ART216-01: Art History Survey II: From the Renaissance to the st. 21 Century Summer II: M-R, 10:30-12;45, 208 PF

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1 ART216-01: Art History Survey II: From e Renaissance to e st 21 Century Summer II: M-R, 10:30-12;45, 208 PF Instructor: Prof. Roann Barris rbarris@radford.edu Office: 202 Porterfield Phone: HRS: I should be available daily before and after class but to be safe, let me know in advance for important meetings This class is required for art and design majors. Oer students may use it to fill a core requirement in e area of visual and performing arts. Description: Part two of e art history survey spans a period of extraordinary developments and changes. Art history is concerned wi history as much as wi art: not only will we study a lot of artists and art works, we will also examine changes in style over time, how people responded to particular works of art in e past and e present, and what factors influenced ose responses. To quote from e textbook for e course: A historically based narrative...enables e auor [and reader] to situate each work discussed in its historical, social, economic, religious, and cultural context. That is, after all, what distinguishes art history from art appreciation. Guiding emes for is class include e changing nature of patronage (who commissions e artwork and pays e artist to make it) and its effect on art; e ongoing debate between art and nature and how it influences or shapes artistic values; e role of e church and religion; and e grow of national and/or regional issues and eir reflection in art. Note at summer sessions move quickly. This can be good and bad. On e positive side, you can immerse yourself in e material and you have little time to forget e developments from one century to anoer. On e negative side, you simply cannot let yourself fall behind or you may find at you can t catch up. Goals and Objectives: Correctly use discipline-specific terminology in e analysis of art works Recognize e difference between a personal response, a descriptive response, and a critical response based on eory, history, and visual analysis Recognize e influences of specific media on art historical developments Analyze e impact of gender, culture and social developments such as market structures and patronage on art history Recognize differences between individual artistic styles, period-related styles, and e influence of historic factors on e development of ose styles Textbook required: Fred S. Kleiner, Gardner s Art rough e Ages: A Global History, 14 edition, Backpack Edition: Books D and E (Wadswor, 2013), OR e 13 edition, Gardner s Art -1-

2 rough e Ages: A Western Perspective, Vol. II (Wadswor, 2010). Because e chapter numbers and page numbers are not identical in e two editions, e list of reading assignments gives information for bo editions. I will be using e 14 edition and in class, when I say someing like, As Kleiner says..., I will be referring to e 14 edition. Web sources: class web site: (Link to e page for ART216). I post summaries, reminders and handouts on e class web site along wi a pdf file of e slide show from class. I will do my best to post ese before class so you can print em out and use em to guide your note-taking. ARTSTOR: [access class folder ART216 Summer2012 wi is password: art216ss2012 (all lowercase letters, no spaces); directions are included later in e syllabus] Identification of images is minimal part of is class. Alough I ink it is useful and important to be able to recollect an image when you hear e name, for e purpose of testing I am more interested n your ability to recognize styles raer an specific art works. All e same, studying e image groups will help you develop is ability. Using e survey textbook: Read e relevant chapter before class. This will help you understand e lecture and direct your attention to important concepts for note-taking. Referring to e book during class is generally not helpful since lectures are not intended as repetitions of what e textbook says but as conversations wi e textbook. You are responsible for bo e material in e text and e material presented in class. Requirements and Expectations Expect is to be challenging. No matter what your major is, art history is hard ere is no question about it. But it is broadly relevant, in ways you may not have imagined, to many aspects of life. Make e effort to learn e material and you will be rewarded. Missing deadlines is unprofessional and unfair to yourself and to oers. If at alone is not sufficient reason to turn in work on time, summer session adds e reason of time ere is no time to procrastinate. If you miss one deadline, you will inevitably miss em all. Late work will not be accepted and ere will not be any make-ups for in-class quizzes. PCs, tablets, IPADs and so on may not be used during class I. Attendance: Attendance is required and necessary. You will lose 10 points from your grade point total for every absence. Half classes will count as half an absence. II. Classroom behavior: We live in a world where people are constantly wired and texting. Apparently surgeons have been known to do so while operating and Virginia still doesn t have a law against using mobile devices while driving. Unlike e state of Virginia, I do: not only is it rude to do oer ings while in class; it also works against learning. If I become aware of your engagement in oer activities during class (texting, reading extraneous -2-

