Course Requirements and Grading

            You will receive grades for the following: a quiz, midterm, final, museum project and class participation.  You must complete all tests and the project to successfully complete the course.

            The quiz, midterm and final are given in the test center.  They consist of objective questions. You will be expected to understand the style of art works and the way the works relate to the cultures that produced them.  The tests are not difficult, but do require study.

            The participation grade reflects the general effort I feel you are putting into the course.  It includes class discussion, attendance, and any positive contributions made toward the success of the course. Equally, detracting from the success of the class in any way results in a failing participation grade. This grade is especially important for borderline students, but applies to everyone.

            Special points: Students are graded on improvement, if improvement is fairly constant, which means greater weight may be placed on work completed at the end of the semester. Any exceptionally good piece of work may be given greater weight in determining your final average. 

Museum Project

            Each student will complete a project demonstrating specialized knowledge of a single work of art.  The project allows you to pick something that particularly interests you and study it in detail.  Projects are based on original works of art seen in person this semester in a museum or gallery.  If traveling to a museum presents a problem, see me now.

Attendance and Lectures

            Tests are based on lectures.  Attendance is considered in grading and is necessary for attaining good grades.  You are expected to take good notes. You are responsible for all material, including handouts, presented in class. You are responsible for being able to identify all objects on the “List of Works” and being able to discuss the general ideas and issues presented for all works shown in class.  You are also responsible for knowing the class schedule, which includes due dates. If you miss a class, it is your responsibility to get notes and handouts. Do not document absences. Instead, make up the work by getting notes from classmates; bring questions to me. Read the text in conjunction with the lectures. 

            For classes held in Parker 203, attendance is taken in the front rows only.

Extra Credit and Tutoring

            Take advantage of the resources available, if you need help in this course.

·     If your quiz score is below 70, you should visit Mickey Weller in Parker 331S (x7495) ­for tips on test taking and studying. Mrs. Weller can also help you find a tutor or direct you to sources where you can improve your study skills.  If your quiz or midterm grade was below 70, bring me a note from Mrs. Weller, saying that you visited her, and I will add extra points into your final average. DO THIS EARLY.       

·     You can get help writing your project by visiting the Writing Lab in Academic 201 (or in the library in Mt. Laurel). 

·     There is an optional assignment available for students who wish to raise their grades by doing extra credit work. Look for the assignment sheets in this syllabus and talk to me about your assignment selection. It is also possible to get help with this from a tutor. Check the due date on the calendar.

Talk to Your Art Teacher Who Is Really a Very Nice Person

            Talk with me before/after class, during office hours or by appointment.  See me with questions, concerns or ideas about your projects. During the week, call my extension 6252 at BCC (609-894-9311).  At other times, call me at home (609-894-8070).  Please identify yourself as a student. 

            The Art Teacher has also recently joined the machine age and can now be reached by e-mail:  yantzjm@uscom.com (or jyantz@bcc.edu). Projects or extra credit assignments may be submitted to either address, but my home e-mail will not open attachments; therefore, paste your paper in. 

Writing Style and Typing

            Ability to express yourself clearly and concisely is very important.  Art appreciation and Art History involve learning facts about objects, but also deal heavily with the ability to describe these objects.  Describing art involves learning to look at it carefully and talk about it clearly.  Learn basic terms, practice using them, and spend as much time as possible looking at the illustrations.

            Projects and extra credit assignments must be typed.

Section Number

            Know your section number when you take tests in the test center; otherwise, your test results may not be reported, which will lower your final average. 

Missed Exams

            Missing exams is not acceptable, because there is a full week to complete exams in the test center. If you do miss the quiz or midterm, see me about a makeup. However, there are no makeups for the final. You must take all the exams to pass the course. Check the calendar for the last day to complete makeup exams. Grades for makeup tests are lowered ten points. Students who miss one exam are not eligible for an “A” grade in this course. Students who miss two exams are not eligible for an “A” or “B” grade in the course.  There are no exceptions to the rules for exams.

