPrimary Source Documents: From “What Was Done Under His Administration” – Suger of Saint-Denis; From “On the Consecration of the Church of Saint-Denis” – Suger of Saint-Denis; From “Sketchbook” – Villard de Honnecourt; De diversis artibus from Book II: “The Art of the Worker in Glass” – Theophilus Presbyter


18 Chapter 18. Fourteenth-Century Art in Europe (1300-1400)


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MyArtsLab Resources:Closer Looks: The Hours of Jeanne d’Évreux; The Scrovegni Chapel; Giotto and Duccio’s Betrayal/Kiss of Judas; Duccio, Maesta; Virgin and Child (Saint-Denis); Vesperbild (Pietà); Fresco. Studio Technique Videos: Egg Tempera.Students On Site Videos: exterior of the Arena Chapel; Palazzo Pubblico, SienaPrimary Source Documents: “On Painting” – Cennino Cennini; The Divine Comedy “Purgatory” from Canto X – Dante Aligheri; Inscriptions on the Frescoes in the Palazzo Pubblico, Siena; Sonnet from the Rime Sparse, n. 77 – Petrarch; Decameron, from “The First Day” – Giovanni Boccaccio; From his Chronicle – Angolo di Tura del Grasso.


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SAMPLE SYLLABUS: “Art History II” (Western European emphasis)Stokstad/Cothren, 5th ed., Volume 2

Week Chapters for Lecture1 Chapter 19. Fifthteen-Century Art in Northern Europe (1400-1500)

Learn-About-Its:19.1 Analyze how Flemish painters gave scrupulous attention to describing the textures and luminosity of objects in the natural world and in domestic interiors, as well as having an extraordinary interest in evoking human likeness in portraits.19.2 Uncover the complex symbolic meanings that saturated both settings and subjects of northern European paintings.19.3 Explore the ways in which northern European paintings of the fifteenth century captured in concrete form the spiritual visions of their meditating donors.19.4 Investigate the emergence of printing as a major pictorial medium.

MyArtsLab Resources:Closer Looks: Jan and Hubert van Eyck, Ghent Altarpiece (closed); Jan van Eyck, Double Portrait of Giovanni Arnolfini and His Wife; Limbourg Brothers, February, Life in the Country; Rogier van der Weyden, Deposition; The Master of Flemalle, The Merode Altarpiece; Robert Campin or the Master of Flemalle, The Merode Altarpiece (Triptych of the Annunciation) (open); Jean Fouquet, Melun Diptych; Tapestry.Studio Technique Videos: Making Oil Paint; Oil Painting; Intaglio Printmaking; The Printmaking Process of Woodcut.Students On Site Videos: Man in a Red Turban.Web Resources: Jan van Eyck, The Arnolfini Portrait, National Gallery of Art, London; The Unicorn Tapestries.Primary Source Documents: From “The Painter’s Treatise” – Karel Van Mander.


2 Chapter 20. Renaissance Art in Fifteenth-Century Italy (Part I) (1400-1500)Humanism and the Italian Renaissance, Florence

Learn-About-Its:20.1 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.20.2 Explore how an interest in scientific investigation blossomed into the

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development and use of linear perspective throughout fifteenth-century Italian painting.20.3 Assess the role of wealthy merchants and condottieri in driving the development of Renaissance art and architecture.20.4 Consider how the new focus on artistic competition and individual achievement created a climate for innovative and ambitious works.

MyArtsLab Resources:Architectural Panoramas: Church of San Lorenzo; Florence Cathedral.Architectural Simulations: Brunelleschi’s Florence.Closer Looks: Brunelleschi’s Dome; Masaccio, The Tribute Money; The Battle of San Romano; Florence Baptistery competition reliefs; Brancacci Chapel; Renaissance perspective.Students On Site Videos: Orsanmichele; Brancacci Chapel; Palazzo Medici-Riccardi; Ospedale degli Innocenti; Florence Duomo.Web Resources: The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece; Monumental Sculpture from Renaissance Florence.


3 Chapter 20. Renaissance Art in Fifteenth-Century Italy (Part II) (1400-1500)Italian Art in the Second Half of the Fifteenth Century

Learn-About-Its:20.1 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.20.2 Explore how an interest in scientific investigation blossomed into the development and use of linear perspective throughout fifteenth-century Italian painting.20.3 Assess the role of wealthy merchants and condottieri in driving the development of Renaissance art and architecture.20.4 Consider how the new focus on artistic competition and individual achievement created a climate for innovative and ambitious works.

MyArtsLab Resources:Closer Looks: Primavera; Paolo Uccello, The Battle of San Romano; Piero della Francesca, Duke and Duchess of Urbino.Students On Site Videos: Andrea del Castagno, Last Supper.


4 Chapter 21. Sixteenth-Century Art in Italy, Part I (1500-1600)Europe in the Sixteenth Century, Italy in the Sixteenth Century: The High

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Renaissance

Learn-About-Its:21.1 Compare the emphasis on drawing and clearly structured compositions in the work of Roman and Florentine painters with their Venetian counterparts’ exploration of the expressive potential of color and dynamic figural arrangements.21.2 Examine the architectural creativity lavished on the design of both grand churches and pleasurable retreats to embody themes of wealth and power in sixteenth-century Italy.21.3 Trace the shift in the artistic center of Italy from Florence to Rome, and recognize the efforts of Pope Julius II to create a new “golden age.”

MyArtsLab Resources:Architectural Panoramas: Tempietto; Sistine Chapel Ceiling.Architectural Simulations: St. Peter’s Basilica.Closer Looks: Correggio, Assumption of the Virgin; Giorgione, The Tempest; Leonardo da Vinci, Mona Lisa; Michelangelo, Pietà; Titian, Pastoral Concert; Raphael, School of Athens.Students On Site Videos: The Tempietto; The Villa Rotunda; Palazzo Te.Web Resources: Church and Dominican Convent of Santa Maria delle Grazie with The Last Supper by Leonardo da Vinci (video); A Closer Look at the Mona Lisa; St. Peter’s Basilica.Primary Source Documents: From “The Four Books of Architecture” – Andrea Palladio; From his undated manuscripts – Leonardo da Vinci; Michelangelo Interprets the Vatican Pietà; From the Life of Michelangelo – Giorgio Vasari; “Giorgione” from the Lives of the Artists – Giorgio Vasari; “Titian” from the Lives of the Artists – Giorgio Vasari.


5 Chapter 21. Sixteenth-Century Art in Italy, Part II (1500-1600)Mannerism, Art and the Counter-Reformation, Later Sixteenth Century Art in Venice and the Venuto

Learn-About-Its:21.4 Explore the intentional subversion of Classical style and decorum in the work of Mannerist artists.

MyArtsLab Resources:Closer Looks: Bronzino’s Allegory with Venus and Cupid; Veronese, Feast in the House of Levi; Giovanni Bologna, Capture of the Sabine Women.Students On Site Videos: San Giorgio Maggiore.Primary Source Documents: From “Autobiography” and “Artists on Art” – Benvenuto Cellini; From a Session of the Inquisitional Tribunal in Venice of Paolo Veronese.

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6 Chapter 22. Sixteenth-Century Art in Northern Europe and the Iberian Peninsula (1500-1600)

Learn-About-Its:22.1 Recognize characteristic aspects of earlier Northern Renaissance style that continue into the work of sixteenth-century artists and evaluate the impact of new ideas coming from Italy.22.2 Assess the relationship between the religious conflicts in northern Europe and the growing interest in new secular subjects in works of art as well as the focus on new themes in sacred art.22.3 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.22.4 Explore the continuing interest among northern European artists and patrons in the virtuosity of works in media such as wood and gold.

MyArtsLab Resources:Architectural Panoramas: Chateau de Fontainebleau.Closer Looks: Bosch, Garden of Earthly Delights; Dürer, Adam and Eve; El Greco, Burial of Count Orgaz; Hans Holbein the Younger, The French Ambassadors; Pieter Bruegel the Elder, The Return of the Hunters; Matthias Grunewald, Isenheim AltarpieceStudents On Site Videos: Chateau de Fontainebleau.Primary Source Documents: From the draft manuscript for “The Book on Human Proportions” – Albrecht Dürer; From “The Painter’s Treatise” - Karel van Mander Writes about Pieter Bruegel the Elder; From “The History of the Order of St. Jerome” – Fray José De Siguenza; From “Against the Heavenly Prophets in the Matter of Images and Sacraments” (1525) – Martin Luther; The 95 Thesis of Martin Luther – Martin Luther.


