Thursday, May 20, 2010
Final Test
Please refer to the latest study guide posted on the blog, because this will be the information that will be on the exam. As I said before, the test will be mainly slide identification, but I will also have a couple of questions in addition to the slide identification as well. The extra questions will be from material would have been discussed in class.
Compare and Contrast Paper Due May 25
Compare and Contrast Essay - Two Works of Art
When writing your essay paper, you are to compare and contrast two works of art by two different artists that you have learned about in this class and while reading your text, Art Through the Ages. The length of the paper needs to be between three and five pages and double-spaced. Your name and the name of two of the artists you are writing about should be at the top of your paper as well.*
First describe the two works of art you will be writing about before you talk about their likenesses and differences. Also make notations using the visual language of art: Color, Medium, Subject, Line, Figure/Ground, Focal point, Scale and so on.
You may want to read the information written on the below sites, about writing an art comparison essay, before you begin your paper. You may need to do research using the Internet for added information about each of the artists you select as well.
The paper is to be due May 25.
http://www.ehow.com/how_5848427_write-art-comparison-essay.html
http://arc.academyart.edu/writing/essay.html
http://customessayblog.com/essay-writing/sample-compare-and-contrast-essay
When writing your essay paper, you are to compare and contrast two works of art by two different artists that you have learned about in this class and while reading your text, Art Through the Ages. The length of the paper needs to be between three and five pages and double-spaced. Your name and the name of two of the artists you are writing about should be at the top of your paper as well.*
First describe the two works of art you will be writing about before you talk about their likenesses and differences. Also make notations using the visual language of art: Color, Medium, Subject, Line, Figure/Ground, Focal point, Scale and so on.
You may want to read the information written on the below sites, about writing an art comparison essay, before you begin your paper. You may need to do research using the Internet for added information about each of the artists you select as well.
The paper is to be due May 25.
http://www.ehow.com/how_5848427_write-art-comparison-essay.html
http://arc.academyart.edu/writing/essay.html
http://customessayblog.com/essay-writing/sample-compare-and-contrast-essay
Wednesday, May 19, 2010
San Jose Museum of Art Field Trip
San Jose Museum of Art
110 South Market StreetSan Jose, CA 95113
(408) 271-6840
We will meet for the field trip at 1:45 at the side entrance to the museum. I will have a sign in sheet at the admission counter for you to sign in. The cost is $5.00 with your student body card. If you are unable to make it to the art exhibition you will be required to write a paper after attending at another time about your thought about it. The paper should be two pages long and typed.
Study Guide for Final
The following images will be on the test. I will also have a couple of other questions as well, but the following will be the projected slide images for identification. Study them well.
Test Questions
Figure 24-8 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
Figure 24-17 CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.
Figure 24-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.
Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.
Figure 25-1 JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.
Figure 25-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
Figure 25-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid.
Figure 25-29 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris.
Figure 25-38 SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England, 1675–1710.
Figure 25-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680.
Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris, France, 1667–1670.
Figure 29-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London.
Figure 29-16 THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection).
Figure 29-1 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.
Figure 29-24 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.
Figure 30-11 FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).
Figure 30-8 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’ 4”. Louvre, Paris.
Figure 30-15 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.
Figure 30-18 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.
Figure 30-23 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).
Figure 30-22 JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4’ 3” x 6’ 2”. National Gallery, London.
Figure 30-21 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4". Nationalgalerie, Staatliche Museen zu Berlin, Berlin.
Figure 30-25 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National Museum of American Art, Smithsonian Institution, Washington, D.C.
Figure 31-5 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877. Oil on canvas, 6’ 9” x 9’ 9”. The Art Institute of Chicago, Chicago, (Worcester Fund).
Figure31-7 BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation, Los Angeles.
Figure 31-15 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6’ 9” x 10’. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-17 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
Figure 31-14 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4’ x 4’ 7”. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection).
Figure 31-10 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum, Glasgow (Burrell Collection).
Figure 31-21 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-33 AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6” deep. Musee Rodin, Paris.
Figure 31-27 EDVARD MUNCH, The Scream, 1893. Tempura and pastels on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.
Figure 31-18 PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.
Figure 31-8 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay, Paris.
Figure 31-9 ÉDOUARD MANET, Bar at the Folies-Bergère, 1882. Oil on canvas, 3’ 1” x 4’ 3”. Courtauld Institute of Art Gallery, London.
Figure 31-2 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.
Figure 31-38 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.
Test Questions
Figure 24-8 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
Figure 24-17 CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.
Figure 24-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.
Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.
Figure 25-1 JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.
Figure 25-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
Figure 25-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid.
Figure 25-29 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris.
