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Introduction to the Course

3700411ae81a5ba151f9946dcb59c386?s=47 nichsara
January 22, 2013

Introduction to the Course



January 22, 2013


  1. Welcome  to     Survey  of  Western  Art  I  

    (FINE  2600_001)   Sarah  Nichols   Sarah.A.Nichols@ucdenver.edu     Office  Hours:  9:30-­‐11:00  T  Th  Tavern  Lounge  
  2. Syllabus  &  Blackboard  

  3. Blackboard   Blackboard  will   be  your  portal   for

     all  class   material.  
  4. Required  Textbook   Get  it  at…    Auraria  Campus  

    Bookstore  (Friday)    Amazon    Half.com     Make  sure  you  get  the     5th  Edi(on.     Marilyn  Stokstad  and  Michael  W.   Cothren,  Art  History,  Volume  1  
  5. Op]onal:  A  Short  Guide  to  Wri1ng   about  Art  by

     Sylvan  Barnet     Available  at:    Auraria  Campus   Bookstore    Amazon.com    Half.com    Auraria  Library  Reserve    
  6. Grade  Distribu]on   •  25%  Midterm   •  30%  Final

      •  10%  Catalog  Entry   •  15%  Mythological   Comparison   •  20%  Image/Text   My  Grades  on   Blackboard  will   automa]cally   calculate  your   grade.  
  7. Wri]ng  Assignments   Catalog  Entry  Due  02/14   Mythological  

    Comparison  Due  04/26   Image/Text  Due  05/2   Full  Instruc]ons,  Supplementary  Materials,  and   Rubrics  are  available  on  Blackboard   !Mythological Comparison Instructions Due: Thursday April 11, 2013 Prompt: One of the most interesting aspects of classical mythology is the variety with which myths can be told, retold and, represented. In this assignment, you will write an essay that compares and contrasts two interpretations of one of the many adventures of the hero Odysseus (also called Ulysses) had on his journey home after Trojan War—his perilous encounter with the sirens (also called seirens). Format: Your essay should be organized around a thesis statement, which is supported by a thorough comparison of the two objects, how they represent the myth, and their formal qualities. When comparing the two depictions, be sure to identify each of the figures in the scene by name and determine the different versions of the myth being presented. To help you understand the “Judgment of Paris,” it is recommended that you refer to the attached selections from Timothy Gantz’s Early Greek Myth and Jennifer Neils’ “Les Femmes Fatales: Skylla and the Sirens in Greek Art.” This short reading outlines the different versions of the myth that occur in Greek literature and pottery. Issues you may consider: While formulating your thesis, you may ask yourself the following questions: What part of the story is each image portraying? What version of the myth does each image represent? What are some significant differences between the two representations? How do those differences create a distinct interpretation of the chosen story? How do their respective contexts (date/location) change the story being told and the methods by which it is told? Remember the more specific your thesis is, the better it will be. Requirements: Your paper should be around three to four pages double spaced with one-inch margins using Times New Roman. The best papers will be well-organized analyses organized around a central observation, or THESIS STATEMENT with supporting paragraphs that utilize appropriate examples from the images or the provided texts. A reader should be able to follow your reasoning, observations and descriptions. Be thorough, be organized and be specific in your references. Figure 2, William Etty, Ulysses and the Sirens, 1836. Figure 1, “Odysseus and the Sirens” (Detail), Attic Red-Figure Stamnos, Attributed to the Siren Painter, c. 480-470 BCE.
  8. Second  Chance   •  An  extra  week  on  an  assignment:

     This  allows  you   to  hand  in  an  assignment  up  to  a  week  acer  the   posted  deadline.       •  The  opportunity  to  redo  an  assignment:    If  you   did  not  do  well  on  an  assignment,  you  will  un]l   have  a  week  acer  the  assignment  has  been   passed  back  in  class  to  redo  your  assignment.       •  Extra  Credit  on  your  final:    If  you  do  not  use  your   second  chance  for  an  assignment,  you  may  use  it   as  five  points  extra  credit  on  one  of  your  final   exam.  
  9. Exam  Format   Good  to  Know…    Midterm  Exam  Date:

      Thursday  March  22nd      Finals  Week:  May   13th-­‐17th      You  should  do  a  lihle   studying  each  week.    Sec]ons  I  and  II  are   pulled  from  your  daily   monument  list.     Exam  Format     Sec]on  I:  Slide  IDs  (10)    Ar1st/Architect    Title    Culture/Stylis1c  Period    Cultural  Significance     Sec]on  II:  Chronology    (3)    Place  Slides  in  Proper    Chronological  Order.     Sec]on  III:  Essay  (2)   Essays  are  formed  from   your  cri]cal  thinking   ques]ons.  
  10. Welcome  to  Survey  of  Western  Art  II   Reading  

