Art History Volume 2, 5E Marilyn Stokstad Solution Manual by Ace Test Banks

Instructor’s Manual by Sarah Archino, Ph.D., Millsaps College Suzanne Owens, Ph.D., Lorain County Community College

For

Art History FIFTH EDITION

Marilyn Stokstad Michael Cothren Email: richard@qwconsultancy.com

Table of Contents Introduction Volume 1 Sample Syllabus – Western Emphasis Volume 2 Sample Syllabus – Western Emphasis Volume 1 Sample Syllabus – Global Emphasis Volume 2 Sample Syllabus – Global Emphasis Chapter One Prehistoric Art in Europe Chapter Two Art of the Ancient Near East Chapter Three Art of Ancient Egypt Chapter Four Art of the Ancient Aegean Chapter Five Art of Ancient Greece Chapter Six Etruscan and Roman Art Chapter Seven Jewish and Early Christian Art Chapter Eight Byzantine Art Chapter Nine Islamic Art Chapter Ten Art of South and Southeast Asia Before 1200 Chapter Eleven Chinese and Korean Art Before 1279 Chapter Twelve Japanese Art Before 1392 Chapter Thirteen Art of the Americas Before 1300 Chapter Fourteen Early African Art Chapter Fifteen Early Medieval Art in Europe Chapter Sixteen Romanesque Art Chapter Seventeen Gothic Art of the Twelfth and Thirteenth Centuries Chapter Eighteen Fourtheenth-Century Art in Europe Chapter Nineteen Fifteenth-Century Art in Northern Europe Chapter Twenty Renaissance Art in Fifteenth-Century Italy Chapter Twenty-One Sixteenth-Century Art in Italy Chapter Twenty-Two Sixteenth-Century Art in Northern Europe and the Iberian Peninsula Chapter Twenty- Three Seventeenth-Century Art in Europe Chapter Twenty- Four Art of South and Southeast Asia after 1200 Chapter Twenty- Five Chinese and Korean Art after 1279 Chapter Twenty-Six Japanese Art after 1333 Chapter Twenty-Seven Art of the Americas after 1300 Chapter Twenty-Eight Art of Pacific Cultures Chapter Twenty-Nine Art of Africa in the Modern Era Chapter Thirty Eighteenth- and Early Nineteenth-Century Art in Europe and North America Chapter Thirty-One Mid- to Late Nineteenth-Century Art in Europe and the United States Chapter Thirty-Two Modern Art in Europe and the Americas, 1900-1950 Chapter Thirty-Three The International Scene since 1950

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Stokstad / Cothren Art History, 5th ed., Vol. 1: Instructor’s Manual Introduction E. 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 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.

SAMPLE SYLLABUS: “Art History I” (Western European emphasis) Stokstad/Cothren, 5th ed., Volume 1 Week Chapters for Lecture 1 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-Haut Closer 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-Haut Video 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,

Stonehenge Decoded, Student on Site: Stonehenge Web Resource: The Cave of Chauvet – Pont - D’Arc, Panorama: Stone-henge, Panorama: Skara Brae, Orkneyjar Assessment: Chapter 1 MAL Pre- and Post- Tests: www.myartslab.com Art 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 back Studio Technique Video: Sculpture Carving (Relief) Video/Podcasts: Persepolis, The Iraq Museum Reopens, Students on Site: Lion Hunt Frieze Web 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

MyArtsLab Resources: Architectural Simulation: Mastaba to Pyramid Closer Look: Akhenaten and His Family, Funerary Temple of Hatshepsut, Palette of Narmer, Book of the Dead, Tomb of Ramose, Abu Simbel Video: Ancient Thebes with its Necropolis Web Resource: Seated Scribe (Louvre Museum), Panorama: Memphis and its Necropolis Primary Source Documents: A Hymn to Aten

Assessment: Chapter 3 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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

Assessment: Chapter 4 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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

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

Assessment: Chapter 5 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Dionysios Closer Look: Altar of Pergamon, Nike of Samothrace, Alexander Mosaic: Temple at Aegina Video / Podcasts: Winged Victory of Samothrace, Student on Site: Doryphoros, Student on Site: Lapith and Centaur, Student on Site: Laocoon Primary Documents: Pliny the Elder, Natural History

Assessment: Chapter 5 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Arch Closer Look: Gemma Augustea, House of the Vetti, Augustus of Primaporta, Ficoroni Cista

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

Assessment: Chapter 6 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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: Concrete Closer Look: Dish from Mildenhall, England, The Column of Trajan, Sarcophagus with the Indian Triumph of Dionysus, The Forum Romanum and Imperial Forums, Arch of Constantine, Mosaic Video / Podcasts: Pantheon, Tetrarchs

Assessment: Chapter 6 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Costanza Closer Look: The Mosaic Floor of the Beth Alpha Synagogue, Sarcophagus of Junius Bassus, Santa Costanza, Good Shepherd Mosaic from Oratory of Galla Placidia

Video / Podcast: Student on Site: Santa Sabina

Assessment: Chapter 7 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Loukas Architectural Simulation: Pendentives Closer Look: Paris Psalter, Virgin and Child with Saints and Angels, Kariye Camii, Hagia Sophia, David Battling Goliath Plate, Icon of Saint Michael the Archangel Video / Podcasts: Student on Site: San Vitale Mosaics Primary Source: Procopius of Caesarea, from Buildings

Assessment: Chapter 8 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Arches Closer Look: A Mamluk Glass Oil Lamp, Dome of the Rock, Mihrab from

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

Assessment: Chapter 9 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Churches Closer Look: Sutton Hoo Clasp

Assessment: Chapter 15 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Plan Web Resource: The Palace Chapel of Charlemagne (video) Primary Document: From The Rule (St. Benedict of Nursia)

Assessment: Chapter 15 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com Chapter 16. Romanesque Art (Part 1)

"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 Cathedral Closer Look: Durham Cathedral Video / Podcasts: Speyer Cathedral, Student on Site: Cathedral Complex, Pisa Web Resources: Routes of Santiago de Compostela in France (video), Cathedral of Saint James, Santiago de Compostela Primary Document: Description of Cluny, From Pilgrim's Guide to Santiago de Compostela: Part 1 and Part 2, From Apologia to Abbott William of SaintThierry

Assessment: Chapter 16 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Portal Closer Look: The Bayeux Embroidery, The Last Judgment Tympaum at Autun, Renier of Huy Baptismal Font Web Resources: Bayeux Tapestry Assessment: Chapter 16 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com

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 Cathedral Architectural Simulation: Ribbed Vault Closer 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 Glass Web Resources: Chartres Cathedral (video) Students On Site Videos: Salisbury Cathedral; Pisa Baptistery Pulpit Primary 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 Assessment: Chapter 17 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com

Chapter 18. Fourteenth-Century Art in Europe (1300-1400) 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: Closer Looks: The Hours of Jeanne d’Évreux; The Scrovegni Chapel; Giotto and Duccio’s Betrayal/Kiss of Judas; Duccio, Maesta; Virgin and Child (SaintDenis); Vesperbild (Pietà); Fresco. Studio Technique Videos: Egg Tempera. Students On Site Videos: exterior of the Arena Chapel; Palazzo Pubblico, Siena Primary 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. Assessment: Chapter 18 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com

SAMPLE SYLLABUS: “Art History II” (Western European emphasis) Stokstad/Cothren, 5th ed., Volume 2 Week Chapters for Lecture 1 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.

Assessment: Chapter 19 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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

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 MediciRiccardi; Ospedale degli Innocenti; Florence Duomo. Web Resources: The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece; Monumental Sculpture from Renaissance Florence.

Assessment: Chapter 20 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

Assessment: Chapter 20 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com Chapter 21. Sixteenth-Century Art in Italy, Part I (1500-1600) Europe in the Sixteenth Century, Italy in the Sixteenth Century: The High

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.

Assessment: Chapter 21 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

Assessment: Chapter 21 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Altarpiece Students 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.

Assessment: Chapter 22 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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

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.”

Assessment: Chapter 23 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

Assessment: Chapter 23 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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. 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-AugusteDominique 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” – ÉtienneJean Delécluze.

Assessment: Chapter 30 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

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.

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

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

Assessment: Chapter 32 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

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.

Assessment: Chapter 32 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

Assessment: Chapter 33 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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

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 Arc 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. Assessment: Chapter 33 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com

SAMPLE SYLLABUS: “Art History I” (Global / World Art emphasis) Stokstad/Cothren, 5th ed., Volume 1 Week Chapters for Lecture 1 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, Orkneyjar Assessment: Chapter 1 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 2

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 back Studio Technique Video: Sculpture Carving (Relief) Video/Podcasts: Persepolis, The Iraq Museum Reopens, Students on Site: Lion Hunt Frieze Web 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.com Art History Test Item File: www.pearsonmytest.com 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 Pyramid Closer Look: Akhenaten and His Family, Funerary Temple of Hatshepsut, Palette of Narmer, Book of the Dead, Tomb of Ramose, Abu Simbel Video: Ancient Thebes with its Necropolis Web Resource: Seated Scribe (Louvre Museum), Panorama: Memphis and its Necropolis Primary Source Documents: A Hymn to Aten

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

Assessment: Chapter 4 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Orders Architectural Simulation: Theater of Dionysios Closer 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 Aegina Video / Podcasts: Student on Site: Achilles and Ajax, Winged Victory of Samothrace, Student on Site: Doryphoros, Student on Site: Lapith and Centaur, Student on Site: Laocoon Primary Documents: Pliny the Elder, Natural History

Assessment: Chapter 5 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com Chapter 6. Etruscan and Roman Art 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. 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, Concrete Closer Look: Gemma Augustea, House of the Vetti, Augustus of Primaporta, Ficoroni Cista, Dish from Mildenhall, England, The Column of Trajan, Sarcophagus with the Indian Triumph of Dionysus, The Forum Romanum and Imperial Forums, Arch of Constantine, Mosaic Video / Podcasts: The Flavaian Amphitheater (Colosseum), Pont du Gard (Roman Aqueduct), Reawakened Ancient City: Archaeological Areas of Pompei Student on Sites: Augustus of Primaporta, Marcus Aurelius, Ara Pacis, Colosseum, She-Wolf, Villa of Mysteries, Arch of Titus, Pantheon, Tetrarchs Primary Source Documents: Vitruvius, “On Symmetry”

Chapter 7 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Loukas Architectural Simulation: Pendentives Closer Look: Paris Psalter, Virgin and Child with Saints and Angels, Kariye Camii, Hagia Sophia, David Battling Goliath Plate, Icon of Saint Michael the Archangel Video / Podcasts: Student on Site: San Vitale Mosaics Primary Source: Procopius of Caesarea, from Buildings

Assessment: Chapter 9 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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, Sanchi Architectural Simulation: Stupas and Temples Closer Look: Descent of the Ganges Relief, Mamallapuram, The Great Stupa at Sanchi, Shiva Nataraja, Angkor Wat, The Great Departure, Sanchi, Bodhisattva, Cave 1, Ajanta Video / Podcasts: The Hindu Temple Web Resources: Panorama of Mohenjo-Daro, Panorama of Khajuraho, Borobudur Temple Compounds, Elephanta Caves Primary Documents: Sermon of the Buddha

Assessment: Chapter 10 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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: Pagodas Closer Look: Large Seated Buddha with Standing Bodhisattva, Rubbing of a

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

Assessment: Chapter 11 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Technique Closer Look: The Tale of Genji, Kuya Preaching (Kosho), Womb World Mandala, Haniwa Figure, Ise Shrine, Night Attack on the Sanjo Palace Video / Podcasts: Ancient Temples of Nara Web Resources: Horyu-ji Temple, Japanese Arms and Armor (Metropolitan Museum of Art), Tale of Genji

Assessment: Chapter 12 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 time and 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 American visual arts.

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: Teotihuacan Closer Look: Lintel 24, Yaxchilan (Shield Jaguar and Lady Xok), Maya Stela, Moche Portrait Vessel, Bowl with Scorpion, Seed Jar Video / Podcasts: Lines and Geoglyphs of Nasca and Pampas de Jumana, Maya Rise & Fall, Pre-Hispanic City of Chichen-itza Web Resource: Pre-Hispanic City of Teotihuacan (video)

Assessment: Chapter 13 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Construction Architectural Panorama: Beta Ghiorghis Closer Look: Roped Pot on a Stand, Decorated Textile from Kongo, Warrior Chief Brass Plaque, Nok Head, Hip Mask Representing an Iyoba, Great Zimbabwe Studio Technique Video: Lost-Wax Bronze Casting Videos / Podcasts: Rock-Hewn Churches at Lalibela, Tassili n'Ajjer Web Resources: National Museum of African Art, Nok Terra-cottas

Assessment: Chapter 14 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

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 Churches Closer Look: Sutton Hoo Clasp, Psalm 23 in the Utrecht Psalter, Coronation Gospels St. Matthew Compared to Ebbo St. Matthew, Saint Gall Plan Web Resource: The Palace Chapel of Charlemagne (video) Primary Document: From The Rule (St. Benedict of Nursia)

Assessment: Chapter 15 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Cathedral Architectural Simulation: Romanesque Portal Closer Look: Durham Cathedral, The Bayeux Embroidery, The Last Judgment Tympaum at Autun, Renier of Huy Baptismal Font Video / Podcasts: Speyer Cathedral, Student on Site: Cathedral Complex, Pisa Web Resources: Routes of Santiago de Compostela in France (video), Cathedral of Saint James, Santiago de Compostela, Bayeux Tapestry Primary 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

Art History Test Item File: www.pearsonmytest.com 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 Cathedral Architectural Simulation: Ribbed Vault Closer 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 Glass Web Resources: Chartres Cathedral (video) Students On Site Videos: Salisbury Cathedral; Pisa Baptistery Pulpit Primary 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 Assessment: Chapter 17 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com

SAMPLE SYLLABUS: “Art History II” (Revised Global / World Art emphasis) Stokstad/Cothren, 5th ed., Volume 2 Week Chapters for Lecture 1 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.

Assessment: Chapter 19 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 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 MediciRiccardi; 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.

Assessment: Chapter 20 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Women Students On Site Videos: The Tempietto; The Villa Rotunda; Palazzo Te; San Giorgio Maggiore.

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 “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.

Art History Test Item File: www.pearsonmytest.com 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.”

Assessment: Chapter 23 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 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.

Assessment: Chapter 24 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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.

Assessment: Chapter 25 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 during the Edo period, especially the popularized imagery featured in ukiyoe. 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.

Assessment: Chapter 26 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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. Assessment: Chapter 27 MAL Pre- and Post- Tests: www.myartslab.com

Art History Test Item File: www.pearsonmytest.com 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.

Assessment: Chapter 28 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 compound Web Resources: Art as a Verb in Africa: The Masks of the Bwa Village of Boni (video). Primary Source Documents: Olowe of Ise Oriki.

Assessment: Chapter 29 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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. 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-AugusteDominique 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” – ÉtienneJean Delécluze.

Assessment: Chapter 30 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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); 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.

Assessment: Chapter 31 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com Chapter 32. Modern Art in Europe and the Americas, 1900-1950 (19001950) 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 BeerBelly 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 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.

Assessment: Chapter 32 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com 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 Arc Studio 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. Assessment: Chapter 33 MAL Pre- and Post- Tests: www.myartslab.com Art History Test Item File: www.pearsonmytest.com

CHAPTER ONE

PREHISTORIC ART IN EUROPE

1 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 Naming Technique: Prehistoric Wall Painting Recovering the Past: How Early Art is Dated The Neolithic Period | Architecture | Sculpture and Ceramics A Closer Look: A House in Catalhoyuk Art and Its Contexts: Intentional House Burning Elements of Architecture: Early Construction Methods Technique: Pottery and Ceramics A 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 1.2 1.3 1.4

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. Survey the principal themes, subjects, and symbols in prehistoric painting, sculpture, and objects. 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. Grasp the concepts and vocabulary used to describe and characterize prehistoric art and architecture.

Transition Guide Images 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 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: Stonehenge Panorama: Skara Brae Orkneyjar

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 relief sculpture

electron spin resonance ridgepole

lintel mortise-and-tenon

memory image abstract composite pose modeling relative dating absolute dating radiometric dating potassium-argon dating

wattle and daub thatch megalithic architecture dolmen capstone cairn passage grave vault

thermo-luminescence dating

henge

corbeling ceramics porcelain kiln earthenware stoneware postherds alloy

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-byimage. 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 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

ART OF ANCIENT NEAR EAST

2 Chapter-at-a-Glance •

Learning Objectives By the end of the chapter, students should be able to: 2.1 2.2 2.3 2.4

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

Transition Guide Images Removed from 4th Edition Woman Spinning (P. 43)

Images Added to the 5th Edition Head of a Woman (Fig. 2-3) Disk of Enheduanna (Fig. 2-10)

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 back Studio Technique Video: Sculpture Carving (Relief) Video/Podcasts: Persepolis The Iraq Museum Reopens Student on Site: Lion Hunt Frieze Web 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

Discussion Topics and Critical Thinking Questions 1. Ancient cultures of the Near East developed in relation to the geography and natural environment of their world. Identify connections between environmental features of "The Fertile Crescent" (see Map 2-1) and evolutions of culture throughout Mesopotamia. How are these connections manifested in the artifacts and architecture of these early cultures? 2. Ancient cultures of the Near East followed different spiritual or religious practices. Identify ways that spiritual beliefs were expressed through objects created in the empires of Mesopotamia, Anatolia, Assyria and Persia. 3. Political power in the empires of the Near East was reflected in the architectural structures built over time and by various rulers. Discuss the types of buildings and construction methods that reveal this part of ancient history. 4. Writing and the codification of laws were two significant developments that grew out of the ancient Near East. Trace events an circumstances that shaped these developments and discuss their effects upon “civilization”.

5. Graphic features of cuneiform writing in Sumer can be related to conventions of sculpture that "told stories in stone". Compare characteristics and conventions evident in examples from both means of expression. 6. Human and animal figures are merged or depicted in close relationships in distinctive objects produced by multiple cultures of the Near East. Identify examples and discuss how their characteristics might be interpreted. 7. The roles of women in ancient cultures can be inferred from visual imagery on preserved objects. Identify examples of this imagery across the chapter, describe how women are depicted, and discuss what these images reveal. 8. Discuss the new types of materials used for art or object production in the ancient Near East as compared to Prehistoric cultures.

Key Terms stele

inlay

lost-wax casting

hieratic scale cuneiform stylus ziggurat

registers votive figures conventions cylinder seals

palace complex lamassus crenellated gold leaf

Activities and Exercises 1. View Cuneiform Writing in Sumeria in MyArtsLab, In this “Closer Look” feature, listen and carefully view the illustrations provided in each section (“Early Pictograms”, “Cuneiforms” and “Phonetic Writing”), then complete the following exercise steps. 2. Divide students into groups of 2-3 per team. Without repeating any of the actual pictograms illustrated in the chapter or “Closer Look” feature, create a set of 6 – 8 contemporary pictograms suitable for communications today. Follow the underlying concepts explained for this history to devise these representations. When this set is completed, move along to the next step. Transform the initial set of pictograms into cuneiforms by adapting to the linear, wedge-like forms illustrated in the “Closer Look” feature. Follow the underlying concepts explained in this history to alter these representations. When this set is complete, move along to the next exercise. Transform this set once again to create examples of phonetic writing based upon the sounds of language, as explained in “Another Significant Development” within the “Closer Look” feature.

View The Standard of Ur and Ishtar Gate in the “Closer Look” section of MyArtsLab to understand what these objects represent, how they were discovered, and where they would be found today. After viewing, complete the following exercise.

Divide students into groups of 3-4 per team. Combining information from the “Closer Look” features with examples presented in “Art as Spoils of War—Protection or Theft” (Stokstad 32), create a debate with pro and con view points to argue for or against the repatriation (or return) of ancient objects by museums today to the countries of origin, versus preservation and protection of historic objects where they’ve been secured for generations. Hint: A consideration of the history presented in a “Closer Look” of The Stele of Naram-Sin in MyArtsLab might also contribute to this debate, particularly as a spoil of war and explained in this feature’s “Ultimate Fate”.

5. Begin on MyArtsLab by viewing the Studio Technique Video: Sculpture Carving (Relief). Notice how the artist begins by outlining his design on the wood block, then uses a mallet and chisel to mark the edges for sections of "high relief" before using a router to remove the "ground" around those edges. Next, select an example of relief carving from Chapter 2 to use as a copy model (for example, see Figs. 2-10, 2-17 or 2-20). Begin by drawing an outline in pencil of the image on unlined white paper (or place a lightweight sheet over the image and trace its outline). To gain a sense of how a sculptor moves through the carving process, re-trace lines with heavier strokes that would represent edges for "high relief" forms or elements within the image. Using lighter strokes on the diagonal, fill in areas of the image that would represent the "ground" (where the router would cut thickness away). Consider how this drawing simulation of the carving process would compare to the mallet and chisel work required to produce the original stone relief image and its details. 6. On MyArtsLab read Primary Document: Texts on Gudea Figures from Lagash and Surround Areas. Identify language within this brief excerpt that creates visual images. Based upon this set of details, sketch a design for a "votive figure" of Gudea (for example, see Fig. 2-14 in Chapter 2). Consider how the literary images might be translated into visual elements of such a figure. 7. Begin by re-reading the chapter feature A Broader Look: A Lyre from a Royal Tomb in Ur (p. 32) and its background on archeological excavations in the 1920's that resulted in discovery, preservation and removal of "The Great Lyre with Bull's Head". Note in illustration captions where this object is located today. On MyArtsLab, view Closer Look: The Ishtar Gate (see also Fig. 2-22 in Chapter 2), including background on its discovery, removal and reassembly to its current site.

Based upon these examples, develop a debate (pro and con) regarding the central question: Should ancient artifacts be returned to their cultures or nations of origin and original sites OR should historic museum collections retain ownership as guardians of rescued artifacts?

CHAPTER THREE

ART OF ANCIENT EGYPT

3 Chapter-at-a-Glance • •

The Gift of the Nile Early Dynastic Egypt | The God-Kings | Artistic Conventions | Funerary Architecture Art and Its Contexts: Egyptian Symbols A Closer Look: The Palette of Narmer Technique: Preserving the Dead Elements of Architecture: Mastaba to Pyramid • The Old Kingdom | The Great Pyramids at Giza | Sculpture | Pictorial Relief in Tombs • The Middle Kingdom | Portraits of Senusret III | Rock-Cut Tombs |Funerary Stelai | Town Planning Technique: Egyptian Pictorial Relief • The New Kingdom | The Great Temple Complexes | Hatshepsut | The Tomb of Ramose | Akhenaten and the Art of the Amarna Period| The Return to Tradition: Tutankhamun and Ramses II | The Book of the Dead A Broader Look: The Temples of Ramses II at Abu Simbel Technique: Glassmaking • The Third Intermediate Period • Late Egyptian Art Recovering the Past: How Early Art is Dated

Learning Objectives By the end of this chapter, the student will be able to: 3.1 3.2 3.3 3.4

Explore the pictorial conventions for representing the human figure in ancient Egyptian art, established early on and maintained for millennia. Analyze how religious beliefs were reflected in the funerary art and architecture of ancient Egypt. Examine the connection between royal ancient Egyptian art, and the fortunes and aspirations of the rulers who commissioned it. Understand and characterize the major transformation of ancient Egyptian art and convention under the revolutionary rule of Akhenaten.

Transition Guide Images Removed from 4th Edition

Images Added to the 5th Edition 55

Mummy Wrapping of a Young Boy (Fig. 333)

Great Pyramids, Giza (Fig. 3-4) Funerary Temple of Hatshepsut (Fig. 3-22) Nefertiti (Fig. 3-28) Sphinx of Taharqo (Fig. 3-37) Rosetta Stone (Fig. 3-38)

MyArtsLab Resources Architectural Panorama/Simulation: Panorama: Memphis and its Necropolis Simulation: Mastaba to Pyramid Closer Look: Akhenaten and His Family Funerary Temple of Hatshepsut Palette of Narmer Book of the Dead Tomb of Ramose Abu Simbel Video: Ancient Thebes with its Necropolis Web Resource: Seated Scribe (Louvre Museum) Primary Source Documents: A Hymn to Aten

Discussion Topics and Critical Thinking Questions 1. Pictorial symbols were a significant element of ancient Egyptian culture and expression. How so? Identify several examples of this imagery and explain how scholars have been able to interpret their meanings. 2. Egyptian history is divided by a succession of ancient kingdoms and dynastic rulers. Trace distinctions between the Old Kingdom, Middle Kingdom and New Kingdom as revealed in the architecture and cultural objects that survive. 3. Ancient Egyptian funerary practices reflect and reveal spiritual beliefs. What were those practices and how were they discovered? Select an object illustrated in this chapter that can be interpreted according to Egyptian beliefs and explain what it reveals. 4. Egyptian figural representations are visually distinctive. Identify key characteristics in depictions of human or animal forms illustrated in the chapter. How do these elements affect interpretation of these figures?

5. Trace the evolution of mastaba and pyramid forms in Egyptian architecture and their functions. Identify key elements of their forms, building materials and construction methods. How were these structures fit to their sites? What purpose did they serve? 6. Painted surfaces and the use of color on objects and architectural structures are significant characteristics of Egyptian art. Identify examples of this practice. How do these elements distinguish Egyptian conventions from those of Near Eastern cultures? 7. How are the lives of women within ancient Egyptian culture revealed through artifacts and art? Describe objects tied to specific female identities. What do their features suggest about the roles and characteristics of specific women in history or more broadly about women within Egyptian culture? 8. Based upon multiple objects illustrated in this chapter, discuss the diversity of materials, production techniques, and methods of construction employed by ancient Egyptian artisans.