 
List of Works

Introduction: What is Art? (chpt. 2), The Visual Elements (chpt. 4), Principles of Design (chpt. 5)  Know the basic concepts and terms in these chapters. Here are some examples:
Michelangelo, Pieta, Italy, c. 1498-99, page 9 (ideal naturalism)
*Mound Builders (Hopewell), Hand, Am., c. 500 (stylized), page17
*Rivera, Flower Day, Mexico, 20th C. (symmetrical balance, triangular composition), page 1
Rembrandt, Night Watch, Dutch, 17th C., fig. 17.12 (open composition)
Huichol Shaman, Yarn Painting of Deer, Mexico, 20^th century Am., 1984, fig. (rhythm, warm color)
 

The Ancient world (chpt. 14)
*Sumerian, Worshippers, Mesopotamia (Iraq), c. 2900 BC, page 2
Sumerian, Goat (Ram in Thicket), Mesopotamia (Iraq), 2600 BC, fig. 14.5  (Issue: looting)
Egypt, Great Pyramids, Egypt, c.2500 BC, fig. 3.10
Egypt, Great Sphinx, Egypt, c. 2500 BC, fig. 14.10
Egypt, Tomb Painting, Egypt, c.1450 BC, fig. 14.14 (see also grid, p. 136)
Egypt, Ka Statues, Egypt, c.2500 BC, fig. 11.17
Egyptian, Tut’s mask, Egypt, c.1325 BC, fig. 14.17  (See also p.345, “Whose Grave is This Anyway?”)
 

Themes and Purposes of Art (chpt. 3): Religious Architecture
*Anasazi, Sun Dagger, Chaco Canyon, N. Mexico, c.1200, page 21
Anasazi, Kivas and Cliff Dwellings, Mesa Verde, CO., c.1200, fig. 20.19
Gothic, Chartres Cathedral, Fr., 13th C., fig. 15.17-15.20 (and similar 13.11, interior from Reims)
*Gothic, Chartres, Abraham and Isaac, page 2
Classical Greece, Parthenon, Gr., 5th C B.C., fig. 14.23-14.24  (Issue: acid rain)
*Islamic (by Sinan), Mosque of Selim, Edirne, Turkey, 1570-74, page 25
Teotihuacan, Pyramid of the Sun and Temple of Feathered Serpent, Mexico, c.200, figs. 20.6 & 20.7
 

The Ancient World (chpt. 15): Greece
Archaic Greece, Kouros, Gr., 6th C. B.C., fig. 14.26, 14.27
*Classical Greece, Bronze Zeus, 5th C B.C., page 2
Classical Greece, Doryphorus (Spear Carrier), 5th C B.C., fig. 14.28 (Roman copy)
Hellenistic, Laocoon, late 2nd C B.C., fig. 14.29
*Restoration of Laocoon, page 3

 
Themes and Purposes of Art (chpt. 3): Politics
Rome, Colosseum, Rome, 80 AD., fig. 14.33
*Roman, Augustus, 20 B.C., page 2
Benin, Altar, Nigeria, 18^th C, fig. 5.24 (see also Benin altar with heads of Kings, fig. 18.11)
*David, Napoleon, Fr., 1800, page 4
*Nazi Art, Hitler, Ger., 1939, page 4
Brady, Lincoln, Am., 19th C., fig. 9.6
Daumier, Murder in a Tenement (Rue Transnonain), Fr., 19th C., fig. 3.14
Kollwitz, Death and the Mother, Ger., 1934, fig. 8.18
Kollwitz, Suicide, 1928, fig. 6.16
*Rivera, Liberation of the Peon, Mexico, 1931, PMA, page 1
Picasso, Guernica, Sp., 20th C., fig. 3.16
*Catlett, Sharecropper, Am., 1952, linocut, page 28
Lange, Heading West, Am., 1939, fig. 9.14
 