    Textbook  pages  relevant  to   the  lecture.     Range   This  is  the  date  range  of  the   lecture.     Terms/Concepts   These  are  terms  or  ideas   you  should  know  or  may   need  to  know  how  to  spell.   Monument  List   These  are  the  monuments   from  lecture  you  will  need   to  know  for  the  exam.   Sample  Lecture  Page  
  11. Cri]cal  Thinking  Ques]ons   At  the  end  of  every  lecture,

     I  will  present  to  you   4-­‐5  ques]ons  to  guide  your  naviga]on  of  the   material.     They  are  usually  ques]ons  that  have  already   been  answered  in  during  the  lecture.     These  ques]ons  will  be  used  to  write  your  essay   ques]ons  for  both  exams.   Sample  Lecture  Page  
  12. Tips  for  Success   1.  Show  Up!!!    Even  though

     it  isn’t  necessarily   part  of  your  final  grade.   2.  Complete  all  of  your  assignments.    They  are   all  important.   3.  Study  a  lihle  each  week.    Each  lecture  gives   you  a  piece  of  the  exam.   4.  Ask  ques]ons.    If  you  do  not  understand   something,  ask  me.  
  13. Content  No]fica]on   Art  scholarship  and  art  prac]ce  along  with

     teaching  and  learning  involves   a  cri]cal  explora]on  of  ideas,  theories,  art-­‐making  prac]ces,  and  art   movements  that  encompass  such  things  as:  the  human  body,  sexuality,   race,  gender,  religions,  and  cultures.  This  course  can  touch  upon  any  of   the  above  categories  with  an  expecta]on  that  students  will  ac]vely   par]cipate  in  all  course  assignments,  discussions  and  tests.  Given  this   informa]on,  it  is  the  student’s  obliga]on  to  determine  that  the   requirements  conflict  with  his  or  her  core  beliefs.  If  the  student   determines  that  there  is  a  conflict  with  his  or  her  beliefs,  one  of  the   following  ac]ons  needs  to  be  taken:  1)  drop  the  class  before  the  last  day   to  drop  a  course  without  penalty;  2)  meet  with  the  instructor  within  the   first  week  of  classes  to  determine  if  an  accommoda]on  can  be  made.     (Note,  faculty  are  not  required  to  grant  content  accommoda]ons.)    If  no   accommoda]on  can  be  made,  drop  the  course  before  the  last  day  to  drop   without  penalty.  
  14. The  Issues  of  Art  History…  

  15. Thought  Experiment    Listen  to  the  following  account  of  an

      archaeological  excava]on,  keeping  in  mind   these  ques]ons:      1.  Who  were  these  people?    2.  What  can  we  understand  about  their   culture?      
  16. ©  David  Macaulay  The  Motel  of  the  Mysteries,  1979.  

  17. Problem  #1:  Framing  Devices   Ins]tu]ons  

  18. Problem  #1:  Framing  Devices   People   ME   YOU

  19. Problem  #1:  Framing  Devices   Media  

  20. Problem  #2:  Peaks  and  Valleys   Johann   Joachim  

      Winkelmann   Giorgio     Vasari   Word.   Sweet!   Doryphoros  
  21. Problem  #3:  Centering   This   But  Not  This  

  22. Problem  #4:  Cult  of  the  Ar]st   Ar]st   Art

      Viewer   Context  
  23. Problem  #4:  Cult  of  the  Ar]st   Ar]st   Art

      Viewer   Context   Ar]st   Art   Viewer   Context  
  24. Solu]ons?   •  Be  cri]cal  of  your  sources.   • 

    Be  aware  of  art  history’s  history.   •  Acknowledge  the  presence  of  framing  devices.   •  Start  with  the  image.     **However,  there  is  no  true  solu(on**  
  25. Start  with  the  Image   1.  Be  able  to  describe

     what  you  see  in  your  own   words.   2.  Form  your  own  interpreta]on  of  an  image.   3.  Read  other  sources,  weighing  them  against   your  ini]al  interpreta]on.   4.  Form  another  interpreta]on  considering   (accep]ng  or  dismissing)  the  ideas  you  have   encountered.  
  26. Cri]cal  Ques]ons   •  What  are  framing  devices?  How  do

     they   impact  our  understanding  of  ancient  art?   •  How  does  the  roles  of  ar]sts  in  the  ancient   world  differ  from  the  roles  of  ar]st  in  the   modern  world?   •  How  is  material  important  to  the  meaning  of   an  object?   •  How  is  the  triangle  diagram  (ar]st    art     viewer)  problema]c?  
  27. Inkshedding   1.  Preferred  Name,  Major  (with  emphasis),   year.

      2.  What  cultures,  monuments,  or  ideas  are  you   looking  forward  to  learning  about  the  most   this  semester?   3.  What  cultures,  monuments,  or  ideas  are  you   dreading?   4.  Would  you  like  your  images  before  or  acer   lecture?