7 Chapter 23. Seventeenth-Century Art in Europe, Part I (1600-1700)“Baroque”, Italy, Spain

Learn-About-Its:23.1 Explore how the work of Bernini and Caravaggio established a new dramatic intensity, technical virtuosity, and unvarnished naturalism that blossomed into a style we call Baroque that spread across Europe during the seventeenth century.23.3 Analyze the way that seventeenth-century artists created works that

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embodied the power and prestige of the monarchy as well as works that furthered the Counter-Reformation agenda of the Roman Catholic Church.

MyArtsLab Resources:Architectural Panoramas: St Peter’s Basilica; Francesco Borromini, San Carlo alle Quattro Fontane.Architectural Simulations: Cornaro Chapel.Closer Looks: Velazquez, Las Meninas; Caravaggio, Contarelli Chapel/Calling of Saint Matthew.Students On Site Videos: Calling of St. Matthew; Il Gesu ceiling; Cornaro Chapel; San Carlo alle Quattro Fontane.Primary Source Documents: From “El museo pictorica y escala optica: On Velazquez” – Antonio Palomino; From a letter to Don Antonio Ruffo – Artemesia Gentileschi; From the “Life of Cavalier Gianlorenzo Bernini” – Filippo Baldinucci; From “Lives of the Modern Painters, Sculptors, and Architects: On Caravaggio” – Giovanni Pietro Bellori; From the “Canon and Decrees of the Council of Trent.”


8 Chapter 23. Seventeenth-Century Art in Europe, Part II (1600-1700)Flanders and The Netherlands, France, England

Learn-About-Its:23.2 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.23.4 Assess the resurgence of Classicism, especially in the work of seventeenth-century French artists and architects.

MyArtsLab Resources:Closer Looks: Hyacinthe Rigaud, Louis XIV; Rembrandt, The Anatomy Lesson of Dr. Tulip; Judith Leyster, Self-Portrait.Students On Site Videos: Versailles.Web Resources: Johannes Vermeer’s Woman Holding a Balance (Video); Essential Vermeer; The French Glory: The Palace and Park of Versailles (Video).Primary Source Documents: “Report on Old St. Paul’s after the Fire” – Sir Christopher Wren.


9 Chapter 30. Eighteenth- and Early Nineteenth-Century Art in Europe and North America (1700-1850)

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Learn-About-Its:30.1 Investigate the origins and understand the characteristics of the stylistic movements art historians label Rococo, Neoclassicism, and Romanticism.30.2 Explore the many subjects of Romanticism, from the sublime in nature to the cruelty of the slave trade, with a common interest in emotion and feeling.30.3 Trace the relationships between the complex mix of artistic styles in this period and the complex political climate of Europe and America.30.4 Discover Neoclassicism’s relationship with Enlightenment values and its roots in the study of Classical antiquity in Rome.

MyArtsLab Resources:Architectural Panoramas: Panthéon (Paris, France, 1757).Architectural Simulations: Cast-Iron Construction.Closer Looks: Francisco Goya, The Sleep of Reason Produces Monsters; Georgian Silver; Goya’s The Family of Charles IV; Théodore Géricault, Raft of the Medusa; Watteau’s The Signboard of Gersaint; The Sublime, the Beautiful, and the Picturesque; Jacques Louis David, Oath of the Horatii; Eugene Delacroix, Liberty Leading the People; Thomas Cole, The Oxbow; Jean-Honore Fragonard, The Swing.Students On Site Videos: Chiswick House; Constable, Haywain; Arc de Triomphe; Houses of Parliament; Wright of Derby.Studio Technique Videos: Lithography.Primary Source Documents: “A Summary of the Life of Antoine Watteau, 1684-1721” – Jean de Jullienne; From “The Doctrine of Ingres” – Jean-Auguste-Dominique Ingres; From a Letter to John Fisher – John Constable; From “A Discourse, Delivered at the Opening of the Royal Academy, January 2, 1769” – Sir Joshua Reynolds; From “Louis David, son école et son temps” – Étienne-Jean Delécluze.


10 Chapter 31. Mid- to Late Nineteenth-Century Art in Europe and the United States, Part I (1850-1900)Europe and the United States in the Mid to Late Nineteenth Century, French Academic Architecture and Art, Early Photography in Europe and the United States, Realism and the Avant-Garde

Learn-About-Its:31.1 Understand and evaluate the role played by academic art and architecture, as well as the emergence of various movements that arose in opposition to its principles, in the late nineteenth century.31.2 Investigate the interest in subjects drawn from modern life, as well as the development of new symbolic themes, in Realist, Impressionist, and Post-Impressionist art.

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31.3 Analyze the ways in which the movement toward realism in art reflected the social and political concerns of the nineteenth century.31.4 Examine the early experiments that led to the emergence of photography as a new art form.

MyArtsLab Resources:Architectural Panoramas: Palais Garnier.Closer Looks: Édouard Manet, Déjeuner sur l’herbe (Luncheon on the Grass); A Bar at the Folies Bergere; Courbet’s A Burial at Ornans; Édouard Manet, Olympia; Eakins, Gross Clinic and Agnew Clinic; Orientalism and Ingres’s Turkish Bath; Timothy O’Sullivan, Home of the Rebel Sharpshooter: Battle of Gettysburg.Students On Site Videos: The Opera.Primary Source Documents: From “The Gentle Art of Making Enemies” – James Abbott McNeill Whistler.


11 Chapter 31. Mid- to Late Nineteenth-Century Art in Europe and the United States, Part II(1850-1900)Impressionism, The Late Nineteenth Century, The Beginnings of Modernism

Learn-About-Its:31.1 Understand and evaluate the role played by academic art and architecture, as well as the emergence of various movements that arose in opposition to its principles, in the late nineteenth century.31.2 Investigate the interest in subjects drawn from modern life, as well as the development of new symbolic themes, in Realist, Impressionist, and Post-Impressionist art.

MyArtsLab Resources:Architectural Panoramas: Eiffel Tower.Architectural Simulations: Central Park.Closer Looks: Edgar Degas, The Rehearsal of the Ballet Onstage; George Seurat, Sunday on La Grande Jatte; Louis Sullivan, Wainwright Building; Vincent van Gogh, The Starry Night; Paul Gauguin, Mahana no atua (Day of the God); Auguste Rodin, Burghers of Calais; Black-and-white photography.Students On Site Videos: Eiffel Tower.Web Resources: The Courtauld Collection: Cézanne’s Mont Sainte-Victoire (Video).Primary Source Documents: From “Reminiscences of Claude Monet from 1889 to 1909” – Lila Cabot Perry; From a letter to J. F. Willumsen – Paul Gauguin; From “The Tall Office Building Artistically Considered” – Louis Sullivan.

Assessment:

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Chapter 31 MAL Pre- and Post- Tests: www.myartslab.comArt History Test Item File: www.pearsonmytest.com

12 Chapter 32. Modern Art in Europe and the Americas, 1900-1950, Part I (1900-1950)Europe and America in the Early Twentieth Century, Early Modern Art in Europe, Modernist Tendencies in America, Early Modern Architecture

Learn-About-Its:32.1 Assess the impact of Cubism on abstract art in the early twentieth century and explore how and why Abstract Expressionism transformed painting after 1940.32.2 Examine the different ways that artists in the Modern period responded directly or indirectly to the violence of war.32.4 Investigate how Dada and Surrealism changed the form, content, and concept of art.

MyArtsLab Resources:Architectural Panoramas: Villa Savoye (first floor); Villa Savoye (second floor); Villa Savoye (third floor [roof]); Kaufmann House (Fallingwater, second floor).Architectural Simulations: The Skyscraper.Closer Looks: Portrait of a German Officer; Ernst Ludwig Kirchner, Street, Berlin; Hannah Hoch, The Kitchen Knife Cuts Through the Last Weimar Beer-Belly Cultural Epoch in Germany; Pablo Picasso, Les Demoiselles d’Avignon (The Young Ladies of Avignon); Picasso’s Collages.Videos: Clement Greenberg on Marcel Duchamp.Web Resources: Fallingwater (Video); Marcel Duchamp’s Fountain (Video); Frank Lloyd Wright Foundation; Museum of Modern Art: Picasso.Primary Source Documents: From “The Foundation and Manifesto of Futurism” – Filippo Tommaso Marinetti; From an interview with Édouard Roditi – Hannah Hoch; From “Concerning the Spiritual in Art” – Vassily Kandinsky; From “Towards a New Architecture” – Le Corbusier.


