978-0134479262 Part 2 | Course Paper

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Schedule

Week

Chapters for Lecture

1

Chapter 17. Gothic Art of the Twelfth and Thirteenth Centuries

Reading Assignment: Chapter 17

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

2

Chapter 18. Fourteenth-Century Art in Europe

Reading Assignment: Chapter 18

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

3

Chapter 19. Fifteenth-Century Art in Northern Europe

Reading Assignment: Chapter 19

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

Essay 1 Due Sunday by 11:59 p.m.

4

Chapter 20. Renaissance Art in Fifteenth-Century Italy

Reading Assignment: Chapter 20

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

5

Chapter 21. Sixteenth-Century Art in Italy

Reading Assignment: Chapter 21

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

Midterm Exam in class

6

Chapter 22. Sixteenth-Century Art in Northern Europe and

the Iberian Peninsula

Reading Assignment: Chapter 22

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

Essay 2 Due Sunday by 11:59 p.m.

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7

Chapter 23. Seventeenth-Century Art in Europe

Reading Assignment: Chapter 23

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

8

Chapter 30. European and American Art, 1715–1840

Reading Assignment: Chapter 30

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

9

Chapter 31. Mid– to Late Nineteenth-Century Art in Europe and

the United States

Reading Assignment: Chapter 31

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

Essay 3 Due Sunday by 11:59 p.m.

10

Chapter 32. Modern Art in Europe and the Americas, 1900–1950

Reading Assignment: Chapter 32

Day 1: Weekly Journal/Discussion Questions

Day 2: Weekly Quiz

Final Exam in class

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CHAPTER ONE

PREHISTORIC ART

Chapter-at-a-Glance

• The Stone Age | Tools or Art?

• The Paleolithic Period | Shelter or Architecture? |

Artifacts or Works of Art? | Cave Painting | Cave Sculptures

Art and Its Contexts: The Power of Naming

• The Neolithic Period | Architecture | Ceramics | Metallurgy

A Closer Look: A House in Çatalhöyük

Art and Its Contexts: Figures of a Woman and a Man

• The Bronze Age | Rock Carvings

Learning Objectives

1

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Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Rainbow Serpent Rock (Fig. 1–2)

Lion–Human (Fig. 1–6)

Stonehenge from the Air (Fig. 1–20)

Reconstruction Drawing of

Stonehenge from the Air (Fig. 1–21)

Post and lintel; Cross section of

post–and–lintel underground burial

chamber; Cross section of corbeled

underground burial chamber; Wood–

post framing of prehistoric

structure; Neolithic wattle–and–daub

walls, Thessaly, Greece, c. 6000

BCE; Granite post–and–lintel

construction, Valley Temple of

Khafre, Giza, Egypt, c. 2500 BCE

(Elements of Architecture)

Discussion Topics and Critical Thinking Questions

1. What distinctions can be made between humans’ production of “artifacts” and

“art” as humans evolved over prehistoric eras? Identify examples of each and

discuss the meanings or purpose of these objects that 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 Neolithic sites and

explain what we can infer about the communities 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. Describe the relationship between humans and animals during the

Paleolithic period. How did that change in the Neolithic period?

4. What clues to culture and spirituality 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 toward 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.

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8. Early art history is closely tied to archaeology. Compare the objectives and

methods of each discipline for the study of prehistory.

Key Terms

sculpture in the round

electron spin resonance

corbeled vault

relief sculpture

ridgepole

lintel

abstract

wattle and daub

mortise and tenon

composite pose

thatch

ceramics

relative dating

megalithic

porcelain

absolute dating

dolmen

kilns

radiometric dating

post and lintel

earthenware

potassium–argon dating

capstone

stoneware

uranium–thorium

dating

cairn

potsherds

thermo–luminescence

dating

passage grave

alloy

Active Learning Assignments

1. Take a closer look at France’s official website for the prehistoric caves at

Lascaux, http://www.lascaux.culture.fr/?lng=en#/fr/00.xml. (The site is in

French. There are two versions of the site, a Flash version and an XHTML version.

To translate the Flash version into English, click on “Accessibilité” at the bottom

of the main page. You will move to the XHTML version and a menu will appear on

the left side of the screen. You can choose English or another language from that

menu.) Click “A visit to the Cave.” 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. Make a rough map of the cave and add labels. How would

you describe the composition? What are some possible reasons that all surfaces

of the cave were used?

2. Examine the Neolithic architectural structures at Newgrange, Knowth, and Dowth

shown online at http://www.newgrange.com/megalithic.htm. Discuss the

evolution of megalithic structures through the Neolithic Era. How did

observations of the natural world and surrounding environments shape the

structures and their meanings? What was the significance of the stone?