Figure 25-38 SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England, 1675–1710.
Figure 25-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680.
Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris, France, 1667–1670.
Figure 29-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London.
Figure 29-16 THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection).
Figure 29-1 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.
Figure 29-24 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.
Figure 30-11 FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).
Figure 30-8 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’ 4”. Louvre, Paris.
Figure 30-15 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.
Figure 30-18 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.
Figure 30-23 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).
Figure 30-22 JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4’ 3” x 6’ 2”. National Gallery, London.
Figure 30-21 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4". Nationalgalerie, Staatliche Museen zu Berlin, Berlin.
Figure 30-25 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National Museum of American Art, Smithsonian Institution, Washington, D.C.
Figure 31-5 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877. Oil on canvas, 6’ 9” x 9’ 9”. The Art Institute of Chicago, Chicago, (Worcester Fund).
Figure31-7 BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation, Los Angeles.
Figure 31-15 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6’ 9” x 10’. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-17 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
Figure 31-14 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4’ x 4’ 7”. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection).
Figure 31-10 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum, Glasgow (Burrell Collection).
Figure 31-21 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-33 AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6” deep. Musee Rodin, Paris.
Figure 31-27 EDVARD MUNCH, The Scream, 1893. Tempura and pastels on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.
Figure 31-18 PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.
Figure 31-8 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay, Paris.
Figure 31-9 ÉDOUARD MANET, Bar at the Folies-Bergère, 1882. Oil on canvas, 3’ 1” x 4’ 3”. Courtauld Institute of Art Gallery, London.
Figure 31-2 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.
Figure 31-38 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.
Tuesday, May 18, 2010
Warhol Painting Sold -- $32.5 Million at Sotheby's
Friday, May 7, 2010
William Hogarth Paper
Many of William Hogarth’s artworks could be described as Satirical Artwork. The book says that he saw himself as “translating satire into the visual arts”.
Write a one page document about his series of paintings that commented on marriage within English society and its newly prosperous middle class. Describe how he used satire to visually talk about his views about the bourgeoisie. You may use the painting “Marriage a La Mode 1745” as an example.
Write a one page document about his series of paintings that commented on marriage within English society and its newly prosperous middle class. Describe how he used satire to visually talk about his views about the bourgeoisie. You may use the painting “Marriage a La Mode 1745” as an example.
Saturday, April 24, 2010
Friday, April 9, 2010
Monday, April 5, 2010
Sunday, March 14, 2010
March 25 Test Date
March 25 will be the date for the first test of this semester. I will be giving you a study guild that will pertain to the test and give you a couple of sample questions as well. You should also have been studying the study guilds that I have already given you,
ONLY EMERGENCY ABSENCES ALLOWED ON TEST DAYS.
• Because of the vast number of images and periods we will cover, there will be three tests, each covering approximately one-third of the class. Therefore, the final, will not be comprehensive.
• Tests will consist of slide identification)(name of piece, artist, style, and possibly date). Students will be informed before the test of the images and terms from which the test will be comprised.
• Make-up tests will be given of verifiable emergencies only. Student must contract me by email at barbaraallie@gmail.com. BY THE END OF THE DAY and explain his/her situation. No early test will be given.
ONLY EMERGENCY ABSENCES ALLOWED ON TEST DAYS.
• Because of the vast number of images and periods we will cover, there will be three tests, each covering approximately one-third of the class. Therefore, the final, will not be comprehensive.
• Tests will consist of slide identification)(name of piece, artist, style, and possibly date). Students will be informed before the test of the images and terms from which the test will be comprised.
• Make-up tests will be given of verifiable emergencies only. Student must contract me by email at barbaraallie@gmail.com. BY THE END OF THE DAY and explain his/her situation. No early test will be given.
Sunday, February 28, 2010
Friday, February 26, 2010
I Sold Andy Warhol (too soon) Review Due
http://www.polskyart.com/welcome.html
ANDRÁS SZÁNTÓ
ART BUSINESS
PhD, Columbia University; MA, Columbia University; BA, Budapest University of Economics.
Andras Szanto is a writer, researcher, and consultant whose work spans the worlds of art, media, policy, and cultural affairs.
Barbara Allie, Instructor
San Jose City College
I Sold Andy Warhol. (too soon) Reading Assignment -- due April 6. Mr. Polsky will be in class to answer your questions. Please have prepared two questions to ask him.
1. Read the book by Richard Polsky, I Sold Andy Warhol. (too soon)
2. Then go to the amazon.com and barnesandnoble.com, and read the editorial reviews, The questions and answers about I sold Andy Warhol. (too soon), as well as the review by Sandiek at the Barnes & Nobel site.