13 Chapter 32. Modern Art in Europe and the Americas, 1900-1950, Part II (1900-1950)Art Between the Wars in Europe, Modern Art in the Americas Between the Wars, Postwar Art in Europe and the Americas

Learn-About-Its:32.1 Assess the impact of Cubism on abstract art in the early twentieth century and explore how and why Abstract Expressionism transformed painting after 1940.32.2 Examine the different ways that artists in the Modern period responded directly or indirectly to the violence of war.

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32.3 Determine the political and economic impact of the Great Depression on interwar European and American art.32.4 Investigate how Dada and Surrealism changed the form, content, and concept of art.

MyArtsLab Resources:Closer Looks: Jackson Pollock, Autumn Rhythm (Number 30); Meret Oppenheim, Object (Le Déjeuner en fourrure) (Luncheon in Fur); Picasso, the History of Guernica.Web Resources: Frida Kahlo interactive feature from SFMoMA; Diego Rivera’s Frescos (Video); Jackson Pollock at Work (Video); Piet Mondrian’s Place in Art History (Video).Primary Source Documents: “On Sculpture” – Barbara Hepworth; From “My Painting” – Jackson Pollock; From “The Non-Objective World” – Kazimir Malevich.


14 Chapter 33. The International Scene since 1950, Part I (1950-present day)The World since the 1950s, The Expanding Art World, The Dematerialization of the Art Object, Architecture: Mid-Century Modernism to Postmodernism

Learn-About-Its:33.1 Understand the “dematerialization” of the object since 1950 and account for its return after 1980.33.2 Assess the ways in which artists since 1950 have introduced popular culture into the world of “high art.”33.3 Examine the engagement of artists since 1950 with social, political, cultural, and/or religious issues.

MyArtsLab Resources:Closer Looks: Andy Warhol, Marilyn Diptych; Jasper Johns, Target with Plaster Casts.Studio Technique Videos: Silkscreen.


15 Chapter 33. The International Scene since 1950, Part II (1950-present day)Postmodernism; Art, Activism, and Controversy: The Nineties, Globalism: Into the New Millennium

Learn-About-Its:33.1 Understand the “dematerialization” of the object since 1950 and account for its return after 1980.33.2 Assess the ways in which artists since 1950 have introduced popular

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culture into the world of “high art.”33.3 Examine the engagement of artists since 1950 with social, political, cultural, and/or religious issues.33.4 Explore the growing globalism of the contemporary art world and the ways it has created new opportunities, strategies, and subjects for artists today.

MyArtsLab Resources:Architectural Simulations: The Steel Skeleton of the Hongkong and Shanghai Bank Corporation Limited (HSBC).Art 21: Martin Puryear; Kiki Smith; Maya Lin; Matthew Barney; Richard Serra; Kara Walker; Bruce Nauman.Closer Looks: Faith Ringgold, Tar Beach; Martin Puryear, Plenty’s Boast.Podcasts: Judith Baca, The Great Wall of Los Angeles.Videos: The Trial of Tilted ArcWeb Resources: Christo and Jeanne-Claude, The Gates; Fred Wilson: “Site Unseen: Dwelling of the Demons”; Jeff Wall on staged photography.Primary Source Documents: From an interview – Cindy Sherman; From an interview with Cindy Nemser – Eva Hesse; From an interview with David Shapiro – Vanessa Beecroft.


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SAMPLE SYLLABUS: “Art History I” (Global / World Art emphasis)Stokstad/Cothren, 5th ed., Volume 1

Week Chapters for Lecture1 Chapter 1. Prehistoric Art

Learn-About-Its:1.1 Explore the variety of styles, techniques, and traditions represented by what remains of prehistoric art and architecture, and probe its technical, formal, and expressive character.1.2 Survey the principal themes, subjects, and symbols in prehistoric painting, sculpture, and objects.1.3 Investigate how art historians and anthropologists have speculated on the cultural meanings of works for which there is no written record to provide historical context.1.4 Grasp the concepts and vocabulary used to describe and characterize prehistoric art and architecture.

MyArtsLab Resources:Architectural Simulations: Post and Lintel Construction, Corbel Construction Closer Look: The Design and Making of Stonehenge, Male and Female Figures from Cernavoda, Lascaux, Spotted Horses and Human Hands Studio Technique Video: Ceramics Video/Podcasts: Prehistoric Sites and Decorated Caves of the Vezere Valley, Stonehenge Decoded, Student on Site: Stonehenge Web Resource: The Cave of Chauvet – Pont - D’Arc, Panorama: Stone-henge, Panorama: Skara Brae, OrkneyjarAssessment: Chapter 1 MAL Pre- and Post- Tests: www.myartslab.comArt History Test Item File: www.pearsonmytest.com

2 Chapter 2. Art of the Ancient Near East

Learn-About-Its:2.1 Investigate a series of conventions for the portrayal of human figures through the history of the ancient Near East.2.2 Explore the development of visual narrative to tell stories of gods, heroes, and rulers in sculpted reliefs.2.3 Survey the various ways rulers in the ancient Near East expressed their power in portraits, historical narrative, and great palace complexes.2.4 Evaluate the way modern archaeologists have laid the groundwork for the art-historical interpretation of the ancient cultures of the Near East.

MyArtsLab Resources:

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Closer Look: Cuneiform Writing in Sumeria, Enemies Crossing the Euphrates to Escape Assyrian Archers, The Ishtar Gate, The Stele of Naram-Sin, The Standard of Ur, front and backStudio Technique Video: Sculpture Carving (Relief)Video/Podcasts: Persepolis, The Iraq Museum Reopens, Students on Site: Lion Hunt FriezeWeb Resource: Iraq (British Museum), The Code of Hammurabi (Louvre Museum), Chicago's Oriental Institute, Panorama: Persepolis, Mesopotamia (British Museum)Primary Source Documents: The Code of Hammurabi, Texts on Gudea Figures from Lagash and Surrounding Areas


3 Chapter 3. Art of Ancient Egypt

Learn-About-Its:3.1 Explore the pictorial conventions for representing the human figure in ancient Egyptian art, established early on and maintained for millennia.3.2 Analyze how religious beliefs were reflected in the funerary art and architecture of ancient Egypt.3.3 Examine the relationship of royal ancient Egyptian art to the fortunes and aspirations of the rulers who commissioned it.3.4 Understand and characterize the major transformation of ancient Egyptian art and convention under the revolutionary rule of Akhenaten.

MyArtsLab Resources:Architectural Simulation: Mastaba to PyramidCloser Look: Akhenaten and His Family, Funerary Temple of Hatshepsut,Palette of Narmer, Book of the Dead, Tomb of Ramose, Abu SimbelVideo: Ancient Thebes with its NecropolisWeb Resource: Seated Scribe (Louvre Museum), Panorama: Memphis and its NecropolisPrimary Source Documents: A Hymn to Aten


4 Chapter 4. Art of the Ancient Aegean

Learn-About-Its:4.1 Compare and contrast the art and architectural styles developed by three Aegean Bronze Age cultures.4.2 Evaluate how archaeology has recovered, reconstructed, and interpreted

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ancient Aegean material culture despite the limitations of written documents.4.3 Investigate the relationship between art and social rituals or communal practices in the ancient Aegean cultures.4.4 Assess differences in the designs and use of the large architectural complexes created by the Minoans and the Mycenaeans.

