978-0134479262 Part 2

subject Type Homework Help
subject Pages 14
subject Words 4937
subject Authors Marilyn Stokstad, Michael W. Cothren

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Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
18
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, 19001950
Reading Assignment: Chapter 32
Day 1: Weekly Journal/Discussion Questions
Day 2: Weekly Quiz
Final Exam in class
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20
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
Rainbow Serpent Rock (Fig. 1-2)
Rainbow Serpent Rock (Fig. 1-2)
Lion-Human (Fig. 1-6)
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
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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
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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?
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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. 19001700 BCE | The New Palace Period, c. 17001450 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
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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32
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. 900600 BCE |The Geometric Period |
The Orientalizing Period
The Archaic Period, c. 600480 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. 480450 BCE | Marble Sculpture |
Bronze Sculpture | Ceramic Painting | Wall Painting
Art and Its Contexts: Classic and Classical
The High Classical Period, c. 450400 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. 400323 BCE | Sculpture | Metalwork |
Painting
The Hellenistic Period, 32331/30 BCE | Architecture |
Sculpture in Pergamon | Three Statues of Women
Art and Its Contexts: The Celts
5
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Learning Objectives
By the end of this chapter, the student will be able to:
Transition Guide
Images Removed from the
5th 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
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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, 50927 BCE | Roman Portraiture |
The Roman Arch | Temples
Art and Its Contexts: Roman Writers on Art
The Early Empire, 27 BCE96 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?

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