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CHAPTER TWO

ART OF THE ANCIENT NEAR EAST

Chapter-at-a-Glance

• Early Mesopotamia | Sumer | Akkad |Ur and Lagash | Babylon

• Assyrians and Neo–Babylonians | Assurnasirpal II | Sargon II |

Assurbanipal | Neo–Babylonia

A Closer Look: Enemies Crossing the Euphrates to Escape Assyrian Archers

• Persia

Learning Objectives

By the end of the chapter, students should be able to:

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Katherine and Leonard Woolley

excavating at Ur in 1937, beside two

archeological assistants in one of the

royal burials (Fig. 2–6)

Scenes of War (Fig. 2–7A)

Face of a Woman, Known as the

Warka Head (Fig. 2–9)

Scenes of the Celebration of Victory

(Fig. 2–7B)

Lion Gate (Fig. 2–16)

Aerial View of the Ceremonial

Complex, Persepolis (Fig. 2–21)

Aerial View of the Ceremonial Complex,

Persepolis (Fig. 2–23)

Apadana (Audience Hall) of Darius

and Xerxes (Fig. 2–24)

Apadana (Audience Hall) of Darius and

Xerxes (Fig. 2–22)

2

24

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?

Key Terms

25

Active Learning Assignments

1. Divide into groups of two to three per team. Without repeating any of the actual

pictograms illustrated in the Sumer section of the chapter, create a set of six to

eight 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.

2. Divide into teams of three or four students each. Combining information from the

chapter, create a debate with pro and con viewpoints to argue for or against

today’s museums repatriating (or returning) ancient objects to the countries of

origin versus preserving and protecting historic objects where they’ve been

secured for generations. Use the stele of Naram–Sin as an example. Also, you

can use current events and articles to substantiate your claims.

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CHAPTER THREE

ART OF ANCIENT EGYPT

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

Technique: Conventions and Technique of Egyptian Pictorial Relief

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

• The New Kingdom | The Great Temple Complexes | Hatshepsut |

Tombs of the Elite | Akhenaten and the Art of the Amarna Period |

The Return to Tradition: Tutankhamun’s Tomb| The Books of the Dead

Art and its Contexts: The Temples of Ramses II at Abu Simbel

• Late Egyptian Art | Foreign Domination

Learning Objectives

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

3

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Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Great Pyramids, Giza (Fig. 3–4)

Great Pyramids, Giza (Fig. 3–5)

Model of the Giza Plateau (Fig. 3–5)

Reconstruction Drawing of the Giza Plateau

Seen from Above (Fig. 3–6)

Great Sphinx, Funerary Complex of Khafre

(Fig. 3–6)

Great Sphinx, Funerary Complex of Khafre

(Fig. 3–7)

Rock–Cut Tombs, Beni Hasan (Fig. 3–14)

Rock–Cut Tombs, Beni Hasan (Fig. 3–15)

Nebamun Hunting Birds in the Marshes

(Fig. 3–26)

Discussion Topics and Critical Thinking Questions

1. Describe how pictorial symbols were a significant element of ancient Egyptian

culture and expression. 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 works of art 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 of life and death

and explain what it reveals.

4. Egyptian figural representations are visually distinctive, as seen through painting

and wall reliefs. 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

the function of each. 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, particularly sculpture? Describe objects tied to specific female

identities. What do their features suggest about the roles and characteristics of

women within Egyptian culture?

8. Based on multiple objects illustrated in this chapter, discuss the diversity of

materials, production techniques, and methods of construction employed by

ancient Egyptian artisans. What is the connection between the medium and the

purpose, function, and subject matter?

Key Terms

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CHAPTER FOUR

ART OF THE ANCIENT AEGEAN

Chapter-at-a-Glance

• The Bronze Age in the Aegean

• The Cycladic Islands

• The Minoan Civilization on Crete | The Old Palace Period,

c. 1900–1700 BCE | The New Palace Period, c. 1700–1450 BCE |

The Spread of Minoan Culture

Recovering the Past: Pioneers of Aegean Archaeology

Technique: Aegean Metalworking

A Closer Look: The “Flotilla Fresco” from Akrotiri

• The Mycenaean (Helladic) Culture | Helladic Architecture |

Mycenaean Tombs | Ceramics

Recovering the Past: The “Mask of Agamemnon”

Learning Objectives

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

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Citadel at Mycenae (Fig. 4–15)

Citadel at Mycenae (Fig. 4–16)

4

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Discussion Topics and Critical Thinking Questions

1. How did Aegean civilizations develop in relation to their geographic positions in

the ancient world? 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?

