Printable Version

Study and memorize all vocabulary terms on this study guide (see page 2) to use in your essays about each artwork. The page numbers below are keyed to Arnason/Mansfield, History of Modern Art, Sixth Edition, Custom Edition for Kingsborough Community College.

Focus on the following works of art to study. You will be asked to identify and write a short essay about 7 of these works:

Post-War European Art (Chapter 18)

Bacon, Painting, p. 464

Pop Art / Neo-Dada / New Realism (Chapter 19)

Klein, Blue Monochrome, p. 473
Tinguely, Homage to New York, p. 475
Hamilton, Just what is it that makes today’s homes so different, so appealing?, p. 483
Rauschenberg, Bed, p. 487
Johns, Flag, p. 489
Johns, Painted Bronze (Ballantine Ale Cans), p. 490
Warhol, Campell’s Soup Cans (Installation at the Ferus Gallery, 1962), p. 503

Sixties Abstraction (Chapter 20)

Stella, Die Fahne Hoch!, p. 542
Morris, Installation Photograph of Exhibition at Green Gallery, 1964, p. 551

Conceptualism and Activist Art (Chapter 22)

Ono, Cut Piece, p. 594
Chicago, The Dinner Party, p. 605

Post-Minimalism (Chapter 23)

Smithson, Spiral Jetty, p. 620
Serra, Tilted Arc, p. 628
Lin, Vietnam Veterans Memorial, p. 629
Hesse, Accession II, p. 631

Painting through History (Chapter 25)

Haring, One-Man Show, p. 718
Basquiat, Grillo, p. 719

You must know the MAJOR POINTS about each artwork from the textbook and from my class lectures. These points should include full definitions of styles and vocabulary; history of the artwork; key biographical points, etc. In addition, you must know the titles of the works of art, the dates or approximate dates AS STATED IN THE TEXTBOOK, the countries of origin and the styles. You must know the artist’s last name, but not necessarily his/her first name.

You must also study the following vocabulary:

Acrylic Paint
Activist Art
Anthropometries
Assemblage
Automatism
The Battleship Potemkin
Bricolage
Body Art
Color Field Painting
Combines
Conceptual Art
Consumerism
Cor-Ten Steel
Collage
Earthworks
Encaustic
Environmentalism
Existentialism
Feminist Art
Fluxus
Found Objects
Gestalt
Graffiti
Happenings
Hard-Edge Painting
High art versus low art
Hourloupe
IKB (International Klein Blue)
Junk Art
Junk Sculpture
Kinetic Sculpture
Lawrence Alloway
“Living Sculpture”
Magna
Manifesto
Metamatic
Minimalism
Neo-Dada
Neo-Pop
New Realism
Painterly
Performance Art
Pop Art
Post-Minimalism
Process Art
Public Art
Readymade
Silkscreen/Screenprinting
Site-Specific
Soft-Edge Painting
Surrealism
The Beat Generation
Triptych
Video Art
The Void (Le Vide)
Womanhouse

Printable Version

Study and memorize all vocabulary terms on this study guide (see page 2) to use in your essays about each artwork. The page numbers below are keyed to Arnason/Mansfield, History of Modern Art, Vol 1. Sixth Edition, Custom Edition for Kingsborough Community College.

Focus on the following works of art to study. You will be asked to identify and write a short essay about 7 of these works:

Expressionism in France/Fauvism (Chapter 6)

Matisse, Joy of Life, p. 116
Brancusi, Bird in Space, p. 131

Expressionism in Germany (Chapter 7)

Kirchner, Street, Dresden, p. 137
Kandinsky, Composition VII, p. 145

Cubism (Chapter 8)

Picasso, Les Demoiselles d’Avignon, p. 164
Braque, Houses at L’Estaque, p. 169
Picasso, Girl with a Mandolin (Fanny Tellier), p. 172
Picasso, Still-Life with Chair Caning, p. 175
Picasso, Glass of Absinthe, p. 179

Early Twentieth-Century Architecture (Chapter 9)

Wright, Robie House, p. 195

Western Europe During World War I: Dadaism (Chapter 11)

Duchamp, Bottle Rack and Fountain, p. 242
Duchamp, Bicycle Wheel, p. 243
Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), p. 245

The Bauhaus and the Teaching of Modernism (Chapter 14)

Gropius, Workshop Wing, Bauhaus, p. 300

Surrealism (Chapter 15)

Masson, Battle of Fishes, p. 329
Dali, The Persistence of Memory, p. 332
Picasso, Guernica, p. 346

You must know the MAJOR POINTS about each artwork from the textbook and from my class lectures. These points should include full definitions of styles and vocabulary; history of the artwork; key biographical points, etc. In addition, you must know the titles of the works of art, the dates or approximate dates AS STATED IN THE TEXTBOOK, the countries of origin and the styles. You must know the artist’s last name, but not necessarily his/her first name.