The Renaissance (chpt. 16): Italy
*Piero, Ideal City, (perspective) See also 4.5, Van Gogh’s Wheatfield and page 6
Grien, The Groom and the Witch, German, 16th C., fig. 4.42 (foreshortening)
Leonardo, Study of Human Proportions, 15th C., fig. 5.26
Leonardo, Mona Lisa, 16th C., fig. 16.8  (See Perugia, page 387, who adds to Mona’s fame.)
Leonardo, Plant Study, 16th C., fig. 6.5   (See the Profile, page 149)
Leonardo, Last Supper, 16th Century, fig. 4.41 (see also p.110 on restoration)
Michelangelo, Sistine Ceiling, 1508-12, Creation of Adam, fig. 16.12 & 16.11
Michelangelo, David, 1501-04, fig. 16.9
*Michelangelo, Pieta, 1498-99, page 9
*Michelangelo, Last Judgment, 1536-41, fig. 16.10 and illustrations, page 7
Raphael, Madonna, 1505, fig. 4.10 (See the profile, page 86)

The Renaissance (chpt. 16): In the North
Rogier, St. Luke Painting the Virgin, Fl., 15th C., fig. 16.22
*Jan Van Eyck, St. Francis, PMA, page 17
Durer, Self-Portrait, Germany, 1500, page 182
*Durer, Adam and Eve, 1504, page 8
*Durer, Rhino, page 8
 

Renaissance and Revival in America (chpt. 21, chpt. 20)
Douglas, Aspects of Negro Life, Am., 20^th C., fig. 22.33 (Harlem Renaissance, see page 519)
*Johnson, Going to Church, Am., 20^th C., page 25
Lawrence, Harriet Tubman, Am., 20th C., fig. 7.6 (See profile, page 167)
Martinez, Jar, Pueblo Indian, Am., 20^th C., 12.2
*Northwest Coast, Haida People, Totem Pole, Am., late 19^th C, at UPenn Museum,25 ft. tall, page 26
*Northwest Coast, Tlingit People, Frog Clan Hat, late 19^th C, UPenn, page 26
*Price, Tlingit Bear Visions, Tlingit people, Am., 2002, page 27
Huichol Shaman, Yarn Painting of Deer, Mexico, 20^th century
 

Themes and Purposes of Art (chpt. 3): Birth, Marriage and Death
*Aztec, Woman Giving Birth, Mexico, c. 1500, page 17
Cassatt, Boating Party, Am., 19th C., fig. 21.12
Modhersohn-Becker, Mother and Child, 1907, Ger., page 268
Roman, Man & Wife, Rome, 1^st C. BC, fig. 14.30
Van Eyck, Arnolfini Wedding Portrait, Fl., 15th C., fig. 2.28 & 2.27
Rubens, Self-Portrait with Wife, Fl, 17th C., page 412
Baule, Spirit Spouse,  Ivory Coast, early 20^th C., fig. 11.20 (U Museum at Penn)
*Rousseau, Wedding in the Country, 1904, Fr., page 10
China, 1st Emperor’s Army, 3rd C. B.C., fig. 19.14 (Qin Dyn.)
Islamic, Taj Mahal, India, 17th C., fig. 13.18
Great Burial Period, Haniwa Horse, Japan, 5th C., fig. 12.1
Lin, The Wall (Vietnam Veteran’s Memorial), Am., 20th C., fig. 3.17 (See profile, page 57.)
 

The 17th and 18th Centuries (chpt. 18)
*Arcimboldo, Summer, It., 16th century (Mannerist style), page 10
Tintoretto, Last Supper, It., 16th C., fig. 16.28 (art of the Counter Reformation)
Bernini, St. Teresa, It., 17th C., figs. 17.1-17.2
*Bernini, David, page 9
Caravaggio, Deposition, It., 17th C., fig. 17.6
Artemisia, Judith, It., 17th C., fig. 17.5
Velazquez, Maids of Honor, Sp., 17th C., fig. 17.11
Rubens, Raising of Cross, Fl, 17th C., fig. 17.7
*Rubens, Prometheus Bound, PMA, page 9
*Vermeer, The Concert, Dutch, 17th C., page12
Vermeer, Woman with Scales, fig. 3.28
Rembrandt, Night Watch, Dutch, 17th C., fig. 17.12
Rembrandt?, Polish Rider, fig. 2.6 (see profile page 64 and see page 26, sheets of illustrations)
Rembrandt, Self Portrait, 3.24 