3. After you have completed the two above tasks read the information below on how to write a book review. All of the various reading materials should give you a fairly good idea of how your Book Review is to be written. The paper must be type written and double-spaced. Ideally it should be between 500 and 1000 words.
4. How to write a review -- Please read link below:
http://www.lavc.edu/Library/bookreview.htm
Sites of Interest:
Anderson Collection – Harry & Moo Anderson
http://www.aacollection.com/index.html
John Berggruen Gallery – San Francisco
http://www.berggruen.com/
Wayne Thiebaud
http://en.wikipedia.org/wiki/Wayne_Thiebaud
http://www.sothebys.com/
http://www.gagosian.com/
http://www.christies.com/
http://www.warhol.org/
(go to Google and type in “andy warhol fright wig” to see image and last price it sold for.
Other Books of Interest:
• The Art of the Steal: Inside the Sotheby's-Christie's Auction House Scandal
by Christopher Mason
• Sotheby's: Bidding for Class
by Robert Lacey
Sunday, February 21, 2010
Lecture Notes Week of Feb. 15
International Gothic Style:
By the end of the 14th century, the fusion of Italian and Northern European art had led to the development of an International Gothic style. For the next quarter of a century, leading artists travelled from Italy to France, and vice versa, and all over Europe.
As a consequence, ideas spread and merged, until eventually painters in this International Gothic style could be found in France, Italy, England, Germany, Austria and Bohemia.
WORDS TO KNOW:
Iconography – is the study of themes and symbols in the visual arts – figures and images that lend works their understanding and meaning.
Aesthetics –A branch of philosophy dealing with the nature of beauty, art, and taste and with the creation and appreciation of beauty.
Style - is at once the most concrete and intangible of all components of an artwork. It is the signature look of an artist’s work – that something that enables us to tell the difference between a Rubens and a Rembrandt, a Picasso and a Pollock.
Medium – in which an artist works –The plural, mediums or media –
Refers to the physical components of art.
Chiaroscuro – the drawing or painting the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling.
By the end of the 14th century, the fusion of Italian and Northern European art had led to the development of an International Gothic style. For the next quarter of a century, leading artists travelled from Italy to France, and vice versa, and all over Europe.
As a consequence, ideas spread and merged, until eventually painters in this International Gothic style could be found in France, Italy, England, Germany, Austria and Bohemia.
WORDS TO KNOW:
Iconography – is the study of themes and symbols in the visual arts – figures and images that lend works their understanding and meaning.
Aesthetics –A branch of philosophy dealing with the nature of beauty, art, and taste and with the creation and appreciation of beauty.
Style - is at once the most concrete and intangible of all components of an artwork. It is the signature look of an artist’s work – that something that enables us to tell the difference between a Rubens and a Rembrandt, a Picasso and a Pollock.
Medium – in which an artist works –The plural, mediums or media –
Refers to the physical components of art.
Chiaroscuro – the drawing or painting the treatment and use of light and dark, especially the gradations of light that produce the effect of modeling.
Wednesday, February 17, 2010
"The Sold Andy Warhol Too Soon" Talk
The talk by the author of "I Sold Andy Warhol Too Soon" will be Tuesday, April 6.
The written "Review" of the book will be due on Tuesday, April 6. It should be 2-3 pages long, type written and double spaced.
Please order the book if you have not done so already and read it. I will prepare next week a list of questions you should answer in your review.
The written "Review" of the book will be due on Tuesday, April 6. It should be 2-3 pages long, type written and double spaced.
Please order the book if you have not done so already and read it. I will prepare next week a list of questions you should answer in your review.
Thursday, February 11, 2010
Notes For Feb. 11, 2010
Artists Covered (refer to handout)
Cimabue
Ducccio Di Buoninsegna
Giotto de Bondone
Filippo Brunelleschi (Medici DVD)
Composition – refers to how art work is organized
Shapes on 2D surface or 3D arranging shapes in space
Form – Medium (2D or 3D) – Materials used & Technique
Fresco
He was an Italian painter and architect from Florence in the late Middle ages.
He is generally considered the first in a line of great artists who contributed to the Italian Renaissance.
16th century biographer Varsari says of him:
“He made a decisive break with the crude traditional Byzantine style, and bought to life the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years.”
The Adoration of the Magi is the name traditionally given to the Christian subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him
PowerPoint Presentation on "Line"
•A line is the path made by a moving point.
•A point has no measurable size.
•Lines are created through the connection of points and are defined as the side-by-side placement of an infinite number of points. (Whew!)
•Line is without end.
•Line has no width.
The Quality of Line
The quality of a line describes either its measure or its characteristics
For example:
•The measure of a line might be that it is thick or thin.
•Or the characteristics might be that the line is smooth or rough.