Key Terms funerary mask sarcophagus nemes headdress ankh scarab conventions hieroglyphs

canopic jars mastaba serdab necropolis clerestory canon of proportions grid

pylon peristyle hypostyle hall sunken relief hue demotic

Activities and Exercises 1. Examine the function of SCALE for interpretation of ancient Egyptian culture based upon evidence in a variety of examples illustrated in this chapter. Consider pictorial representations of figures (human or others), sizing of constructed objects of any type, as well as site dimensions related to architecture. Develop an illustrated presentation of your results. 2. On MyArtsLab, view A Closer Look: The Palette of Narmer, as well as chapter background for that section. What function does this object serve in form and content? How do its visual characteristics reinforce its purpose? Identify key details within its pictorial narrative. How does this commemorative work compare to a similar object from the ancient Near East (Chapter 2)? Hint: View Closer Look: The Stele of NaramSim on MyArtsLab (see Chapter 2 resources) to help with this task. 3. Divide students into groups of 2. As partners, read the Primary Source

Document related to this chapter on MyArtsLab: “A Hymn to Aten”. (Hint: Try reading this work aloud to hear the use of language and imagery.) Task: Identify images or descriptive details within the poem that could be compared to visual elements of Egyptian art or cultural objects illustrated in Chapter 3. Can you see any direct or indirect expressions of the lyric's details in literal or symbolic representations evident in the illustrations? How does viewing the related visual work aid an understanding and appreciation of the literary text? Conversely, how does reading the hymn enhance the viewing experience? 4. Divide students in groups of 3. Assign each group one of the following sites featured in Chapter 3: Djoser’s Funerary Complex, Saqqara (Figs. 3-2 and 3-3); Giza Plateau and Great Pyramids (Figs. 3-4 and 3-5); Great Sphinx and Funerary Complex, Khafre (Figs. 3-6 and 3-7); Great Temple of Amun, Karnak (Figs. 3-18, 3-19 and 3-20); Temple of Ramses II, Abu Simbel (Fig. 3-30). Preparation: Each group should begin by examining the chapter’s background and illustrations for their assigned site, then go to MyArtsLab to examine the site through Google Earth. Task: Based upon chapter and MyArtsLab resources, how would the group design a museum display through which visitors would learn and experience this historic place and the ancient culture it represents? What visual and textual material would be combined to “show and tell” this story? What configuration of elements could be developed for this purpose? What other background from Chapter 3 could contribute to the story and how? Product: The group should produce a design sketch for the display, including overall configuration and at least two detail views, plus a written description of their “solution” for the task. 5. Conventions of representation shifted significantly during the Amarna period and the rule of Akhenaten. On MyArtsLab, view Closer Look: Akhenaten and His Family, and review chapter background for this object (see Fig. 3-26). Examine the figures' body positions, proportions within the scene, supporting objects and other visual details that construct the overall presentation of this "everyday scene" from the rulers' life. Compare this image to relief scenes from earlier periods (such as Fig. 3-12, "Ti Watching a Hippopotamus Hunt" or Fig. 3-17, "Stele of Amenemhat") to explain the shift from traditional conventions and "idealized" treatments of Egyptian figures. 6. Monumental architecture of ancient Egypt developed distinctive forms and stylistic details. Identify types of structures unique to this history. Hint:

Begin by viewing the Architectural Simulation: Mastaba to Pyramid on MyArtsLab. Identify design elements that mark Egyptian style in such structures as the Great Temple of Amun (see Fig. 3-19 and Fig. 320) and the Funerary Temple of Hatshepsut (see Fig. 3-22 and 3-23). Hint: On MyArtsLab, view Closer Look: Funerary Temple of Queen Hatshepsut for additional help with this task.

CHAPTER FOUR

ART OF THE ANCIENT AEGEAN

4 Chapter-at-a-Glance • • •

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The Bronze Age in the Aegean The Cycladic Islands The Minoan Civilization on Crete | The Old Palace Period | The New Palace Period | The Spread of Minoan Culture Recovering the Past: Pioneers of Aegean Archaeology Technique: Aegean Metalwork A Closer Look: The “Flotilla Fresco” from Akrotiri The Mycenaean (Helladic) Culture | Helladic Architecture | Mycenaean Tombs | Ceramic Arts A Broader Look: The Lion Gate Recovering the Past: The “Mask of Agamemnon”

Learning Objectives By the end of this chapter, the student will be able to: 4.1 4.2 4.3 4.4

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

Transition Guide Images Removed from 4th Edition

Images Added to 5th Edition

Woman or Goddess with Snakes (Fig. 4-7) Lion Gate, Mycenae, as it appears today (P.97, B) Colden Lion's Head Rhyton (P. 97, C)

East Wing Stairwell, Palace Complex, Knossos, Crete (Fig. 4-6) Bull Leaping (Fig. 4-7) Statuette of a Male Figure (Fig. 4-8) Octopus Flask (Fig. 4-11) Vapheio Cup (Fig. 4-13) Reconstruction of the Great Room of the Pylos Megaron (Fig. 4-19) Mask of Agememnon (Fig. 4-20)

Dagger Blade With Lion Hunt (Fig. 4-21) Exterior View of Tholos, The Socalled Treasury of Atreus (Fig. 4-23) Corbel Vault, Interior of Tholos, The So-called Treasury of Atreus (Fig. 4-24) Warrior Krater (Fig. 4-25)

MyArtsLab Resources Closer Look: Palace of Knossos or Citadel of Mycenae (see Fig. 4-5) Vapheio Cups (see Fig. 4-13) Toreador Fresco Harvester Rhyton (see Fig. 4-9) Web Resource: The Palace of Knossos

Discussion Topics and Critical Thinking Questions 1. Aegean civilizations developed in relation to their geographic positions in

the ancient world. How so? What do the cultural objects and architectural sites these cultures left behind reveal about the importance of geography as a shaping factor of art history?

Cycladic sculptors followed strict conventions in their depiction of human figures. Describe characteristics of these sculptures, the methods used to produce them, and interpretations of their function or value to their culture according to art historians.

What is the significance of period labels based upon "Old" and "New" Palaces in the history of Minoan civilization? Identify key forms and characteristics of Minoan architectural sites.

Events of history and mythology inform a variety of Minoan objects and sites. How did archaeologists draw upon that knowledge to uncover ancient sites and interpret objects? Identify 2-3 examples illustrated in this chapter. How have interpretations of these sites changed over time?

What do ceramic arts reveal about the development of Aegean cultures? Identify the types of objects produced, their forms and stylistic details. What functions did these objects serve?

How did metalwork evolve in Aegean cultures? Identify the types of materials employed, construction techniques and stylistic details of noted examples in the chapter. What function did these objects serve?

Mycenaean culture developed on the mainland of Greece. What do the surviving or reconstructed architectural sites there reveal about ancient “Helladic” rulers and society?

How did fresco techniques and applications evolve in Aegean cultures? Distinguish between two types of fresco introduced in the chapter. What subjects or types of imagery are evident in surviving wall paintings?

Key Terms fresco dressed stone buon fresco fresco secco "flying gallop" pose faience rhyton

filigree granulation repousse niello gilding megaron cyclopean

shaft grave tholos beehive tomb corbeled vault courses ashlar krater

Activities and Exercises 1. Re-examine the Cycladic "Figure of a Woman" (Fig. 4-2) and "Head with Remains of Painted Decoration" (Fig. 4-3), then compare these forms to the Minoan "Statuette of a Male Figure" (Fig. 4-8). Identify key characteristics of each object as representations of human forms. How do these objects reveal cultural beliefs or practices? Which details are most significant for interpreting why these objects were created (function) and how they were valued by their makers? 2. Begin on MyArtsLab and view Closer Look: Flotilla Fresco from Akrotiri". Compare painting techniques and conventions between this example of Aegean work and Egyptian wall painting (Chapter 3). Consider subjects, forms of representation, and functions within their respective sites. 3. Review building methods and architectural elements introduced in Chapter 4. On MyArtsLab, view Architectural Simulation: Corbel Vault. Draw your own design for a simple structure based upon corbelling, courses and keystone components. What construction problems do these elements solve? How did Mycenaean builders relate their “Treasury of Atreus" to the physical geography of its site through these methods? 4. Divide students into groups of 3. How has the practice of archeology shaped an understanding of Aegean cultures over time? Based upon examples of objects or sites included in the chapter, how should partially understood or incompletely recovered objects from ancient sites be managed or presented for public display? For example, how should

objects recovered only in fragments be exhibited within museums? What issues could be raised regarding past or current practices of archeological discovery, recovery or removal, and interpretation? Create a group position paper and illustrate the options discussed. 5. On MyArtsLab view Closer Look: The Harvester Rhyton. How does this object and its treatment of human figures compare to representations of human forms in works sculpted by Near Eastern cultures in Chapter 2? For example, how is the handling of space and implied movement of figures depicted on the Rhyton similar to or different from conventions seen in Assyrian or Neo-Babylonian relief panels? 6. Explore the use of gold and metalwork in Aegean culture. Identify examples of objects in Chapter 4 produced wholly or in part with gold, along with production techniques. On MyArtsLab, view A Closer Look: Vaphio Cups, as well as chapter illustrations, "Technique: Aegean Metalwork" and "Recovering the Past: The 'Mask of Agamemnon.'" How does the use of gold enhance such objects, aesthetically and as markers of cultural value? (Consider an Egyptian example from Chapter 3 as well.) 7. Review the Chapter 4 segment on "Minoan Civilization on Crete", particularly "The New Palace Period" for background on the rebuilding of the architectural complex at Knossos and Fig. 4-5. On MyArtsLab, view Closer Look: Palace of Knossos. To explore the archeological work and reconstruction of this historic site further, use MyArtsLab to access the Web Resource link for The Palace of Knossos and Its Surroundings - 3D Virtual Reality Tour. Each of the 12 section links on this site present plan maps alongside interactive views that allow visitors to rotate 360 degrees through each scene.

CHAPTER FIVE

ART OF ANCIENT GREECE

5 Chapter-at-a-Glance • • •

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The Emergence of Greek Civilization | Historical Background | Religious Beliefs and Sacred Places Greek Art c. 900—600 BCE | The Geometric Period | The Orientalizing Period Art and Its Contexts: Greek and Roman Deities The Archaic Period, c. 600—480 BCE | The Sanctuary at Delphi | Temples | Free-Standing Sculpture | Painted Pots Elements of Architecture: The Greek Orders Technique: Color in Greek Sculpture Technique: Black-Figure and Red-Figure A Closer Look: The Death of Sarpedon Art and Its Contexts: Classic and Classical The Early Classical Period, c. 480—450 BCE | Marble Sculpture | Bronze Sculpture | Ceramic Painting A Broader Look: The Tomb of the Diver Recovering the Past: The Riace Warriors The High Classical Period, c.450—400 BCE | The Acropolis | The Parthenon | The Propylaia and The Erechtheion | The Temple of Athena Nike | The Athenian Agora | City Plans | Stele Sculpture | Painting Art and Its Contexts: Who Owns the Art? The Elgin Marbles and the Euphronios Krater Technique: The Canon of Polykleitos Art and Its Contexts: Women at a Fountain House The Late Classical Period, c. 400—323 BCE | Sculpture | The Art of the Goldsmith | Painting and Mosaics The Hellenistic Period, 323—31/30 BCE | The Corinthian Order in Hellenistic Architecture | Sculpture Art and Its Contexts: Greek Theaters Art and Its Contexts: The Celts

Learning Objectives By the end of this chapter, the student will be able to: 5.1 5.2

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. Explore the principal themes and subject matter of ancient Greek art,

5.3 5.4

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. 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. Understand the differences between and assess the uses of the three orders used in temple architecture.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Achilles and Ajax Playing a Game (Fig. 5-22) The Weary Herakles (Fig. 5-47) Ceramic Painter and Assistants Crowned by Athena and Victories (P. 148 Box)

West Pediment of the Temple of Aphaia Aegina (Fig. 5-13) Anavysos Kouros (Fig. 5-20) "Peplos" Kore (Fig. 5-21) Charioteer from the Sanctuary of Apollo Delphi (Fig. 5-31) Warrior Found in the Sea Off Riace, Italy (Fig. 5-32) Model Reconstruction of the Akropolis, Athens (Fig. 5-35) View and Plan of the Parthenon, Acropolis (Fig. 5-36) Spear Bearer (Doryphoros) (Fig. 5-42) Nike (Victory) Adjusting Her Sandal (Fig. 5-46) Hermes and the Infant Dionysos (Fig. 5-52) Overall View (A) and Reconstruction Drawing (B) of Theater, Epidauros (Fig. 5-59)

MyArtsLab Resources Architectural Panorama/Simulation: Panorama: Greek Orders Simulation: Theater of Dionysios Closer Look: The Euphronios Krater Funerary Vase (Krater) Altar of Pergamon Charioteer of Delphi Nike of Samothrace Alexander Mosaic Temple at Aegina Red-Figure and Black-Figure Vessels

Video / Podcasts: Winged Victory of Samothrace Student on Site: Achilles and Ajax Student on Site: Doryphoros Student on Site: Lapith and Centaur Student on Site: Laocoon Web Resource: The Metropolitan Museum of Art Greek Galleries Primary Documents: Pliny the Elder, Natural History

Discussion Topics and Critical Thinking Questions 1. How are the lives of women revealed in works of Greek art? Identify details that depict characteristics of women's forms, dress, ornamentation and activities. Based upon illustrations in this chapter, can we distinguish between idealized and realistic representations? 2. Ancient Greek architecture became a dominant influence in Western civilization. What forms and functions of buildings across periods of Greek history are notable? How did the orders of Greek architecture define these styles? 3. Figures and beliefs of Greek mythology (including deities) can be “read” in many types of Greek art. Identify examples and explain their significance for interpretation. 4. Representations of humans in ancient Greek sculpture evolved from static, conventionalized forms to more naturalistic and expressionistic figures. How can we see this progression in examples from different periods? What sculpting techniques affected these representations? 5. Greek pottery was both decorative and practical. How so? Identify conventions and forms that characterize examples of Greek ceramic ware. How did new "figural" techniques impact surface design by Greek artisans? 6.

What can we learn about Greek concepts of the afterlife and funerary practices from surviving objects and related imagery? For example, how do scenes depicted on tomb murals reveal beliefs about life and death? What is reflected by imagery seen in grave stele?

7. How is Greek civic planning and design revealed in the functions and forms of its architecture? Identify distinctive building types and spatial layouts that characterized Greek cities.

8. What role has archaeology played in the discovery, interpretation and preservation of Greek art and architecture? Identify key sites and objects. What controversies have been raised about this history?

Key Terms sanctuaries olpe rosettes black-figure stoa caryatid pedestal entablature Ionic Order architrave freize pediment temenos porch elevation Doric Order Corinthian Order cella abacus entasis

pronaos orders shaft capital drums stybolate fluted echinus triglyphs metopes cornice acroteria fillets volute astragal acanthus terra cotta kore / kouros Archaic smile red-figure

calyx krater contrapposto kylix psykter tondo oinochoe akropolis idealization agora podium orthogonal hydria white-ground tempera lekythoi mosaic tesserae barbarian expressionism

Activities and Exercises 1. To better understand the evolution of figural sculpture, compare and contrast examples of human forms by Mesopotamian, Egyptian and Greek sculptors. What are the most significant elements that change from period to period, and culture to culture? What effects do materials and color have upon these representations? 2. Explore distinctions between forms and design motifs of Minoan pottery compared to Greek ceramics. Begin with examples from Chapter 4 (for example, Fig. 4-4 Kamares Ware Jug or Fig. 4-11 Octopus Flask) to examine alongside representative objects of Greek Geometric (Fig. 5-2 Funerary Krater) and Orientalizing (Fig. 5-11 Olpe) periods. Hint: On MyArtsLab, view Closer Look: Funerary Vase (Krater) as part of this exercise. How did the artisans who produced each object fit surface design to the object's overall form? What similarities or differences can be seen in the types of imagery or decorative patterns used? What effects were created by stylized or abstract figures and forms?

How might the objects' elements be related to their cultures of origin? 3. Begin on MyArtsLab by viewing A Closer Look: The Classical Orders. Based upon this presentation and other illustrations in of Greek architectural design, canvas your community to discover examples of local buildings that have been influenced by the forms or stylistic features of ancient Greek structures. Hint: Look for elements of Greek architecture rather than exact reproductions of whole structures. Keep a list of the buildings you find, the key stylistic features you notice (match these to the appropriate chapter terms), and the textbook illustrations these resemble. Prepare a brief report or presentation for class discussion. Option: Snap a photo of each example you find to provide illustration for your findings. 4. On MyArtsLab view A Closer Look: Red-Figure and BlackFigure Vessels, and Student on Site: Achilles and Ajax, then re-examine Figs. 5-1, 5-24, 5-25 and 5-27 in the chapter. On a sheet of plain white paper, outline a simple human figure within a scene (perhaps based upon the imagery seen in one of the illustrations). To gain a better understanding or the figure-ground concept employed by Greek pottery painters, use a black crayon or pencil to fill the negative space (the background) surrounding the figure's outline (as in Fig. 5-25). Add detail lines within the figure in black. Using a light orange crayon or pencil (similar in shade to terra cotta clay) fill the space between the black lines to replicate the red-figure technique. On a second sheet of paper, reverse the use of colors to produce a simple black-figure image (as seen in Figs. 5-1,5-24 and 5.27). 5.

View Closer Look: Alexander Mosaic on MyArtsLab. Compare Fig. 5-56 to Assyrian reliefs shown in Fig. 2-17 Assurnasirpal II Killing Lions and Closer Look: Enemies Crossing the Euphrates to Escape Assyrian Archers (Chapter 2, P. 42). By the Late Classical Period of Greek art, how did painters create more life-like action and emotional content in narrative scenes such as these examples of historic battles?

Begin by viewing the Web Resource video on MyArtsLab for Winged Victory of Samothrace, presented by the Louvre Museum, Paris. Focus, in particular, on the "Analysis" segment titled "The Drapery" in which carving techniques are described with isolated views of the figure's layered wraps flowing across the body in dynamic folds. Based upon these details, re-examine illustrations within Chapter 5 to identify comparable examples of marble carved into drapery effects (hint: begin with frieze details from the Parthenon, then consider grave stele and free-

standing or in-the-round sculpture). To what extent do such effects appear to be "effects" only to showcase a sculptor's skills, versus integral elements of a figure's implied context (such as indicating the force of wind whipping the fabric around the body of Winged Victory)? Assess the function of this technique from example to example. 7.

Begin by reviewing the chapter segment on "The Art of the Goldsmith" and its featured illustration of hollow-cast gold Earrings (Fig. 5-55). To survey other examples of Greek metalwork, including jewelry and other types of objects crafted in silver, gold, and other precious materials, use MyArtsLab to access the Web Resource link to The Metropolitan Museum of Art Greek and Roman Collection. Explore the Met's "Galleries" links beyond the "View Highlights" to see thumbnail selections of the entire range of artworks in the museum's collection, opening images of particular interest to enlarged views and background information.

As a starting point for reviewing the chapter, use MyArtsLab to access the Primary Source Document: Pliny the Elder, Natural History. Consider the excerpted commentaries by the Roman historian (the earliest of surviving art history records) as framing contexts for each topic: From Book 35 (on Greek painting), From Book 34 (on bronze), From Book 36 (on marble).

CHAPTER SIX

ETRUSCAN AND ROMAN ART

6 Chapter-at-a-Glance •

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The Etruscans | Etruscan Architecture | Etruscan Temples |Tomb Chambers |Works in Bronze Elements of Architecture: Roman Architectural Orders Recovering the Past: The Capitoline She-Wolf The Romans Art and Its Contexts: Roman Writers on Art The Republic, 509-27, BCE | Portrait Sculpture | Roman Temples Art and Its Contexts: Roman Portraiture Elements of Architecture: The Roman Arch The Early Empire, 27 BCE-96 CE | Art in the Age of Augustus | The Julio-Claudians | Roman Cities and the Roman Home | Wall Painting | The Flavians A Broader Look: The Ara Pacis Augustae Art and Its Contexts: August Mau's Four Styles of Pompeian Painting Art and Its Contexts: A Painter at Work Elements of Architecture: Roman Vaulting The High Imperial Art of Trajan and Hadrian | Imperial Architecture | Imperial Portraits Elements of Architecture: Concrete Technique: Roman Mosaics A Closer Look: Sarcophagus with the Indian Triumph of Dionysus The Late Empire, Third and Fourth Centuries CE | The Severan Dynasty | The Soldier Emperors | Constantine the Great | Roman Art After Constantine Recovering the Past: The Mildenhall Treasure

Learning Objectives By the end of this chapter, the student will be able to: 6.1 6.2 6.3 6.4

Explore the various ways Romans embellished the walls and floors of their houses with illusionistic painting in fresco and mosaic. Trace the development and use of portraiture as a major artistic theme for the ancient Romans. Examine the ways that Etruscan funerary art celebrates the vitality of human existence. Investigate how knowledge of Roman advances in structural technology

furthers our understanding of Roman civic architecture.

Transition Guide Images Removed from 4th Edition Cupids Making Perfume (Fig. 6-26) Plan, Villa of the Mysteries (Fig. 6-27)

Images Added to the 5th Edition Reconstruction (A) and Plan (B) of an Etruscan Temple (Fig. 6-3) Capitoline She-Wolf (Fig. 6-11) Portrait Head of an Elder from Scoppito (Fig. 6-13) Cityscape, House of Publius Fannius Synistor (Fig. 6-31) Garden Vista, Villa of Livia at Primaporta (Fig. 6-32) Aerial View (A) and Plan (B) Baths of Caracalla (Fig. 6-60) The Tetrarchs (Fig. 6-62) View (A), Reconstruction (B), and Plan (C), Basilica of Maxentius and Constantine (Basilica Nova) (Fig. 6-67)

MyArtsLab Resources Architectural Panorama/Simulation: Simulation: Barrel and Groin Vaults Simulation: Concrete Simulation: Round Arch Panorama: Basilica Nova Closer Look: Dish from Mildenhall, England The Column of Trajan Sarcophagus with the Indian Triumph of Dionysus The Forum Romanum and Imperial Forums Gemma Augustea House of the Vetti Augusta of Primaporta Arch of Constantine Ficoroni Cista Mosaic Video / Podcasts: The Flavaian Amphitheater (Colosseum) (video) Pont du Gard (Roman Aqueduct) (video) Reawakened Ancient City: Archaeological Areas of Pompei (video) Student on Site: Augustus of Primaporta Student on Site: Marcus Aurelius

Student on Site: Ara Pacis Student on Site: Colosseum Student on Site: Pantheon Student on Site: She-Wolf Student on Site: Villa of Mysteries Student on Site: Arch of Titus Student on Site: Tetrarchs Primary Source Documents: Vitruvius, “On Symmetry”

Discussion Topics and Critical Thinking Questions 1. The history of the Roman Empire can be traced in the expansion of territories over several eras defined by powerful rulers. Identify one work of architecture constructed during each of the defined eras that relates to that story and explain its significance. 2. How is the concept of “verism” reflected in multiple types of Roman art? How do these examples compare to examples of Greek art? 3. What do the plans and reconstructions of Roman houses reveal about the activities and values of their residents? What does the reconstruction of Pompeii’s city layout reveal about civic life there? 4.

How do distinctive features of Etruscan and Roman funerary art, including tomb chambers, relate to their religious beliefs and practices?

5. How did techniques and conventions of Roman portraiture change over time? Why was portraiture of elders, statesman and others important to Roman society? 6. What functions and techniques were associated with Roman mosaic? How did this medium compare to Roman painting? 7. What types of decorative or functional objects developed in Roman metalwork (for example, in bronze or silver)? What production techniques were required to produce these examples? 8. How did carving expand in techniques and applications in Etruscan and Roman art? Identify a range of examples, methods and materials.

Key Terms cistae atrium roundels

mausoleum forum impluvium

oculus cartouche drillwork

pilasters Tuscan Order plinth dado verism engaged cameo

intuitive perspective palette atmospheric perspective menorah barrel vault groin vault dome

basilica apse rotunda coffers exedrae platter undercutting

Activities and Exercises 1. To understand the influences and distinctions between Greek and Roman sculpture, select one example from each period of Greek history defined in Chapter 5, plus one example from each Etruscan / Roman era defined in Chapter 6. Create a side-by-side comparison of these sets. Elements to consider: materials, methods of construction, forms, approach to representation, conventions, subjects, functions, cultural values or meanings. 2. Begin by viewing Closer Look: House of the Vettii on MyArtsLab. Combining this background with the chapter’s section and illustrations for Roman Houses, what structural features of Roman residences compare to or contrast with typical examples of houses we occupy today? As part of this process, trace a copy of Figure 6-28, Plan, House of the Vettii. On your copy, identify and label the interior spaces that would likely remain in a modern house today (carrying Roman design forward) versus those less likely to be “typical” in residential arrangements today. With an alternate marking (pencil or pen), re-cut this plan as you believe a residential space of this size today would be designed. What would these changes indicate about Roman culture and aesthetic values as related to residential life for us today? What practices, decorative techniques and styles were key to Roman interior and landscape design? Do any of these remain influential for us today? 3. Re-examine design elements and imagery featured in Roman wall paintings (Figs. 6-29, 6-30, 6-31, 6-32, 6-33, 6-34). Given their prominence in Roman residential interiors, how do their characteristics compare to what we would typically "paint" (or create through other means) on wall spaces in today's homes? Are there other design contexts for us today in which we might use the types of imagery we see in the Roman examples? 4. Begin by viewing Closer Look: Mosaic on MyArtsLab, and review Technique: Roman Mosaics in the chapter, particularly Fig. 6-56. If you were designing a version of “The Unswept Floor” for a house today, what would it look like? Specifically, what objects would we see “unswept” on our floor? Draw a modern version of this floor mosaic.

5. “Commemoration” was a core value of ancient Roman culture, whether devoted to the memory of an ancestor, to marking political power of rulers, or to venerating historic events in the expansion of the empire. Sculpture, architectural monuments, and other forms of commemo-ration are illustrated throughout Chapter 6. We can appreciate the significance of this feature of Roman art history by considering how ancient practices of art production have carried over into the com-memorative traditions of our own cultural heritage. Review the chapter’s background and examples of Roman commemorative work illustrated in Chapter 6. Then move onto MyArtsLab to view Closer Look: Augustus of Primaporta, Closer Look: Column of Trajan and Closer Look: Arch of Constantine. Consider: Where might we find counterparts for these types of monuments or sculptural work devoted to American commemorations of national figures or events? For example, who are the American “emperors” or victorious military figures in our past that have been commemorated in sculptures or civic “temples”? Where are their monuments likely to be found? Search Google Earth to discover and view potential examples comparable in purpose, forms, siting or iconography to Roman works. Develop an illustrated presentation of your findings, including visual analysis of the American “commemoratives” compared to their Roman precedents. How does the context of Roman art history help us understand the American counterparts in new ways? 6.