MyArtsLab Resources:Closer Look: Palace of Knossos or Citadel of Mycenae, Vapheio Cups, Toreador Fresco, Harvester Rhyton Web Resource: The Palace of Knossos


5 Chapter 5. Art of Ancient Greece

Learn-About-Its:5.1 Trace the emergence of a distinctive Classical style and approach to art and architecture during the early centuries of Greek civilization and assess the ways Hellenistic sculptors departed from its norms.5.2 Explore the principal themes and subject matter of ancient Greek art, rooted in the lives—both heroic and ordinary—of the people who lived in this time and place as well as the mythological tales that were significant to them.5.3 Explore the nature and meaning of the High Classical style in relation to the historical and cultural situation in Greece during the fifth century BCE.5.4 Understand the differences between and assess the uses of the three orders used in temple architecture

MyArtsLab Resources:Architectural Panorama: Greek OrdersArchitectural Simulation: Theater of DionysiosCloser Look: The Euphronios Krater, Funerary Vase (Krater), Charioteer of Delphi, Red-Figure and Black-Figure Vessels, Altar of Pergamon, Nike of Samothrace, Alexander Mosaic: Temple at AeginaVideo / Podcasts: Student on Site: Achilles and Ajax, Winged Victory of Samothrace, Student on Site: Doryphoros, Student on Site: Lapith and Centaur, Student on Site: LaocoonPrimary Documents: Pliny the Elder, Natural History


6 Chapter 6. Etruscan and Roman Art

Learn-About-Its:6.1 Explore the various ways Romans embellished the walls and floors of their

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houses with illusionistic painting in fresco and mosaic.6.2 Trace the development and use of portraiture as a major artistic theme for the ancient Romans.6.3 Examine the ways that Etruscan funerary art celebrates the vitality of human existence.6.4 Investigate how knowledge of Roman advances in structural technology furthers our understanding of Roman civic architecture.

MyArtsLab Resources:Architectural Simulation: Barrel and Groin Vaults, Round Arch, ConcreteCloser Look: Gemma Augustea, House of the Vetti, Augustus of Primaporta, Ficoroni Cista, Dish from Mildenhall, England, The Column of Trajan, Sarco-phagus with the Indian Triumph of Dionysus, The Forum Romanum and Imperial Forums, Arch of Constantine, MosaicVideo / Podcasts: The Flavaian Amphitheater (Colosseum), Pont du Gard (Roman Aqueduct), Reawakened Ancient City: Archaeological Areas of PompeiStudent on Sites: Augustus of Primaporta, Marcus Aurelius, Ara Pacis, Colosseum, She-Wolf, Villa of Mysteries, Arch of Titus, Pantheon, TetrarchsPrimary Source Documents: Vitruvius, “On Symmetry”


7 Chapter 7. Jewish and Early Christian Art

Learn-About-Its:7.1 Investigate of the ways in which late antique Jewish and Christian art developed from the artistic traditions of the ancient Roman world.7.2 Interpret how late antique Jewish and Christian artists used narrative and iconic imagery to convey the foundations of the Christian faith for those already initiated into the life of the Church.7.3 Understand the relationship between the art and architecture of Jewish and Christian communities and their cultural and political situation within the late Roman Empire.7.4 Analyze the connection between form and function in buildings created for worship

MyArtsLab Resources:Architectural Panorama: Mausoleum of Galla Placidia, Santa Sabina, Santa CostanzaCloser Look: The Mosaic Floor of the Beth Alpha Synagogue, Sarcophagus of Junius Bassus, Santa Costanza, Good Shepherd Mosaic from Oratory of Galla PlacidiaVideo / Podcast: Student on Site: Santa Sabina

Assessment:

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Chapter 7 MAL Pre- and Post- Tests: www.myartslab.comArt History Test Item File: www.pearsonmytest.com

8 Chapter 8. Byzantine Art

Learn-About-Its:8.1 Survey the variety of stylistic sources and developments that characterize the long history of Byzantine art.8.2 Understand the principal themes and subjects—secular as well as sacred—used by Byzantine artists.8.3 Assess the central role of images in the devotional practices of the Byzantine world and explore the reasons for and impact of the brief interlude of iconoclasm.8.4 Trace the growing Byzantine interest in conveying human emotions and representing human situations when visualizing sacred stories.

MyArtsLab Resources:Architectural Panorama: Monastery Church of Christ in Chora, Monastery Churches of Hosios LoukasArchitectural Simulation: PendentivesCloser Look: Paris Psalter, Virgin and Child with Saints and Angels, Kariye Camii, Hagia Sophia, David Battling Goliath Plate, Icon of Saint Michael the ArchangelVideo / Podcasts: Student on Site: San Vitale MosaicsPrimary Source: Procopius of Caesarea, from Buildings


9 Chapter 9. Islamic Art

Learn-About-Its:9.1 Explore the stylistic variety of art and architecture created in the disparate areas of the Islamic world.9.2 Explore the use of ornament and inscription in Islamic art.9.3 Interpret Islamic art as a reflection of both religion and secular society.9.4 Recognize the role of political transformation in the creation of Islamic artistic eclecticism as well as its unification around a shared cultural and religious viewpoint.

MyArtsLab Resources:Architectural Panorama: Alhambra (Cordoba, Spain)Architectural Simulation: Islamic ArchesCloser Look: A Mamluk Glass Oil Lamp, Dome of the Rock, Mihrab from Madrasa Imami, Isfahan Baptistry of St. Louis, Court of GayumarsVideo / Podcasts: Historic Centre of Cordoba (video)Web Resource: Panorama of Shah-i Zinda

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10 Chapter 10. Art of South and Southeast Asia Before 1200

Learn About Its:10.1 Recognize the stylistic differences in regional art and architecture from South and Southeast Asia.10.2 Understand the significance of iconography and narrative in the religious art of South and Southeast Asia.10.3 Explore the correlation between Hindu and Buddhist religious worldviews and architectural form.10.4 Identify the ways in which patronage benefited royal donors such as Ashoka Maurya, Sembiyan Mahadevi, Kyanzittha, and Suryavarman II.

MyArtsLab Resources:Architectural Panorama: Angkor Wat, Borobudur, Great Stupa, SanchiArchitectural Simulation: Stupas and TemplesCloser Look: Descent of the Ganges Relief, Mamallapuram, The Great Stupa at Sanchi, Shiva Nataraja, Angkor Wat, The Great Departure, Sanchi, Bodhisat-tva, Cave 1, AjantaVideo / Podcasts: The Hindu TempleWeb Resources: Panorama of Mohenjo-Daro, Panorama of Khajuraho, Boro-budur Temple Compounds, Elephanta CavesPrimary Documents: Sermon of the Buddha


11 Chapter 11. Chinese and Korean Art Before 1279

Learn-About-Its:11.1 Trace the developing period and regional styles in the art of early China and Korea and assess the relationship between Chinese and Korean traditions.11.2 Explore the principal themes and subjects of the diverse artistic production of China and Korea from the Neolithic period through the thirteenth century CE.11.3 Probe the relationship between the history of art and the evolving Confucian, Daoist, and Buddhist traditions of China and Korea.11.4 Discuss the development of traditional Chinese landscape painting and learn the vocabulary and principles that allow us to characterize, interpret, and discuss it

MyArtsLab Resources:Architectural Simulation: PagodasCloser Look: Large Seated Buddha with Standing Bodhisattva, Rubbing of a

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Stone Relief, Covered Ritual Guang with Tiger and Owl, Travelers Among Mountains and Streams (Fan Kuan), Maebyeong Bottle, Model of a House,Ink PaintingVideo / Podcasts: Appreciating Chinese Calligraphy, Chinese Buddhist Cave Shrines, Mausoleum of the First Qin Emperor, Reviving Traditional Korean Celadons, Working JadeWeb Resources: The Bronze Age in China, Terra-cotta Soldiers from the Tomb of Emperor Shihuangdi


12 Chapter 12. Japanese Art Before 1333

Learn-About-Its:12.1 Recognize the native elements in early Japanese art and assess the influence of outside traditions in tracing its stylistic development.12.2 Understand the themes and subjects associated with the developing history of Buddhism in Japan.12.3 Explore the relationship of the history of early Japanese art and architecture to changing systems of government and patterns of religion.12.4 Learn to characterize the significant distinctions between the art of the refined Heian court and the dynamic Kamakura shogunate.

MyArtsLab Resources:Architectural Simulation: Joined-Block TechniqueCloser Look: The Tale of Genji, Kuya Preaching (Kosho), Womb World Mandala, Haniwa Figure, Ise Shrine, Night Attack on the Sanjo PalaceVideo / Podcasts: Ancient Temples of NaraWeb Resources: Horyu-ji Temple, Japanese Arms and Armor (Metropolitan Museum of Art), Tale of Genji


13 Chapter 13. Art of the Americas Before 1300

Learn-About-Its:13.1 Compare the various ways the ancient artists of the Americas represented the human figure.13.2 Recognize themes and symbols specific to individual ancient American cultures as well as instances of commonalities across timeand geography.13.3 Explore how an understanding of the ritual use or practical function of an object is critical to evaluating its meaning in ancient Americanvisual arts.

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13.4 Recognize how differences in environmental conditions affected the urban planning and architectural design of Mesoamerican, South American, and North American communities.