3 materials, etc.), I will say someing to you and expect you to stop immediately. This is summer if you d raer be doing someing else, do it! But if you re taking is class, be polite. Graded Assignments: 4 out of 6 quizzes wor 25 points each = 100 points The quizzes will be take-home tests on paper and consist of multiple-choice type short answer questions or short essay questions. I will give em out in class and expect em to be turned in at e beginning of e class indicated on e quiz. The questions will be based on bo e textbook and on material I present in class. I expect you to work alone on ese. You must complete all 6; only 4 will count. 4 image quizzes at 25 each = 100 points ese will test your ability to recognize and identify e style of important artists, movements, and periods. It may be possible to do is as a take-home also but ideally is type of skill is someing you should be able to apply quickly. Major project: 100 points Directions for is project are included later in e syllabus. Midterm exam: 50 points. This will be similar to e quizzes but will be done in class. It will review all material covered up to e midterm. Final exam: 50 points. This will be cumulative for material covered after e midterm. It will also be done in class. Total: 400 Directions for Using ARTstor If you ve taken an art history class at Radford before, you ve probably used Artstor and you re already registered. You still need to sign up for e class folder (see directions below). If you ve never used Artstor before, READ THIS: The first time you use Artstor, you must eier be on campus or go to e artstor site by using e Radford library link. Once you have a log-in and password, you can work from home for 3 mons wiout working on a campus computer. If you already have an artstor log-in but you haven t used it in e past semester, you will also need to work on campus once. How to register: 1. Open your browser. 2. Type in: Go to tools and make sure pop-ups are allowed. If you don t, it will not work. 3. Click on e orange box on e right which says GO. A new window opens up. 4. Click on e question: not registered? 5. Fill in e box wi your and password. Uncheck e boxes about receiving information and surveys (unless you want to get em). Hit submit. The next time you use Artstor, when it opens up, you hit LOG IN, and enter your address and password. 6. The first time you access e class folder, you must go to e FIND tab in e banner at e top (below your browser buttons). When you hit FIND, at e bottom of e menu are e words unlock password-protected folder. Select at option. Anoer box opens up wi -3-

4 your name already filled in. Type in e password: art216ss2012 Now you have access to e class folder (ART216Summer2012) for e rest of e semester. Term Project I. Why is interpretation so variable? Is it because everyone sees ings differently and all interpretations are equally acceptable but personal? Or is it because not all interpretations use all e information available to em? And if e latter is true, how does is affect judgments of e aesetic quality of e art work? Choose an art work which intrigues or interests you. It must fall into e period covered by is class and it must be western. You have two important ings to accomplish. First, imagine at you are a counterfeiter and you want to sell a copy of is art work. You must make a recreation of e work you choose, coming as close as possible to e medium used by e artist, e scale, composition, and content. In oer words, you are not making your own work and imitating e artist s style; you are making a replica of at artist s work. Obviously, you cannot counterfeit e Sistine Chapel, e Mona Lisa, a work of architecture, or a sculpture which has a home. Second, you must analyze e art work. Your analysis should deal wi e medium and technique but it should also cover e interpretation, meaning and influence of e art work over time. In your interpretation, be sure to recognize e contributions of superficial (visible) content, iconography, style, typology and history. It may be helpful to compare an interpretation which can be proven to be wrong because it ignores one of e above categories wi one which is right, because it addresses all of em. Your own ideas are relevant here but e essay should be based on research using academic journals. The written part of e assignment should be 1200 words, ± 100. Any ideas which are not your own should have footnotes or endnotes; all notes should use e Chicago style. None of your research should be based on internet sources not even museum websites. You must turn in bo e recreation and e written paper on July 25. Relevant dates for e project: choose a work no later an July 4 and submit your decision to me. I will eier approve it or disapprove it. Get feedback on your preliminary work no later an July 15. This can be done in a meeting wi me in my office. If you would like me to read a draft, submit it by July 20. Submit project on July 25. II. Patronage and taste-makers If you are truly intimidated by e idea of making a counterfeit, you may choose to write an essay on patronage and its influence on taste. The question before you is how does st patronage change from e 15 century rough e 21? The changing role of e patron is reflected in who e patron is (person, organization, government, etc.), how e patron works wi e artist, how much influence e patron has over e final product, and how much influence e patron (and e product) has over cultural taste. A good essay will provide an overview of issues of patronage and en choose two or ree patrons representing different types of patronage and different historic periods for a detailed comparison. Leng: 1500 words ± 100. Any ideas which are not your own should have footnotes or -4-

5 endnotes; all notes should use e Chicago style. None of your research should be based on internet sources not even museum websites. The same dates apply to is project but raer an choosing a work, simply tell me you have chosen e patronage topic. Submit an outline and bibliography by July 15, and a draft is strongly recommended (by July 20). Schedule Class Topic and Key Events Reading 6/25-26 N. Europe in e 15 c. key artists: Jan van Eyck, Rogier van der Weyden, oer Flemish painters, artists of e HRE emes: relig. art for e home; NE portraiture 6/26-27 Italy in e 15 century key artists: Donatello, Ghiberti, Masaccio, Botticelli, Mantegna, Ghirlandaio, Brunelleschi, Alberti emes: imitation and emulation; patronage and e artist; mature humanism; linear perspective; e Renaissance portrait ch. 15 ch. 20 ch. 16 ch. 21 6/28-7/2 Italy in e 16 century: regional differences and e emergence of a new style (mannerism) Key artists: Bramante, Leonardo, Raphael and Michelangelo new roles for e artist Venetian artists: Bellini, Titian, Palladio new subject matter and e interest in color ch. 17 ch. 22 7/3 mannerism; e Counter-reformation; women as artist and patron; key artists: Bronzino, Parmagianino, Fontana, and Anguissola, Veronese and Tintoretto no class: July 4 (17 cont.) (22 cont.) 7/5 Ren. and Mannerism in 16 c. N. E. (and Spain) emes: e Protestant reformation, iconoclasm, e cult of portraits, e grow of e market key artists: Dürer, Grünewald, Holbein, Bruegel, El Greco 7/9 Baroque Italy and Spain (e 17 cent.) Key artists: Caravaggio, Bernini, Gentileschi, Borromini emes: dynamism and eatricality; a new emotionalism; e restoration of e Church s power ch. 18 ch. 23 ch. 19 ch