How are the lives of women reflected in Etruscan and Roman art? Begin by identifying examples of works in the chapter that feature or include female figures (for example, Figs. 6-9, 6-10, 6-22, 6-33, 6-35, 6-40, 6-41, 6-70). How are these figures presented and for what purpose? Are their features idealized or treated with realism? Can we infer social positions or cultural values through these depictions?

How does Roman mythology inform subjects, imagery and interpretation of works of art? Begin by identifying illustration examples within Chapter 6 (for example, Figs. 6-1, 6-4, 6-11, 6-23, 6-30, 6-66 and 6-68). For additional background, view Closer Look: Sarcophagus with the Indian Triumph of Dionysus and Closer Look: Gemma Augustea on MyArtsLab.

On MyArtsLab, view the video Reawakened Ancient City: Archaeological Areas of Pompeii. Combined with illustrations in Chapter 6 related to Roman civic life, city planning and residential design, how have these resources altered your assumptions about life in ancient times? What features or examples of Roman life seem

surprisingly "modern" in your perspective?

CHAPTER SEVEN

JEWISH AND EARLY CHRISTIAN ART

7 Chapter-at-a-Glance • •

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Jews, Christians, and Muslims Judaism and Christianity in the Late Roman World | Early Jewish Art | Early Christian Art A Closer Look: The Mosaic Floor of the Beth Alpha Synagogue Recovering the Past: Dura-Europa Imperial Christian Architecture and Art | Rome | Ravenna and Thessaloniki Elements of Architecture: Longitudinal-Plan and Central-Plan Churches A Broader Look: The Orantory of Galla Placidia in Ravenna Art and Its Contexts: The Life of Jesus

Learning Objectives By the end of this chapter, the student will be able to: 7.1 7.2 7.3 7.4

Investigate of the ways in which late antique Jewish and Christian art developed from the artistic traditions of the ancient Roman world. 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. Understand the relationship between the art and architecture of Jewish and Christian communities and their cultural and political situation within the late Roman Empire. Analyze the connection between form and function in buildings created for worship

Transition Guide Images Removed from 4th Edition Grimaldi drawing of Old Saint Peter's (Fig. 7-7)

Images Added to the 5th Edition Reconstruction drawing of the Interior of Old St. Peter's (Fig. 7-9) Saints Onesiphoros and Porphyios Standing Before an Architectural Backdrop (Fig. 7-21)

MyArtsLab Resources

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

Discussion Topics and Critical Thinking Questions 1. How are early Jewish beliefs and practices reflected in surviving objects and sites? What modern discoveries have aided scholars’ understanding of that history? 2. Narrative images are significant forms of early Christian expression. Identify examples of storytelling in representations of this type in Chapter 7 in painted, carved or mosaic Christian works. What functions did such works serve? 3.

A second significant form of early Christian visual expression is found in iconic images. Define this type and identify examples within chapter illustrations. How is meaning created by such images? What purpose do these types of representation serve?

4. The history of the Christian faith within the Roman Empire is reflected in the development of multiple types and forms of architecture. Trace this architectural history by identifying examples in chapter illustrations. How did each type of structure function? How did architectural design relate to religious practices? 5.

In what ways did traditions from the ancient Near East, ancient Greece and Rome inform works and practices carried on in Jewish and early Christian art and architecture? Consider types or forms of objects, materials and construction methods.

How does mosaic work in Jewish and early Christian sites compare or contrast to examples from Chapter 6? For example, consider sites, design elements (color, composition, imagery) and functions while re-examining Roman mosaics alongside Jewish and Christian works illustrated in Chapter 7.

Key Terms catacomb

syncretism

longitudinal plan

halo narrative image iconic image narthex cathedral Eucharist

orant cubicula lunette medallion ambulatory putti

aisles transept choir central-plan oratory cruciform

Activities and Exercises 1. As Chapter 7 explains, syncretism (artists assimilating images from other traditions, consciously or not, but giving them new meanings) is evident in early Christian art. To appreciate this feature of art history, review background for this concept in “The Early Church." Looking back to Chapter 6, identify 2-3 examples of “borrowings" from Tuscan and Roman Art evident in Jewish or early Christian images. What changes in meaning or context occurred as these images were carried along in history? 2. Begin on MyArtsLab by viewing Closer Look: The Mosaic Floor of the Beth Alpha Synagogue (as well as the chapter illustration, page 219). Looking back to Chapter 2 compare visual elements of the mosaic to examples of pictorial conventions of Near Eastern cultures. Hint: Consider design elements viewed in Fig. 2-22, The Ishtar Gate and Throne Room Wall. Move along to reconsider "Classical" design influences from Chapter 5 that could be compared to pictorial elements of the Beth Alpha mosaic. Hint: Consider Fig. 5-57, Stag Hunt (floor mosaic). 3. Narrative images in which an event from history, religion or mythology is depicted are central to the cultural memories of many cultures across ancient eras. Begin by reviewing Chapter 7 for background on narrative conventions seen in Jewish wall paintings of house-synagogues, particularly Fig. 7-3, Wall With Torah Niche, and Fig. 7-4, The Crossing of the Red Sea. Identify "story-telling" elements within these complex narrative scenes. For example, how is action depicted? How is the passing of time implied or sequences of the story? How are characters distinguished within scenes of the story? How is the "hero" distinguished from other figures? Why types of imagery or visual details create the larger context for the story? With these elements in mind, select one or two examples of narrative scenes featured in previous chapters that utilize similar techniques. Hint: Consider narrative works in any medium (paintings, sculpted relief panels, ceramics). While each "story" must be interpreted in specific cultural or religious contexts, can we also see universal elements across these examples? Explain through visual evidence.

4. Review chapter background for Fig. 7-15, followed by viewing of Closer Look: Sarcophagus of Junius Bassus on MyArtsLab. In addition to appreciating each of its sections as sculptural narrative, how might this object be understood as a kind of catalogue of architectural history (apart from the explicit story presented through its figural images)? Re-examine its details, section by section for architural elements. Draw upon technical terms studied in previous chapters to identify these elements. How do these features of the sarcophagus add to the object's overall function and effect as a work of art? 5. Carefully examine the small sculpture featured in Fig. 7-8, The Good Shepherd. Identify connecting elements of figural representation, composition, imagery and sculptural technique between this object and sculptural works of Classical Greece. Identify examples from Chapter 5. Hint: Consider free-standing marbles and relief carvings, such as Fig. 5-49, Grave Stele of a Little Girl. 6. Continue the exercise above by comparing The Good Shepherd sculpture to elements of representation seen in Fig. 7-20, The Good Shepherd lunette mosaic. Hint: Begin on MyArtsLab by viewing Closer Look: Good Shepherd Mosaic from Oratory of Galla Placidia. 7.

Begin on MyArtsLab by viewing Closer Look: Santa Costanza and reviewing chapter background on the concept of the centralplan church (see "Elements of Architecture" and Figs. 7-14, 7-15). Return to MyArtsLab and select Architectural Panorama: Santa Costanza. As this resource opens, click the Aisle link on the plan to open the interactive view. Rotate the panorama around its 360 degree view, especially to see ceiling sections filled with imagery. Match the elements identified on the plan (Fig. 7-14) to what can be seen in the panorama.

CHAPTER EIGHT

Byzantine Art

8 Chapter-at-a-Glance • Byzantium • Early Byzantine Art | The Golden Age of Justinian | Objects of Veneration and Devotion | Icons and Iconoclasm Elements of Architecture: Pendentives and Squinches Art and Its Contexts: Naming Christian Churches: Designation + Dedication + Location Art and Its Contexts: Scroll and Codex Art and Its Contexts: Iconoclasm • Middle Byzantine Art | Architecture and Wall Painting in Mosaic and Fresco | Precious Objects of Commemoration, Veneration and Devotion A Closer Look: Icon of St. Michael the Archangel • Late Byzantine Art | Constantinople: The Chora Church | Icons A Broader Look: The Funerary Chapel of Theodore Metochites Learning Objectives By the end of this chapter, the student will be able to: 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. Transition Guide Images Removed from 4th Edition Transfiguration of Sant'Apollinare in Classe, Ravenna (Fig. 7-25) David Battling Goliath (Fig. 7-28)

Images Added to the 5th Edition Church of Hagia Sophia (Fig. 8-2) Interior of the Church of Hagia Sophia (Fig. 8-4)

Monastery of St. Catherine, Sinai (Fig. 8-10) The Transfiguration of Christ (Fig. 8-11) Virgin and Child in the Apse of Hagia Sohpia (Fig. 8-16) Plan of Monastery Churches at Hosios Loukas (Fig. 8-18) Lamentation with Standing Monastic Saints Below (Fig. 8-23) Interior and Plan of the Cathedral of St. Mark (Fig. 8-24) Front (A) and Back (B) of the Harbaville Triptych (Fig. 8-25) Christ Crowning Emperor Romanos II and Empress Eudokia (Fig. 8-26) Icon of St. Michael the Archangel (P. 257) Mosaics in the Vaulting of the Inner Narthex (Fig. 8-30) Antasis (Fig. 8-31) Funerary Chapel (Parekklesion), Church of the Monastery of Christ in Chora (Fig. 8-32) Annunciation to the Virgin (Fig. 8-34)

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

Discussion Topics and Critical Thinking Questions 1.

Byzantine conventions of representation differ significantly from Jewish and early Christian traditions. Identify Byzantine examples that illustrate these differences for the presentation of human figures. How do their characteristics reflect Byzantine faith and practice?

Significant church and monastery sites are linked to the history of Byzantine art. How do their locations, designs and functions reflect the expansion of the Byzantine Empire over Early, Middle and Late eras? Who were the principal patrons responsible for developing these sites and for what purposes?

How did icons develop in Byzantine worship? Identify their origins, chief characteristics, and significance in Byzantine history. What occurred during the period of iconoclasm?

Apart from icons, what other types of objects developed in Early and Middle Byzantine eras for the specific purpose of veneration, commemoration and devotion? Identify examples, including materials and methods of production.

What is the significance of mosaic work in Early, Middle and Late periods of Byzantine art? Identify chief examples and pictorial conventions (subjects, images, design elements).

Religious teachings and the recording of history in general depend upon writing technologies that advanced over many eras of human culture. How did changes in materials, production methods and recording techniques relate to the history of this chapter?

Key Terms conches naos galleries pendentives squinches martyrium abbey church pilgrimage church

relic scriptoria manuscript parchment codex miniature vellum continuous narrative

icon iconoclasm painterly enamel triptych psalter one-point perspective

Activities and Exercises 1. Begin by reviewing the chapter's background on the construction of the Hagia Sophia in Constantinople under "The Golden Age of Justinian", including Figs. 8-2 and 8-3. Consider: What were the Emperor's goals for this site? How did those goals relate to the design of the structure? In turn, how did those elements lead to innovations in the construction and engineering of the building? Hint: Log onto MyArtsLab to view Closer Look: Hagia Sophia and Architectural Simulation: Pendentives. 2. As follow-up to the first activity, re-examine chapter illustrations of other domed Byzantine structures to identify construction and design elements featured in the Hagia Sophia exercise. Hint: Consider Fig. 8-19 Central Domed Space and Apse, Katholion (Monastery of Hosios Loukas); Fig. 8-12 Interior, Cathedral of Santa Sophia (Kiev); Fig. 8-24 Interior (A) of Cathedral of St. Mark (Venice); and Fig. 8-32 Funerary Chapel (Church of the Monastery of Christ in Chora). 3. The Late Byzantine Church of the Monastery of Christ in Chora is worth significant exploration from a number of directions. Begin this activity by reviewing chapter background under "Constantinople: The Chora Church" and Fig. 8-29 to re-examine the Plan of the Monastery. In a second step on MyArtsLab, open the Architectural Panorama: Monastery Church of Christ in Chora. From this platform, open view component sections of the plan. For example, begin with the NAOS, opening and rotating the interior image up to the domed ceiling. Identify architectural elements studied in the first two exercises (above) as seen in the dome construction of the Church of the Savior at Chora (Kariye Camii). Open and view each of the other 12 sections of the plan to consider how such elements as domes, halfdomes, vaulting and arches create interior spaces throughout the overall structure. (Hint: Look again at Chapter 6 for background and illustrations of arches and vaults.) 4. Continuing with a close study of the Church of Christ in Chora: Review chapter background on the placement of mosaics throughout interior spaces, as well as composition elements of narrative scenes and expressive depictions of human emotions characteristic of Byzantine figural work (pages 258-259).

Continue on MyArtsLab, to explore the Architectural Panorama, section by section, for detailed views of the interior mosaics. For example, review Fig. 8-30 in the chapter (Mosaics in the Vaulting of the Inner Narthex) and Fig. 8-33 (The Infant Virgin Mary Caressed by her Parents), then open the Panorama links for the Inner Narthex Bays 1, 2, 3 and 4 to see the full expanse of imagery and mosaic details. Likewise, review chapter Figs. 8-31 (Anastasis) and 8-32 (Funerary Chapel) along with background in A Broader Look: The Funerary Chapel of Theodore Metochites (page 260), then open the Panorama links for the Apse, Bay 1 and Bay 2 Parakklession to view the fresco work throughout these spaces. Hint: View Closer Look: Kariye Camii on MyArtsLab as part of this process. 5. The history of Byzantine art across Early, Middle and Late periods is threaded with "eclecticism", as noted at the start of Chapter 8, carrying "classical" influences forward from early Judeo-Christian sources in the period of the Roman Empire. Begin this exercise by reviewing the chapter's introduction and featured illustration in Fig. 8-1 David Battling Goliath (pages 232-233), as well as background in Luxury Works in Silver (page 246). On MyArtsLab view Closer Look: David Battling Goliath Plate. Re-examine chapter background for Objects of Veneration and Devotion in the chapter, including Fig. 8-12 Archangel Michael (page 244). Identify "classical" features of this work. Draw upon vocabulary terms introduced in previous chapters to accurately name and describe visual details in the diptych. How do these pictorial elements compare to the visual styles and representational features of the later ivories featured in the chapter? Hint: Re-examine Fig. 8-25 Front (A) and Back (B) of the Harbaville Tiptych and Fig. 8-26 Christ Crowning Emperor Romanos II and Empress Eudokia. 6. Begin on MyArtsLab by viewing Closer Look: Icon of St. Michael the Archangel, as well as the accompanying chapter illustration and background (pages 257-258). How do the pictorial conventions evident in this representation compare and contrast to those seen in the ivories (exercise 5 above)? Consider the objects' overall form, composition elements, figural styles, decorative detailing, etc.

7. Review two chapter sections: Art and Its Contexts: Iconoclasm and Objects of Veneration and Devotion (pages 244-248). Carefully examine each of the illustrations within these sections as well, identifying which elements of these objects serve the primary purpose of veneration or narration versus details that seem mostly decorative in function. In other words, can specific parts of these works be separated between their subjects and their design features? How do their materials and methods of construction relate to these functions? From this preparation, create an illustrated oral report to present the analysis. 8. To continue the analysis process above, re-examine Fig. 8-27 David Composing the Psalms and Fig. 8-24 Annunciation to the Virgin. Again, which visual elements within these scenes serve the primary function of veneration or narration versus decorative details? How do their materials and methods of production relate to the visual characteristics of these works?

CHAPTER NINE

Islamic Art

9 Chapter-at-a-Glance • Islam and Early Islamic Society Technique: Ornament • The Early Period: Ninth Through Twelfth Centuries | Architecture | Caligraphy | Lusterware Art and Its Contexts: The Five Pillars of Isalm A Broader Look: The Great Mosque of Cordoba Elements of Architecture: Arches • The Later Period: Thirteenth Through Fifteenth Centuries | Architecture | Luxury Arts | The Arts of the Book A Closer Look: A Mamluk Glass Oil Lamp • Art and Architecture of Later Empires | The Ottoman Empire | The Safavid Dynasty • The Modern Era • Technique: Carpet Making Learning Objectives By the end of this chapter, the student will be able to: 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. Transition Guide Images Removed from 4th Edition

Images Added to the 5th Edition Exterior View (A) and Cutaway Drawing (B) of the Dome of the Rock (Fig. 9-2) Interior, Dome of the Rock (9-3) Plan, Great Mosque, Cordoba, Spain

(Fig. 9-8) Lusterware Jar, Iraq (Fig. 9-12) Plan (A) and Drawing of Exterior (B), The Sultan Hasan Madrasa-MausoleumMosque Complex, Cairo (Fig. 9-13) Qibla Wall with Mihrab and Minbar, Sultan Hasan Madrasa-MausoleumMosque Complex, Cairo (Fig. 9-14) Mina'i Bowl with Bahram Gur and Azada, Iran (Fig. 9-19) Qur'an Frontispiece, Cairo (Fig. 9-21) "Yusuf Fleeing Zulayhka" (Fig. 9-22) Interior, Mosque of Sultan Selim (Fig. 9-24) Baghdad Kiosk Alcove, Topkapi Palace (Fig. 9-25) "The Court of Gayumars" from Shahnama of Shah Tahmasp (Fig. 9-27) "Mosque at New Gourna" (Fig. 9-30) A Mamluk Glass Oil Lamp ("A Closer Look" P. 279)

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

Discussion Topics and Critical Thinking Questions 1. How did events in the early history of Islam influence figural and non-figural art traditions? What distinctive design practices and contexts evolved in Islamic religious and secular culture? 2. How is the multicultural geography of Islam’s expansion over the main periods of history reflected in architecture and art practices? For example, what influences can be seen from Africa, Europe and 87

Asia? 3. How do spatial forms and features of mosques reflect Islamic worship and faith practices? Which architectural elements express spiritual beliefs? Which elements serve ritual functions? 4. What types of secular architecture developed over Islamic history? How do their functions relate to their forms and design features? 5. The art of calligraphy developed in relation to Islamic history. What are its origins, basic techniques, and applications? 6. How did "Luxury Arts" develop in Muslim regions of the world? What types of precious objects were produced? What materials, design elements and stylistic traditions developed with these objects? 7. What role did book production play in Islamic spiritual and secular life? What connections can be made between Islamic painting, design practices, and "Arts of the Book"? 8. How does the production of carpets relate to Islamic culture and history? What basic techniques and design elements are notable in this type of textile production? Key Terms mosque mihrab minbar arabesques ablaq masonry joggled voussoirs cut tile muqarna wooden strapwork mosaic

chini khana piers horseshoe arch semicircular arch pointed arch keel arch minaret qibla calligraphy Kufic script

lusterware madrasas iwans muqarnas miradors stained glass turgas tapestry warp weft

Activities and Exercises 1. Elements of Islamic art and architecture share design features and functions with comparable traditions of Jewish, Christian (Roman) and Byzantine art history. Drawing upon background and illustrations from Chapters 7 and 8, identify and explain a set of such examples. Hint:

Consider structural forms of buildings, interior design elements in relation to their functions, types of decoration or ornamentation, and cultural objects. While also noting details in these examples that differentiate religious or cultural identifies, consider their commonalities and underlying connections. 2. Islamic architecture also presents distinctive design elements, including variations of structural forms and stylistic features. Begin this activity on MyArtsLab by viewing Architectural Simulation: Arches, along with the chapter illustration for this feature (page 274). With these elements in mind, open Architectural Panorama: Alhambra on MyArtsLab. From the plan, open each section link to view and use the rotation tool to see throughout each image. Compare the Arches illustration to exterior views of the palace to identify examples of each type: round arch, horseshoe arch, pointed arch, keel arch. For example, you might begin with the chapter view of the Court of the Lions (Fig. 9-15), then move on to the Panorama for that section as well as the Facade of Comares and Garden of the Partal Palace. 3. Continuing with the theme of distinctive elements of Islamic architecture, review the chapter feature on "Technique: Ornament" (page 268), featuring illustrations of ablaq masonry, cut tile, muquarnas, wooden strapwork, mosaic, water and chinikhana. Identify examples of these elements within interior views of the Architectural Panorama: Alhambra on MyArtsLab. From the palace plan, open section links to view (and rotate through) each space. In particular, consider details visible within the Hall of Two Sisters, Hall of Kings and View of Barca Gallery. 4. Begin this activity by reviewing chapter background on "Calligraphy" (page 275), as well as "A Closer Look: A Mamluk Glass Oil Lamp" (page 279). Next, view the related feature on MyArtsLab (see Closer Look: A Mamluk Glass Oil Lamp). Based upon this background, consider how design features and surface details of the lamp might be compared to design elements seen in chapter illustrations of manuscript painting (see Fig. 9-21 Qur'an Frontispiece and Fig. 9-26 Illuminated Tugra of Sultan Suleyman) and carpet design (see Fig. 9-29 Garden Carpet). 5. A distinctive development in Islamic ceramic work was the production of lusterware. Review chapter background on this topic. As noted in the text, potters eventually developed "patterns using geometric designs, 89

foliate motifs, animals and human figures" (277). Carefully examine the form and design details seen in Fig. 9-12 Lusterware Jar and its accompanying description. Do the form, pattern elements or other surface details of this object compare to ceramic work studied in any of the previous chapters? Hint: Begin by surveying examples of pottery forms in Chapter 5, "Art of Ancient Greece". Consider other developments in Islamic ceramics later in history. Begin by reviewing chapter background for Fig. 9-19 Mina'i Bowl with Bahram Gur and Azada" (page 283) and examining details of the bowl's interior scene. Do any of the features of this circular composition compare or contrast to narrative or figural elements seen in objects featured in previous chapters? Consider common elements as well as distinctions of design and visual themes. 6. "Luxury" goods became important production and trade items in Islamic culture, as explained in "The Later Period: Thirteenth Through Fifteenth Centuries." Review chapter background on this topic and Fig. 9-20 Baptistery of St. Louis. On MyArtsLab view the related feature: Closer Look: Baptistery of St. Louis. How does this object express cultural elements unique to Muslim life, while also comparing to themes or narratives depicted in objects produced by other cultures? Hint: Begin this discussion by considering the Baptistery alongside Byzantine silverwork in Chapter 8 or The Ficoroni Cista (a work in bronze) in Chapter 6. 7. As the chapter explains, the "greatest of all Persian manuscript paintings" was produced by Sultan Muhammad in 16th century Iran. Begin by reviewing background on Fig. 9-27 The "Court of Guyamars" (page 289). On MyArtsLab view the related feature: Closer Look: Court of Gayumars. How does this work compare to the example of narrative painting featured at the opening of Chapter 9? Look again at Fig. 9-1 The Maqamat of Al-Hariri?

CHAPTER TEN

Art of South & Southeast Asia Before 1200

10 Chapter-at-a-Glance • Geography • Art of South Asia | The Indus Civilization | The Vedic Period | The Maurya Period | The Period of the Shungas and Early Andhras | The Kushan Period | The Gupta Period and Its Successors | Other Developments, Fourth-Sixth Century | The Pallava Period | The Seventh Through Twelfth Centuries | The Chola Period Art and Its Context: Buddhism Elements of Architecture: Stupas and Temples A Closer Look: The Great Departure Art and Its Contexts: Mudras Art and Its Contexts: Hinduism A Broader Look: Shiva Nataraja of the Chola Dynasty • Art of Southeast Asia | Early Southeast Asia | Sixth to the Ninth Century | Tenth Through Twelfth Centuries Learning Objectives By the end of this chapter, the student will be able to: 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. Transition Guide [Note: Chapter 9 in 4th edition is Chapter 10 in 5th] Images Removed from 4th Edition Images Added to 5th Edition Relief from East Gateway of the Great Stupa (Fig. 9-9) King Kanishka (Fig. 10-11) Buddha Preaching His First Sermon Siddhartha in the Palace (Fig. 9-14) (Fig. 10-16) Standing Buddha (Fig. 9-15) Sigiriya (Fig. 10-19)

Shiva Nataraja (P. 314) Rajaraja I and his Teacher (Fig. 9-26) Buddha Maitreya (Fig. 9-27) Buddha Shakyamuni (Fig. 9-28) Plan of Borobudur (Fig. 9-29) Borobudur (Fig. 9-30) Maya Riding to Lumbini (Fig. 9-31)

Heavenly Maidens (Fig. 10-20) Cat in Yogic Posture (Fig. 10-25) Kailasha Temple (Fig. 10-26) Shiva Nataraja (Fig. 10-31) Harihara (Fig. 10-33) Borobudur (Fig 10-34) Scene of Drunkenness and Moderation (Fig. 10-35) Loro Jonggrang (Fig. 10-36) Abduction of Sita (Fig. 10-37) Ananda Temple (Fig. 10-38) Portrait of Kyanzittha (Fig. 10-39)

MyArtsLab Resources Architectural Panorama: Angkor Wat Borobudur Great Stupa, Sanchi Architectural Simulation: Stupas and Temples Closer Look: Descent of the Ganges Relief, Mamallapuram The Great Stupa at Sanchi Shiva Nataraja Angkor Wat The Great Departure, Sanchi Bodhisattva, Cave 1, Ajanta Video / Podcasts: The Hindu Temple Web Resources: Panorama of Mohenjo-Daro (World Heritage Tour) Panorama of Khajuraho (World Heritage Tour) Borobudur Temple Compounds (video) Elephanta Caves (video) Primary Documents: Sermon of the Buddha Discussion Topics and Critical Thinking Questions 1. How are the regions of South and Southeast Asia defined geographically? Which ancient cultures developed across these regions? How are they connected through art history?