MyArtsLab Resources:Architectural Simulation: TeotihuacanCloser Look: Lintel 24, Yaxchilan (Shield Jaguar and Lady Xok), Maya Stela, Moche Portrait Vessel, Bowl with Scorpion, Seed JarVideo / Podcasts: Lines and Geoglyphs of Nasca and Pampas de Jumana, Maya Rise & Fall, Pre-Hispanic City of Chichen-itzaWeb Resource: Pre-Hispanic City of Teotihuacan (video)


14 Chapter 14. Early African Art

Learn-About-Its:14.1 Compare the variety of figure styles used by the early artists of Africa and explore the relationship of style to technique, especially bronze casting.14.2 Understand how African arts mediate and support communication between the temporal and the supernatural worlds of various spirit forces.14.3 Explore how the arts of early Africa are fully realized and understood in the context of ritual and ceremony.14.4 Recognize how contact with other cultures has affected the development and also threatened the very survival of early African art.

MyArtsLab Resources:Architectural Simulation: Adobe-Brick ConstructionArchitectural Panorama: Beta GhiorghisCloser Look: Roped Pot on a Stand, Decorated Textile from Kongo, Warrior Chief Brass Plaque, Nok Head, Hip Mask Representing an Iyoba, Great ZimbabweStudio Technique Video: Lost-Wax Bronze CastingVideos / Podcasts: Rock-Hewn Churches at Lalibela, Tassili n'AjjerWeb Resources: National Museum of African Art, Nok Terra-cottas


15 Chapter 15. Early Medieval Art in Europe

Learn-About-Its:15.1 Identify and investigate the rich variety of early medieval artistic and architectural styles across Europe, as well as the religious and secular contexts in which they were developed.

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15.2 Appreciate and understand the themes and subjects used to illustrate early medieval sacred books.15.3 Assess the Carolingian and Ottonian revival of Roman artistic traditions in relation to the political position of the rulers as emperors sanctioned by the pope.15.4 Recognize and evaluate the “barbarian” and Islamic sources that were adopted and transformed by Christian artists during the early Middle Ages.

MyArtsLab Resources:Architectural Simulation: Stave ChurchesCloser Look: Sutton Hoo Clasp, Psalm 23 in the Utrecht Psalter, Coronation Gospels St. Matthew Compared to Ebbo St. Matthew, Saint Gall PlanWeb Resource: The Palace Chapel of Charlemagne (video)Primary Document: From The Rule (St. Benedict of Nursia)


16 Chapter 16. Romanesque Art

Learn-About-Its:16.1 Explore the emergence of Romanesque architecture—with its emphasis on the aesthetic qualities of a sculptural wall—out of early masonry construction techniques.16.2 Investigate the integration of painting and sculpture within the Romanesque building, and consider the themes and subjects that were emphasized.16.3 Assess the cultural and social impact of monasticism and pilgrimage on the design and embellishment of church architecture.16.4 Explore the eleventh- and twelfth-century interest in telling stories of human frailty and sanctity in sculpture, textiles, and manuscript painting—stories that were meant to appeal to the feelings as well as to the minds of viewers.

MyArtsLab Resources:Architectural Panorama:Cathedral of Saint-Lazare-Autun, Durham CathedralArchitectural Simulation: Romanesque PortalCloser Look: Durham Cathedral, The Bayeux Embroidery, The Last Judgment Tympaum at Autun, Renier of Huy Baptismal FontVideo / Podcasts: Speyer Cathedral, Student on Site: Cathedral Complex, PisaWeb Resources: Routes of Santiago de Compostela in France (video), Cathe-dral of Saint James, Santiago de Compostela, Bayeux TapestryPrimary Document: Description of Cluny, Pilgrim's Guide to Santiago de Compostela: Parts 1 and 2, Apologia to Abbott William of Saint-Thierry

Assessment: Chapter 16 MAL Pre- and Post- Tests: www.myartslab.com

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Art History Test Item File: www.pearsonmytest.com17 Chapter 17. Gothic Art of the Twelfth and Thirteenth Centuries (1100-1300)


MyArtsLab Resources:Architectural Panorama: Abbey Church of Saint-Denis; Cathedral of Notre Dame, Reims; Chartres Cathedral; Sainte-Chapelle; Salisbury CathedralArchitectural Simulation: Ribbed VaultCloser Looks: The Opening of Psalm 1 in the Windmill Psalter; Rose Windows and Lancets, North Transept, Chartres Cathedral; Reims Cathedral, Annunciation and Visitation; Nicola Pisano pulpit; Abbey Church of Saint-Denis; Sainte-Chapelle; Stained GlassWeb Resources: Chartres Cathedral (video)Students On Site Videos: Salisbury Cathedral; Pisa Baptistery PulpitPrimary Source Documents: From “What Was Done Under His Administration” – Suger of Saint-Denis; From “On the Consecration of the Church of Saint-Denis” – Suger of Saint-Denis; From “Sketchbook” – Villard de Honnecourt; De diversis artibus from Book II: “The Art of the Worker in Glass” – Theophilus Presbyter


18 Chapter 18. Fourteenth-Century Art in Europe (1300-1400)


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MyArtsLab Resources:Closer Looks: The Hours of Jeanne d’Évreux; The Scrovegni Chapel; Giotto and Duccio’s Betrayal/Kiss of Judas; Duccio, Maesta; Virgin and Child (Saint-Denis); Vesperbild (Pietà); Fresco. Studio Technique Videos: Egg Tempera.Students On Site Videos: exterior of the Arena Chapel; Palazzo Pubblico, SienaPrimary Source Documents: “On Painting” – Cennino Cennini; The Divine Comedy “Purgatory” from Canto X – Dante Aligheri; Inscriptions on the Frescoes in the Palazzo Pubblico, Siena; Sonnet from the Rime Sparse, n. 77 – Petrarch; Decameron, from “The First Day” – Giovanni Boccaccio; From his Chronicle – Angolo di Tura del Grasso.


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SAMPLE SYLLABUS: “Art History II” (Revised Global / World Art emphasis)Stokstad/Cothren, 5th ed., Volume 2

Week Chapters for Lecture1 Chapter 19. Fifthteen-Century Art in Northern Europe (1400-1500)

Learn-About-Its:19.1 Analyze how Flemish painters gave scrupulous attention to describing the textures and luminosity of objects in the natural world and in domestic interiors, as well as having an extraordinary interest in evoking human likeness in portraits.19.2 Uncover the complex symbolic meanings that saturated both settings and subjects of northern European paintings.19.3 Explore the ways in which northern European paintings of the fifteenth century captured in concrete form the spiritual visions of their meditating donors.19.4 Investigate the emergence of printing as a major pictorial medium.

MyArtsLab Resources:Closer Looks: Jan and Hubert van Eyck, Ghent Altarpiece (closed); Jan van Eyck, Double Portrait of Giovanni Arnolfini and His Wife; Limbourg Brothers, February, Life in the Country; Rogier van der Weyden, Deposition; The Master of Flemalle, The Merode Altarpiece; Robert Campin or the Master of Flemalle, The Merode Altarpiece (Triptych of the Annunciation) (open); Jean Fouquet, Melun Diptych; Tapestry.Studio Technique Videos: Making Oil Paint; Oil Painting; Intaglio Printmaking; The Printmaking Process of Woodcut.Students On Site Videos: Man in a Red Turban.Web Resources: Jan van Eyck, The Arnolfini Portrait, National Gallery of Art, London; The Unicorn Tapestries.Primary Source Documents: From “The Painter’s Treatise” – Karel Van Mander.


2 Chapter 20. Renaissance Art in Fifteenth-Century Italy (1400-1500)

Learn-About-Its:20.1 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.20.2 Explore how an interest in scientific investigation blossomed into the development and use of linear perspective throughout fifteenth-century Italian painting.20.3 Assess the role of wealthy merchants and condottieri in driving the

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development of Renaissance art and architecture.20.4 Consider how the new focus on artistic competition and individual achievement created a climate for innovative and ambitious works.

MyArtsLab Resources:Architectural Panoramas: Church of San Lorenzo; Florence Cathedral.Architectural Simulations: Brunelleschi’s Florence.Closer Looks: Brunelleschi’s Dome; Masaccio, The Tribute Money; Primavera; Paolo Uccello, The Battle of San Romano; Florence Baptistery competition reliefs; Brancacci Chapel; Piero della Francesca, Duke and Duchess of Urbino; Renaissance perspective.Students On Site Videos: Orsanmichele; Brancacci Chapel; Palazzo Medici-Riccardi; Ospedale degli Innocenti; Andrea del Castagno, Last Supper; Florence Duomo.Web Resources: The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece; Monumental Sculpture from Renaissance Florence.