6 7/10 Baroque Norern Europe e Treaty of Westphalia; new genres of painting; e middle class consumer; e king s taste key artists: Poussin, Rembrandt, Rubens, Hals, Leyster, and Vermeer; key monument: Versailles ch. 20 ch. 25 midterm: beginning of class on 7/11 7/11-12 From Rococo to Neoclassicism: e 18 cent. Themes: women and e academy; e pastel portrait in e 18 cent.; artifice, sentimentality and e natural; revolution and enlightenment key artists: Watteau, Boucher, Fragonard, Greuze, Vigée-Lebrun, Labille-Guiard, Hogar, Adam, Kauffmann, David, Greenough 7/13: last day to widraw wi a W ch. 21 Bk E, ch. 26 7/16-17 From romanticism to realism in Europe and America emes: art as revolution key artists: Delacroix, Géricault, Ingres, Goya, Constable and Turner, Cole and Church, Courbet, Daumier, Manet, Homer, Eakins, Tanner 7/18-19 Impressionism and post-impressionism: late 19 century emes: new eories of color and optics; an interest in modernity and modern life; e artist s inner vision key artists: Monet, Manet, Degas, Renoir, Cassatt, Caillebotte, Gauguin, Van Gogh, Seurat, Redon, Rodin, Horta 7/23-24 Early 20 century avant-gardes (art before WWII) key artists: Picasso, Braque, Boccioni, Matisse, Kandinsky, Mondrian, Duchamp key ideas and styles: cubism, futurism, absolute abstraction, art into life 7/25-26 From modern to postmodern to post-postmodern? key movements: abstract expressionism, post-painterly realisms, minimalism, new media ch. 22 ch. 27 ch. 23 ch. 28 ch. 24 ch. 29 ch. 25 ch /28 FINAL EXAM, 11 a.m. -6-

7 Advice for All Students 1. Abide by e Radford University Honor Code. I shall uphold e values and ideals of Radford University by engaging in responsible behavior and striving always to be accountable for my actions while holding myself and oers to e highest moral and eical standards of academic integrity and good citizenship as defined in e Standards of Student Conduct. Specific prohibitions listed in e Handbook of Student Conduct and related to academic behavior include e following: lying, e use of unauorized material, cheating, fabrication and falsification, multiple submissions of one piece of work, abuse of academic material, knowingly helping someone else to commit an act of dishonesty, and plagiarism. I take e honor code seriously and if I suspect plagiarism on an essay or cheating on a test, I will give you a chance to establish your innocence. If you can t, you will receive an F for e assignment. 2. If you believe at you have a learning or oer disability, you should go to e Disability Resource Office (DRO). Phone: ; location Rm 32 Tyler Hall. They will give you paperwork to bring to me so at we can work out an approach to compensate for your disability. 3. Radford University maintains a belief in academic freedom or e right to express our views wiout fear of censorship or penalty. This applies to all of us and is especially important in a class at involves art work. Share your feelings but be sensitive to e feelings and values of oers. If e art offends you, say so but try to recognize at e art work was not made as a personal insult and at one goal of our class is to determine what makes some art offensive and when at s acceptable. 4. Respect e effort at everyone makes when it comes to getting an education. I take teaching seriously and I take each one of you just as seriously. I expect you to do e same. Support for Student Learning The university provides free tutorial assistance to students who need assistance in strengening eir academic skills. The Learning Assistance and Resource Center (LARC), located in 126 Walker Hall, is open to all students Monday rough Friday from 9 a.m. until 5 p.m. Certified, trained tutors provide help wi basic study skills, writing, and contentspecific material. An appointment is necessary and can be made by calling , ing larc@radford.edu, or IMing rularcappt. -7-

ART216-01: Art History Survey II: From the Renaissance to the st. 21 Century Spring 2012: T H 11-12:15, MG 206

ART216-01: Art History Survey II: From e Renaissance to e st 21 Century Spring 2012: T H 11-12:15, MG 206 Instructor: Prof. Roann Barris email: rbarris@radford.edu Office: 213 Porterfield Phone: 831-6001