2. Ashokan pillars, figural and relief sculptures are prominent survivals of ancient Indus and later Southern Asian cultures. Describe characteristic features of these types and functions within their respective cultures and periods. 3. What types of objects or structures are associated with dynastic rulers or other powerful figures in the Maurya, Shunga, Early Satavahana, Kushan and Gupta periods? 4. Three major styles of Buddhist art developed in Southeast India over the first century CE, also shaping traditions through the seventh century across regions. What were these influences? 5. What forms and characteristics in the depiction of Buddha can be seen from period to period in central India? How can these influences be seen in examples carried over to cultures and regions of Southeast Asia? 6. Hindu religious and cultural practices form the context for major architectural sites across regions of India. What is the basis of Hinduism and how are its beliefs reflected in imagery and objects constructed over historic eras? 7. What role did cave paintings play in the cultural or religious expression of the Vakataka dynasty? Describe an example and its site. 8. How are tales or "lessons" from literature reflected in cultural objects that survive across South and Southeastern Asia? Identify examples and their sources. 9. While archeology and scholarship have deciphered much of the diverse history of early South and Southeast Asian cultures, what "mysteries” or uncertainties remain as related to art objects or cultural sites in this part of the world? Identify examples. Key Terms trefoil axis mundi buddha yakshi toranas shikhara amalakas garbhagriha stupa

Jataka tales vihara chaitya mithuna lakshanas urna ushnisha high relief mudras

Vishnu Shiva Devi Brahma bodhisattvas linga shrine moldings bas-relief

Activities and Exercises 1. This history of world architecture is closely linked to geography, topographical features of specific sites and available construction methods. But structures central to cultures' spiritual practices can also be viewed as direct expressions of their beliefs. Begin this exercise on MyArtsLab by viewing Closer Look: The Great Stupa at Sanchi, as well as the chapter illustration in Fig. 10-8. Consider: How are spiritual beliefs reflected in the overall form of this structure, its spatial layout, design elements and surface treatment? As follow-up, open the Architectural Panorama: Great Stupa, Sanchi (also on MyArtsLab) to examine more detailed views of this structure and its site. 2. Continuing with this topic, review the chapter feature on "Elements of Architecture: Stupas and Temples" (page 302) and accompanying illustrations. On MyArtsLab, view Architectural Simulation: Stupas and Temples. With a partner, discuss how the functions of the stupa and Buddhist practices are connected through specific design elements. From this background, select 2-3 examples of architectural sites illustrated in previous chapters that include similar or comparable forms, design elements or symbolic surface detailing. NOTE: While the overall structures and content of religious beliefs would likely be quite different in selected examples, the goal of this task is to discover parts or features that suggest similar functions or means of religious expression. Based upon these comparisons, devise a chart of other type of graphic display that relates corresponding elements. Develop a partner presentation for the results. 3. Many sculpted and painted representations of human figures illustrated in Chapter 10 show various types of ornamentation, whether seen as decorative elements of garments or objects worn directly on the body (e.g., the upper arm band noted on Torso of a "Priest-King" Fig. 10-4). What do these visual details symbolize or suggest about each figure or the culture represented? Trace through the chapter’s illustrations to discover examples of body ornamentation and their meanings in the context of South and Southeast Asian art history. 4. Cave paintings are among the most significant clues to ancient cultures’ beliefs, values and practices. Their subjects and techniques vary across regions and eras, but they remain strong connecting points for art history.

Review chapter background for Fig. 10-17 Bodhisattva, then view the related feature on MyArtsLab (Closer Look: Bodhisattva, Cave 1, Ajanta). Consider: How do the stylistic elements of this painting, its site and subject serve the purpose of cultural and spiritual expression? How does this painting compare in style, application to its site, and meaning to Fig. 10-20 Heavenly Maidens? 5. Begin this exercise by reviewing chapter background with "Art and Its Contexts: Hinduism" (page 309), as well as Fig. 10-21 Cave-Temple of Shiva, Elephanta. On MyArtsLab view the related video: Elephanta Caves. How does this cave site reflect multiple aspects of Shiva? What do the various depictions represent and why? From this discussion, look again at the chapter feature for "A Broader View: Shiva Nataraja of the Chola Dynasty and Fig. 10-31 Shiva Nataraja (Shiva as Lord of the Dance) (page 322), as well as the accompanying feature on MyArtsLab (Closer Look: Shiva Nataraja). How does this work of art compare in subject, presentation and meaning to the cave-temple representations of Shiva? 6. Review chapter background in the feature "Art and Its Contexts: Buddhism (page 301). Follow this on MyArtsLab by reading the primary document Sermon of the Buddha. Consider: How does this material help a viewer to understand versions of Buddha figures as illustrated throughout the chapter (for example, Fig. 10-12 Standing Buddha, Fig 10-13 Buddha and Attendants, and others)? Also consider background and illustrations in "Art and Its Contexts: Mudras" (page 309). How do all of these elements come together to create visual meaning in Buddhist images throughout the chapter? 7. Relief carving on monumental structures preserves rich details of the past, calling for close examination and careful "reading" of their narratives. Begin this exercise by looking carefully at chapter background for Fig. 10-24 Descent of the Ganges and Fig. 10-25 Cat in Yogic Posture, then view the accompanying feature on MyArtsLab: Closer Look: Descent of the Ganges Relief. Can this relief be compared in overall form, site, figural composition, visual arrangement or narrative process to reliefs created by cultures studied in earlier chapters? Despite important differences in cultural history and beliefs, are there any commonalities we can see between the ways in which cultures chose to express their worlds through monumental narrative carvings? 8. Begin this exercise by reviewing chapter background for Fig. 10-34 Borobudur, a monumental structure in Java, Indonesia, as well as Fig. 10-35 Scene of Drunkenness ad Moderation. On MyArtsLab, open the Architectural Panorama: Borobudur to view this site in 360 degrees.

How can this structure and its surface elements be used as a case study in archeological preservation and interpretation?

CHAPTER ELEVEN

Chinese and Korean Art Before 1279

11 Chapter-at-a-Glance • The Middle Kingdom • Neolithic Cultures | Painted Pottery Cultures | Liangzhu Culture • Bronze Age China | Shang Dynasty | Zhou Dynasty Technique: Piece-Mold Casting • The Chinese Empire: Qin Dynasty | Art and Its Contexts: Chinese Characters • Han Dynasty | Philosophy and Art | Architecture Art and Its Contexts: Daoism A Closer Look: A Reception in the Palace • Six Dynasties | Painting | Calligraphy | Buddhist Art and Architecture Art and Its Contexts: Confucius and Confucianism • Sui and Tang Dynasties | Buddhist Art and Architecture | Figure Painting A Broader Look: The Silk Road During the Tang Period • Song Dynasty | Northern Song Painting | Southern Song Painting and Ceramics Elements of Architecture: Pagodas • The Arts of Korea | The Three Kingdoms Period | The Unified Silla Period | Goryeo Dynasty Learning Objectives By the end of this chapter, the student will be able to: 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.

Transition Guide [Note: Chapter 10 in 4th edition is Chapter 11 in 5th] Images Removed from 4th Edition Images Added to 5th Edition Tomb Model of a House and Tomb Model of a House (Fig. 10-9) Tower (Fig. 11-9) Crown (Fig. 11-26) MyArtsLab Resources Architectural Simulation: Pagodas Closer Look: Large Seated Buddha with Standing Bodhisattva Rubbing of a Stone Relief Covered Ritual Guang with Tiger and Owl Travelers Among Mountains and Streams (Fan Kuan) Maebyeong Bottle Model of a House Ink Painting Video / Podcasts: Appreciating Chinese Calligraphy Chinese Buddhist Cave Shrines Mausoleum of the First Qin Emperor Reviving Traditional Korean Celadons Working Jade Web Resources: The Bronze Age in China Terra-cotta Soldiers from the Tomb of Emperor Shihuangdi Discussion Topics and Critical Thinking Questions 1. Pottery and carved jade are important developments in early Chinese history. Identify materials, production techniques and notable examples from Neolithic cultures. What do these objects reveal about the cultures that created them? 2. Bronze works of various types are notable in the earliest history of Chinese dynasties. What types of objects were produced and for what purposes? What techniques were used to create these objects? What do these reveal about ancient cultural practices as revealed through archeology? 3. How are images ("pictures") and ideas related to Chinese writing? Explain how visual features of Chinese characters developed and why. How are characters related to the pronunciation of language? 98

4. How are humans’ relationships to the natural world reflected in examples of Chinese art or architecture across eras and dynasties? What underlying beliefs or philosophical views are reflected in depictions or symbolic representations of humanity and nature? 5. Distinctive pagoda and temple architecture are significant in Chinese history. How did these develop? Identify defining characteristics of these forms. What features do they share in common with temples or other structures built by non-Chinese cultures? 6. What is the relationship between the Silk Road and Chinese art? What types of objects developed for this trade route? In what period of history did these developments take place? 7. How did Chinese silk painting develop? Describe key characteristics and typical subjects associated with this medium. Identify notable artists and examples. 8. Describe developments in ceramic production during the Song Dynasty. What is "Guan ware"? Describe characteristics of an example. How does this type of ceramic compare to Korean celadon? Describe characteristics of any example. 9. The movement of Buddhism from South and Southeast Asia through China and Korea is reflected in art. How are elements of Buddhist beliefs and traditions seen in Chinese works? In what ways are Korean treatments of Buddhist figures distinctive to that cultural history? Key Terms cong taotie casting piece-mold fang ding pictographs ideographs

bi bracketing handscroll literati seals module pagoda

scroll painting stoneware stand chevrons celadon

Activities and Exercises 1. Begin this exercise by reviewing “Art and Its Contexts: Chinese Characters” in the chapter (see page 337). For practice, use a fine-tip black felt pen on plain paper to replicate a few of the ancient and modern 99

characters illustrated in this section. Move along to MyArtsLab to view Video: Appreciating Chinese Calligraphy. With this background, return to the textbook and identify other forms of calligraphy as presented in previous chapters. Reviewing background for those examples, consider: How do these forms of calligraphy compare or contrast with early Chinese traditions? Consider techniques, applications or contexts of use, and cultural or religious perspectives that inform each type. 2. Among the most impressive archeological sites uncovered in China is the tomb of Emperor Shihuangdi with its army of ceramic soldiers, featured in the opening of Chapter 11. Review chapter background for Fig. 11-1 (page 331), then open the Web Resource: Terra-cotta Soldiers from the Tomb of Shihuangdi on MyArtsLab. With this "panophotographie" tool, rotate around each of the six views (360 degrees) to experience these figures in exterior and interior sections of the World Heritage site. As noted in the captioning for these views, "The small figures are all different; with their horses, chariots and weapons, they are masterpieces of realism and also of great historical interest." Select 2-3 soldiers and/or horses to examine more closely within image 3 or 4. How do these figures create a sense of realism? Which details stand out to convince the viewer that the men and animals could take breath and begin to move? How were these figures created? 3. Continuing with the subject of Exercise 2: On MyArtsLab, view the Video: Mausoleum of the First Qin Emperor. Considering this background, are there ways in which the Emperor's quest to "conquer the afterlife" (as noted in the video's introduction) through the creation of these objects (terra-cotta figures, as well as the bronze chariot viewed in the film) compare to other rulers' means of dynastic expression in other eras and parts of the world? Hint: Look back to previous chapters to identify monumental works of sculpture or architecture with similar symbolic functions. While some sites survive intact and others only in ruins, to what extent do these examples prove the power of art to transcend time and cultures? Do these works continue to "speak" to us today? 4. Begin this activity by reviewing "Bronze Age China" in the chapter (page 334), including "Technique: Piece-Mold Casting" (page 335) the featured object seen in Fig. 11-5 Covered Ritual Wine-Pouring Vessel (Guang) with Tiger and Owl. Look carefully at the description and details of this "mysterious" object. Consider: How would you describe its demeanor? How would you interpret the significance of its combined animal form: part tiger, part owl?

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After your examination, move on to MyArtsLab to view Closer Look: Covered Ritual Guang with Tiger and Owl. Does this type of object (a decorative object that can actually be used for its labeled function) resemble works produced by other cultures in previous chapters? Hint: Consider multiple media, such as ceramics and metalwork. 5. Review two chapter sections: "Art and Its Contexts: Confucius and Confusianism" (page 342) and "A Closer Look: A Reception in the Palace" (page 340). As noted in the text, the purpose of the engraved family shrine panels was primarily didactic (to teach lessons and values), but the composition of such reliefs might also be compared to design elements of other narrative panels. Examine the Wu family panel in more detail by viewing Closer Look: A Reception in the Palace on MyArtsLab. In what ways does this object present distinctive Chinese history and cultural lessons, and in what ways does it resemble other carved narratives that present history or mythology? 6. Trace distinctive forms and functions of Chinese architecture across eras of history. Along with chapter background (review subsections for the Han Dynasty and Tang Dynasty), use MyArtsLab to view the following features: Closer Look: Model of a House (see Fig. 11-9), Architectural Simulation: Pagodas (see "Elements of Architecture: Pagodas, plus Figs. 11-15 and 11-16). 7. Begin this exercise by reviewing chapter background on "The Arts of Korea" and re-examining two featured illustrations: Fig. 11-28 Bodhisattva in Meditation, Fig. 11-29 Seated Shakyamuni Buddha and Fig. 11-30 Seated Willow-Branch Gwanse'eum Bosal. Identify elements and details of these works that distinguish them as examples of Korea Buddhist art. What sets them apart from traditions and features of Buddhist representations studied in Chapter 10: Art of South & Southeast Asia Before 1200?

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CHAPTER TWELVE

Japanese Art Before 1333

12 Chapter-at-a-Glance • Prehistoric Japan | Jomon Period | Yayoi Period | Kofun Period Asuka Period Art and Its Contexts: Writing, Language, and Culture • Nara Period Art and Its Contexts: Buddhist Symbols • Heian Period | Esoteric Buddhist Art | Pure Land Buddhist Art | Secular Painting and Calligraphy Recovering the Past: The Great Buddha Hall Technique: Joined-Block Wood Sculpture A Closer Look: The Tale of Genji • Kamakura Period | Pure Land Buddhist Art | Zen Buddhist Art Art and Its Contexts: Arms and Armor A Broader Look: Daruma, Founder of Zen Learning Objectives By the end of this chapter, the student will be able to: 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. Transition Guide [Note: Chapter 11 in 4th edition is Chapter 12 in 5th] Images Removed from 4th Edition Images Added to 5th Edition Detail of Frolicking Animals Aerial View of Horyuji Com(Fig. 11-2) pound (Fig. 12-4) Scene from Frolicking Animals (Fig 12-14)

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MyArtsLab Resources Architectural Simulation: Joined-Block Technique Closer Look: The Tale of Genji Kuya Preaching (Kosho) Womb World Mandala Haniwa Figure Ise Shrine Night Attack on the Sanjo Palace Video / Podcasts: Ancient Temples of Nara Web Resources: Horyu-ji Temple Japanese Arms and Armor (Metropolitan Museum of Art) Tale of Genji Discussion Topics and Critical Thinking Questions 1. Explain the significance of haniwa in the Kofun period of Japanese history. What was their function? How were they made? What forms did they take? Describe typical characteristics of figural examples. 2. Describe characteristics of Shinto architecture, particularly for the construction of shrines. How are Shinto beliefs reflected in the materials, design and building process of these structures? 3. Describe characteristics of Buddhist architecture in Japan, particularly distinctive features of temple design. What types and forms of structures are typical at Buddhist sites? What are their functions? How do such sites as the Horyuji Temple, Great Buddha Hall and Phoenix Hall mark cultural and religious history in Japan? 4. Innovative wood-working techniques and construction methods are evident in a variety of Japanese sites and objects. Identify examples and explain the importance of this natural material in the development of Japanese philosophy or religious beliefs, architecture and art. 5. How are the Japanese writing system, the art of calligraphy, and early Japanese literature inter-related with the production of art?

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6. Explain the significance of scroll painting in Japanese art history. Describe typical materials, production methods and stylistic features of examples. 7. Japan’s Samurai culture is reflected in works of art and cultural history. Explain how the world of warrior clans is reflected in distinctive objects and traditions of art. How did that culture shape secular arts in contrast to previous traditions? Key Terms kami dogu haniwa kondo reliquary

lotus flower lotus throne chakra lakshanas mandala

joined-block construction yamato-e raigo

Activities and Exercises 1. Review the chapter section on "Art and Its Contexts: Writing, Language and Culture (page 365). With a fine-tip black felt pen on plain paper to replicate a few characters of katakana, hirigana and kanji hirigana mixed script. Survey previous textbook chapters to identify other forms of calligraphy, beginning with Chapter 11. Looking again at background for those examples, are there any commonalities among this set (including Japanese) of scripts for origins, features, applications or relationships to cultural and religious history? 2. Begin this activity by reviewing chapter background on the Kofun Period, particularly for development of haniwa figures (see pages 362-363, including Fig. 12-2 Haniwa. On MyArtsLab view Closer Look: Haniwa Figure. Given the presumption that such figures served a "link between the world of the dead, over which they were placed, and the world of the living, from which they could be viewed" (363), does that function recall similar types of objects produced by other cultures in previous chapters? 3. Select two representations of Buddha from Chapter 12 to compare and contrast with 2-3 examples from Chapters 10 and 11. How does the figural treatment of Buddha change from Southeast Asian cultures, to Chinese or Korean traditions, and to Japanese representations? What do these changes signify about religious beliefs from region to region or era to era? What

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changes can be seen across these examples for techniques of art and materials? 4. As the chapter notes, the Grand Shrine of Ise is among the most significant monuments of the Shinto religion (see Fig. 12-3 Main Hall, Inner Shrine, Ise and background on pages 363-364). Examine this structure in more detail by viewing A Closer Look: Ise Shrine on MyArtsLab. How are Shinto beliefs related to the cycles of construction, destruction and reconstruction of this site? What other elements of the structure (forms, materials) express Shinto concepts? 5. Review chapter background for Fig. 12-4 Aerial View of Horyuji Compound. On MyArtsLab view Video: Ancient Temples of Nara. With this background, identify key features of the main temple structure and related buildings within the grounds that carry architectural elements forward from Buddhist architecture in China. Hint: Look back to Chapter 11, particularly "Elements of Architecture: Pagodas" for review. To explore the history of this temple compound further, use the Web Resource: Horyu-ji Temple (Prince Shokotu's Temple) on MyArtsLab. 6. Begin this activity by reviewing chapter background on Esoteric Buddhist Art and Fig. 12-10 Womb World Mandala from the Heian period (pages 369370). On MyArtsLab view Closer Look: Womb World Mandala to examine this work further. As suggested in the Figure's caption, look back to Fig. 10-34 in the textbook to consider the example of a manadala in architectural form: Borobudur monument in Indonesia (page 324). 7. Review chapter background on yamateo-e and the historic painted handscroll illustrating scenes from The Tale of Genji (page 374). On MyArtsLab view the accompanying feature, Closer Look: The Tale of Genji, followed by the Web Resource: Tale of Genji to read summaries of the full story collection and view locations and sites associated with the tales (see "Genji's World").

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CHAPTER THIRTEEN

Art of the Americas Before 1300

13 Chapter-at-a-Glance • The New World • Mesoamerica | The Olmec | Teotihuacan | The Maya Art and Its Context: Maya Writing A Closer Look: Shield Jaquar and Lady Xok Art and Its Context: The Cosmic Ballgame • Central America • South America: The Central Andes | Chavin de Huantar | The Paracas and Nazca Cultures | The Moche Culture Technique: Andean Textiles • North America | The East | The North American Southwest A Broader Look: Rock Art Learning Objectives By the end of this chapter, the student will be able to: 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 time and 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 American visual arts. 13.4 Recognize how differences in environmental conditions affected the urban planning and architectural design of Mesoamerican, South American, and North American communities. Transition Guide [Note: Chapter 12 in 4th edition is Chapter 13 in 5th] Images Removed from 4th Edition Maya Stele (P. 387) Mantle with Bird Impersonators (Fig. 12-16 and Detail, P. 394)

Images Added to 5th Edition Palace (Foreground) and Temple of the Inscriptions, Palenque (Fig. 13-9) Lid of the Sarcophagus of Pakal the Great (Fig. 13-10)

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Sun Dagger Solar Marker at Equinox (Fig. 12-26)

Shield Jaguar and Lady Xok, Lintel 24 (Closer Look, P. 394) Ballcourt (Fig. 13-12) Mantle with Double Fish Pattern (Fig. 13-17) Earth Drawing (Geoglyph) of a Hummingbird, Nazca Plain (Fig. 13-18) Bowl with Scorpions (Fig. 13-25)

MyArtsLab Resources Architectural Simulation: Teotihuacan Closer Look: Lintel 24, Yaxchilan (Shield Jaguar and Lady Xok) Maya Stela Moche Portrait Vessel Bowl with Scorpion Seed Jar Video / Podcasts: Lines and Geoglyphs of Nasca and Pampas de Jumana Maya Rise & Fall Pre-Hispanic City of Chichen-itza Web Resource: Pre-Hispanic City of Teotihuacan (video) Discussion Topics and Critical Thinking Questions 1. Olmec culture produced distinctive sculpture in the form of colossal carved heads. Describe the presumed purpose of these figures, their material and method of production, and visual characteristics. 2. Describe characteristics of Mayan writing. How did it develop as a both visual and language system? How was it used? How was Mayan writing discovered and deciphered in history? 3. Clues to ancient Mayan cultural and religious practices are found in multiple types of sculpture. Identify examples and explain how they were produced. What can we “read” through these objects and understand about this civilization over time?

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4. Mesoamerican Olmec, Teotihuacan and Mayan cultures constructed significant pyramids and plazas. What forms did these take and how did such sites relate to each culture’s “city” design? How did these sites function for each culture? 5. Diverse peoples of the Americas produced rock art in surprising places and through methods specific to the physical geography of sites. Where can examples be found today, how were they created, and what functions did they serve, as best we know? 6. Animal figures appear in a variety of cultural objects produced by ancient American peoples. What types of artifacts or sites include such imagery or forms? What meanings or associations have been suggested for the specific cultures associated with these examples? 7. Textiles are especially significant in the history of Andean cultures. Explain their uses, construction methods and design characteristics. 8. Explain the significance of mound building in ancient North American cultures. Who produced such sites, when and where? What forms appear in these works and why? What function did they serve? 9. How did the peoples of the Southwest in North America adapt their living to specific geographical features of that region? Key Terms celts stelae talud-tablero logosyllabic roof comb cenote chacmools

camelid backstrap loom embroidery geoglyphs adobe portrait vessel earspool

effigy earthwork stockade pueblo kiva desert varnish

Activities and Exercises 1. Among distinctive architectural sites of Mesoamerica is the central pyramid at Teotihuacan, Mexico. Review chapter background for Fig. 13-4 Ceremonial Center of the City of Teotihuacan and Fig. 13-5 Plan of the Cere monial Center (pages 387-388). On MyArtsLab view the Architectural Simulation: Teotihuacan to better understand the significance of the city's layout and specific siting of the Pyramid of the Sun. 2. Continuing with the topic above on MyArtsLab, open the Video: PreHispanic City of Teotihuacan. With this background, look again at chapter 108

background for Fig. 13-6 Pyramid of the Feathered Serpent and Fig. 13-7 Bloodletting Ritual (pages 388-389). Compare the carved surfaces of the pyramid to details seen in the fresco fragment. Which forms and figures carry over from one medium to the other? Which visual elements appear to serve primary decorative purposes as surface ornamentation rather than purely narrative or symbolic representations? 3. On MyArtsLab view Closer Look: Maya Stela. Considering the timeframe of Mayan culture, look back to previous chapters in which ancient cultures produced records in the form of stelae (hint: recall The Code of Hammurabi in Chapter 2: Art of Ancient Near East) or in monumental columns (e.g., ancient Rome’s Column of Trajan, Chapter 6). Compare these forms and examples, particularly for their functions and means of recording information or representing beliefs. Despite fundamental differences between each culture, are there universal elements or comparable features of these objects across cultures, regions of the world, and eras? Create a chart to present your findings. 4. Begin on MyArtsLab by viewing Video: Maya Rise & Fall. On this National Geographic Magazine website, begin by clicking the Feature Arcticle tab in the upper banner to read through the main article by Guy Gugliotta, “The Maya: Glory and Ruin”. Then, use the Maya Map tab to return to the opening map screen. The interactive map displays 15 map points, each of which opens to a photograph and description of a key site related to the article’s subject. Hint: After opening the first map point, you can use the “Previous” and “Next” buttons at the top of the information box to move through the set of 15 sites. After reading and viewing this resource, discuss your reactions to this history with a classmate partner or small group. How has this material changed your perception of ancient cultures? Of the Americas? Which sites and information about this civilization were most surprising to you and why? 5. Review chapter background for the remarkable site photographed in Fig. 13-18 Earth Drawing (Geoglyph) of a Hummingbird (Nazca Plain) (pages 399-400). On MyArtsLab view Video: Lines and Geoglyphs of Nasca and Pampas de Jumana to see other examples and to consider other connections between the imagery created by these geoglyphs and figural work in Nazca pottery. 6. Mound building distinguishes ancient Mississippian and Florida Glades cultures of North America. Review chapter background for Fig. 13-22 Great Serpent Mound, Fig. 13-23 Reconstruction of Central Cahokia and Fig. 13-24 Pelican Figurehead (pages 402-404).

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How would you compare the archeological history of these sites to ancient excavation sites studied in earlier chapters? Considering the locations of such sites today in the midst of modern populations and developments, what issues might be raised regarding preservation or ownership of such sites? Are there competing interests inherent in pursuing further archeology of ancient places and artifacts versus other approaches to management of such sites? Should presumed “sacred” places associated with ancient peoples be placed off limits in some ways? Develop a discussion and presentation of views with classmates. 7. Review chapter background for pottery produced in the Southwest of ancient North America (page 404), including Figs. 13-25 and 13-26. On MyArtsLab view two accompanying features: Closer Look: Bowl with Scorpion and Closer Look: Seed Jar. How do these objects compare to the forms, imagery, design elements and functions of pottery produced in similar eras by cultures beyond the Americas? Hint: Look back to earlier chapters that include ceramic work from approximately 1000 - 1150 CE.