Change these things to create a line with personality, expression or emotion.
Above information taken from "Art Though the Ages" text
Cimabue
Ducccio Di Buoninsegna
Giotto de Bondone
Filippo Brunelleschi (Medici DVD)
Composition – refers to how art work is organized
Shapes on 2D surface or 3D arranging shapes in space
Form – Medium (2D or 3D) – Materials used & Technique
Fresco
- Oil Painting
- Tempera
- Sculpture
- Drawing
- Cartoons
- Watercolor
- Pastel
- •Landscape
- •Still Life
- •Figurative
- •Abstract
- •Religious
- •Self Portrait
He was an Italian painter and architect from Florence in the late Middle ages.
He is generally considered the first in a line of great artists who contributed to the Italian Renaissance.
16th century biographer Varsari says of him:
“He made a decisive break with the crude traditional Byzantine style, and bought to life the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years.”
The Adoration of the Magi is the name traditionally given to the Christian subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him
PowerPoint Presentation on "Line"
•A line is the path made by a moving point.
•A point has no measurable size.
•Lines are created through the connection of points and are defined as the side-by-side placement of an infinite number of points. (Whew!)
•Line is without end.
•Line has no width.
The Quality of Line
The quality of a line describes either its measure or its characteristics
For example:
•The measure of a line might be that it is thick or thin.
•Or the characteristics might be that the line is smooth or rough.
Change these things to create a line with personality, expression or emotion.
Above information taken from "Art Though the Ages" text
Homework on Medici DVD
Homework:
Write in your journal your reaction to the Medici DVD and in partitular about Filippo Brunelleschi (1377-1446)
Talk about the building of the Dome and the role that the Medici played in building it.
Write in your journal your reaction to the Medici DVD and in partitular about Filippo Brunelleschi (1377-1446)
Talk about the building of the Dome and the role that the Medici played in building it.
Tuesday, February 9, 2010
Notes for Feb 9, 2010
http://www.cengage.com
Fresco painted by Giotto
Italy, 1200 To 1400 Chapter 19
The Pope was not only the spiritual leader of Europe; he
was also a secular ruler.
The special nature of Italy at this time allowed these
small independent city-states to evolve into very
powerful commercial and trading giants.
Pisa and Venice controlled the maritime lanes between
Europe and the East.
Bubonic plaque:
• Deadliest pandemics in history
• Europe – 1348 ‐ 1350
• 30% ‐60%
– Reduced Population declined from 450 million to 350‐370
million
• It is believed the plaque grew out of rat fleas
from merchant ships
• That it started in Central Asia
The response to the Black Death in Italy:
• Was a commissioning of devotional works and images.
• Religious orders became major health benefactors,
constructing hospitals and caring for the sick and dying.
• Another consequence of this plague was economic: a
lack of population led to a labor shortage.
• And, and already tense and frightened society
exacerbated the tensions between the aristocracy and
the peasants
• The rise of the vernacular language (Latin remained the
official language) allowed for the further and rapid
evolution of philosophy and intellectual conceptual
thinking to be disseminated to a broader base.
• As a consequence “Humanism” became a focus of
interest. This interest created a resurgence of interest in
the writings of Antiquity, and this, in turn, led to
recognition of scholarship.
• Scholars today differ on an exact label for 14th century
Italy. Some call this period "Late Gothic", while others
refer to this century as the “Proto-Renaissance” using
definitions stemming from France
Byzantine Style
The art, territory, history, and culture of the
Eastern Christian Empire and its capital of
Constantinople (ancient Byzantium)
The Byzantine Empire or Eastern Roman Empire,
was the Roman Empire during the Middle
Ages, centered on the capital of
Constantinople, and ruled by Emperors.
• Frescoes Byzantine Empire (1164), with their
unique blend of high tragedy, gentle humanity,
and homespun realism, antcipate the
approach of Giotto and other proto‐
Renaissance Italian artists.
Notes based on information from "Art Though the Ages" by Fred S. Kleiner
As well as information taken from Wikipedia
Fresco painted by Giotto
Italy, 1200 To 1400 Chapter 19
The Pope was not only the spiritual leader of Europe; he
was also a secular ruler.
The special nature of Italy at this time allowed these
small independent city-states to evolve into very
powerful commercial and trading giants.
Pisa and Venice controlled the maritime lanes between
Europe and the East.
Bubonic plaque:
• Deadliest pandemics in history
• Europe – 1348 ‐ 1350
• 30% ‐60%
– Reduced Population declined from 450 million to 350‐370
million
• It is believed the plaque grew out of rat fleas
from merchant ships
• That it started in Central Asia
The response to the Black Death in Italy:
• Was a commissioning of devotional works and images.