The Mysteries: Communicating with Gods and Humans
Paleolithic Cave Painting, Lascaux, Fr., 13,000 BC, fig. 14.1
Paleolithic, Venus of Willendorf, Austria, c.20,000BC, fig. 14.2
Paleolithic, Lion Panel from Chauvet Cave, Fr., c. 30,000BC, fig. 1.3
Neolithic, Stonehenge, England, c. 2000BC, fig. 1.4
Oceanic, Easter Island Statues, 15th century, fig. 20.3
*Olmec, Seated Figure, page 22
Olmec, Standing figure with Were-Jaguar, fig. 3.7
Mound Builders (Mississippian, 900-1600), Serpent Mound, Ohio, fig. 11.29
*Mound Builders (Hopewell), Hand, c. 500, page 17
*Nasca,  Lines, Peru, c. 500, page 15
Inca, Machu Picchu, Peru, c. 1500, fig. 20.14
*Minoan, Snake Goddess, c. 1600 BC, Crete, page 22
 

The Portrait
*Titian, Portrait of a Man, It., 16th C., page 10
*Bernini, Costanza Bonarelli (Bernini’s mistress), It., 17th C., page 10
*Sargent, Madame X, Am., 19th C., page 11
*Charlement, Moorish Chief, Austria, 19th C., page 4
Kokoschka, Self-Portrait, 20th C., Ger., fig. 7.8
Wyeth, Braids, Am., 20th C., fig. 7.5
*Wyeth, Miss Olsen and Kitten, page 16
*Wegman, Lolita, Am., 1990, page 11
*Parks, American Gothic, Am., 1942, page 12
Warhol, Marilyn, 20th C., Am., fig. 2.29 (see also profile, page 26)
*Oldenburg, Clothespin, Am., 1976 (Philly), page 12
Close, Bill, Am., 20th C., fig. 1.19-1.20
*Whistler, Arrangement in Gray and Black, Am., 19th C., page 11
*Mapplethorpe, Double Portrait, 1984, Am., page 11
Mapplethorpe, Self-Portrait, 1988, page 223  (See issue: censorship)
 

The Modern World (chpt 19): 19th Century Art
*Manet, Battle of the “Kearsarge” and “Alabama”, Fr., 1864 (Read page 9 in syllabus), page 18
*Manet, The Good Beer, 1873, page 18
Monet, Haystacks at Sunset, Fr., 1891, fig. 4.48
Degas, Entrance of Dancers, Fr., 1884, fig. 6.13
*Degas, The Tub, 1886, page 14
Degas, Dancer Adjusting Her Slipper, 1873, Met, f.6.4
Cezanne, The Large Bathers, 1906, Fr., 5.19 (PMA)
Cezanne, Mont Sainte-Victoire, c. 1904, fig. 21.10 (PMA)
Seurat, La Grande Jatte, Fr. , fig. 4.28
Gauguin, Day of the Gods, Fr., 1894, fig. 5.10 (See profile, page 500.  Issue: The Tormented Genius.)
Gauguin, When Are You to be Married?, fig. 21.9
*Van Gogh, Bedroom at Arles, Dutch, 19th C., page 14
Van Gogh, Starry Night, Dutch, 19th C., fig. 1.10
Van Gogh, Self-Portrait, page 13
*Munch, Death Chamber, Norway, 19th C, page 14
Munch, The Kiss, fig. 2.24
Munch, The Scream, fig. 4.30
Stieglitz, The Steerage, Am., 1907, fig. 9.17 (see also profile on page 216)
Weston, Washbowl, Am, 1926, fig. 5.8