3 Chapter 21. Sixteenth-Century Art in Italy (1500-1600)

Learn-About-Its:21.1 Compare the emphasis on drawing and clearly structured compositions in the work of Roman and Florentine painters with their Venetian counterparts’ exploration of the expressive potential of color and dynamic figural arrangements.21.2 Examine the architectural creativity lavished on the design of both grand churches and pleasurable retreats to embody themes of wealth and power in sixteenth-century Italy.21.3 Trace the shift in the artistic center of Italy from Florence to Rome, and recognize the efforts of Pope Julius II to create a new “golden age.”21.4 Explore the intentional subversion of Classical style and decorum in the work of Mannerist artists.

MyArtsLab Resources:Architectural Panoramas: Tempietto; Sistine Chapel Ceiling.Architectural Simulations: St. Peter’s Basilica.Closer Looks: Bronzino’s Allegory with Venus and Cupid; Correggio, Assumption of the Virgin; Giorgione, The Tempest; Leonardo da Vinci, Mona Lisa; Michelangelo, Pietà; Titian, Pastoral Concert; Veronese, Feast in the House of Levi; Raphael, School of Athens; Giovanni Bologna, Capture of the Sabine WomenStudents On Site Videos: The Tempietto; The Villa Rotunda; Palazzo Te; San Giorgio Maggiore.Web Resources: Church and Dominican Convent of Santa Maria delle Grazie

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with The Last Supper by Leonardo da Vinci (video); A Closer Look at the Mona Lisa; St. Peter’s Basilica.Primary Source Documents: From “The Four Books of Architecture” – Andrea Palladio; From “Autobiography” and “Artists on Art” – Benvenuto Cellini; From a Session of the Inquisitional Tribunal in Venice of Paolo Veronese; From his undated manuscripts – Leonardo da Vinci; Michelangelo Interprets the Vatican Pietà; From the Life of Michelangelo – Giorgio Vasari; “Giorgione” from the Lives of the Artists – Giorgio Vasari; “Titian” from the Lives of the Artists – Giorgio Vasari.


4 Chapter 22. Sixteenth-Century Art in Northern Europe and the Iberian Peninsula (1500-1600)

Learn-About-Its:22.1 Recognize characteristic aspects of earlier Northern Renaissance style that continue into the work of sixteenth-century artists and evaluate the impact of new ideas coming from Italy.22.2 Assess the relationship between the religious conflicts in northern Europe and the growing interest in new secular subjects in works of art as well as the focus on new themes in sacred art.22.3 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.22.4 Explore the continuing interest among northern European artists and patrons in the virtuosity of works in media such as wood and gold.

MyArtsLab Resources:Architectural Panoramas: Chateau de Fontainebleau.Closer Looks: Bosch, Garden of Earthly Delights; Dürer, Adam and Eve; El Greco, Burial of Count Orgaz; Hans Holbein the Younger, The French Ambassadors; Pieter Bruegel the Elder, The Return of the Hunters; Matthias Grunewald, Isenheim AltarpieceStudents On Site Videos: Chateau de Fontainebleau.Primary Source Documents: From the draft manuscript for “The Book on Human Proportions” – Albrecht Dürer; From “The Painter’s Treatise” - Karel van Mander Writes about Pieter Bruegel the Elder; From “The History of the Order of St. Jerome” – Fray José De Siguenza; From “Against the Heavenly Prophets in the Matter of Images and Sacraments” (1525) – Martin Luther; The 95 Thesis of Martin Luther – Martin Luther.


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5 Chapter 23. Seventeenth-Century Art in Europe (1600-1700)

Learn-About-Its:23.1 Explore how the work of Bernini and Caravaggio established a new dramatic intensity, technical virtuosity, and unvarnished naturalism that blossomed into a style we call Baroque that spread across Europe during the seventeenth century.23.2 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.23.3 Analyze the way that seventeenth-century artists created works that embodied the power and prestige of the monarchy as well as works that furthered the Counter-Reformation agenda of the Roman Catholic Church.23.4 Assess the resurgence of Classicism, especially in the work of seventeenth-century French artists and architects.

MyArtsLab Resources:Architectural Panoramas: St Peter’s Basilica; Francesco Borromini, San Carlo alle Quattro Fontane.Architectural Simulations: Cornaro Chapel.Closer Looks: Hyacinthe Rigaud, Louis XIV; Rembrandt, The Anatomy Lesson of Dr. Tulip; Velazquez, Las Meninas; Caravaggio, Contarelli Chapel/Calling of Saint Matthew; Judith Leyster, Self-Portrait.Students On Site Videos: Calling of St. Matthew; Il Gesu ceiling; Cornaro Chapel; Versailles; San Carlo alle Quattro Fontane.Web Resources: Johannes Vermeer’s Woman Holding a Balance (Video); Essential Vermeer; The French Glory: The Palace and Park of Versailles (Video).Primary Source Documents: From “El museo pictorica y escala optica: On Velazquez” – Antonio Palomino; From a letter to Don Antonio Ruffo – Artemesia Gentileschi; From the “Life of Cavalier Gianlorenzo Bernini” – Filippo Baldinucci; From “Lives of the Modern Painters, Sculptors, and Architects: On Caravaggio” – Giovanni Pietro Bellori; “Report on Old St. Paul’s after the Fire” – Sir Christopher Wren; From the “Canon and Decrees of the Council of Trent.”


6 Chapter 24. Art of South and Southeast Asia after 1200 (1200-present day)

Learn-About-Its:24.1 Consider how an artwork’s scale and the choice of media relates to its intended function and audience.24.2 Understand how exogenous influences from trade and conquest affected the art of South and Southeast Asia and the way those influences were shaped locally.24.3 Recognize that similar-looking works of art, like religious icons or

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traditional architectural forms, can function differently in different contexts.24.4 Understand how a work of art like the Taj Mahal or a Khmer Buddha can have both a personal and public meaning.

MyArtsLab Resources:Architectural Simulations: Taj Mahal.Closer Looks: Private Audience Hall, Fatehpur Sikri; Taj Mahal; Sukhothai Buddha; Akbar Inspecting Construction of Fatehpur Sikri; The Buddha and Gandhi; Shwedagon stupa, Myanmar.Web Resources: Taj Mahal (video).Primary Source Documents: From “Padash Nama” (Book of the Emperor) – Abd Al-Hamid Lahori.


7 Chapter 25. Chinese and Korean Art after 1279 (1279-present day)

Learn-About-Its:25.1 Explore the literati style and its relationship to the scholarly life in later Chinese and Korean art.25.2 Understand the development and significance of the theme of landscape in Chinese and Korean painting.25.3 Assess the influence of court life and patronage on art in China and Korea.25.4 Analyze and learn to characterize the emergence of expression beyond representation as a valued aspect of art in China and Korea, from the thirteenth century to the present.

MyArtsLab Resources:Architectural Panoramas: Forbidden City.Architectural Simulations: The Forbidden City.Closer Looks: The Forbidden City; Spring Dawn in the Han Palace; Shen Zhou, Poet on a Mountaintop; Sin Yunbok, Picnic at the Lotus Pond; Ming flask.Web Resources: Panorama of the Classical Gardens of Suzhou.Primary Source Documents: “Poet on a Mountaintop” – Shen Zhou.


8 Chapter 26. Japanese Art after 1333 (1333-present day)

Learn-About-Its:26.1 Survey and evaluate the variety of styles and modes of Japanese art after 1333 that develop in relation to Zen Buddhism.26.2 Explore the principal themes and subjects portrayed in secular art

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during the Edo period, especially the popularized imagery featured in ukiyo-e.26.3 Compare art created in Kyoto with art made in Edo during the Edo period and evaluate the relationship of these works to the very different cultural and social climates of the two cities.26.4 Understand and learn to characterize the way imported artistic traditions, from Europe as well as Asia, interacted with traditional Japanese practices to create new forms of art in the modern period.

MyArtsLab Resources:Architectural Simulations: Shoin Design.Closer Looks: Katsushika Hokusai, The Great Wave; Kosode Robe; Sharaku, Otani Oniji; Sesshui, Winter Landscape; Hakuin Ekaku, Giant Daruma; Tawara Sotatsu, Waves at Matshushina; Chojiro Teabowl called Yugure (Twilight); Multicolor Woodblock Prints.Videos: Ukiyo-E Techniques; Bone, Flesh, Skin: The Making of Japanese Lacquer, Part II; Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection.