• Religious orders became major health benefactors,
constructing hospitals and caring for the sick and dying.
• Another consequence of this plague was economic: a
lack of population led to a labor shortage.
• And, and already tense and frightened society
exacerbated the tensions between the aristocracy and
the peasants
• The rise of the vernacular language (Latin remained the
official language) allowed for the further and rapid
evolution of philosophy and intellectual conceptual
thinking to be disseminated to a broader base.
• As a consequence “Humanism” became a focus of
interest. This interest created a resurgence of interest in
the writings of Antiquity, and this, in turn, led to
recognition of scholarship.
• Scholars today differ on an exact label for 14th century
Italy. Some call this period "Late Gothic", while others
refer to this century as the “Proto-Renaissance” using
definitions stemming from France
Byzantine Style
The art, territory, history, and culture of the
Eastern Christian Empire and its capital of
Constantinople (ancient Byzantium)
The Byzantine Empire or Eastern Roman Empire,
was the Roman Empire during the Middle
Ages, centered on the capital of
Constantinople, and ruled by Emperors.
• Frescoes Byzantine Empire (1164), with their
unique blend of high tragedy, gentle humanity,
and homespun realism, antcipate the
approach of Giotto and other proto‐
Renaissance Italian artists.
Notes based on information from "Art Though the Ages" by Fred S. Kleiner
As well as information taken from Wikipedia
Saturday, February 6, 2010
Wednesday, January 20, 2010
GREENSHEET FOR ART-092
BARBARA ALLIE, INSTRUCTOR SAN JOSE CITY COLLEGE
COURSE DISCIPLINE and NUMBER: ART-092
COURSE TITLE: SURVEY OF ART HISTORY: RENAISSANCE TO THE PRESENT
A class meets Tuesday and Thursday Three (3)-unit (3) hour lecture
Reg ID 54708 Class Meets TTH 1:45 PM to 3:10 PM 02/01/10 to 05/28/10
Room F7
Email: barbaraallie@gmail.com
COURSE DESCRIPTION
This course is an illustrated survey of Art History from the early Italian Renaissance to the present day. Course content emphasizes architecture, painting and sculpture from the most important civilized centers of the world, and how art reflects historical occurrences and the social, political, and religious attitudes of the time. Presentation of the material is through visual presentation using current technologies that includes comparative analysis and critical evaluation of aesthetics. This course will also present alternative modes of art making, such as performance art, and non-traditional,
non-western trends in artistic expression. Field trips will be included.
STUDENT COURSE OBJECTIVES
The following objectives pertain to art history from the early Italian Renaissance to the present day, and upon successful completion of this course students should be able to:
• Keep a journal and record your thoughts about art history.
• Identify specific great works and movements of Western and Non-Western art, and place them into an historical and stylistic period.
• Recognize and identify the styles of acknowledged masters of visual art and describe the historical and cultural context in which they worked.
• Develop and apply a set of criteria to evaluate a work of art, distinguishing differences in style and content.
• Compare and contrast great works of art from within an historical period, and sort them according to time frame and stylistic category.
• Use syllogistic deductive and inductive reasoning to conclude how art reflects historical occurrences and the social, political, and religious attitudes of the time.
• Interpret and derive the meaning of a piece of art according to elements and principles of art, perceptual relationships (such as symbolism), and the historical framework in which it was created.
• Identify traditional and non-traditional media and artistic techniques and approaches.
• Use appropriate terminology in both oral and written communication and express them clearly and effectively in writing using college level spelling, grammar and style.
• Weigh opposing perspectives and points of view.
• Research and report on the life and work of a master or a period in art history.
• Cultivation and appreciation of creativity as an analytical problem solving process as well as a mode of human expression.
COURSE CONTENT:
Introduction, vocabulary and principles of art history
METHODS OF EVALUATION
Essays
Quizzes
Exams
Final Project or Final Exam
READING ASSIGNMETNS
Through the assigned reading in the text, the student will be prepared to:
respond to questions based on the lecture, identifying specific great works and movements of Western and Non-Western art, and place them into an historical stylistic period, and describe their cultural context; participate in small group discussions and activities that require analysis and research, and foster opposing points
of view; develop a criteria for critical analysis of art.
WRITING ASSIGNMENTS
Through the assigned writing assignments, students will be able to:
analyze and interpret a piece of art, and place it into an historical context;
refine independent research techniques and applications of material
GALLERY Visitations To Be Determined – I will post gallery visits on blog as class proceeds.
By viewing actual pieces of art, students will gain a better appreciation of the formal and subjective elements that embody the non-verbal, sensual aspects of visual art.