Picasso, Artist’s Father, Sp., 1896, fig. 2.14
Picasso, Les Demoiselles, 1907, fig. 21.17
Picasso, Self-Portrait, PMA, 1906, page 506
*Picasso, Accordianist, 1911 (see also Braque’s The Portuguese, fig. 21.19, same style), page 23
Picasso, Girl Before a Mirror, 1932, fig. 5.35
 

Themes and Purposes of Art (chpt 3): Imagination and Fantasy
*Ming , Dragon, China, 15th century, page 9
Bosch, Garden of Earthly Delights, Fl., c. 1500, fig. 3.29
*Goya, Sleep of Reason, Sp., 19th C, page 19
Rousseau, The Dream, Fr., 19th C, fig. 3.30
Skoglund, Radioactive Cats, Am, 20th century, fig. 3.31
Duchamp, Bottle Rack, 1914 original, Fr. (Dada) in PMA, fig. 21.23
Dali, Persistence of Memory, Sp., 1931, fig. 21.26
*Dali, Temptation of St. Anthony, page 23
Magritte, Delusions of Grandeur, Bel., 20th C, fig. 5.22
Oppenheim, Luncheon in Fur, Ger., 1936, fig. 21.25
Alvarez-Bravo, Frida Kahlo, Mexcio, 1930’s, fig. 9.8
Pollock, Number 1, 1949, Am., fig. 22.1 and Pollock working, page 522 (Abstract Expressionism)
Pollock, Convergence, 1952. fig. 5.5
Klee, Landscape with Yellow Birds, Swiss, 1923, fig. 7.13
*Chagall, Bride and Groom, Russian, 1938-39, page 23
 

Sculpture (chpt. 11): The Figure
Cellini, Perseus, It., 1545-54, fig. 11.6
Rodin, Burghers of Calais, Fr., 1886, fig. 11.15
*Rodin, Gates of Hell and Thinker, page 19
Rodin, The Kiss, fig. 532
*Rodin, Walking Man, page 20
*Rodin, Man with Broken Nose, page 15 

*Brancusi, The Kiss, Romanian, PMA, 1910, page 24
Brancusi, Fish, fig. 1.1 (similar version at PMA) 

Calder, Lobster Tail..., 1939, Am, fig. 4.50
*Calder, Cow, 1929, page 24
Segal, The Parking Garage, 1968, Am.,  fig. 22.14
*Hanson, Self-Portrait with Model, Am., 1979, page 24

Themes and Purposes of Art (chpt 3): Art and Nature
Sesshu, Splashed Ink Landscape, 15th C., Japan, fig. 19.30
*Sesshu, Autumn Landscape, page 24
Tohaku, Pine Wood, Japan, 16th c., fig. 19.32
Li Chung, A Solitary Temple..., China, 10th Century, fig. 19.20
Wang Jian, Landscape, China, 17th c., fig. 3.34
Han, Incense Burner, 2nd century BC, China (Daoist)
*Katsura, Japan, 17th C, page 20 

Wright, Falling Water, Am., 1936, fig. 13.40
Adams, Moon and Half Dome, Am., 1966, fig. 9.10 

Earth Works:
            Smithson, Spiral Jetty, Am., 1970, fig. 3.36
            Turrell, Afrum-Proto, Am., 1967, fig. 1.17
            Christo, Wrapped Reichstag, 1971-1995, Bulgarian, fig. 11.30 and page 276 

Animals in Art

Ch’ing, Moon Crystal, 18th century, China

SAMPLE  EXTRA CREDIT ASSIGNMENTS

Extra credit assignments change each semester.  Here are some past examples.

 1. Attend the Guided Tour of the African Art Collection at the University of Pennsylvania, Saturday, Feb. 14, leaving BCC at 9:30 (by bus) and returning 3 pm.  Cost for the bus, admission to the museum, and guided tour is only $15. Sign up for the tour (registration number CFI 732-80) by calling 894-9311, x7451 (paying with a credit card) or going to the registration desk in Parker and paying in person. (This is an excellent way of getting transportation for your museum project, if needed.)  Based on the guided tour, write a four-page paper about one of the objects in the African collection.  Consider style, materials and purpose or use of the object. 