9 Chapter 27. Art of the Americas after 1300 (1300-present day)

Learn-About-Its:27.1 Explore the variety of styles, media, and techniques that characterize indigenous art and architecture across the Americas, both before and after contact with Europeans.27.2 Recognize and understand the themes and symbols developed by Native American artists to express cultural, religious, and political ideas and values.27.3 Explore how an understanding of the ritual and political use, as well as the practical function, of works are critical to interpreting their meaning in Native American arts.27.4 Recognize and evaluate how indigenous arts have changed in the centuries since contact with Europeans.

MyArtsLab Resources:Architectural Simulation: Inca Polygonal Masonry.Closer Looks: Aztec Calendar Stone; The Goddess Coatlicue; Chilkat Blanket; Jaune Quick-to-See Smith, The Red Mean: Self-Portrait.Web Resources: Historic Sanctuary of Machu Picchu (Video).Primary Source Documents: Navajo Night Chant.


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10 Chapter 28. Art of Pacific Cultures (1200 BCE-present day)

Learn-About-Its:28.1 Recognize how the availability of raw materials affects artistic choices and styles throughout the Pacific.28.2 Examine the role the human body plays as a subject and medium in Pacific art.28.3 Investigate ways that ancestor rituals influence the art in different Pacific cultures.28.4 Assess the impact of Western contact on art in the Pacific.

MyArtsLab Resources:Closer Looks: Te-Hau-ki-Turanga.


11 Chapter 29. Art of Africa in the Modern Era (1800-present day)

Learn-About-Its:29.1 Explore the variety of styles, media, and techniques used by artists across Africa during the nineteenth and twentieth centuries.29.2 Understand the themes and symbols used in African societal rituals of leadership, initiation, divination, and death.29.3 Evaluate the role of masquerade in African rites of passage such as initiation and funeral rituals.29.4 Examine the relationship of African arts to the colonial experience.

MyArtsLab Resources:Architectural Simulation: Kuba Woven Decoration on Walls.Closer Looks: Kongo, Nkisi Nkonde; A Palace Door; Initiation wall panels; Spirit spouse; Nankani compoundWeb Resources: Art as a Verb in Africa: The Masks of the Bwa Village of Boni (video).Primary Source Documents: Olowe of Ise Oriki.


12 Chapter 30. Eighteenth- and Early Nineteenth-Century Art in Europe and North America (1700-1850)

Learn-About-Its:30.1 Investigate the origins and understand the characteristics of the stylistic movements art historians label Rococo, Neoclassicism, and Romanticism.30.2 Explore the many subjects of Romanticism, from the sublime in nature to the cruelty of the slave trade, with a common interest in emotion and feeling.

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30.3 Trace the relationships between the complex mix of artistic styles in this period and the complex political climate of Europe and America.30.4 Discover Neoclassicism’s relationship with Enlightenment values and its roots in the study of Classical antiquity in Rome.

MyArtsLab Resources:Architectural Panoramas: Panthéon (Paris, France, 1757).Architectural Simulations: Cast-Iron Construction.Closer Looks: Francisco Goya, The Sleep of Reason Produces Monsters; Georgian Silver; Goya’s The Family of Charles IV; Théodore Géricault, Raft of the Medusa; Watteau’s The Signboard of Gersaint; The Sublime, the Beautiful, and the Picturesque; Jacques Louis David, Oath of the Horatii; Eugene Delacroix, Liberty Leading the People; Thomas Cole, The Oxbow; Jean-Honore Fragonard, The Swing.Students On Site Videos: Chiswick House; Constable, Haywain; Arc de Triomphe; Houses of Parliament; Wright of Derby.Studio Technique Videos: Lithography.Primary Source Documents: “A Summary of the Life of Antoine Watteau, 1684-1721” – Jean de Jullienne; From “The Doctrine of Ingres” – Jean-Auguste-Dominique Ingres; From a Letter to John Fisher – John Constable; From “A Discourse, Delivered at the Opening of the Royal Academy, January 2, 1769” – Sir Joshua Reynolds; From “Louis David, son école et son temps” – Étienne-Jean Delécluze.


13 Chapter 31. Mid- to Late Nineteenth-Century Art in Europe and the United States (1850-1900)

Learn-About-Its:31.1 Understand and evaluate the role played by academic art and architecture, as well as the emergence of various movements that arose in opposition to its principles, in the late nineteenth century.31.2 Investigate the interest in subjects drawn from modern life, as well as the development of new symbolic themes, in Realist, Impressionist, and Post-Impressionist art.31.3 Analyze the ways in which the movement toward realism in art reflected the social and political concerns of the nineteenth century.31.4 Examine the early experiments that led to the emergence of photography as a new art form.

MyArtsLab Resources:Architectural Panoramas: Eiffel Tower; Palais Garnier.Architectural Simulations: Central Park.Closer Looks: Édouard Manet, Déjeuner sur l’herbe (Luncheon on the Grass);

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A Bar at the Folies Bergere; Courbet’s A Burial at Ornans; Edgar Degas, The Rehearsal of the Ballet Onstage; Édouard Manet, Olympia; George Seurat, Sunday on La Grande Jatte; Louis Sullivan, Wainwright Building; Vincent van Gogh, The Starry Night; Eakins, Gross Clinic and Agnew Clinic; Orientalism and Ingres’s Turkish Bath; Paul Gauguin, Mahana no atua (Day of the God); Timothy O’Sullivan, Home of the Rebel Sharpshooter: Battle of Gettysburg; Auguste Rodin, Burghers of Calais; Black-and-white photography.Students On Site Videos: Eiffel Tower; The Opera.Web Resources: The Courtauld Collection: Cézanne’s Mont Sainte-Victoire (Video).Primary Source Documents: From “The Gentle Art of Making Enemies” – James Abbott McNeill Whistler; From “Reminiscences of Claude Monet from 1889 to 1909” – Lila Cabot Perry; From a letter to J. F. Willumsen – Paul Gauguin; From “The Tall Office Building Artistically Considered” – Louis Sullivan.


14 Chapter 32. Modern Art in Europe and the Americas, 1900-1950 (1900-1950)

Learn-About-Its:32.1 Assess the impact of Cubism on abstract art in the early twentieth century and explore how and why Abstract Expressionism transformed painting after 1940.32.2 Examine the different ways that artists in the Modern period responded directly or indirectly to the violence of war.32.3 Determine the political and economic impact of the Great Depression on interwar European and American art.32.4 Investigate how Dada and Surrealism changed the form, content, and concept of art.

MyArtsLab Resources:Architectural Panoramas: Villa Savoye (first floor); Villa Savoye (second floor); Villa Savoye (third floor [roof]); Kaufmann House (Fallingwater, second floor).Architectural Simulations: The Skyscraper.Closer Looks: Portrait of a German Officer; Ernst Ludwig Kirchner, Street, Berlin; Hannah Hoch, The Kitchen Knife Cuts Through the Last Weimar Beer-Belly Cultural Epoch in Germany; Jackson Pollock, Autumn Rhythm (Number 30); Meret Oppenheim, Object (Le Déjeuner en fourrure) (Luncheon in Fur); Pablo Picasso, Les Demoiselles d’Avignon (The Young Ladies of Avignon); Picasso’s Collages; Picasso, the History of Guernica.Videos: Clement Greenberg on Marcel Duchamp.Web Resources: Frida Kahlo interactive feature from SFMoMA; Diego Rivera’s Frescos (Video); Fallingwater (Video); Jackson Pollock at Work (Video); Marcel

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Duchamp’s Fountain (Video); Piet Mondrian’s Place in Art History (Video); Frank Lloyd Wright Foundation; Museum of Modern Art: Picasso.Primary Source Documents: “On Sculpture” – Barbara Hepworth; From “The Foundation and Manifesto of Futurism” – Filippo Tommaso Marinetti; From an interview with Édouard Roditi – Hannah Hoch; From “My Painting” – Jackson Pollock; From “The Non-Objective World” – Kazimir Malevich; From “Concerning the Spiritual in Art” – Vassily Kandinsky; From “Towards a New Architecture” – Le Corbusier.