Art 092 information taken directly from Articulation Outline provided by SJCC
REQUIRED TEXTBOOK:
Gardner's Art through the Ages: A Global History and I Sold Andy Warhole Too Soon -- See information under Required Text Book,
Suggested Text:
The Art of Writing About Art by Suzanne Hudson, Nancy Noonan-Morrissey, Nancy Noonan
ISBN-13: 9780155061545
.
COURSE MATERIALS
College ruled binder (journal)
Flash cards
Text book
GRADING
Your earned grade will depend on the effort you put into class participation, assignments, quizzes, and your final project. Assignments are due at the beginning of class on the designated date. All written work should be typed, spell-checked, and proofread before it is submitted.
METHODS OF EVALUATION
• Growth! Are you improving and developing new ideas and skills?
• Final project (to be discussed at length toward the end of the quarter).
• Failure to submit assignments or late submissions
• Effort, neatness, professional appearance, working diligently and with focus
• Punctuality and handing in all required work on time.
• Class participation: sharing ideas in class discussions and critiques, alertness, following instructions, being respectful and cooperative in the classroom – this applies to the Instructor as well!
• Points will be deducted if you fail to bring required items to class.
Point system:
1,000 possible points
Class Projects (journal & other writings & essays) = 300 points
Final Project= 200 points
Tests = 400 points ( NO hand written papers will be accepted)
Class participation = 100 points.
GRADING
Your earned grade will depend on the effort you put into class participation, assignments, quizzes, and your final project. Assignments are due at the beginning of class on the designated date. I will not accept late assignments unless accompanied by a doctor’s note.
1000 points – 800 = A
800 points – 600 = B
600 points – 500 = C
500 points – 400 = D
400 points – 200 = F
If unable to attend class, it is your responsibility to get the missing assignments form peers. The reading assignments are posted on BLOG
FINAL PROJECT (It is mandatory that you be in attendance during the final day – no exceptions)
MAKEUP EXAMS:
There will be no makeup exams. If a student has a written medical excuse for a missed exam, the percentage earned on the final will be substituted for the missed exam. If a student does not have a written medical excuse, the student will receive a zero for the missed exam.
ASSIGNMENTS
All assignments will be discussed at length in class and appropriate material related to all assignments will be supplied as the class proceeds.
QUIZZES
The quizzes will cover material presented in lectures, readings, online materials, and class activities. Quiz dates will be announced one week in advance.
CLASS PARTICIPATION
Participation grades will be determined by 1) the quality and quantity of class exercises and course activities completed and 2) participation in class. 3.) Time during class periods is limited and all students are expected to spend additional time working at home to complete the course assignments.
Additional descriptive material and course content will be presented as the courses proceeds. Please feel free to contact me about all concerns related to this class. Should you want to talk to me on a one on one basis please email me with your questions.
UNIVERSITY POLICIES;
A. Academic Integrity Statement
“Your own commitment to learning, as evidenced by your enrollment at San Jose City College, and the University’s Integrity Policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the office of Judicial Affairs.
B. Campus policy in compliance with the Americans with Disabilities Act
“If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities register with the DRC to establish a record of their disability.”
College and Departmental Policies
A. You are responsible for understanding the policies and procedures about add/drops, academic renewal, withdrawals, incompletes, classroom behavior, and other policies described in the catalog. Please read your catalog thoroughly.
COURSE DISCIPLINE and NUMBER: ART-092
COURSE TITLE: SURVEY OF ART HISTORY: RENAISSANCE TO THE PRESENT
A class meets Tuesday and Thursday Three (3)-unit (3) hour lecture
Reg ID 54708 Class Meets TTH 1:45 PM to 3:10 PM 02/01/10 to 05/28/10
Room F7
Email: barbaraallie@gmail.com
COURSE DESCRIPTION
This course is an illustrated survey of Art History from the early Italian Renaissance to the present day. Course content emphasizes architecture, painting and sculpture from the most important civilized centers of the world, and how art reflects historical occurrences and the social, political, and religious attitudes of the time. Presentation of the material is through visual presentation using current technologies that includes comparative analysis and critical evaluation of aesthetics. This course will also present alternative modes of art making, such as performance art, and non-traditional,
non-western trends in artistic expression. Field trips will be included.
STUDENT COURSE OBJECTIVES
The following objectives pertain to art history from the early Italian Renaissance to the present day, and upon successful completion of this course students should be able to:
• Keep a journal and record your thoughts about art history.
• Identify specific great works and movements of Western and Non-Western art, and place them into an historical and stylistic period.
• Recognize and identify the styles of acknowledged masters of visual art and describe the historical and cultural context in which they worked.
• Develop and apply a set of criteria to evaluate a work of art, distinguishing differences in style and content.