2. Write a five-page paper on public sculpture, based on a visit to the sculpture garden.  Discuss at least one work from BCC’s sculpture Garden in your paper. Walk the grounds and consider what types of art should be displayed publicly.  Are there rules that should be applied to public sculpture? Consider issues of censorship and what is appropriate for public display. Are there ways to display controversial works that allow for freedom of expression, but protect the audience?  What about abstract art that many viewers hate? How do we make abstract art accessible to people who find it hard to understand?  Should religious art, nudes or sexual images be displayed? Who should decide? What rules should be used?   These are some questions to consider in your paper. You will need to do some research for this topic. Begin with Gilbert, page 274 on Serra. Also try Harriet Seine’s The Tilted Arc Controversy as a reference, and do online research. Include a bibliography and photographs of any works from BCC’s sculpture garden you are discussing. 

3.  Submit a five-page paper on one of the works in BCC’s permanent collection. Include a photo and bibliography.  Discuss style, subject and the culture from which the artist comes. 

6.  Redesign any local building (possibly one of  BCC’s buildings, for example) in the style of any architect (such as Frank Lloyd Wright) or period style (such as Post Modern, Gothic or Inca) covered  by our book or lectures.  Describe the changes you would make in a short paper (about two or three pages), making it clear to me that your changes are based on a firm understanding of the style of the architect whose work is inspiring your newly redesigned building.  Include a drawing or model of the redesigned building.  The most important thing is showing me that you understand the style of the artist or period you are using as a source. Creative ideas, insight and effort will considered; drawing ability is not an important factor.  Scan our text for other ideas, then check the library for more information on your architect, if needed.  Include a bibliography.

7.  Art and Economics:  In 1990, Vincent Van Gogh’s Portrait of Dr. Gachet sold for $82.5 million to a Japanese buyer. Shortly after that, the same picture sold again for $90 million. Other works of art also go for high prices (such as a still life by Cezanne that sold in May 1999 for $60.5 million, now in Las Vegas), but Van Gogh’s prices have been consistently astonishing. (There is a new book about this purchase, Portrait of Dr. Gachet by C. Saltzman, that might be useful.)  Why have the prices for Van Gogh been consistently high?  Are works of art worth millions of dollars?  Why or why not?  What do these purchases represent to the buyers?  What impact do they have on the rest of us? Write a short (around three pages) paper addressing the questions above, particularly the question of  why it is Van Gogh’s pictures that sell for so much.  There is room for opinion in this paper, but be sure to back up your opinion with facts.  Include a bibliography. (If you are curious about the art market today, get a current copy of Art and Auction, a magazine about the art market.  It is available at many book stores and will include examples of current prices for art works sold through the big auction houses in New York and Europe.)

 
8.  Mysteries: Select one of the mysteries we did not cover in class--New Grange, Carnac, the Sphinx (dating), chalk drawings in England, etc.--and see if you can explain away the mysteries associated with your object by viewing it in historical and cultural context. Put this in the form of a short paper (about three pages).  Include a bibliography. Be wary of internet sources for this one. 

9. Mental Illness and Art: Is there a relationship? Using the works of one (or more) artists believed to have had mental problems, explain what, if any, relationship exists between mental illness and art. Artist who might qualify include: Kokoschka, Munch, Van Gogh, Hugo Van Der Goes, Rothko, Pollock, Borromini, Lehmbruck, Gorky and others. Put this into a short paper (three pages) with a bibliography. 

 10.  Thefts and Forgeries: Select one famous theft (Mona Lisa, for example) or forger (Elmyr de Hory, O’Keeffe fakes, and MANY others). Discuss the case, the problems it represents, and possible solutions. Put this into a short paper (three pages) with bibliography.

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