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CHAPTER FOURTEEN

Early African Art

14 x

Chapter-at-a-Glance • The Lure of Ancient Africa • Africa—The Cradle of Art and Civilization • African Rock Art | Saharan Rock Art Art and Its Contexts: The Myth of “Primitive” Art • Sub-Saharan Civilizations | Nok | Igbo-Ukwu | Ife | Benin Art and Its Contexts: Southern African Rock Art A Closer Look: Roped Pot on a Stand Technique: Lost-Wax Casting A Broader Look: A Warrior Chief Pledging Loyalty Other Urban Centers | Jenne | Great Zimbabwe | Aksum and Lalibela | Kongo Kingdom • Exporting to the West Learning Objectives By the end of this chapter, the student will be able to: 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. Transition Guide [Note: Chapter 13 in 4th edition is Chapter 14 in 5th] Images Removed from 4th Edition none

Images Added to the 5th Edition Bet Giorgis (Church of St. George), Lalibela, Ethiopia (Fig. 14-17)

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MyArtsLab Resources Architectural Simulation: Adobe-Brick Construction Architectural Panorama: Beta Ghiorghis Closer Look: Roped Pot on a Stand Decorated Textile from Kongo Warrior Chief Brass Plaque Nok Head Hip Mask Representing an Iyoba Great Zimbabwe Studio Technique Video: Lost-Wax Bronze Casting Videos / Podcasts: Rock-Hewn Churches, Lalibela Tassili n'Ajjer Web Resources: National Museum of African Art Nok Terracottas

Discussion Topics and Critical Thinking Questions 1. How did the geography and climate across the African continent shape diverse cultures’ production of objects and architectural sites? Identify key examples that also define specific regions or eras of civilizations. 2. How have perceptions of "primitivism" in relation to African art changed over eras of history? What was the source of those assumptions? What other misconceptions about African art history prevailed until more recent studies of cultures and artists across the continent? 3. “Naturalistic” forms and treatments are evident in artifacts produced by diverse African cultures. In what types of objects and subjects can this be seen? How are these traditions interpreted in the context of each producing culture? 4. What distinctive materials were used in African art production and for what purposes? Identify several examples and describe the production techniques associated with each.

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5. Memorial practices and ceremonial rituals of diverse African cultures were important contexts for interpreting artifacts or sites. How so? 6. How have powerful figures within African cultures (royalty, tribal chiefs) been represented through cultural objects and art? 7. Islam and Christianity intersect in early African art history, along with ancient creation beliefs. In what ways can these influences be seen or used to interpret African objects or architectural sites? 8. How did the history of European contact and the opening of African trade affect the production of cultural objects for export? Identify examples (materials, methods of production, visual features). Key Terms scarification primitive lost-wax casting ichi ohi finials libations skeuomorph

oba "rolled collar" head altar iyoba guilds plaque eben sword mirhab

torons zimbabwe battered wall conical zoomorphic monstrance oliphant

Activities and Exercises 1. Reread "Art and Its Contexts: The Myth of ‘Primitive’ Art" (page 412) as a starting point for thinking about the changes in perception and interpretation of African art by Western historians and archeologists. Follow through the chapter’s presentation of African history to trace examples of “discoveries” or excavations that created initial misunderstandings or false impressions of African works and cultures—as well as changes in thinking brought about by later views. What “mysteries” remain? What challenges do scholars still face today as they strive to create accurate African cultural and art history? 2. Begin this activity by reviewing chapter background on Saharan Rock Art and Fig. 14-2 Dancers in Ceremonial Attire (pages 411-413), along with "Art and its Contexts: Southern African Rock Art" (414). On MyArtsLab view the Video: Tassili n'Ajjer. How do the African rock paintings compare or contrast with cave paintings produced by other cultures and regions of the world from prehistoric eras? Survey previous chapters to identify examples.

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3. Review chapter background on the Sub-Sahran Nok culture, including Fig. 14-3 Head (see pages 412-413). On MyArtsLab view Closer Look: Nok Head to examine this work in more detail. As noted in the text, this type of Nok sculpture may present individualized portraits of tribal figures with detailed ornamentation. Explore the broader context for Nok archeological excavations by using the Web Resource: Nok Terracottas link on MyArtsLab. 4. An important hallmark of the Igbo culture of eastern Nigeria was the production of cast metal objects in naturalistic forms. Begin this activity on MyArtsLab by viewing the Studio Technique Video: Lost-Wax Bronze Casting, alongside the chapter illustrations for this process (see "Technique: Lost-Wax Casting" on page 418). Continuing with this focus, review chapter background on the Igbo Ukwu archeological site, including the roped vessel described as "Among the most technically sophisticated bronze castings" (pages 414-415). Examine carefully the featured illustration for "A Closer Look: Roped Pot on a Stand" (page 416), then view the related feature on MyArtsLab (see Closer Look: Roped Pot on a Stand). With this background, consider: What does the heritage of cast metal works excavated across multiple sites in Nigeria reveal about the social and political order of the cultures that produced such objects? Hint: Consider Fig. 14-7 Memorial Head of an Oba produced in Benin as well. 5. As noted in the chapter, "At Benin, as in many other African cultures, the head is the symbolic center of person's intelligence, wisdom, and ability to succeed in this world or to communicate with spiritual forces in the ancestral world" (419). Review chapter background on Benin and the significance of the "Queen Mother" as depicted in Fig. 14-9 Hip Pendant Representing an Iyoba (pages 416-419). On MyArtsLab view Closer Look: Hip Mask Representing an Iyoba. What other types of objects have led scholars to conclude that "the art of Benin is a royal art" (419)? Hint: Look again at Fig. 14-10: Plaque: A Warrior Chief Flanked by Warriors and Attendants within "A Broader Look" (page 420). 6. Among the most significant architectural structures in Africa is seen in Fig. 14-14 The Great Friday Mosque rebuilt in Mali over a 13th century site. Review chapter background on the city of Jenne, noting as well that, "Traditional houses resemble the [Great Friday] mosque on a small scale" (422-423). To better understand the material and construction methods

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employed to create these structures, view the Architectural Simulation: Adobe-Brick Construction on MyArtsLab. 7. The ancient kingdom of Aksum in Ethiopia was eventually conquered by the people of Zagwe, leading to the spread of Christianity in that region of Africa, as well as construction of important Christian sites (see chapter background for Aksum and Labilela, pages 424-425). Begin this activity on MyArtsLab by viewing the Video: Rock-Hewn Churches, Lalibela, as well as examining Fig. 14-17 Bet Giorgis (Church of St. George), Labiela (page 425). Continuing with this focus, use the Architectural Panorama: Beta Ghiorghis to see the larger context of this structure's geographical site (rotate 360 degrees from the "View From Above" link), "Facade" details and "Interior" view. What influences can be seen through these images of early Christian, Byzantine, Islamic or other sources? (Consider architectural forms, site features, spatial arrangements, interior elements, objects.)

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CHAPTER FIFTEEN

Early Medieval Art in Europe

15 Chapter-at-a-Glance • The Early Middle Ages Art and Its Contexts: Defining the Middle Ages The Art of the “Barbarians” in Europe | The Merovingians | The Norse | The Celts and Anglo-Saxons in Britain Recovering the Past: Sutton Hoo • The Early Christian Art of the British Isles | Illustrated Books A Broader Look: The Lindisfarne Gospels Art and Its Contexts: The Medieval Scriptorium • Mozarabic Art in Spain | Beatus Manuscripts • The Viking Era | The Oseberg Ship | Picture Stones at Jelling |Timber Architecture • The Carolingian Empire | Carolingian Architecture | Illustrated Books | Carolingian Metalwork A Closer Look: Psalm 23 in the Utrecht Psalter • Ottonian Europe | Ottonian Architecture | Ottonian Sculpture | Illustrated Books Learning Objectives By the end of this chapter, the student will be able to: 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. 15.3 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. Transition Guide

[Note: Chapter 14 in 4th edition is Chapter 15 in 5th]

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Images Removed from 4th Edition None

Images Added to the 5th Edition Page with Saint Matthew the Evangelist, Ebbo Gospels (Fig. 15-20)

MyArtsLab Resources Architectural Simulation: Stave Churches Closer Look: Psalm 23 in the Utrecht Psalter Sutton Hoo Clasp Coronation Gospels St. Matthew Compared to Ebbo St. Matthew Saint Gall Plan Web Resource: The Palace Chapel of Charlemagne (video) Primary Document: From The Rule (St. Benedict of Nursia) Discussion Topics and Critical Thinking Questions 1. The fall of Roman power and impacts of invading cultures across the continent shaped and reshaped Christian artistic traditions. Where did the “barbarians” come from? How can the influences of “pagan” peoples be seen in works produced over the early Middle Ages? Identify types of objects that reflect this history and explain notable features. 2. Metalwork was especially significant in the production of ornamental and architectural works by diverse cultures over several empires. Trace the “story” of early medieval art through this medium. 3. Describe characteristics of Mozarabic style, specifically as seen in painted manuscript pages. What are the origins of this style? Where did this style flourish in the early Middle Ages? 4. What forms of church construction developed over the early medieval period? How did materials and design reflect different regions and cultural groups, as well as the traditions followed? 5. What did the "Saint Gall Plan" represent for monastic life in the early medieval period? What was its purpose and influence? What can be understood or interpreted through the plan's details? 6. What role did Carolingian and Ottonian book arts play in the expansion of learning and religious teachings? Explain the functions, production methods and stylistic features of key examples.

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7. From memorial stones to carved and cast religious objects, explain the diversity of early medieval sculpture. Consider cultural context, materials, techniques, functions and interpretation. Key Terms barbarians illuminated books chasing animal style hoo millefiori incipit

scriptorium vellum parchment colophon bosses Mozarabic Vikings

rune stones picture stones stave churches westwork ambulatory gallery cloister

Activities and Exercises 1. Look closely at chapter illustrations of objects crafted from precious metals, stones and jewels (for example, Figs. 15-2, 15-3, 15-4, 15-21). What types of objects were produced from these materials and for what purposes? How would they have been made? Describe key elements of their design, ornamental features and significance as cultural or religious works. 2. Begin by reviewing the story behind "Recovering the Past: Sutton Hoo (see page 434) and looking closely at Fig. 15-4 Hinged Clasp, from the Sutton Hoo Burial Ship. Follow this by viewing Closer Look: Sutton Hoo Clasp on MyArtsLab. Consider: How does this case compare or contrast with controversies or issues related to archeological finds at sites presented in previous chapters? Look back through earlier studies to identify examples. 3. Begin by reading Primary Document: From The Rule by St. Benedict of Nursia on MyArtsLab In light of the regulations set out by St. Benedict, re-examine Fig. 15-18: Saint Gall Plan (page 447) and its detailed representation of each area of a monastic community. In what ways does this plan model the document’s intentions or serve its purposes? Can you see ways in which ideals of The Rule shape elements of the Plan? After this preparation work, move along on MyArtsLab to view Closer Look: Saint Gall Plan. 4. Begin by reviewing The Viking Era, particularly background on “Timber Architecture” and stave churches, including Fig. 15-14 Exterior (A) and Cutaway Drawing (B) of Stave Church, Borgund, Norway (pages 441-444). On MyArtsLab view the Architectural Simulation: Stave Churches. The 118

interior elements identified by this presentation link the structure directly to several traditional features of Roman churches, (such as the narthex, nave, side aisles, choir and apse) despite the strikingly different exterior form and stylistic features that mark its Viking origins. But scholars have also commented on this structure's resemblance, in some respects, to a pagoda. Compare the stave church to illustrations and background presented in Chapter 11 (Chinese and Korean Art Before 1279) and Chapter 12 (Japanese Art Before 1333) to identify comparisons. Do features of the stave church compare to any other architectural forms or visual traditions studied in previous chapters? Explore this issue by revisiting architectural history with a partner. 5. Among the most important Carolingian architectural sites is Charlemange's Palace at Aachen. Review chapter background for this structure, including the Palace Chapel (and detailed illustrations with Fig. 1516 Interior View (A) and Section Drawing (B), Palace of Charlemagne (pages 444-445). Consider: What influences in form and style can be seen with these interior views? (Hint: Look back to Chapter 8 Byzantine Art, especially views of The Great Mosque of Cordoba). Continue this exercise on MyArtsLab by using the Web Resource video link: The Palace Chapel of Charlemagne. 6. Central to the history of early medieval art is the development of extraordinarily elaborate book illuminations and painted manuscripts. Begin this exercise by reviewing chapter background with "Art and Its Contexts: The Medieval Scriptorium (page 438). Look again at key illustrations with "A Broader Look: The Lindisfarne Gospels (Figs. 15-6, 15-7 and 15-8). Consider: How do the visual conventions and design elements seen in these examples compare to earlier Christian and Byzantine traditions for religious represention? (Hint: Look back to previous chapters for paintings and mosaic work.) Continuing with this focus, review chapter background for "Illustrated Books" of the Carolingian Empire (see pages 448-449, including Figs. 15-19 and 1520). On MyArtsLab view the accompanying feature for a Closer Look: Coronation Gospels St. Matthew Compared to Ebbo St. Matthew. Complete this topic by re-examining chapter background and feature on "A Closer Look: Psalm 23 in the Utrecht Psalter" (450), followed by viewing the accompanying Closer Look: Psalm 23 in the Ultrecht Psalter in MyArtsLab.

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Consider: How do visual conventions change in Ottonian illuminated books? Re-examine two key examples as illustrated in Fig. 15-26 Presentation Page with Abbess Hitda and St. Walpurga, Hitda Gospels and Fig. 15-27 Page with Christ Washing the Feet of His Disciples, Gospels of Otto III.

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CHAPTER SIXTEEN

Romanesque Art

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Chapter-at-a-Glance • Europe in the Romanesque Period | Political, Economic and Social Life | The Church • Romanesque Art • Architecture | “First Romanesque” | Pilgrimage Churches | Cluny | The Cistercians | Regional Styles in Romanesque Architecture | Secular Architecture: Dover Castle, England Art and Its Contexts: The Pilgrim’s Journey to Santiago Art and Its Contexts: Relics and Reliquaries Art and Its Contexts: St. Bernard and Theophilus: The Monastic Controversy over the Visual Arts Art and Its Contexts: The Paintings of San Climent in Taull: Mozarabic Meets Byzantine • Architectural Sculpture | Wiligelmo at The Cathedral of Modena | The Priory Church of Saint-Pierre at Moissac | The Church of SaintLazare at Autun • Elements of Architecture: The Romanesque Church Portal A Closer Look: The Last Judgment Tympanum at Autun • Sculpture in Wood and Bronze | Christ on the Cross (Majestat Batllo) | Mary as the Throne of Wisdom | Tomb of Rudolf of Swabia | Renier of Huy • Textiles and Books | Chronicling History | Sacred Books A Broader Look: The Bayeux Embroidery Art and Its Contexts: Hildegard of Bingen Learning Objectives: By the end of this chapter, the student will be able to: 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.

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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. Transition Guide [Note: Chapter 15 in 4th edition is Chapter 16 in 5th] Images Removed from 4th Edition

None

Images Added to 5th Edition South Portal, Typanum Showing Christ in Majesty, Priory Church of Saint-Pierre, Moissac (Fig. 16-21) Reliefs on the Left Wall of the South Porch, Priory Church of Saint-Pierre, Moissac (Fig. 16-23) Baptismal Font, Notre-Dame-Aux Fonts (Fig. 16-28)

MyArtsLab Resources Architectural Panorama: Cathedral of Saint-Lazare at Autun Durham Cathedral Architectural Simulation: Romanesque Portal Closer Look: The Bayeux Embroidery The Last Judgment Tympaum at Autun Renier of Huy Baptismal Font Durham Cathedral Video / Podcasts: Speyer Cathedral Student on Site: Cathedral Complex, Pisa Web Resources: Routes of Santiago de Compostela in France (video) Cathedral of Saint James, Santiago de Compostela Bayeux Tapestry Primary Document: Description of Cluny From Pilgrim's Guide to Santiago de Compostela (Part 1) From Pilgrim's Guide to Santiago de Compostela (Part 2) From Apologia to Abbott William of Saint-Thierry

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Discussion Topics and Critical Thinking Questions 1. How did pilgrimage routes develop in Western Europe and which sites were particularly important? How did the spread of such travel impact development of those places, particularly for the building of key structures? What types of trade or artisan work were also impacted? 2. The expansion of monasteries and monastic orders during the Romanesque period also prompted innovations in architectural designs to serve diverse practices. How did sites constructed for Benedictine, Clunaic, and Cistercian monasteries reflect each order’s mission and religious views? 3. The reverence of saints and figures of early Christian history became a significant feature of Romanesque art in many forms. What role did reliquaries play in the production of art objects? What controversies arose in relation to venerated images or “cult” figures memorialized through art? 4. How did Byzantine tradition influence art during the Romanesque period? Where did this influence take place? What characteristics are notable? 5. How did secular architecture develop during this period, particularly for the construction of castles? What are the key features of such structures and how do they serve the primary purpose of protection? 6. How did architectural sculpture develop during the period of the Romanesque and for what purposes? Which locations or parts of church or monastery structures were filled with carvings and sculptural work? How did sculptural "programs" serve religious teachings? 7. What types of objects were produced by master or skilled artisans for use within churches or related to religious activities at various sites? What materials and techniques were employed to create works needed for the furnishing of churches or monasteries, for example? 8. How are historical events or figures from this period of the Middle Ages memorialized in art or through cultural objects? Which events and individuals are captured for posterity through imagery in any medium?

Key Terms

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Romanesque

bailey

trumeau

transverse arch

moat

mandorla

lantern tower

gatehouse

hieratic

stained glass

drawbridge

historiated capital

spolia

portal

effigy

baldachin

tympanum

tapestry

keep

archivolts

embroidery

donjon

jambs

Activities and Exercises 1. Begin by reviewing chapter background on Pilgrimages (page 460), along with "Art and Its Contexts: The Pilgrim's Journey to Santiago" (pages 463-464). Among the most important sites related to this history is The Cathedral of St. James in northwestern Spain. Looking carefully at Map. 162 The Pilgrimage Routes to Santiago De Compostela (464), open MyArtsLab to view the video linked through Web Resource: Routes of Santiago de Compostela in France. Continuing with this focus, use MyArtsLab to access and read two important sources for travelers of the period: Primary Document: From Pilgrim's Guide to Santiago de Compostela (Part I) and (Part 2). 2. Among the most influential monasteries founded in the Romanesque period was the Benedictine order at Cluny in Burgundy, France. Begin by reviewing chapter background for Cluny, including Fig. 16-6 Reconstruction Drawing of the Abbey of Cluny (pages 465-466). Use MyArtsLab to open and read an early source from the period of monastery's construction: Primary Source: A Description of Cluny. Consider: How does this site compare to the conceptual plan for early medieval monastic communities known as the Saint Gall Plan? Hint: Look back to Chapter 15 for background and illustration in Fig. 15-18 (page 447). 3. Regional architectural styles developed in the Romanesque period, expressed through adaptations to earlier structures as well as "new" construction. Among notable examples is Speyer Cathedral for its mix of Ottonian and Carolingian features, but also as the largest Romanesque structure ever built. Review chapter background for the Cathedral of the Virgin and St. Stephen in Speyer, including Fig. 16-16 Interior, Speyer Cathedral and Fig. 16-17 Exterior, Speyer Cathedral (page 475). Continue an examination of this site on MyArtsLab by viewing Video: Speyer Cathedral. Consider: What innovations in architectural construction were achieved in this building? Which features or elements of Speyer Cathedral 124

emphasized imperial power? What event in its lengthy history of reconstruction re-established the importance of its Romanesque origins? 4. Another significant example of regional Romanesque is Durham Cathedral in northern England. Review chapter background for this site, including Fig. 16-18 Plan (A) and Interior (B) of Durham Cathedral (pages 476-477). Examine this site further on MyArtsLab by viewing Closer Look: Durham Cathedral. Consider: What the most distinctive features of this version of Romanesque architecture? Continuing with this topic, use MyArtsLab to open the Architectural Panorama: Durham Cathedral. Work through each of the eleven links triggered from the site plan to fully experience the scale and beauty of this interior. As you rotate in every direction through each view, look for and identify key architectural elements (for example: columns, capitals, transverse arches, groin vaults). 5. As noted in the chapter, "...innovative [church] portals are among the greatest artistic achievements of Romanesque art", filled with extraordinary sculptural figures designed specifically to fit specific portal forms and architectural features of these grand entryways, while also serving didactic functions for religious teachings. Begin by reviewing chapter background on Architectural Sculpture and "Elements of Architecture: The Romanesque Church Portal" (page 478). On MyArtsLab view Architectural Simulation: Romanesque Portal to better understand the basic design elements around which sculptural treatments were created. Continue in the chapter to re-examine examples, such as Fig. 16-21 South Portal, Typanum Showing Christ in Majesty, Priory Church of Saint-Pierre, Moissac and the detail view of its Trumeau in Fig. 16-22 (pages 480-481). Continuing with this subject, look closely at the chapter feature on page 483 and its counterpart on MyArtsLab for A Closer Look: The Last Judgment Tympanum at Autun. 6. During the Romanesque period, women featured significantly in the production of artwork or other cultural objects and records, as well as in depictions of human or spiritual activities. Trace through the “story” and illustrations spanning Chapter 16 to focus on this angle of history. Step 1: Identify examples of artwork created by women, whether as individuals or as a class of artisans. What do these examples reveal about women’s lives in this period of the Middle Ages?

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Step 2: Re-examine illustrations in this chapter that depict a female as the subject of the artwork or that include women within the work’s imagery. What visual features or thematic treatments of females are notable? How do these depictions present idealized versions of particular women (e.g., Biblical or named religious figures) versus generically represented women? What more can be seen about women’s lives in the Middle Ages through these depictions?

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CHAPTER SEVENTEEN

GOTHIC ART OF THE TWELFTH AND THIRTEENTH CENTURIES

Chapter-at-a-Glance • •

• • •

Learning Objectives By the end of this chapter, the student will be able to: 17.1 17.2 17.3 17.4

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

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Cathedral of Notre-Dame, Paris (16-5) Recovering the Past: The Church of St.

Giovanni Pisano, Annunciation, Nativity, and Adoration of the Shepherds (17-36)

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Francis of Assisi (page 523) Giovanni Pisano, Nativity (16-33)

MyArtsLab Resources Architectural Panorama: Abbey Church of Saint-Denis Cathedral of Notre Dame, Reims Chartres Cathedral Sainte-Chapelle Salisbury Cathedral Ribbed Vault Closer Looks: The Opening of Psalm 1 in the Windmill Psalter Reims Cathedral, Annunciation and Visitation Rose Windows and Lancets, North Transept, Chartres Cathedral Nicola Pisano pulpit Abbey Church of Saint-Denis Sainte-Chapelle Stained Glass Video/Podcasts: Student on Site: Salisbury Cathedral Student on Site: Pisa Baptistery Pulpit Web Resources: Chartres Cathedral (video) Primary 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

Discussion Topics and Critical Thinking Questions

1. The Gothic period emerged during a time of considerable social and political change. How did the evolving social and political environment of the 12th and 13th centuries encourage the development of the Gothic style in architecture? What changes were most influential in the formation of the Gothic cathedral? 2. Throughout the Gothic period we see a greater interest in through different media, including stained glass, manuscript illumination, and sculpture. As these narratives become more complicated, artists needed to develop new ways of making them understandable to the public. What

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details and developments did the sculptors of the Central Portal, Reims Cathedral use to convey the narratives of the Annunciation and Visitation? 3. Look at the Closer Look feature for the Psalm I in the Windmill Psalter. These pages feature an elaborately illustrated set of capital letters. Why do you think the artist devoted so much attention to these letters? Why would this kind of detail have been important, especially for religious texts? 4. The church of Sainte-Chapelle has been described as a “jewelbox reliquary.” What does the author mean by this? How can this be considered a true statement, both literally and figuratively? 5. The Gothic style of architecture spread throughout Europe, but changed according to local needs and traditions. Compare the plans for Reims Cathedral and Salisbury Cathedral. What similarities do they share? What differences? How do these differences reflect their local environment?

Key Terms Scholasticism Rib vaulting Flying buttresses Royal Portal Tracery Stringcourses Pinnacles Lancets Rose windows

Plate tracery Triforium Fleur-de-lis Quatrefoils Bar tracery Mullions Hemicycle Court Style Hall church

Polychromy Historiated crucifix Baldacchino

Activities and Exercises 1. The Gothic style of architecture represented a considerable shift in the structure, function, and decoration of the cathedral. Compare the Romanesque Cathedral of St. James, Santiago de Compostela (16-4 and 165) and the Gothic Chartres Cathedrals. Compile a list of differences, considering both interior and exterior changes. For each change, hypothesize about how the changing role and function of the church in the Gothic period might have influenced or necessitated that change. 2. The use of art to decorate churches has long been a contentious issue. In MyArtsLab, read the “Apologia to Abbot William of Saint-Thierry” by St. Bernard of Clairvaux and compare it to Abbot Suger’s “On the Value of Art in Monasteries.” Compare their arguments and write a paragraph which explains your position on the issue. 3. During the Gothic period, artists became increasingly sophisticated in their ability to convey complex narratives. Have students select a well-known story and design a stained-glass panel that illustrates an

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important scene from that story. Then have them discuss their decisionmaking process: Why did they choose this particular scene? How would a viewer know the narrative being shared? What elements or symbols are important to this narrative?