You must also study the following vocabulary:

291 Gallery
Absinthe
Abstract
Abstraction
Abstract surrealism
Analytic cubism
Assemblage
Automatism
Bauhaus
Biomorphic
Blue Period (1901-1904)
Brancusi v. US Customs
Carving
Collage
Constructivism
Cubism
Cubist sculpture
Dada
Der Blaue Reiter (The Blue Rider)
Die Brücke (The Bridge)
Entartete Kunst
Expressionism
Exquisite Corpse (cadaver exquis)
Fauvism
Femme fatale
Found Objects
Kinetic sculpture
Magic Realism
Manifesto
Neo-Gothic
Neo-Impressionism
Non-representational
Papier collé
Pointillism (also Chromo-Luminarism, Divisionism)
Post-Impressionism
Prairie Style
Pre (or Proto-) cubism
Readymades
“Rectified” Readymades
Retrospective
Rose Period (1905-1906)
Salon
Salon des Indépendants
Spanish Civil War (1936-39)
Surrealism
Symbolism
Synthetic cubism
Un Chien Andalou (1928)

Printable Version

The page numbers below are keyed to Stokstad/Cothren, Art History, Vol II, Fourth Edition.

Focus on the following works of art to study. You will be asked to identify and write a short essay about 7 of these works:

Chapter 20: Sixteenth-Century Art in Italy

Titian, “Venus” of Urbino, p. 659
Parmigianino, Madonna of the Long Neck, p. 662
Bronzino, Allegory with Venus and Cupid, p. 663
Michelangelo, Last Judgment, Sistine Chapel, p. 667

Chapter 21: Sixteen-Century Art in Northern Europe and the Iberian Peninsula

Dürer, Adam and Eve, p. 684

Chapter 22: Seventeenth-Century Art in Europe

Bernini, Ecstasy of Saint Teresa, p. 710, 716
Caravaggio, Calling of Saint Matthew, p. 723
Hals, Officers of the Haarlem Militia Company of St. Adrian, p. 745
Rembrandt, The Night Watch, p. 747
Velázquez, Las Meninas, p. 733
Vermeer, Woman Holding a Balance, p. 750

Chapter 29: Eighteenth-And Early Nineteenth-Century Art in Europe and North America

Fragonard, The Swing, p. 909
David, Oath of the Horatii, p. 934
Canova, Paolina Borghese as Venus, p. 915

Goya, Execution of the Rebels on the Third of May, 1808, p. 940
Gericault, Raft of the Medusa, p. 946

Chapter 30: Mid-To-Late Nineteenth-Century Art in Europe and the United States

Daguerre, The Artist’s Studio, p. 967
Courbet, The Stonebreakers, p. 971
Manet, Le Déjeuner sur l’Herbe, p. 977
Monet, Impression: Sunrise, p. 985

You must know at least five to seven MAJOR POINTS about each artwork: these points can include full definitions of styles and vocabulary; history of the artwork; key biographical points, etc. In addition, you must provide the title of the work of art, the date or approximate date AS IT IS STATED IN THE TEXTBOOK, the country of origin and the style. You must know the artist’s last name, but not necessarily his/her first name.

Term Paper Assignment: Thematic Discussion of an Artwork

Printable Version

The purpose of this paper is to describe in your own words a nineteenth-century work of art that you choose on your own at a visit to a New York City Museum. You will research the background history of your artwork and you will discuss a major theme that relates to your chosen artwork.

Expectations: As explained to you in class, you will write a short term paper for HA-215, handed in to me on November 18, 2011. For this paper assignment, you must visit a museum of your choice in New York City and to choose a work of art there on which you want to write your paper. I expect you to write a visual description, a historical discussion, and a thematic analysis of the work you chose. I expect the paper to be at least six (6) typed pages, double-spaced. To do this, please follow the steps outlined below:

Step 1: Go to ONE museum in New York City (for your paper, the best are the Metropolitan Museum of Art or the Museum of Modern Art, or the Brooklyn Museum of Art) and choose ONE work of art (a painting, a sculpture, a photograph, a drawing, etc.) that fits within the date parameters of the course (that is, choose any painting, sculpture, photograph or drawing made between 1789 and 1914). Make sure that you will want to write about the work over the course of this semester. Check the museum hours on the web before planning your visit.

Allow yourself a significant amount of time in the museum to look around; two hours would probably be sufficient.

Step 2: First, choose a work of art and note its visual and formal qualities. Look at the work itself (not the wall label). Take detailed descriptive notes on the work you chose as you see it. Is it a painting, a sculpture, a photograph or a drawing? What is the artwork made from? What is going on in the image? What colors are being used (describe all colors)? What is the style? What is the subject matter? Please add a full description of your artwork at the beginning of your essay. Explain carefully how the image is presented. Describe the composition (for example: is it cropped or symmetrical, how are the figures posed, how are they positioned in space); brushwork (e.g. invisible or sketchy); line (are contours emphasized or eliminated); color; light and shade; and space (flat or deep; describe the viewpoint or angle from which the image was observed). If you are writing about sculpture, discuss differences in handling materials, surfaces, and the relationship of the figure to the surrounding space and viewer. Most important, explain how these technical choices help create the overall expressive effect/mood of the painting or sculpture. What do you think the artist was trying to convey to the viewer about his subject?