15 Chapter 33. The International Scene since 1950 (1950-present day)

Learn-About-Its:33.1 Understand the “dematerialization” of the object since 1950 and account for its return after 1980.33.2 Assess the ways in which artists since 1950 have introduced popular culture into the world of “high art.”33.3 Examine the engagement of artists since 1950 with social, political, cultural, and/or religious issues.33.4 Explore the growing globalism of the contemporary art world and the ways it has created new opportunities, strategies, and subjects for artists today.

MyArtsLab Resources:Architectural Simulations: The Steel Skeleton of the Hongkong and Shanghai Bank Corporation Limited (HSBC).Art 21: Martin Puryear; Kiki Smith; Maya Lin; Matthew Barney; Richard Serra; Kara Walker; Bruce Nauman.Closer Looks: Andy Warhol, Marilyn Diptych; Faith Ringgold, Tar Beach; Martin Puryear, Plenty’s Boast; Jasper Johns, Target with Plaster Casts.Podcasts: Judith Baca, The Great Wall of Los Angeles.Videos: The Trial of Tilted ArcStudio Technique Videos: Silkscreen.Web Resources: Christo and Jeanne-Claude, The Gates; Fred Wilson: “Site Unseen: Dwelling of the Demons”; Jeff Wall on staged photography.Primary Source Documents: From an interview – Cindy Sherman; From an interview with Cindy Nemser – Eva Hesse; From an interview with David Shapiro – Vanessa Beecroft.


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1


CHAPTER ONEPREHISTORIC ART IN EUROPE

Chapter-at-a-Glance The Stone Age The Paleolithic Period | Shelter or Architecture? | Artifacts or Works of Art?

| Cave Painting | Cave Sculptures Art and Its Contexts: The Power of NamingTechnique: Prehistoric Wall PaintingRecovering the Past: How Early Art is Dated

The Neolithic Period | Architecture | Sculpture and Ceramics A Closer Look: A House in CatalhoyukArt and Its Contexts: Intentional House BurningElements of Architecture: Early Construction MethodsTechnique: Pottery and CeramicsA Broader Look: Prehistoric Woman ad Man

New Metallurgy, Enduring Stone | The Bronze Age | Rock Carvings

Learning Objectives By the end of the chapter, students should be able to:1.1 Explore the variety of styles, techniques, and traditions represented by what

remains of prehistoric art and architecture, and probe its technical, formal, and expressive character.

1.2 Survey the principal themes, subjects, and symbols in prehistoric painting, sculpture, and objects.

1.3 Investigate how art historians and anthropologists have speculated on the cultural meanings of works for which there are no written records to provide historical context.

1.4 Grasp the concepts and vocabulary used to describe and characterize prehistoric art and architecture.

Transition GuideImages Removed from 4th Edition Images Added to the 5th Edition Lamp with Ibex Design (Fig. 1-15) Hall of Bulls (Fig. 1-11) Stonehenge from the Ground (Fig. 1-21)

MyArtsLab Resources

Architectural Simulations:Post and Lintel ConstructionCorbel Construction

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Closer Look: The Design and Making of StonehengeMale and Female Figures from CernavodaLascauxSpotted Horses and Human HandsStudio Technique Video:CeramicsVideo/Podcasts:Prehistoric Sites and Decorated Caves of the Vezere Valley Stonehenge Decoded Student on Site: StonehengeWeb Resource:The Cave of Chauvet – Pont - D’ArcPanorama: StonehengePanorama: Skara BraeOrkneyjar

Discussion Topics and Critical Thinking Questions

1. As humans evolved over prehistoric eras, what distinctions can be made between their production of “artifacts” and “art”? Identify examples of each and discuss how the meanings or purpose of these objects have been deciphered.

2. Architectural structures can reveal significant clues to the activities and culture of those who built and inhabited them. Identify examples of such sites and explain what we can infer through their forms and features.

3. Representations of animals are significant in prehistoric art. Identify several examples and explain how these might be interpreted for the cultures that created them.

4. What clues to culture can be traced in treatments of the human figure in prehistoric art? Compare and contrast examples from the Paleolithic and Neolithic periods.

5. How do artifacts point towards gender roles and characteristics in prehistoric societies? Analyze a set of examples to support a description of these roles.

6. Discuss the impact of ceramics on Neolithic culture. What materials and methods of construction were used to produce these objects?

7. Discuss the development of metallurgy in Neolithic art and culture. Identify materials, techniques, uses and values.

8. Early art history is closely tied to archaeology. Compare the objectives and methods of each discipline for the study of prehistory.

Key Terms

sculpture in the round electron spin resonance lintel relief sculpture ridgepole mortise-and-tenon memory image wattle and daub corbeling abstract thatch ceramics composite pose megalithic architecture porcelain modeling dolmen kiln relative dating capstone earthenware

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absolute dating cairn stonewareradiometric dating passage grave postherds potassium-argon dating vault alloy thermo-luminescence dating henge

Activities and Exercises

1. Take a closer look at France’s official website for the prehistoric caves at Lascaux. Using the link below, click “A visit to the Cave” from the main page. As you tour The Hall of the Bulls, The Axial Gallery, The Passageway and other sections, pause to “Explore” these sections with close-up frames.

2. Using the “Explore” option in any section of the Cave (such as The Axial Gallery – The Left Wall), move your cursor across the image field to view the expanse of figures. How would you describe these images to someone who has not seen reproductions of the cave paintings? Taking the stance of a journalist describing the scene to readers, create a short news article to introduce the Caves and entice the public’s interest. Draw upon Chapter 1 to fill in background, along with your “eyewitness” account.

3. “Explore” a second area of the Cave by examining a wall section, image-by-image. Considering the images’ forms, features, placement, and comparisons or contrasts with surrounding figures, what “stories” do you see in these depictions? By scanning across this section of images, can you infer a “narrative” of events? Compose a “voice over” or podcast script to guide a viewer through your exploration, including suggested interpretations for a story sequence.

4. After touring the Cave, click the “site map” link at the bottom left of the screen. From the list of contents, select “Preservation Interventions” to open to an extended time line, including embedded events links beginning with the Cave’s discovery in 1940 (click on the event label to isolate and open the descriptive screen, including photos and detailed history for each event). Hint: Use the “suivant” (forward) and “precedent” (backward) labels to move ahead or back on the timeline. Follow through the story of discovery, development and preservation of the Lascaux Cave.

5. Based upon your understanding of the Preservation Interventions at Lascaux, as well as Chapter 1 background for this and other notable prehistoric sites, create an outline of the underlying issues and solutions that might be debated for the management of World Heritage Sites. Conduct a brainstorming session with classmates to identify “pros” and “cons” for these positions. Take a personal stand based upon these discussions and “evidence” from the study sources, and then compose a short essay in which you explain your views.

6. On MyArtsLab, view the Video: Prehistoric Sites and Decorated Caves of the Vezere Valley, featuring footage of painted wall surfaces at Lascaux. Considering these views, as well as chapter illustrations for Paleolithic Cave

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Painting, which images appear to be move convincing as evidence of the painters’ belief in the supernatural power of rocks? Which images or details serve as evidence of humanity’s development of imagination? How do the visual techniques used by prehistoric painters (and demonstration of painting blowing in the video) support these impressions?

7. On MyArtsLab, begin this exercise by viewing the Web Resource link for Orkneyjar, and reading background for "The Discovery of the Village" and "Modern Investigations" at Skara Brae (Orkney Islands, Scotland). Next, open the link for the Architectural Panorama: Skara Brae. Begin by examining the map for the settlement site, observing the arrangement of its elements. Does this view suggest ways we might interpret or decipher meaning in the shapes and placement of structures within the site's arrangement? Can relationships be interpreted between different sections or parts?

How does this “bird’s eye” view reinforce the concept of “community” within the context of prehistoric human activity?

Finally, open the House link to view the Panorama. As you move throughout and around this location, how do you interpret its key components and their arrangement? What spatial clues appear? How do construction elements affect the ways this site might be interpreted?

8. On MyArtsLab, open the Web Resources link for Orkneyjar. From the website's entry page, select Images in the left column, then select A Monumental Landscape within the Scenes of Orkney contents list. Click each of the thumbnail images presented on the Landscape page to view the set of 20 Orkney scenes. Which scenes present further evidence, or examples of concepts presented in Chapter 1, particularly for Neolithic cultures and Elements of Architecture? Do these scenes clarify theories about prehistoric life from this period, or do they raise more mysteries about human activities and their meanings?

CHAPTER TWO

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