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CHAPTER EIGHTEEN

FOURTEENTH-CENTURY ART IN EUROPE

18 Chapter-at-a-Glance • • • • •

Learning Objectives By the end of this chapter, the student will be able to: 18.1 18.2 18.3 18.4

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Duccio di Buoninsegna, Virgin and Child Enthroned (Rucellai Madonna) (17-10)

Duccio di Buoninsegna, Betrayal of Jesus (18-12)

MyArtsLab Resources Closer Look: The Hours of Jeanne d’Évreux The Scrovegni Chapel Giotto and Duccio’s Betrayal/Kiss of Judas

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Duccio, Maesta Virgin and Child (Saint-Denis) Vesperbild (Pietà) Fresco Studio Technique Video: Egg Tempera Video/Podcasts: Student on Site: Exterior of the Arena Chapel Student on Site: Palazzo Pubblico, Siena Primary 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

Discussion Topics and Critical Thinking Questions 1. Ambrogio Lorenzetti’s frescos in the Palazzo Pubblico depict systems of good government in the city and the country. Read the inscriptions that accompany these paintings in MyArtsLab, watch the Student Video, and then examine the two frescos. What can we determine about 14th-century ideas of government? What differences can we detect about the role of government in the life of a city dweller and a resident of the countryside? 2. Before the Black Death, the 14th century was a period of great cultural development and experimentation. Although religion continued to play a major role in people’s lives and the subject of many works of art, a new secularism began to emerge. Read excerpts from contemporary writers Petrarch and Boccaccio, works that were striking in their time for their secular subjects. Then choose one artwork from this chapter that you believe shows a new secular quality, despite its religious subject, and write a short essay explaining your choice. 3. Altarpieces by both Cimabue and Giotto made considerable advances towards a new naturalism, but neither artist made a complete break with the past. Compare the two paintings side-by-side. Discuss how each artist makes his depiction of the Virgin and Child seem more lifelike. Then discuss what Gothicizing qualities remain in each painting. 4. The construction of a cathedral represented a major undertaking that could span generations of workmen. The construction of Exeter Cathedral was further interrupted by the Black Death. While the first sections of the church were built in the Decorated style, the building was completed in the Perpendicular style. List the characteristics of each style

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and pinpoint examples of each style in the interior of Exeter Cathedral (1822) 5. German devotional images (Andachtsbilder) were often graphic depictions of suffering. Examine the Vesperbild (Pietà) and view the Closer Look on this sculpture. How did the artist create a sense of emotion in this work? Why would it have been important to create such a graphic depiction of this scene?

Key Terms Signoria Loggia Buon fresco Fresco secco

Giornata Sinopia Grisaille Book of Hours

Predella Opus Anglicanum Bosses Perpendicular style

Activities and Exercises 1. The Baptistery in Florence was a site of great importance to the city. The commission for Andrea Pisano’s bronze doors represented a considerable investment of time and resources. The resulting depictions of scenes from the life of St. John the Baptist contain both elements of the Gothic style and of a new naturalism. Examine The Baptism of the Multitude as a class and then create a chart that lists out the evidence for both the Gothic and the emerging Renaissance styles. 2. Giotto’s frescos in the Scrovegni (Arena) Chapel moved away from Gothic mysticism and splendor towards a new naturalism. His paintings were intended to be clear depictions of biblical narratives that would be accessible to the viewer. View the Closer Look on the Scrovegni Chapel and then examine the scenes of the Marriage at Cana, Raising of Lazarus, Lamentation, and Resurrection/Noli Me Tangere (18-8). Select one of those four panels and then write an explanation of the narrative, based solely on how Giotto depicts the episode. Play close attention and note what formal devices Giotto uses to make his narrative easier to understand. 3. Each city-state in Italy had a unique local style, based on regional influences and tastes. Compare and contrast the Florentine style of Giotto’s Kiss of Judas (18-9) with the Sienese painter, Duccio’s depiction of the same scene (18-12). View the Closer Look that compares these two works, as a class. Then divide the class into two groups, Florence and Siena, to consider how each painting reflects the style of its city. After each group has shared their argument, discuss whether there are elements shared by these two paintings that can be seen as a larger trend in 14th-century art?

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CHAPTER NINETEEN

FIFTEENTH-CENTUERY ART IN NORTHERN EUROPE

19 Chapter-at-a-Glance • •

• • •

Learning Objectives By the end of this chapter, the student will be able to: 19.1

19.2 19.3 19.4

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. Uncover the complex symbolic meanings that saturated both settings and subjects of northern European paintings. Explore the ways in which northern European paintings of the fifteenth century captured in concrete form the spiritual visions of their meditating donors. Investigate the emergence of printing as a major pictorial medium.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition n/a

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MyArtsLab Resources Closer Look: Jan and Hubert van Eyck, Ghent Altarpiece (closed) Jan van Eyck, Double Portrait of Giovanni Arnolfini and His Wife

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Rogier van der Weyden, Deposition Limbourg Brothers, February, Life in the Country Workshop of 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 Video: Making Oil Paint Oil Painting Intaglio Printmaking The Printmaking Process of Woodcut Video/Podcasts: Student on Site: Man in a Red Turban Web Resource: 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

Discussion Topics and Critical Thinking Questions

1. The delicate and luxurious International Gothic style was popular throughout Europe in the 15th century. Select one painting from this chapter that you feel exemplifies the style, and then explain your choice. What distinguishes the work you selected from earlier Gothic art? 2. The Très Riches Heures of the Duke of Berry alternated scenes of court and peasant life. Examine the feast scene depicted for January. How does this manuscript illumination convey the power and authority of the duke? What visual clues would lead the viewer to know which figure in the painting is the most important? 3. Instead of the tempera paint and frescos favored by Italian Renaissance artists, Flemish painters often worked in oils. Watch the Studio Technique videos on the making and use of oil paint. How do you think the properties of oil paint might have impacted the style of Flemish painting? 4. Renaissance depictions of religious scenes often set the narratives in present-day surroundings. View the Closer Look on the Mérode Altarpiece. How did the artists integrate the stories of the Annunciation and St. Joseph with elements of 15th-century life? Why might an artist have wanted to place these biblical stories in familiar surroundings? 5. Jan van Eyck’s Man in a Red Turban may be a self-portrait of the artist. One piece of evidence for this theory is that the artist included his

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personal motto at the top of the panel. Written in Greek letters, the text reads “As I can [but not as I would]. What do you think this means? Why might a painter have selected this as his personal motto? 6. The French court artist Jean Fouquet trained with a Flemish painter and travelled to Rome. Historians have argued that his work shows the influences of both Northern and Italian Renaissance painting. Examining his Étienne Chevalier and St. Stephen, Virgin and Child, what evidence can we see of both styles? 7. The invention of Gutenberg’s movable-type press revolutionized the circulation of information in the 15th century. The technology would drastically reduce the cost of printing books and would eventually lead to higher literacy rates throughout Europe. These books were often illustrated with woodcuts or engravings. How did works like the Nuremberg Chronicles impact the graphic arts?

Key Terms Triptych Polyptych Horizon line Cope Matte Glazes

Majolica Picture plane Oil painting Crockets Hanseatic League Woodblocks

Woodcuts Engraving Intaglio printing Relief printing Burins

Activities and Exercises

1. Many theories have been formed to explain Jan van Eyck’s Double Portrait of Giovanni Arnolfini and his Wife. Some scholars believe that it depicts an engagement or wedding ceremony, others think the painting was a memorial after the death of Arnolfini’s wife. Examine the painting; considering the way the figures are depicted and the various symbols in the painting, what do you think is the subject of this portrait? 2. Northern Renaissance artists combined elements of complicated symbolism with carefully observed studies of the natural world. Select one painting from this chapter and write a short essay that describes the artist’s use of symbolism and naturalism. How were these two styles integrated to create a single image? 3. Rogier van der Weyden’s St. Luke Drawing the Virgin and Child depicts a story from the legend of the patron saint of painters. Art historians have argued that this painting has an allegorical meaning as well, either as an individual declaration of van der Weyden’s own importance or as a statement on the role of the painter’s guild. What do you think van der Weyden intended to convey with this work?

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CHAPTER TWENTY

RENAISSANCE ART IN FIFTEENTH-CENTURY ITALY

20 Chapter-at-a-Glance • •

•

Learning Objectives By the end of this chapter, the student will be able to: 20.1 20.2 20.3 20.4

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. Explore how an interest in scientific investigation blossomed into the development and use of linear perspective throughout fifteenthcentury Italian painting. Assess the role of wealthy merchants and condottieri in driving the development of Renaissance art and architecture. Consider how the new focus on artistic competition and individual achievement created a climate for innovative and ambitious works.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Piero della Francesca, Triumph of Federico and Battista (19-28) Perugino, Crucifixion with Saints (1931)

Andrea del Verrocchio, David (20-34) Domenico Ghirlandaio, Confirmation of the Franciscan Rule by Pope Honorius III (20-38)

MyArtsLab Resources Architectural Panorama/Simulation: Simulation: Brunelleschi’s Florence Panorama: Church of San Lorenzo

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Panorama: Florence Cathedral Closer Look: 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 Video/Podcasts: Student on Site: Orsanmichele Student on Site: Brancacci Chapel Student on Site: Palazzo Medici-Riccardi Student on Site: Ospedale degli Innocenti Student on Site: Andrea del Castagno, Last Supper Student on Site: Florence Duomo Web Resources: The Gates of Paradise: Lorenzo Ghiberti’s Renaissance Masterpiece Monumental Sculpture from Renaissance Florence

Discussion Topics and Critical Thinking Questions 1. In the growing humanistic atmosphere of the early Renaissance, art became increasingly important as a public and political statement. Why would art have taken on this role? Why would powerful politicians choose to spend their money commissioning works of art? Choose one work from this chapter and explain how it would have conveyed a message to the public. 2. The Medici family was a powerful cultural and political force in Renaissance Florence. When Cosimo de’ Medici decided to construct a palazzo, he first rejected a design by the well-known architect Filippo Brunelleschi for a design by Michelozzo di Bartolomeo. Watch the Student Video of the Palazzo Medici-Riccardi. Why do you think the Medici family would have chosen this design? What sort of message would it have sent to the citizens of Florence? 3. The market of Orsanmichele was a center of commerce in Florence and statues commissioned by the city guilds decorate the exterior of the building. View the Student Video of Orsanmichele and examine the statues by Nanni di Banco and Donatello. How did the decoration of this building revive classical ideals of sculpture? 4. The biblical story of David and Goliath was a popular narrative in Renaissance Florence. Compare the depictions of David by Donatello and

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Andrea del Verrocchino. What different choices were made by each artist and how do those choices affect the way the story is told? Do you feel that one is more successful than the other? 5. Lorenzo Ghiberti was commissioned to complete two sets of bronze doors for the Florence Baptistery, which had first been decorated with bronze doors by Andrea Pisano in the 14th century. Compare a panel from Ghiberti’s Gates of paradise with one from Pisano’s original doors (18-4 and 20-17). How does each one represent the developments of Renaissance art and humanism? What changes are seen over the course of these commissions?

Key Terms Linear perspective Condottieri Glazing Pietra serena Palazzo Rusticated Sgraffito

In situ Orthogonal Aedicula Vanishing point Gionate Cassoni Trompe l’oeil

Intarsia Aerial perspective Allegory

Activities and Exercises 1. The architecture of Filippo Brunelleschi reinterpreted classical forms to create a distinctive Renaissance style for Florentine buildings. View the Architectural Simulation of San Lorenzo and study both the floor plan and interior photos of the church. How does Brunelleschi’s design incorporate elements of classical architecture? How does this building reflect Renaissance ideals of order and geometry? 2. Andrea Pisano’s bronze doors for the Florence Baptistery were an important 14th-century commission. When it was decided to commission a second set of doors for the Baptistery, a competition was held to determine the artist. Ultimately, the work of the young and unknown sculptor, Lorenzo Ghiberti was chosen over the work of the more established Filippo Brunelleschi. View the Closer Look on the competition reliefs. Do you agree with the decision of the judges? Form teams to debate whether Brunelleschi or Ghiberti should have been selected for this prestigious commission. 3. One major development in Renaissance painting was the evolution of perspective to create a sense of three-dimensionality. Artists used a grid system of orthogonals to create a natural sense of spatial recession, as illustrated on page 610. Select a painting from this chapter and trace the orthogonals to find the vanishing point on the horizon. 4. Renaissance portraits often included levels of symbolism and meaning in addition to the likeness of the patron. Scholars have noted

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the many unusual elements in Fra Filippo Lippi’s Portrait of a Woman and Man (Angiola di Bernardo Sapiti and Lorenzo di Ranieri Scolari?) (20-27), but remain uncertain as to the meaning of the work. Examine the figures in the portrait, as well as the composition of the painting, and create a hypothesis as to its meaning.

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CHAPTER TWENTY-ONE

SIXTEENTH-CENTURY ART IN ITALY

21 Chapter-at-a-Glance • •

• • •

Europe in the Sixteenth Century Italy in the Sixteenth Century: The High Renaissance | Three Great Artists of the Early Sixteenth Century | Art and Its Contexts: The Vitruvian Man | A Closer Look: The School of Athens | A Broader Look: Raphael’s Cartoons for Tapestries in the Sistine Chapel | Architecture in Rome and the Vatican | Architecture, Painting, and Sculpture in Northern Italy | Art and Its Contexts: St. Peter’s Basilica | Venice and the Venuto | Art and Its Contexts: Women Patrons of the Arts Mannerism | Painting | Sculpture Art and the Counter-Reformation | Art and Architecture in Rome and the Vatican Later Sixteenth Century Art in Venice and the Venuto | Oil Painting | Art and Its Contexts: Veronese is Called Before the Inquisition | Architecture: Palladio

Learning Objectives By the end of this chapter, the student will be able to: 21.1

21.2 21.3 21.4

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. 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. 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.” Explore the intentional subversion of Classical style and decorum in the work of Mannerist artists.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Bronzino, Portrait of a Young Man (2028) Giovanni da Bologna (Giambologna), Astronomy, or Venus Urania (20-33)

Bronzino, Portrait of Eleanora of Toledo and her Son Giovanni de’ Medici (21-32) Giambologna, The Capture of a Sabine Woman (21-37)

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MyArtsLab Resources Architectural Panorama/Simulation: Panorama: Tempietto Panorama: Sistine Chapel Ceiling Simulation: St. Peter’s Bascilica Closer Look: 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 Women Video/Podcasts: Student on Site: The Tempietto Student on Site: The Villa Rotunda Student on Site: Palazzo Te Student on Site: San Giorgio Maggiore Web Resource: 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 “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

Discussion Topics and Critical Thinking Questions 1. The original commission for Leonardo da Vinci’s The Virgin of the Rocks did not include the figure of St. John the Baptist. Why do you think Leonardo added this additional figure? What does he contribute to the narrative of the painting? The symbolism of the painting? The composition of the painting?

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2. The Last Supper was a common theme for Renaissance artists, providing a scene of considerable narrative and psychological interest. Using just this one subject, compare depictions of The Last Supper by Andrea del Castagno (20-25), Leonardo da Vinci (21-23) and Tintoretto (21-42) to explore artistic evolution over the course of the 16th century. What did each artist hope to convey to his audience and what innovations were employed to best reach that audience? 3. Art produced in Venice differed from Renaissance production in Florence and Rome in both materials and subjects. Have students discuss some of the various reasons for these differences, including issues of environment, economics, religion, and patronage. In particular, have students theorize why pastoral themes, or poesies, were more common in Venetian painting than in other Italian cities. 4. During the sixteenth century, artists debated the most effective way of conveying meaning through art. Some artists debated between painting and sculpture, while other debated the merits of drawing versus color. Have students discuss each point of view, both creating a list of pros and cons for each. Is there a consensus among the group as to the best way to reach an audience? 5. What is Mannerism? Have students compare Parmigianino’s Madonna of the Long Neck (21-31) with Raphael’s Small Cowper Madonna (21-7) to outline the difference between the High Renaissance and Mannerist styles. Using this comparison, have them devise a list of adjectives that describe Mannerist art. 6. Pendant portraits were often commissioned by powerful patrons as an indicator of their social and political status. Compare and contrast the portraits of Battista Sforza and Federico da Montefeltro by Piero della Francesca with Raphael’s portraits of Agnelo Doni and Maddalena Strozzi. What similarities exist between these portraits and why might these elements have remained unchanged? 7. Have students view the Closer Look on Raphael’s School of Athens. Consider the subject and style of the fresco. How is this painting representative of Renaissance thinking? Why would the subject of philosophy have been of interest to a Renaissance pope? 8. Your text argues that Bronzino’s Allegory with Venus and Cupid “contains all the formal, iconographical, and psychological characteristics of Mannerist art.” View the Closer Look on this painting and then write a description of how this painting encapsulates the Mannerist style. 9. Decades after completing the ceiling of the Sistine Chapel, Michelangelo returned to paint The Last Judgment. During this time,

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the challenges of Protestantism had affected the Catholic Church. Examine Michelangelo’s treatment of this subject. How can we see the influence of the Counter-Reformation in this particular fresco? 10. Have students watch the Student Videos on the Tempietto and the Villa Rotunda. Then discuss how both of these buildings reinterpret classical architecture. Why did Renaissance architects turn to these classical models? What lessons did they learn from the ancients? Are there elements of these buildings that they changed to create something distinctly from the Renaissance?

Key Terms Chiaroscuro Sfumato Intonaco Pendant Stanza Cartoons

Pietà Trompe l’oeil Pilasters Putti Sibyls Ignudi

Spandrels Lunettes Poesie Maniera

Activities and Exercises 1. Have students study Donatello and Michelangelo’s versions of the David. Divide them into groups and organize a debate – which artist better conveys the story of David and Goliath? Have students consider how closely each artist relates to the Biblical narrative and how (and why) each artist departs from the original source material. 2. As a class, examine Titian’s “Venus” of Urbino. Have students question the nature of this nude figure. Does she seems like a mythological figure? An allegory of marriage? Or is she simply a beautiful nude? 3. Veronese’s Feast in the House of Levi was unacceptable as a depiction of the Last Supper. Read Art and its Contexts: Veronese is Called Before the Inquisition and the Document “From a Session of the Inquisitional Tribunal in Venice of Paolo Veronese” in MyArtsLab. Then examine Feast in the House of Levi (21-41), originally titled The Last Supper. Then write a judgment whether you believe that Veronese was sacrilegious in his depiction of the subject.

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CHAPTER TWENTY-TWO

Sixteenth-Century Art in Northern Europe and the Iberian Peninsula

22 Chapter-at-a-Glance • The Reformation and the Arts • Germany | Sculpture | Technique: German Metalwork: A Collaborative Venture | Painting • France | A French Renaissance Under Francis I | Art and Its Contexts: The Castle • Spain and Portugal | Art and Its Contexts: Sculpture for the Knights of Christ at Tomar | Architecture | Painting • The Netherlands | Art for Aristocratic and Noble Patrons | Antwerp | A Broader Look: Bruegel’s Cycle of the Months | A Closer Look: The French Ambassadors • England| Artists in the Tudor Court | Art and Its Contexts: Armor for Royal Games | Architecture Learning Objectives 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. Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition n/a

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MyArtsLab Resources Architectural Panorama/Simulation: Chateau de Fontainebleau

Closer Look: 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 Altarpiece

Video/Podcasts: Students on Site: 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

Discussion Topics and Critical Thinking Questions 1. Matthais Grünewald’s Isenheim Altarpiece (22-5, 22-6) was created specifically for the abbey of St. Anthony, a hospital treating patients with skin diseases. View the Closer Look on this altarpiece. How did the nature of this patron influence his treatment of the subject? Do you think this was an effective depiction of the story of Jesus? 2. Painting in Germany, Albrecht Dürer reinterpreted religious imagery to suit a largely Protestant audience. Examine his depiction of the Four Apostles (22-9). How does this work reflect Protestant values and feelings about religious art? 3. Jean Clouet’s portrait of Francis I (22-13) was intended to convey the power and authority of the French king. Analyze this painting and create a list of the ways that Clouet creates an image that would have been flattering to the king and supportive of his reign. 4. El Greco believed that artists of the Italian Renaissance, such as Raphael, were too concerned with mathematics and idealism to truly depict nature. In his own work, he often abstracted figures to augment the narrative. View the Closer Look on the Burial of Count Orgaz (22-19) and discuss how the subject of this painting is enhanced by El Greco’s unconventional style.

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5. Jan Gossaert was thought to have a “Romanizing” style, reflective of Italian Mannerism and classical Roman art. Compare his St. Luke Drawing the Virgin Mary (22-2) with Rogier van der Weyden’s treatment of the same subject (19-17). What elements of Gossaert’s painting reflect the tradition of the Northern Renaissance and what elements are inspired by Italian and Roman art? 6. As a commercial center in the largely Protestant Netherlands, Antwerp attracted a number of artists who created works for secular clients. While this imagery was often not directly religious, it often implied a moral. Analyze Quentin Massys’s Money Changer and His Wife (22-23). How did this painting create a moralizing narrative without relying on religious iconography? Key Terms Predella Châteaux Graphic arts

Alchemy Anamorphosis

Activities and Exercises 1. The Last Supper was the subject of depictions by the Italian artist, Leonardo da Vinci (21-3), and the German sculptor, Tilman Riemenschneider (22-2). Create a chart comparing and contrasting the two images. In the first column, describe an element in Leonardo’s version; in the second column, explain how that element is similar or different in the Riemenschneider; in the third column, create a hypothesis for the similarity or difference. 2. Albrecht Dürer was familiar with both Northern and Italian Renaissance developments. Read the document from his draft manuscript for “The Book on Human Proportions” and view the Closer Look for Adam and Eve (22-8). Then compare and contrast his treatment of the subject with that of Jan van Eyck in the Ghent Altarpiece (19-15) and Masaccio in the Brancacci Chapel (20-21). What elements of Dürer’s depiction were influenced by the Northern tradition and what elements do you think were inspired by Italian artists such as Masaccio? 3. Pieter Bruegel the Elder created a series of landscapes for a cycle of months, including Return of the Hunters (22-25) and The Harvesters (22-26). Compare and contrast these two images, and view the Closer Look for the Return of the Hunters. How did Bruegel evoke the different seasons of the year?

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CHAPTER TWENTY-THREE

SEVENTEENTH-CENTURY ART IN EUROPE

Chapter-at-a-Glance • • • • • •

23 17

Learning Objectives By the end of this chapter, the student will be able to: 23.1

23.2 23.3

23.4

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. 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. 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. Assess the resurgence of Classicism, especially in the work of seventeenth-century French artists and architects.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Annibale Carracci, Landscape with the Flight into Egypt (22-10) Artemesia Gentileschi, Susannah and the Elders (22-13) Artemesia Gentileschi, Self-Portrait as the Allegory of Painting (22-14) Barberini Palace and Square (22-15)

Artemesia Gentileschi, Judith Beheading Holofernes (23-13) Peter Paul Rubens and Frans Snyder, Prometheus Bound (page 740) Frans Hals, Malle Babbe (23-32) Rembrandt van Rijn, Three Crosses

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Peter Paul Rubens, The Garden of Love (22-30) Jan Brueghel and Peter Paul Rubens, Allegory of Sight (page 740) Frans Hals, Catharina Hooft and her Nurse (22-34) Jan Steen, The Drawing Lesson (22-44)

(Fourth State) (23-37) Jan Steen, The Feast of St. Nicholas (2342)

MyArtsLab Resources Architectural Panorama/Simulation: Panorama: St. Peter’s Basilica Panorama: Francesco Borromini, San Carlo alle Quattro Fontane Simulation: Cornaro Chapel Closer Look: 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 Video/Podcasts: Students On Site: Calling of St. Matthew Students On Site: Il Gesu ceiling Students On Site: Cornaro Chapel Students On Site: Versailles Students On Site: San Carlo alle Quattro Fontane Web Resource: 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”

Discussion Topics and Critical Thinking Questions

1. Gianlorenzo Bernini created a sculptural installation for the Cornaro Chapel, centered on his sculpture of St. Teresa of Avila in Ecstasy (23-1). View the Architectural Simulation and Students On Site video for the

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Cornaro Chapel. How is Bernini’s design a reflection of Counter-Reformation ideology? 2. Artists of the Baroque period such as Bernini considered themselves to be Classicists – the term Baroque came later. Look at Bernini’s work for St. Peter’s Basilica (23-2) and watch the Architectural Panorama on the topic. How might Bernini have considered himself a Classicist? What elements of his work are Classical in nature? What is not strictly Classical about his work? 3. Much of Annibale Caracci’s Ceiling of the Gallery in the Palazzo Farnese (23-8) was inspired by Michelangelo’s frescos in the Sistine Chapel (21-12). What is similar about these two projects? How was Caracci’s work visually inspired by Michelangelo’s example? What is different about these ceiling paintings? 4. The Spanish writer Vincente Carducho criticized Caravagggio as an “omen of the ruin and demise of painting” before he did not idealize his subjects. Caravaggio’s religious work was particularly controversial because of this new realism. Do you agree with Carducho? Is it the responsibility of the artist to represent the world as he sees it, or to create an idealized version? 5. The Baroque style coincided with the Golden Age of Spain – a time of considerable power and wealth. What characterizes the Spanish Baroque style? How was it different from the Italian Baroque? How was the Italian example influential to Spanish artists? 6. The subject of Diego Velàzquez’s Las Meninas has puzzled viewers for centuries as the painting sets up a complex system of relationships and space. View the Closer Look on this painting. What do you think is the subject of the painting? Is it a royal portrait of the King and Queen? Of their daughter? Or is it a self-portrait of Velàzquez himself? 7. As a member of the court of the Duke of Mantua, Peter Paul Rubens studied the Italian Renaissance and Baroque before returning to Flanders. His first major commission in Antwerp was The Raising of the Cross (23-26). How does this painting reflect the influence of Italian art? How does it combine these elements with aspects of a Northern Renaissance style? 8. Unlike most of Europe, artists in the Dutch Republic worked without a church or government to commission large works of art. Instead, these artists tended to work on private commissions or create works for the emerging art market. How did this political, religious, and economic situation influence the type of art created?

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9. In the Protestant Dutch Republic, artists often abstained from painting overtly religious images, but imbued their work with a subtle sense of spirituality. Examine Johannes Vermeer’s Woman Holding a Balance and watch the Web Resource video on the painting. How does this work function as a religious painting? Do you think this approach is successful? 10.As court painter Hyacinthe Rigaud was responsible for creating images such as this official portrait of Louis XIV (23-48). Analyze Rigaud’s painting and view the Closer Look on the work. How does this painting convey the authority of the absolute monarch?