• Compare and contrast great works of art from within an historical period, and sort them according to time frame and stylistic category.
• Use syllogistic deductive and inductive reasoning to conclude how art reflects historical occurrences and the social, political, and religious attitudes of the time.
• Interpret and derive the meaning of a piece of art according to elements and principles of art, perceptual relationships (such as symbolism), and the historical framework in which it was created.
• Identify traditional and non-traditional media and artistic techniques and approaches.
• Use appropriate terminology in both oral and written communication and express them clearly and effectively in writing using college level spelling, grammar and style.
• Weigh opposing perspectives and points of view.
• Research and report on the life and work of a master or a period in art history.
• Cultivation and appreciation of creativity as an analytical problem solving process as well as a mode of human expression.
COURSE CONTENT:
Introduction, vocabulary and principles of art history
- Renaissance inside and outside of Italy
- Baroque
- Rococo
- Neo-Classicism
- Romanticism
- Realism
- Impressionism
- Post-Impressionism
- 20th century, pre 1945
- Modernism
- Post-Modernism
- Alternative modes of art making
- Non-traditional, non-western trends in artistic expression:
- Asia, China & Korea after 1275, Japan, Native Arts, Oceania, and Africa
- How to write about the subjects related to Art History
METHODS OF EVALUATION
Essays
Quizzes
Exams
Final Project or Final Exam
READING ASSIGNMETNS
Through the assigned reading in the text, the student will be prepared to:
respond to questions based on the lecture, identifying specific great works and movements of Western and Non-Western art, and place them into an historical stylistic period, and describe their cultural context; participate in small group discussions and activities that require analysis and research, and foster opposing points
of view; develop a criteria for critical analysis of art.
WRITING ASSIGNMENTS
Through the assigned writing assignments, students will be able to:
analyze and interpret a piece of art, and place it into an historical context;
refine independent research techniques and applications of material
GALLERY Visitations To Be Determined – I will post gallery visits on blog as class proceeds.
By viewing actual pieces of art, students will gain a better appreciation of the formal and subjective elements that embody the non-verbal, sensual aspects of visual art.
Art 092 information taken directly from Articulation Outline provided by SJCC
REQUIRED TEXTBOOK:
Gardner's Art through the Ages: A Global History and I Sold Andy Warhole Too Soon -- See information under Required Text Book,
Suggested Text:
The Art of Writing About Art by Suzanne Hudson, Nancy Noonan-Morrissey, Nancy Noonan
ISBN-13: 9780155061545
.
The Elements of Style by William Strunk, E. B. White, Charles Osgood ( Afterword)
Usually ships within 24 hours
Campus Book Store - Student Center
Contact Phone
(408) 288-3744 or (408) 288 3737
For the Bookstore hours, clink on the link below:
http://campusstore.sjcc.edu/StoreHours.aspx
COURSE MATERIALS
College ruled binder (journal)
Flash cards
Text book
GRADING
Your earned grade will depend on the effort you put into class participation, assignments, quizzes, and your final project. Assignments are due at the beginning of class on the designated date. All written work should be typed, spell-checked, and proofread before it is submitted.
METHODS OF EVALUATION
• Growth! Are you improving and developing new ideas and skills?
• Final project (to be discussed at length toward the end of the quarter).
• Failure to submit assignments or late submissions
• Effort, neatness, professional appearance, working diligently and with focus
• Punctuality and handing in all required work on time.
• Class participation: sharing ideas in class discussions and critiques, alertness, following instructions, being respectful and cooperative in the classroom – this applies to the Instructor as well!
• Points will be deducted if you fail to bring required items to class.
Point system:
1,000 possible points
Class Projects (journal & other writings & essays) = 300 points
Final Project= 200 points
Tests = 400 points ( NO hand written papers will be accepted)
Class participation = 100 points.
GRADING
Your earned grade will depend on the effort you put into class participation, assignments, quizzes, and your final project. Assignments are due at the beginning of class on the designated date. I will not accept late assignments unless accompanied by a doctor’s note.
1000 points – 800 = A
800 points – 600 = B
600 points – 500 = C
500 points – 400 = D
400 points – 200 = F
If unable to attend class, it is your responsibility to get the missing assignments form peers. The reading assignments are posted on BLOG
FINAL PROJECT (It is mandatory that you be in attendance during the final day – no exceptions)
MAKEUP EXAMS:
There will be no makeup exams. If a student has a written medical excuse for a missed exam, the percentage earned on the final will be substituted for the missed exam. If a student does not have a written medical excuse, the student will receive a zero for the missed exam.
ASSIGNMENTS
All assignments will be discussed at length in class and appropriate material related to all assignments will be supplied as the class proceeds.