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Key Terms

fresco

gilded

shaft grave

dressed stone

filigree

tholos

buon fresco

granulation

beehive tomb

fresco secco

repoussé

corbeled vault

“flying gallop” pose

niello

courses

faience

megaron

ashlar

rhyton

cyclopean

krater

arch

Active Learning Assignments

1. Reexamine 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. Divide into groups of three. Each group should discuss the following questions

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CHAPTER FIVE

ART OF ANCIENT G REECE

Chapter-at-a-Glance

• The Emergence of Greek Civilization| Historical Background |

Religious Beliefs and Sacred Places |

Art and Its Contexts: Greek and Roman Deities

• Greek Art c. 900—600 BCE |The Geometric Period |

The Orientalizing Period

• The Archaic Period, c. 600—480 BCE | The Sanctuary at Delphi |

Temples | Free–Standing Sculpture | Painted Pots

Elements of Architecture: The Greek Orders

Technique: Black–Figure and Red–Figure

A Closer Look: The Death of Sarpedon

• The Early Classical Period, c. 480—450 BCE | Marble Sculpture |

Bronze Sculpture | Ceramic Painting | Wall Painting

Art and Its Contexts: Classic and Classical

• The High Classical Period, c. 450—400 BCE | The Akropolis |

The Parthenon | “The Canon” of Polykleitos | The Propylaia and

the Erechtheion | The Athenian Agora | City Plans | Stele Sculpture |

Painting

Art and Its Contexts: Who Owns the Art? The Elgin Marbles and the

Euphronios Krater

Art and Its Contexts: Women at a Fountain House

• The Late Classical Period, c. 400—323 BCE | Sculpture | Metalwork |

Painting

• The Hellenistic Period, 323—31/30 BCE | Architecture |

Sculpture in Pergamon | Three Statues of Women

Art and Its Contexts: The Celts

5

33

Learning Objectives

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

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Aerial View of the Sanctuary

of Apollo, Delphi (Fig. 5–5)

Aerial View of the Sanctuary of

Apollo, Delphi (Fig. 5–5)

Reconstruction Drawing of the

Tomb of the Diver, Poseidonia

(Roman Paestum) (Fig. 5–30)

Reconstruction Drawing of the

Tomb of the Diver, Poseidonia

(Roman Paestum) (Fig. 5–33)

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 on illustrations in this chapter, can we distinguish between idealized and

realistic representations?

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4. Representations of humans in ancient Greek sculpture evolved from static,

conventionalized forms to idealized forms to more expressionistic figures. How

can we see this progression in examples from different periods? What sculpting

techniques affected these representations?

5. Explain how Greek pottery was both decorative and practical. Identify

conventions and forms that characterize examples of Greek ceramic ware.

6. What can we learn about Greek concepts of the afterlife and funerary practices

from surviving objects and related imagery? For example, what do scenes

depicted on tomb murals reveal about attitudes toward life and death? What is

reflected by imagery seen on grave stelai?

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

35

Active Learning Assignments

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

from culture to culture? What effects do materials and color have on these

representations?

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CHAPTER SIX

ETRUSCAN AND ROMAN ART

Chapter-at-a-Glance

• The Etruscans | Architecture |Tombs |Works in Bronze

Elements of Architecture: Roman Architectural Orders

• The Roman Republic, 509–27 BCE | Roman Portraiture |

The Roman Arch | Temples

Art and Its Contexts: Roman Writers on Art

• The Early Empire, 27 BCE–96 CE | Art in the Age of Augustus |

The Gemma Augustea | Roman Cities | Roman Houses | Wall Painting |

The Flavians

Elements of Architecture: Roman Vaulting

• The High Imperial Art of Trajan and Hadrian | Imperial Architecture |

Roman Mosaics | Imperial Portraits | Funerary Sculpture

Elements of Architecture: Concrete

A Closer Look: Sarcophagus with the Indian Triumph of Dionysus

• The Late Empire, Third and Fourth Centuries CE | The Severan Dynasty

| The Tetrarchy | Constantine the Great | Roman Art after Constantine

Learning Objectives

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

6

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Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Façade of Library of Celsus, Ephesus

(Fig. 6–5)

Denarius with Portrait of Julius Caesar (Fig.

6-14)

Denarius with Portrait of Julius Caesar

(Fig. 6–16)

Aerial View of the Ruins of Pompeii (Fig. 6–

23)

Aerial View of the Ruins of Pompeii

(Fig. 6–24)

Initiation Rites of the Cult of Bacchus (?),

Villa of the Mysteries (Fig. 6–29)

Initiation Rites of the Cult of Bacchus

(?), Villa of the Mysteries (Fig. 6–30)

Reconstruction Drawing of Trajan’s Market

(Fig. 6–44)

Young Flavian Woman (Fig. 6–40)

Interior of the Pantheon Looking Up into the

Dome (Fig. 6–51)

Middle–Aged Flavian Woman (Fig. 6–

41)

Equestrian Statue of Marcus Aurelius (Fig. 6–

56)

Reconstruction Drawing of Trajan’s

Market (Fig. 6–45)

Arch of Constantine (Fig. 6–65)

Dome of the Pantheon (Fig. 6–52)

Equestrian Statue of Marcus Aurelius

(Fig. 6–57)

Arch of Constantine (Fig. 6–65)

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. How did architecture and

architectural structures play an important role in maintaining these vast

territories? How did other art media act as propaganda to help maintain the

empire?