Key Terms Genre paintings Baldachin Quadri riportati Tenebrism Quadratura

Sotto in su Retablos Portals Etching Drypoint

Impasto Camera obscura Parterres Poussinistes Rubénistes

Activities and Exercises 1. The Baroque was an international style with local variations in each country, but one constant was a new dedication to evoking an emotional response from the viewer. Choose an object from this chapter and conduct a formal analysis to gauge how the artist made choices that would heighten the emotional impact of the work. 2. Bernini’s depiction of David (23-4) revisited a theme popular among sculptors of the Renaissance, but differed from earlier depictions of the figure. Compare and contrast Bernini’s version to the David as imagined by Donatello (20-14), Verrocchio (20-34), or Michelangelo (21-20). 3. The Italian Baroque was split into two styles: the Classicism of the Caracci brothers and more dramatic work. Compare Annibale Caracci’s Ceiling of the Gallery in the Palazzo Farnese (23-8) to Pietro da Cortona’s The Glorification of the Papacy of Urban VIII (23-14). How does each artist approach the task of ceiling decoration differently? Are there any similarities in their work? 4. The Flemish artist Peter Paul Rubens painted his Self-Portrait with Isabella Brandt to commemorate his recent marriage. The double portrait features himself and his new wife. Compare and contrast this painting with the Double Portrait of Giovanni Arnolfini and his Wife (19-1).

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5. While Frans Hals’s Officers of the Haarlem Militia Company of St. Adrian appears to be a casual grouping of figures, it is supported by a structure of diagonal lines. Working with a photocopy of this image, trace the grid of lines, diagonal, vertical, and horizontal, which provide a sense of order to this image. 6. Many artists who work with printmaking create their work using different states or stages. Rembrandt created five states of his Three Crosses, depicting the Crucifixion. Compare the First State (23-36) with the Fourth State (23-37). What changes did Rembrandt make through this process? What is the effect on the viewer? Do you feel one of these images is more successful in depicting the subject?

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CHAPTER TWENTY-FOUR

ART OF SOUTH AND SOUTHEAST ASIA AFTER 1200

24 Chapter-at-a-Glance •

• •

Learning Objectives By the end of this chapter, the student will be able to: 24.1 24.2 24.3 24.4

Consider how an artwork’s scale and the choice of media relates to its intended function and audience. Understand how exogenous influences from trade and conquest affected the art of South and Southeast Asia and the way those influences were shaped locally. Recognize that similar-looking works of art, like religious icons or traditional architectural forms, can function differently in different contexts. Understand how a work of art like the Taj Mahal or a Khmer Buddha can have both a personal and public meaning.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Detail of a Leaf with the Birth of Mahavira (23-3) Maya, Mother of Buddha, Holding a Tree Branch (page 776) Achala (page 776) Seated Sukhotai Bronze Buddha (23-6) Panel from a Box (page 782) Nadir al-Zaman (Abu’l Hasan), Prince Khurram, The Future Shah Jahan at Age 25 (23-12)

Luna Vasahi, Mandapa Ceilin (24-3) Qtub Minar (24-5) Jahangir and Prince Khurram Feasted by Nur Jahan (24-9) Frederick Stevens, Victoria Terminus (2413) George Wittet, Gateway of India (24-14) Seated Buddha (24-17)

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Sir Edwin Lutyens, India Gate (23-15) Charles Correa, Jawahar Kala Kendra (23-17) Manjit Bawa, Dharma and the God (2318) Anish Kapoor, As if to Celebrate, I Discovered a Mountain Blooming with Red Flowers (23-19)

The Sukhotai Buddha (page 787) Temple of the Emerald Buddha (Wat Phra Kaew) (24-19) Maqbool Fida Husain, VEDICI (24-21) Petronus Towers (24-22)

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

Discussion Topics and Critical Thinking Questions 1. The Mughal architects combined their style with the Islamic buildings of the Delhi sultans and earlier Indian architecture. View the Closer Look on the Diwan-i-Khas, the private audience hall built for the emperor Akbar. How does the building reflect these different influences? How does it convey the power and authority of the emperor? 2. The complex of the Taj Mahal is one of the most well-known works of Indian art. Built as a mausoleum, it was intended to convey a sense of power, but also personal loss. It also reflected contemporary thoughts about the afterlife. How does the building and its gardens function as a religious work of architecture? 3. Rajput painting, popular in the courts of northern India, was often more abstract than the Mughal style of painting. Analyze Krishna and the Gopis (24-11). What elements of this work can be considered abstract? How do they convey a religious message?

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4. Modern artists often find themselves blending elements of their native culture with international influences. Consider Maqbol Fida Husain’s VEDIC (24-21). How is this painting a blend of traditional Indian art and modern abstraction? How does it relate to the earlier abstract painting of the Rajput style?

Key Terms Iwan Cenotaphs Bodhisattva Mandapa Buddhism Janism Gopuras Sultanates Minaret

Atelier Chattri Chamfered Finial Blind arcade Raj

Activities and Exercises 1. Nadir al-Zaman’s portrait of Jahangir and Shah Abbas was created during a period of political tension between these two rulers. Analyze the painting and list the ways in which the artist conveyed a political message. Can you think of images from contemporary politics that send a similar subtle message? 2. During the British colony period, known as the Raj, British architects imported their style of building. Overtime, however, they began to blend this European style of architecture with more local influences. Compare the Victoria Terminus (24-13) with the Gateway of India (24-14). What changes were made to incorporate elements of Indian architectural traditions? 3. During the Sukhothai period, images of Buddha were idealized to emphasize gracefulness. View the Closer Look for the Sukhothai Buddha and consider the ways the artist idealized the figure to make it appear more graceful. How does this compare to contemporary idealized depictions of men from Western Europe, such as Michelangelo’s David (21-10)?

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CHAPTER TWENTY-FIVE

CHINESE AND KOREAN ART AFTER 1279

25 Chapter-at-a-Glance • • •

• • •

Learning Objectives By the end of this chapter, the student will be able to: 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. Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition n/a

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MyArtsLab Resources Architectural Panorama/Simulation: Panorama: The Forbidden City Simulation: The Forbidden City

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Closer Look: 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 Resource: Panorama of the Classical Gardens of Suzhou Primary Source Document: “Poet on a Mountaintop” – Shen Zhou

Discussion Topics and Critical Thinking Questions 1. Chinese painting often included verses of poetry, written to accompany the specific image. Along with his painting, A Thousand Peaks and Myriad Ravines (25-1), Wang Hui wrote the inscription found on page 793. Read the poem and consider which you find to be more effective in conveying the scene – the words or the image. How do they work together? How does the combination represent the ideals for the scholar in Chinese art? 2. The subjects of Chinese painting shifted according to the status of painters during each dynasty. How did the status of painters influence the types of subjects they chose to depict? What types of people created art in the Yuan dynasty as compared to the Ming dynasty? 3. The literati painter Dong Qichang believed that the power of art was not about it resemblance to the real world, but rather in its ability to express an emotional quality. Therefore, the artist needed to abstract elements of the observable world into expressive brushstrokes. As your book explains, “in a painting of a rock, the rock itself is not expressive; rather, the brushstrokes that suggest the rock are expressive.” Do you agree with this statement? Define your position. 4. The modern Chinese artist, Wu Guanzhong, combines the influence of Western abstraction with native traditions of ink painting. How does his Pine Spirit (25-15) reflect ancient landscape painting styles?

Key Terms Wenren Literati painting Confucianism Daoism Khanate Hanging scrolls

Albums Handscroll Colophon panel Frontispiece Underglaze Mortise-and-tenon

Buncheong Silhak Ink painting

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Activities and Exercises 1. Chinese art changed under each dynasty, as power relations and influences shifted. Create a chart that compares the periods discussed in this chapter. For each dynasty, list the chief characteristics of that period and the way art reflected those changes. 2. Different social classes of artists produced different styles of art. What were the major characteristic of the court style and the literati style during the Ming dynasty? How were their differences reflective of their political and social distinctions? Are there similarities between the two styles? 3. The Forbidden City was the seat of power during the Ming dynasty. View the Architectural Panorama of the Forbidden City. Then compare and contrast this complex with the palace and gardens of Louis XIV’s Versailles in France. What elements do they have in common? How does each complex convey power and authority? 4. Porcelain painting was popular in both Chinese and Korean art, but with significant differences of style. Compare and contrast the traditional style of porcelain painting, using the Ming dynasty Flask (25-7) and the Joseon Broad-Shouldered Jar with Decoration of a Fruiting Grapevine (25-17) as your evidence.

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CHAPTER TWENTY-SIX

JAPANESE ART AFTER 1333

26 Chapter-at-a-Glance • • •

•

Learning Objectives By the end of this chapter, the student will be able to: 26.1 26.2 26.3 26.4

Survey and evaluate the variety of styles and modes of Japanese art after 1333 that develop in relation to Zen Buddhism. Explore the principal themes and subjects portrayed in secular art during the Edo period, especially the popularized imagery featured in ukiyo-e. 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. 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.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Hon’ami Koetsu, Tea Bowl, called Mount Fuji (25-8) Toshusai Sharaku, Onoe Matsusuke as Matshushita Mikinoshin (page 826) Kosode Robe with design of waves and floral bouquets (page 829) Large Plate with Leaf Design (25-14)

Chojiro, Tea Bowl, called Yugure (“Twilight”) (26-9) Toshusai Sharaku, Otani Oniji in the Role of Yakko Edobe (page 828) Woman’s Kosode with design of bamboo fence and citrus tree (page 830) Plate with Wisteria and Trellis Pattern (26-17)

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MyArtsLab Resources Architectural Simulation: Shoin Design Closer Look: 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 Video/Podcasts: 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 Primary Source Document: “Poet on a Mountaintop” – Shen Zhou

Discussion Topics and Critical Thinking Questions 1. Zen philosophy influenced a style of painting in the Muromachi period of Japanese art. Analyze Bunsei’s Landscape (26-2). How does this painting reflect Zen philosophy? 2. After visiting the Rock Garden at Ryoanji, the 20th-century composer John Cage said that every stone was in just the right place. He then continued to say “and every other place would also be just right.” What did he mean by that statement? Do you agree with him? 3. Chanoyu, the “tea ceremony,” is a ritual governed by traditions, many established by the tea master Sen no Rikyu. How does the structure of a tea room, such as the Taian Tearoom at the Myokian Temple (26-8) reflect the function of the space? 4. During the Edo period, Kyoto developed a style that different from that of the Shogun in Edo. In part, the literati painters of Kyoto adopted elements of Chinese culture, including an informal tea ceremony, sencha, that was meant as a political protest. How does a work like Ike Taiga’s View of Kojima Bay reflect the influence of Chinese art and how was this intended as a political protest?

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5. Tange Kenzo’s design for the Hiroshima Peace Memorial Museum drew upon the tradition of shoin architecture. View the Architectural Simulation on shoin architecture and discuss how this style can be seen in the modern museum.

Key Terms Shogun Zen Karesansui Fusama Shoin Shoji Tatami

Chanoyu Raku Lacquer Ink stick Ukiyo-e Key block Baren

Registration marks Koan Kosode

Activities and Exercises 1. The Japanese painter Sesshu traveled to China, where he studied paintings by professional artists, rather than literati painters. Returning to Japan, he then created a new style, seen in his Winter Landscape. How does this work demonstrate the influence of Chinese painting? Are there elements that reflect a shared Zen/Chan philosophy? 2. Although contact with the West was limited during the 18th century, imported optical technology such as magnifying glasses and telescopes still impacted the visual arts. Nagasawa Rosetsu was an artist from Kyoto who was part of a new trend towards naturalism which resulted from this influence. Create a list of the ways that Bull and Puppy (26-12) reflects this influence. 3. Until the late 19th century, the Japanese language did not have separate words to distinguish fine art from craft. What does this suggest about the Japanese attitude towards art and craft? View the Closer Look on the Kosode robe. Would you consider this a work of art? Make a list of evidence to support your position. What could someone say to argue against your position?

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CHAPTER TWENTY-SEVEN

ART OF THE AMERICAS AFTER 1300

27 Chapter-at-a-Glance • • • •

Learning Objectives By the end of this chapter, the student will be able to: 27.1 27.2 27.3 27.4

Explore the variety of styles, media, and techniques that characterize indigenous art and architecture across the Americas, both before and after contact with Europeans. Recognize and understand the themes and symbols developed by Native American artists to express cultural, religious, and political ideas and values. 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. Recognize and evaluate how indigenous arts have changed in the centuries since contact with Europeans.

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Edward S. Curtis, Hamatsa Dancers, Kwakwaka’wakw (page 850) Chilkat Blanket (26-16)

Reconstruction of the Great Pyramid (Templo Mayor) of Tenochtitlan (27-3) Chilkat Blanket (27-18)

MyArtsLab Resources Architectural Simulation: Inca Polygonal Masonry Closer Look: Aztec Calendar Stone

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The Goddess Coatlicue Chilkat Blanket Jaune Quick-to-See Smith, The Red Mean: Self-Portrait Web Resource: Historic Sanctuary of Machu Picchu (Video) Primary Source Document: Navajo Night Chant

Discussion Topics and Critical Thinking Questions 1. The city of Tenochtitlan was the center of the Aztec empire, constructed on an island in Lake Texcoco. The legend of the city’s origin is depicted in the illustration, The Founding of Tenochtitlan (27-2). How does this painting depict both factual and the legendary elements of the city? 2. Textiles had a historically important role in Andean society, especially as an indicator of wealth. Discuss the role of cloth in the Inca Empire and explain how works like the Tunic (27-6) were socially important. 3. In the Eastern Woodlands, much of their art was completed by women. Discuss the role of women in art production, including quillwork, basketry, and beadwork. 4. As trade increased between Native Americans and Europeans, artists began to work with newly available materials. Examine the Bandolier Bag (27-14). How does this work represent a combination of Native American and European influences?

Key Terms Wampum Quillwork Coiling

Twining Tipi Potlatch

Blackware Katsinas

Activities and Exercises 1. Native American art differed between regions, in large part due to differences in living conditions and environment. Create a chart that compares the social structure of Native Americans in the Eastern Woodlands, Great Plains, Northwest Coast, and the Southwest. Your chart should include information about the lifestyle of each region, the materials used, and how the art reflected specifics of that group. 2. Although Native American crafts are often displayed today in art museums, they were often functional rather than purely aesthetic objects. Many of these works were intended for use in rituals and religious

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ceremonies. Choose one object from this chapter and decide how it would ideally be exhibited for the public. 3. Jaune Quick-to-see Smith used Leonardo da Vinci’s Vitruvian Man (page 639) as inspiration for her The Red Mean: Self-Portrait (2724). Compare and contrast these two images. How does each reflect the time of its creation and the interests of its creator? What other elements does Smith bring into her work? What do they add?

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CHAPTER TWENTY-EIGHT

Art of Pacific Cultures

28 Chapter-at-a-Glance • The Peopling of the Pacific • Australia • Melanesia | New Guinea | New Ireland | New Britain • Micronesia • Polynesia | Marquesas Islands | A Broader Look: Te-Hau-ki Turanga | Hawaii | Monumental Moai on Rapa Nui | Samoa • Recent Art in Oceania | Festival of Pacific Arts | Central Desert Painting | A Closer Look: Man’s Love Story | Shigeyuki Kihara Learning Objectives 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. Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition n/a

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MyArtsLab Resources Closer Look: Te-Hau-ki-Turanga

Discussion Topics and Critical Thinking Questions 1. In Australia, the Dreaming is a religious system of the indigenous people. The Dreaming features levels of knowledge,

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some secret and unknown to outsiders. Artists often create images to preserve stories of the Dreaming and pass them along to future generations. Discuss the role of art in the Dreaming. Do you think this is a better method of transmitting this type of information that textual records would be? 2. As tourism has spread throughout the Pacific countries, the presence of visitors has impacted indigenous arts. In several cultures, visitors are allowed to witness certain rituals and objects are made available for purchase. How has the presence of these tourists impacted the production of art? 3. The Wapepe navigation chart (28-9) is a device mapping ocean currents, wind and wave patterns. It is, however, also considered an aesthetic object by modern viewers. Do you think this work should be considered a tool or a work of art? Is there necessarily a distinction? 4. While tattoos have become relatively commonplace in American culture, they had specific meaning among the people of the Marquesas Islands. Why was tattooing important in Polynesia? What was the function of tattooing? How are these functions similar to contemporary American tattoo practices? 5. Te-Hau-ki-Turanga is the oldest, fully decorated meeting house still in existence in New Zealand. The building was constructed by Maori craftsmen and both the structure and decoration are full of traditional symbolism. How does this building present a statement on the social and religious traditions of the Maori? 6. The Central Desert painters of Australia traditionally worked with temporary media like body art and sand painting. In the 1970s, however, they were encouraged by non-indigenous art teachers to begin creating works with permanent media such as painting. How has this change impacted the art created by these people? Key Terms Terra nullius The Dreaming Korambo Bilum Bisj Malagan

Mana Tapu Tiki Kowhaiwhai Koru Tukutulu

Poupou Moai Tapa Siapo Upeti

Activities and Exercises

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1. The Barunga Statement was a declaration of the rights of Aboriginal peoples, decorated with motifs from several regions styles of indigenous art. How do you think the text and image work together to create a fuller message? If you were to illustrate an American document, such as the Bill of Rights, what types of images would you select? 2. Art of the Pacific is comprised of many different regional styles and philosophies. The differences reflect local cultural, environmental, and societal conditions. Create a chart that compares the artistic production of Australia, Melanesia, Micronesia, Polynesia and the reasons for these differences.

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CHAPTER TWENTY-NINE

Art of Africa in the Modern Era

29 Chapter-at-a-Glance • Traditional and Contemporary Africa | Domestic Architecture | Art and Its Contexts: Foundations of African Cultures | Children and the Continuity of Life | Initiation | The Spirit World | Leadership | Art and Its Contexts: Divination among the Chokwe | A Closer Look: Kongo Nkisi Nkonde | A Broader Look: Kuba Funerary Mask | Death and Ancestors • Contemporary Art Learning Objectives 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. Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Lega Titled-Elder Wearing Prestige Hat (28-8) Kente cloth (29-13) Kente cloth (28-13) Seydou Keïta, Untitled (29-23) MyArtsLab Resources Architectural Simulation: Kuba Woven Decoration on Walls Closer Look: Kongo, Nkisi Nkonde A Palace Door Initiation wall panels Spirit spouse Nankani compound

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Web Resource: Art as a Verb in Africa: The Masks of the Bwa Village of Boni (video) Primary Source Document: Olowe of Ise Oriki Discussion Topics and Critical Thinking Questions 1. Many museum collections of African art began as anthropological collections. How did this impact the early collection and exhibition of these objects? What has changed in more contemporary exhibitions? What more do you think museum could do when exhibiting African art? 2. The Bwa people create masks that depict spirits in animal form for the initiation ceremonies marking one’s entry into adulthood. In the late 19th century, they began acquiring wooden masks for their ceremonies. Watch the Web Resource video on Bwa masks and discuss the reasons for the adoption of wooden masks. 3. Seydou Keïta’s photographs captured ordinary people of Mali who came to his portrait studio. The images were not exhibited in Western museums until Keïta was “discovered” in the 1990s. Do you consider photographs such as his Untitled (29-23) to be works of art? Why or why not? Key Terms Bwami Kikaku Nkisi

Bilongo Kente Dama

Activities and Exercises 1. Many art objects and rituals center on children because of the importance they hold to the future and success of African culture. Select one type of art production that focuses on the role of children. Discuss what your chosen object is meant to represent and the reasons for its traditional design. 2. The Lega people of Western African have adopted a tiered political system known as bwami. In this system, promotion to higher levels requires the assistance of one’s relatives. Thus, while the system has some competitive element, it also requires cooperation and collaboration. Do you think a similar system would work in your hometown? Write a statement that you think would encourage people to participate. 3. Prior to the independence movements of the 20th century, much of African was controlled by colonial powers. In response to this imperialism, many cultures created art that was a subtle form 170

of resistance. Choose an object from this chapter and explain how it was a form of political protest or resistance. 4. Many African cultures create works that are specifically meant to sell to visiting tourists. Are these products works of art or are they just merchandise? Divide the class into two groups and debate the nature of these works.

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CHAPTER THIRTY

Eighteenth- and Early Nineteenth-Century Art in Europe and North America

30 Chapter-at-a-Glance • Industrial, Intellectual, and Political Revolutions | • Rococo | Rococo Salons | Rococo Painting and Sculpture | Rococo Church Decoration • Italy: The Grand Tour and Neoclassicism | Grand Tour Portraits and Views | Neoclassicism in Rome • Neoclassicism and Early Romanticism in Britain | The Classical Revival in Architecture and Design | A Closer Look: Georgian Silver | The Gothic Revival in Architecture and Design | Trends in British Painting | Art and Its Contexts: Academies and Academy Exhibitions | Elements of Architecture: Iron as a Building Material • Later Eighteenth-Century Art in France | Architecture | Painting and Sculpture • Art in Spain and Spanish America | Portrait and Protest in Spain: Goya | Art of the Americas under Spain • Early Nineteenth-Century Art: Neoclassicism and Romanticism | Developments in France | A Broader Look: The Raft of the “Medusa” | Technique: Lithography | Romantic Landscape Painting • Gothic and Neoclassical Styles in Early Nineteenth-Century Architecture Learning Objectives 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.

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Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Joseph Mallord William Turner, Slavers Throwing Overboard the Dead and Dying – Typhoon Coming On (“The Slave Ship”) (29-55) Caspar David Friedrich, Monk by the Sea (29-58)

Joseph Mallord William Turner, Snowstorm: Hannibal and his Army Crossing the Alps (30-61) Caspar David Friedrich, Abbey in an Oak Forest (30-64)

MyArtsLab Resources Architectural Panorama: Architectural Panorama – Panthéon (Paris, France, 1757) Architectural Simulation: Architectural Simulation – Cast-Iron Construction Closer Look: Francisco Goya, The Sleep of Reason Produces Monsters 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 A Closer Look – Jean-Honore Fragonard, The Swing Web Resource: Web Resource – The Monticello Explorer Videos / Podcasts Students On Site – Chiswick House Students On Site – Constable, Haywain Students On Site – Arc de Triomphe Students On Site – Houses of Parliament Students On Site – Wright of Derby Primary Source Document: “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 Discussion Topics and Critical Thinking Questions

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1. John Singleton Copley’s portrait of Thomas Mifflin and Sarah Morris (Mr. and Mrs. Mifflin) (30-1) represents the American politician and his wife. The painting is considered to be a political statement in the years leading up to the American Revolution. What about this work can be interpreted as a political message? Do you feel it is effective in its symbolism? 2. Jean-Antoine Watteau and his fête galante paintings are representative of Rococo painting. These works were highly popular among members of the aristocracy and the rules of the French Royal Academy were altered to permit admittance to Watteau. View the Closer Look and Document on Watteau. Why was his style so closely associated with the aristocracy? 3. Although the years associated with Rococo art were a period of decline for the Church, several important churches were decorated in the Rococo style. Examine the Church of the Vierzehnheiligen (30-5 and 30-6). Why was the Rococo style thought to be appropriate for church architecture and decoration? 4. Anton Raphael Mengs was commissioned to paint Parnassus (30-13) for the villa of Cardinal Albani in Rome. He worked in the emerging Neoclassical style, which was becoming popular among the upper class partaking in the Grand Tour. What about this painting represents a break from the Rococo style? What elements of the Rococo remain? 5. William Hogarth’s series, Marriage à la Mode, was widely circulated through mass-produced prints. The series satirized the practices of the aristocracy and the customs of arranged marriages. In what ways did he criticized these corrupt traditions? How do you think the medium of print influenced Hogarth’s choice of subject? 6. Artists trained through the academic system were trained according to strict guidelines and expectations. The highest type of work that an artist could create was history painting – portraits, genre scenes, landscapes and other subjects were considered far less important. What is history painting and why was it considered more prestigious than other types of painting? 7. Built in the heart of Paris, the Panthéon (30-32 and 30-33) has been described as the “most typical Neoclassical building” in the city. Explore the Architectural Panorama of the Panthéon. What about this building is Neoclassical? How are Classical influences blended with other styles? 8. Goya’s album of prints, Los Caprichos, was intended to educate the Spanish people and to enlighten them. The most popular from this series is The Sleep of Reason Produces Monsters (30-42). View the Closer Look for this image. How does it fulfill the Enlightenment goals of the artist?

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9. Théodore Géricault’s The Raft of the ‘Medusa’ (30-50) was inspired by contemporary events. To create his monumental and controversial canvas, Géricault combined traditional elements of his academic training with new ways of collecting information and portraying a narrative. View the Closer Look on this painting and the Broader Look feature in your textbook. How does Géricault’s preliminary work for this work remain part of the academic tradition? How does it depart from that tradition? 10. Jean-Auguste-Dominique Ingres’s Large Odalisque (30-56) brings together elements of the Neoclassical and the Romantic. How does it combine these two movements? Do you feel this painting is better classified as Neoclassical or Romantic? 11. While John Constable’s The Hay Wain (30-60) depicts a bucolic scene of country life, it was produced during the Industrial Revolution. Read Constable’s letter and view the Students On Site video for this painting. How does it relate to the actual conditions of England during the 1810s and 1820s? Key Terms Salons Memento mori Fête galante Grand Tour Pastel Capricio Veduta

Picturesque Jasperware Crenellations Grand Manner Academies History painting

Atrial crosses Atelier Esquisse Odalisque Lithography Sublime

Activities and Exercises 1. The Rococo style of architecture flourished in the years following the death of Louis XIV. As the aristocracy left the confines of the Baroque-style palace of Versailles, they decorated their new homes in the new Rococo manner. Compare and contrast the Hall of Mirrors (23-50) and the Salon de la Princesse (30-2). How is the Rococo style related to the Baroque? What elements of the Rococo style of architecture are different from their Baroque precedents? 2. Rosalba Carriera established a successful career as a Rococo portraitist of the aristocracy and wealthy. Her chosen medium was pastel, rather than the traditional medium of oil on canvas. Provide students with some pastels to experiment with. What about this medium might have made it attractive to a Rococo clientele? 3. The Severn River Bridge (30-27) was constructed with cast iron and left relatively unadorned. Where earlier bridges had been decorated with stonework, the appearance of the Severn River Bridge

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was governed by its structural needs and its functionality. View the Architectural Simulation on cast iron. Do you consider this work to be a work of art or of engineering? Imagine that you are defending your position to an 18th-century critic and write a list of points that you could use to make your case. 4. The author and art critic Denis Diderot praised the morality displayed in paintings by Jean-Baptiste Greuze, including his The Village Bride, or The Marriage, The Moment when a Father Gives his Son-in Law a Dowry (30-35). Compare and contrast this painting with Hogarth’s The Marriage Contract (30-21). How does each artist represent the concept of marriage? How does each present a moral judgment which values middle-class family values? 5. Artist self-portraits often include a certain amount of imagemaking or self-promotion, as the portraitist wants to convey a certain image of himself or herself. Compare and contrast the Self-Portrait of Judith Leyster (23-33) with Adelaide Labille-Guiard’s Self-Portrait with Two Pupils (30-40). How does each artist portray herself? 6. Although the Neoclassic and Romantic styles were popular at the same time, they were often used to convey different sentiments to the viewer. Compare and contrast Jacques-Louis David’s Oath of the Horatii (30-37) with Francisco Goya’s Third of May, 1808 (30-44). How is each painting representative of its style? Use these two examples to create a chart that lists the different elements of the Neoclassical and Romantic styles of painting. 7. During the 19th century, French artists reintroduced the debate between color and line. The poussinistes believed that line should serve as the basis for all painting while the rubénistes argued that color was a better way to structure an artwork. Which side do you agree with? Write a list of 3 points that you would use to convince your opponent. 9. Many Romantic artists attempted to produce images that would evoke the awe and fascination associated with the sublime. What is the sublime? Describe an example from our contemporary world that you think would qualify as an example of the sublime.