QUIZZES
The quizzes will cover material presented in lectures, readings, online materials, and class activities. Quiz dates will be announced one week in advance.
CLASS PARTICIPATION
Participation grades will be determined by 1) the quality and quantity of class exercises and course activities completed and 2) participation in class. 3.) Time during class periods is limited and all students are expected to spend additional time working at home to complete the course assignments.
Additional descriptive material and course content will be presented as the courses proceeds. Please feel free to contact me about all concerns related to this class. Should you want to talk to me on a one on one basis please email me with your questions.
UNIVERSITY POLICIES;
A. Academic Integrity Statement
“Your own commitment to learning, as evidenced by your enrollment at San Jose City College, and the University’s Integrity Policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the office of Judicial Affairs.
B. Campus policy in compliance with the Americans with Disabilities Act
“If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities register with the DRC to establish a record of their disability.”
College and Departmental Policies
A. You are responsible for understanding the policies and procedures about add/drops, academic renewal, withdrawals, incompletes, classroom behavior, and other policies described in the catalog. Please read your catalog thoroughly.
Friday, January 8, 2010
2010 Art History Reading Schedule
Painting by Roy Lichtenstein, from Pop Art Movement
Image taken from Gardner's Image library
Barbara Allie, Instructor
San Jose City College
DATES CLASS MEETS and READING SCHEDULE
Classes Meet on the Following Days:
Tuesday and Thursday (02/01/10 to 05/28/10) Times 1:45 PM to 3:10 PM
Flied Trips Days to be determined – Please Constantly Check Blog for Most Resent Dates of Updated Reading, Field Trips, and New Assignments.
It is your responsibility to stay current with reading assignments!
Feb 2, 4
Intro: What is Art History, Pages xiv – x1vii
Questions Art Historians Ask
What is Its Style?
What is its Subject?
Who made it?
Who paid for it?
The Words Art Historians Use
Form and Composition
Material and Technique
Line
Color
Texture
Space, Mass, and Volume
Perspective and Foreshortening
Carving and Casting
Relief Sculpture
Architectural Drawings
Feb 9, 11
Chapter 19, Pages 498- 516
Feb 12-15 - President’s Holiday - Campus Closed - no classes held
Feb 16, 18
Chapter 20, Northern Europe, 1400 - 1500, Pages 520 -538
Feb 23, 25
Chapter 21, Italy, 1400 – 1500, Pages 542 -576
Feb 26 -Last day to withdraw from a regular semester course without
a “W” on record
March 2, 4
Chapter 22, Italy, 1500 – 1600, Pages 580 – 611
Chapter 22. Italy. Mannerism, Pages 612 -622
March 6,
Sat. Field Trip to Grace Cathedral, San Francisco. 2:00 PM - 4:00 PM
March 9, 11
Chapter 23, Pages 625 - 646
March 16, 18
Chapter 24 Italy and Spain 1600 - 1700, Pages 650 - 670
March 23, 25
Chapter 25, Northern Europe, 1600 – 1700, Pages 674- 702
March 29 – April 1
Spring Break - no classes held
April 6, 8
Chapter 26, South and Southeast Asia After 1200,
Pages 706 - 716
Chapter 27, China and Korea After 1279, Pages 720 732
April 13, 15
Chapter 28, Japan After 1336, Pages 736 - 748
April 20, 22
Chapter 29, Europe and America, Pages 751 – 774
Chapter 30, Europe and America, 1800 – 1870, Pages 777 -818
April 27, 29
Chapter 31, Europe and America, 1870 – 1900, Pages 821 – 880
May 4, 6
Chapter 32, Native Arts of the Americas After 1300, Pages 853 - 868
May 11, 13
Chapter 33, Oceania, Pages 872 -886
Chapter 34, Africa After 1800, Pages 890 - 906
May 18, 20
Chapter 35, Europe and America, 1900 – 1945, Pages 909 -966
May 25, 27
Chapter 36, Europe and America After 1945, Pages 969 -1024
May 28-END OF THE SPRING SEMESTER
June 7 (Monday) Spring 2010
grades available by calling StaReg at 408-223-0300 or online at http://MyWeb.sjeccd.org
Art History Journal
You will be required to keep a journal for this class and to write in it daily. Every so often I will collect your journal to make comments on its content. Furthermore, I will be giving you small writing assignments for you to enter into this journal over the semester.
We will discuss this more in class. Part of your grade will be based on your ability to keep this journal, and to record your thoughts, and observations related to artworks presented in class, on field trips, as well, your reading.
We will discuss this more in class. Part of your grade will be based on your ability to keep this journal, and to record your thoughts, and observations related to artworks presented in class, on field trips, as well, your reading.
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