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CHAPTER THIRTY-ONE

Mid- to Late Nineteenth-Century Art in Europe and the United States

31 Chapter-at-a-Glance • Europe and the United States in the Mid to Late Nineteenth Century • French Academic Architecture and Art | Academic Architecture | Academic Painting and Sculpture | Art and Its Contexts: Orientalism • Early Photography in Europe and the United States | Technique: The Photographic Process • Realism and the Avant-Garde | Realism and Revolution | Manet: “The Painter of Modern Life” | Art and Its Contexts: The Mass Dissemination of Art | Responses to Realism Beyond France | Art and Its Contexts: Art on Trial in 1877 • Impressionism | Landscape and Leisure | Modern Life • The Late Nineteenth Century | Post-Impressionism | A Broader Look: Modern Artists and World Cultures: Japonisme | Symbolism | A Closer Look: Mahana no atua (Day of the God) | French Sculpture | Art Nouveau • The Beginnings of Modernism | European Architecture: Technology and Structure | The Chicago School | Elements of Architecture: The City Park | Cézanne Learning Objectives 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.

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Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Édouard-Denis Baldus, House with Staircase (30-9) Illustration of a Camera Obscura (page 970) Frederic Church, Heart of the Andes (page 974) Édouard Manet, Boating (30-19) Claude Monet, On the Bank of the Seine, Bennecourt (30-25) Edgar Degas, Portrait of Mary Cassatt (30-32) Paul Gauguin, Manao Tupapau (Spirit of the Dead Watching) (30-36)

Technique: The Photographic Process (page 971) Claude Monet, Rouen Cathedral: The Portal (In Sun) (31-29) Edgar Degas, The Tub (31-34) Paul Gauguin, Mahana no atua (Day of the God) (page 1000) Paul Cézanne, Still Life with Basket of Apples (31-57)

MyArtsLab Resources Architectural Panorama: Architectural Panorama – Eiffel Tower Architectural Panorama – Palais Garnier, at the Place d’Opera

Architectural Simulation: Architectural Simulation – Central Park

Closer Look: Édouard Manet, Déjeuner sur l’herbe (Luncheon on the Grass) 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

Web Resource: The Courtauld Collection: Cézanne’s Mont Sainte-Victoire (Video)

Videos / Podcasts: Students On Site – Eiffel Tower Students On Site – The Opera

Primary Source Document: 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

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Discussion Topics and Critical Thinking Questions 1. Although it has become a beloved icon of Paris, when the Eiffel Tower (31-1) was first constructed, its reception was mixed. While some applauded it as a symbol of modernity, others viewed its materials and lack of traditional ornament to be more industrial than artistic. View the Students On Site video for the Eiffel Tower. What side do you agree with? 2. Jean-Baptiste Carpeaux’s The Dance (31-6) was sculpted to decorate the Paris Opera House. The style of the building and its other sculptural decorations was highly academic, but some academicians felt that Carpeaux’s work was inappropriate. What about the sculpture might have attracted their criticism? Do you feel this is an academic sculpture? Why or why not? 3. Orientalism was a popular concept in 19th-century art, among both academic artists and the avant-garde. Given what you know about the political, social, and economic conditions of the period, what might have been appealing about this Orientalism? 4. The avant-garde originated in the mid-19th century, as artists began to overtly rebel against the traditional expectations of their peers. What does it mean to be an avant-garde artist? How do we know what constitutes the avant-garde? How does this standard change over time? Are works that were considered to be avant-garde in the 19th century still avant-garde today? 5. The paintings of Gustave Courbet and Jean-François Millet have been historically categorized as “Realist” works. What is “Realism”? Do you feel that is an accurate name for this artistic movement? If not, what do you think would be a better term for this style? 6. Gustave Courbet described his painting, The Stone Breakers (31-12) as a demonstration of “injustice.” What do you think he meant by this? How does this position relate to his political beliefs? 7. We often associate Impressionism with a loose brushstroke, but not every Impressionist artist was bound to that manner of working. The Impressionist painter Gustave Caillebotte was considered part of the group because of his interest in depicting the modern city. Examine his Paris Street, Rainy Day (31-36). How does this painting present modern life? What is modern about this work? Key Terms Historicism Orientalism Daguerreotype Calotype

Avant-garde Salon des Refusés En plein air Complementary color

Divisionism Pointillism Japonisme Femme fatale

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Activities and Exercises 1. Several different inventors were working towards photographic technologies in the mid-19th century. Their work produced different results, including the daguerreotype and the calotype. View the Closer Look on black and white photography. Then create a chart that compares the pros and cons of daguerreotype and calotype technologies. Which do you think was the better method of producing a photographic image? 2. The invention of photography altered people’s expectations of fine art. Many have argued that with the availability of photographic imagery, painters were freed from the need to represent visual reality. Create a list, comparing the ways that photography and painting can each aspire to representing reality. Does one medium capture “reality” more accurately than another? 3. In 1863, the year that Edouard Manet painted his scandalous Olympia (31-18), one of the favorite paintings in the Salon was Alexandre Cabanel’s Birth of Venus (31-4). Compare and contrast these two female nudes. Why do you think one was acceptable to the public while the other was considered outrageous and obscene? 4. Prior to the 19th century, it was quite rare for an artist to depict manual labor or undignified poverty. With the Industrial Revolution and the rapid expansion of the working class, however, more artists began to depict these subjects in the mid-19th century. Compare and contrast Gustave Courbet’s The Stone Breakers (31-12) with Ilya Repin’s Bargehaulers on the Volga (31-20). How are these depictions of laborers similar? In what ways do they differ? 5. One of the art historical influences on Thomas Eakins’s The Gross Clinic (31-21) was the Baroque group portrait, The Anatomy Lesson of Dr. Nicolaes Tulp by Rembrandt (23-34). Examine each of these paintings. What did Eakins pull from the model of Rembrandt’s work? What are the differences between a 17th-century Baroque portrait and a 19th-century Realist portrait? 6. Japanese woodblock prints were collected by many 19thcentury artists, including Edgar Degas. The prints were inspirational to artists who were looking for alternatives to the traditional Western use of perspective and space. Compare and contrast Hokusai’s The Great Wave (26-15) with Degas’s The Tub (3134). 7. Postimpressionism is not a unified aesthetic, but rather a way to describe the work of several artists who began their careers as Impressionist painters before moving away from that style. Create a chart that compares the direction taken by the 180

Postimpressionist artists discussed in your textbook: Georges Seurat, Vincent Van Gogh, and Paul Gauguin. How did each retain aspects of Impressionism and how did each move away from Impressionism to create his own style? 8. Auguste Rodin created his The Burghers of Calais (31-44) as a monument to the heroism of these historical figures. In many ways, however, this sculpture breaks from traditional depictions of heroes. View the Closer Look on Rodin’s sculpture and then compare this statue with François Rude’s Departure of the Volunteers of 1792 (The Marseillaise) (30-55). 9. In painting his landscapes, Paul Cézanne spoke of wanting to “redo Poussin from nature.” Examine Cézanne’s painting of Mont Sainte-Victoire (31-56) and watch the Web Resource video. What do you think Cézanne meant by this comment? How does his work compare to the example of Poussin, such as Landscape with St. John on Patmos (23-55)?

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CHAPTER THIRTY-TWO

Modern Art in Europe and the Americas, 1900-1950

32 Chapter-at-a-Glance • Europe and America in the Early Twentieth Century • Early Modern Art in Europe | The Fauves: Wild Beasts of Color | Picasso, “Primitivism,” and the Coming of Cubism | The Bridge and Primitivism | Independent Expressionists | Spiritualism of The Blue Rider | Extensions of Cubism | Towards Abstraction in Traditional Sculpture | Dada: Questioning Art Itself • Modernist Tendencies in America | Stieglitz and the “291” Gallery | The Armory Show and Home-Grown Modernism | A Closer Look: Portrait of a German Officer • Early Modern Architecture | European Modernism | American Modernism | Elements of Architecture: The Skyscraper • Art Between the Wars in Europe | Utilitarian Art Forms in Russia | De Stijl in the Netherlands | The Bauhaus in Germany | Art and Its Contexts: Suppression of the Avant-Garde in Nazi Germany | Elements of Architecture: The International Style | Surrealism and the Mind | Unit One in England • Modern Art in the Americas Between the Wars | The Harlem Renaissance | A Broader Look: Guernica | Rural America | Art and Its Contexts: Federal Patronage for American Art During the Depression | Canada | Mexico | Brazil | Cuba • Postwar Art in Europe and the Americas | Figural Responses and Art Informel in Europe | Experiments in Latin America | Abstract Expressionism in New York Learning Objectives 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. 182

Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Karl Schmidt-Rotluff, Three Nudes – Dune Picture from Nidden (31-11) Robert Henri, La Reine Mora (31-34) Georgia O’Keeffe, An Orchid (31-38) Alexander Calder, Lobster Trap and Fish Tail (31-59)

Erich Heckel, Standing Child (32-11) Georgia O’Keeffe, Red Canna (32-37) Edward Weston, Succulent (32-38) Ruins of Guernica, Spain (32-63)

MyArtsLab Resources Architectural Panorama: Architectural Panorama – Villa Savoye (first floor) Architectural Panorama – Villa Savoye (second floor) Architectural Panorama – Villa Savoye (third floor [roof]) Architectural Panorama – Kaufmann House (Fallingwater, second floor)

Architectural Simulation: Architectural Simulation – The Skyscraper

Closer Look: 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

Web Resource: Frida Kahlo interactive feature from SFMoMA Frank Lloyd Wright Foundation Museum of Modern Art: Picasso

Videos / Podcasts: Clement Greenberg on Marcel Duchamp Diego Rivera’s Frescos (Video) Fallingwater (Video) Jackson Pollock at Work (Video) Marcel Duchamp’s Fountain (Video) Piet Mondrian’s Place in Art History (Video)

Primary Source Document: “On Sculpture” – Barbara Hepworth From “The Foundation and Manifesto of Futurism” – Filippo Tommaso Marinetti From an interview with Édouard Roditi – H From “The Non-Objective World” – Kazimir Malevich From “Concerning the Spiritual in Art” – Vassily Kandinsky From “Towards a New Architecture” – Le Corbusier

Discussion Topics and Critical Thinking Questions

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1. In response to critics who felt that Cubism was an illegible style, Picasso related art to language. He explained that “The fact that for a long time Cubism has not been understood … means nothing. I do not read English, [but] this does not mean that the English language does not exist, and why should I blame anyone … but myself if I cannot understand [it].” Do you agree with this sentiment? Why or why not? 2. Like many artists of the early 20th century, Picasso was fascinated by sculptures and artifacts from “primitive” cultures. We know that he was interested in ancient Iberian sculpture as well as African art. How did exposure to these works impact Picasso’s art? What did he gain from this “primitivism”? 3. “Primitive” art was a source of inspiration for artists as they moved from purely representational art towards abstraction. Two artists who were heavily influenced by “primitive” art were Pablo Picasso and Emil Nolde. How did each artist use this influence in their work? What was similar about their interest in “primitivism” and what was different? 4. Le Corbusier designed the Villa Savoye (32-40) to be a prototype for a modern home. Explore the Architectural Panoramas for the building. What elements of this design have become familiar in our modern architecture? Would you want to live in this house? Why or why not? 5. Piet Mondrian and the artists of De Stijl sought to create a image of “universal beauty,” with compositions that used basic elements of form and color. Through a balance of oppositional forces, Mondrian believed his sparse paintings create a “dynamic equilibrium.” Watch the Web Resource video on Mondrian. What is the difference between balance and symmetry? How does a work like Composition with Yellow, Red, and Blue (32-49) create this “dynamic equilibrium”? 6. The Surrealist Meret Oppenheim created Object (Luncheon in Fur), exploring our instinctual reactions to this combination of materials and objects. View the Closer Look for this sculpture. What is your reaction to this work? Do you find it more desirable or more disturbing? 7. Grant Wood’s American Gothic (32-69) presents an image of the American midwest. We know that this was not a portrait, but that Wood posed models for each of the figures. Critics and art historians have been divided whether this image celebrates this Midwest culture or if Wood’s intention was to satirize their conservative ways. What do you think? What details in the painting influenced your decision?

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8. While Diego Rivera studied in Europe and was well-versed in modern art, when he returned to Mexico, he wanted to create murals for the Mexican people. Examine his The Great City of Tenochtitlan and watch the Web Resource video on his fresco technique. How did Rivera combine European and Mexican influences in this painting? 9. Abstract Expressionism developed in the United States after World War II. Part of the inspiration for action painting came from Surrealist painters who came to New York to escape the war. How do the paintings of Arshile Gorky and Jackson Pollock reflect the influence of Surrealism? 10.The critic Clement Greenberg interpreted Abstract Expressionism from a Formalist perspective, arguing that the work was about color, line, and form without making reference to the outside world. Read Pollock’s statement on his work and watch the Web Resource video on him. Do you agree that this work is autonomous and unrelated to America in the postwar period and Cold War? 11.Barnett Newman titled his monumental painting, Vir Heroicus Sublimis, which means “Man, Heroic and Sublime.” Think back to 19th century Romanticism and the concept of the sublime. Do you think this painting presents a modern version of the sublime? Why or why not? Key Terms Primitivism Analytic Cubism Synthetic Cubism Collage Assemblage Readymade Photomontage

Domino construction Curtain walls Prairie Style Installation art Degenerate art Automatism Frottage

Grattage Biomorphic Formalist Action painting Color field painting

Activities and Exercises 1. The Fauve painters were inspired by the bold color of the Postimpressionists, especially Paul Gauguin. Compare and contrast Gauguin’s Mahana no atua (Day of the God) (page 1000) with André Derain’s Mountains at Collioure (32-2). How was Derain influenced by Gauguin? How does Fauvism move beyond Postimpressionism? 2. Picasso’s Les Demoiselles d’Avignon (32-6) was intended to be shocking – the artist once referred to it as an “exorcism” work. Indeed, he did not exhibit the work publicly for years after its

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completion, showing it only to friends and colleagues in his studio. View the Closer Look on the painting. What do you think is the most disturbing element of this work? Compare answers from across the class. 3. Cubism has been divided into two major phases: analytic and synthetic. Create a chart that compares these two styles and maps out the differences between them. Your work should help someone be able to classify a Cubist painting into one of these two styles. 4. For the 1925 International Exposition of Modern Decorative and Industrial Arts, the Orphist painter Sonia Delaunay designed clothes that she called “Simultaneous Dresses.” These ready-to-wear items were intended to be inexpensive and appeal to the modern woman. Write an advertisement for this product, using language and graphics that you feel would similarly appeal to the savvy consumer of the 1920s. 5. Umberto Boccioni’s Unique Forms of Continuity in Space (3223) attempted to transform sculpture into a moving entity. Structurally, the figurative work bears a resemblance to the Hellenistic Nike (Victory) of Samothrace (5-65). What do these two sculptures have in common? How do these similarities reflect the ideals and intentions of their artistic movement? 6. One of the Zurich Dadaists, Tristan Tzara, gave instructions on how “To make a Dadaist poem.” He instructed aspiring Dadaists to cut words from a newspaper, place them in a bag, take them out one at a time and write them down in the order you remove them. He claimed, “The poem will resemble you. And there you are – an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.” Try this approach and create a Dadaist poem. 7. Marcel Duchamp’s Fountain (32-30) was an intentional avantgarde gesture of trangressive. It was part of a series of readymades that Duchamp exhibited during the 1910s. When Fountain was rejected from the American Society of Independent Artists, however, it was defended as an art object: “Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.” View the Closer Look on Fountain, then divide the class into two groups and debate whether this action of choice is sufficient to create a work of art. 8. The Surrealists devised different approaches to escape the “rule of logic” and to explore the unconscious mind. What fueled their interest in the unconscious? Create a chart that compares the

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different methods Surrealist artists used to move beyond the conscious, logical mind. 9. Picasso painted the monumental Guernica as an outraged response to the bombing of the Spanish city and slaughter of innocent civilians. He created a work that interpreted this act of violence to make it seem even more emotional and immediate. View the Closer Look on the history of Guernica. Then compare it to another protest painting by a Spanish artist, Francisco Goya’s Third of May, 1808 (30-44). How does each artist create a work that evokes an emotional response from the viewer?

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CHAPTER THIRTY-THREE

The International Scene since 1950

33 Chapter-at-a-Glance • The World since the 1950s | The Art World since the 1950s • The Expanding Art World | Assemblage | Happenings and Performance Art | Photography | Pop Art • The Dematerialization of the Art Object | Minimalism | Conceptual and Performance Art | Process Art | A Broader Look: The Dinner Party | Feminism and Art | Earthworks and Site-Specific Sculpture • Architecture: Mid-Century Modernism to Postmodernism | MidCentury Modernist Architecture | Postmodern Architecture • Postmodernism | Painting | Postmodernism and Gender | Art and Its Contexts: The Guerilla Girls | Postmodernism and Race or Ethnicity | Sculpture • Art, Activism, and Controversy: The Nineties | The Culture Wars | A Closer Look: Plenty’s Boast | Art and Its Contexts: Controversies over Public Funding for the Arts | Activist Art | Postcolonial Discourse | High Tech and Deconstructionist Architecture | Video and Film • Globalism: Into the New Millennium | Art and Technology | Art and Identities Learning Objectives 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. Transition Guide Images Removed from 4th Edition Images Added to the 5th Edition Seydou Keita, Untitled (32-8) Don Judd, Untitled (1967) (32-13)

Louise Nevelson, Sky Cathedral (33-2) Diane Arbus photographed in 1970 holding Child with a Toy Hand Grenade in

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Betye Saar, The Liberation of Aunt Jemima (32-22) Nadin Ospina, Colombia Land (32-65)

Central Park, New York (33-9) Andy Warhol, Brillo Soap Pads Box (3311) Ed Ruscha, Standard Station, Amarillo Texas (33-13) Donald Judd, Untitled (1969) (33-16)

MyArtsLab Resources Architectural Simulation: The Steel Skeleton of the Hongkong and Shanghai Bank Corporation Limited (HSBC)

Closer Look: Andy Warhol, Marilyn Diptych Faith Ringgold, Tar Beach Martin Puryear, Plenty’s Boast Jasper Johns, Target with Plaster Casts

Web Resource: Christo and Jeanne-Claude, The Gates Fred Wilson: “Site Unseen: Dwelling of the Demons” Jeff Wall on staged photography

Videos / Podcasts: Art21 – Martin Puryear Art21 – Kiki Smith Art21 – Maya Lin Art21 – Matthew Barney Art21 – Richard Serra Art21 – Kara Walker Art21 – Bruce Nauman Judith Baca, The Great Wall of Los Angeles Studio Technique Video – Silkscreen Video – The Trial of Tilted Arc

Primary Source Document: From an interview – Cindy Sherman From an interview with Cindy Nemser – Eva Hesse From an interview with David Shapiro – Vanessa Beecroft

Discussion Topics and Critical Thinking Questions 1. Richard Hamilton created his collage, Just What is it that makes Today’s Homes so Different, so Appealing? (33-10) from a range of advertisements for consumer products. While many critics believe that Hamilton’s work critiques this modern consumer culture and marketing practices, others have argued that there is an element of celebration in this work. Watch the podcast on Hamilton’s collage. Do you think this image is critical of consumer culture or not? 2. Pop art elevated commonplace objects and images to the realm of fine art. Roy Lichtenstein adopted comic book imagery as his source material, selecting frames from the popular books, isolating them from the rest of the story, and enlarging them to fill a canvas. Consider his Oh Jeff… I love you, too… but… (33-14). What changes

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about this image when Lichtenstein enlarges it? How does the scale of the work change its meaning? 3. The formalist critic Michael Fried was very critical of Minimalist art in his essay “Art and Objecthood.” He argued that works such as Donald Judd’s Untitled (33-16) were not any more interesting than nonart objects, that they did not transcend their “objecthood” to become art. Do you agree with this sentiment? 4. Christo and Jeanne-Claude create large-scale but temporary installations, often working with landscape and fabric. Their recent work in New York, The Gates, Central Park, New York, 19792005 (33-27) only lasted for 16 days. The title of the work, however, lists its dates as 1979-2005. View the Web Resource on The Gates. Which do you feel better reflects the time it took to make this work? 5. Cindy Sherman’s “Untitled Film Stills” series examine the ways women’s roles are constructed by society. In each piece, such as her “Untitled Film Still #21” (33-36), she plays the part of a different cliché of femininity. The images are always self-portraits. Read the interview with Cindy Sherman. How do you think the decision to pose for her own photographs contributes to the meaning of this series? 6. In the 1990s, architects began using high-tech materials to approach building from a more theoretical point of view. The result, the Deconstructivist style, questioned traditional assumptions about architecture. Examine Zaha Hadid’s Vitra Fire Station. How does this building challenge our notions of architecture? How is it a good example of this Deconstructivist style? 7. While Jeff Wall uses modern photography to create large-scale transparencies, his working method draws a great deal from traditional approaches to fine art. Examine his After “Invisible Man” by Ralph Ellison, The Preface (33-64) and the Web Resource on Wall’s work. What about his process is traditional? How does this approach affect the meaning of his artwork? 8. Kara Walker’s images, such as Darkytown Rebellion (33-73) present the viewer with difficult and uncomfortable depictions of racism and violence. She creates these large-scale installations using only silhouetted figures. Watch the Art 21 video on Walker and discuss the impact of this choice of medium on her work. Why would she choose to work with silhouettes? Key Terms Combines Happenings Performance art Silkscreen

Femmage Earthworks Site-specific

Pluralism Culture Wars Postcolonial

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Activities and Exercises 1. The Japanese group, Gutai, were inspired by Jackson Pollock’s drip paintings. Compare Shozo Shimamoto’s Hurling Colors (33-4) with Pollock’s Autumn Rhythm (Number 30) (32-81). How does the Gutai practice differ from that of Pollock? 2. The legacy of Duchamp’s readymades can be seen in the adoption of commonplace items in Pop art. Andy Warhol’s Brillo Soap Pads Box (33-11) presents the viewer with a copy of the cartons used to ship Brillo pads. How does this compare with Duchamp’s Fountain (32-30)? Compare and contrast the choices made by both artists. Does one seem more “artistic” than the other? 3. Judy Chicago created the large installation of The Dinner Party (page 1100) to celebrate women forgotten to history. For each of the 39 seats at the table, she and her collaborators created an elaborate place settings for the woman. Many of the plates featured designs based on female genitalia because “that is all [these women] had in common.” Others have criticized this choice, feeling that this emphasis on sex has reduced these historical figures to their gender – that instead of celebrating them just as women, we should celebrate them as important. Divide the class into two camps and debate whether this criticism is valid. 4. Architects have the opportunity to make grand statements with the design and construction of skyscrapers. These corporate towers are often used to create an image for the company and to reflect their modernity. The Seagram Building (33-28) and the AT&T Corporate Headquarters (33-32) are located only blocks from each other in Manhattan. Each was built in the most up-to-date style of their time. Compare the International style of the Seagram Building with the Postmodernist approach of the AT&T building. What elements do they share in common? Is one more appropriate as a corporate headquarters? 5. When artist Faith Ringgold wanted to write her autobiography, but was unable to find a publisher, she turned to “story quilting.” In these images, she tells stories based on her own experiences, including text along with the pictures. Her choice to use quilts has been interpreted as a gesture about gender and craft, adding more meaning to her story. View the Closer Look about Ringgold’s Tar Beach (Part I from the Women on a Bridge series) (3339). If you were to make an art object to tell part of your autobiography, what medium would you choose? Why? 6. In 1981, Richard Serra was commissioned by the General Services Administration (GSA) to create a sculpture for the plaza in front of the Javitz Federal Building in New York. 191

Although the GSA originally approved his design, the work he created, Tilted Arc (33-45) was disliked by the public. The government wanted to move the structure, but Serra filed a lawsuit claiming that he had created a site-specific work and that to move the sculpture would be to destroy it. Watch the video on Tilted Arc. Then divide the class into two groups and debate whether the GSA had the right to move the work of art. 7. Two of the most controversial works to be exhibited during the Culture Wars of the 1980s and 1990s were religious images that included bodily fluids. Chris Ofili’s The Holy Virgin Mary (33-47) and Andres Serrano’s Piss Christ (33-48) both inspired protest when they were shown in public museums. Both artists claim that they did not intend to be sacrilegious. Whatever you feel about these works and their right to be exhibited in public museums, play devil’s advocate and write a short statement defending the opposition’s side. 8. In contemporary art, many artists create works as a means of activism and protest. Select one artwork from this section of your chapter. Describe how the work was intended to influence public opinion. Do you think the work is effective in making its point? Do you think that art is an effective was to inspire change?

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