Step 3: You must also thoroughly consider the subject matter, beginning with a description of the images in the painting (or sculpture). Is there any narrative action (is anything happening?). Do any of the elements in the work function as symbols? Is the content based on a literary or religious source or a scene from everyday life? Was the work done in a studio or outside? Was a model used or was it based on earlier sketches? Was it done from imagination? Describe the setting, including the location (what country? city?) and time period. Does the event or person depicted relate to current political or social issues? Does the work have any religious or spiritual meaning? Does it reflect cultural attitudes to the subject shown? How does it typify the artistic movement or style to which it belongs?

Step 4: Your discussion must include researched information on the life of the artist, the political, social and cultural context (where applicable), and the circumstances impacting the creation of the artwork. Mention if it was commissioned, where it was seen, and how it was interpreted or received by its audience. Include any comments the artist made about this work or about his/her general objectives. Was the painting or sculpture part of a series or related to other work within the artist’s oeuvre? Does it reflect any changes in the artist’s style? What other (earlier) art influenced this painting or sculpture?

Step 5: Please choose one of the following themes that relates to your chosen artwork on which to write your essay:
1. Discuss the theme of death in nineteenth-century art. How did artists explore the theme differently over the century? What events in history prompted such explorations? What is the history of your chosen artwork and how does it fit within this theme?
2. How was art used in the nineteenth century for propagandistic purposes? What were the different ways in which politicians used artists to promote their specific agendas? In addition, how did artists promote their own political views through their art? What is the history of your chosen artwork and how does it fit within this theme?
3. Discuss the theme of the body and nudity in nineteenth-century art. What were the major concerns regarding how the body was portrayed? How did mythology and exoticism further the study of the classical nude? Which artists changed the way the nude was regarded during the century? What is the history of your chosen artwork and how does it fit within this theme?
4. Discuss the theme of race in nineteenth-century art. How were people of various races portrayed during the century? How did Orientalism and exoticism further the study, or problematize, the subject of race in art? Which artists dealt with racial “types,” and how did specific artists speak to racial issues in their works? What political events in the century lead to art that dealt with these issues? What is the history of your chosen artwork and how does it fit within this theme?

Format:

The paper should include a title, an introductory paragraph and a concluding paragraph.

Papers must be typed on clean white paper, double spaced, with no more than 1″ margins all around and using a font size no larger than Times New Roman 12.

Please run the spell check/grammar check feature before turning the paper in to me; spell check will not catch all errors, but it will clean up some basic and minor spelling issues.

Attach the receipt and/or button, the sketch, the photograph, and the three typed pages, and attach a cover sheet with the title of your paper, your full name, the course number and the section.

Length should be approximately six (6) typed pages.

NO E-MAILED PAPERS WILL BE ACCEPTED! NO LATE PAPERS PLEASE!

Printable Version

Study Guide for the Fall 2011 Midterm: HA 215

1). Study and memorize all terms from vocabulary sheets posted to LMS so far.
2). Focus on the following works of art to study. You will be tested on 7 of these works:

Rococo and the Enlightenment (Chapter 1)

Fragonard, The Secret Meeting, p.25
Chardin, Saying Grace, p. 34

The Classical Paradigm (Chapter 2)

Kauffman, Cornelia, Mother of the Gracchi, Pointing to her Children as her Treasures, p. 57
David, Oath of the Horatii, p. 60

British Art during the Georgian Period (Chapter 3)

Fuseli, The Nightmare, p. 83
West, The Death of General Wolfe, p. 91

Art and Revolution in France (Chapter 4)

Vigée-Lebrun, Portrait of Marie-Antoinette, p.101
David, Death of Marat, p. 106

The Arts Under Napoleon (Chapter 5)

David, The Intervention of the Sabine Women, p.116
Gros, Napoleon at the Plague House at Jaffa, p. 131
Girodet, The Sleep of Endymion, p. 133

Francisco Goya (Chapter 6)

Goya, The Family of Carlos IV, p. 152
Goya, Execution of the Rebels on the Third of May, 1808, p. 157

German Romanticism (Chapter 7)

Overbeck, Portrait of Franz Pforr, p. 163
Runge, Morning (oil sketch), p. 169
Friedrich, Cross in the Mountains, 175

British Landscape Painting (Chapter 8)

Turner, Rain, Steam and Speed – The Great Western Railway, p. 194
Constable, The Haywain, p. 196

French Romanticism during the Restoration (Chapter 9)

Géricault, The Raft of the Medusa, p. 209
Delacroix, The Massacre at Chios, p. 215
Ingres, Grande Odalisque, p. 219

3). You must know at least five major historical points and/or vocabulary terms with their full definitions and explanations for EACH OF these works of art. In addition, you must provide the artist’s last name, title of the work of art, the date or approximate date as it is exactly stated in the textbook, the country of origin and the style.

Printable Version

- Read and study the following works and any vocabulary we discussed up to Chapter 17.
- Focus on the following works of art to study. You will be tested on at least 7 of these works:

Cubism (Chapter 8)

Picasso, La Vie, p. 160
Picasso, Les Demoiselles d’Avignon, p. 164
Picasso, Girl with a Mondolin (Fanny Tellier), p. 172
Picasso, Still Life with Chair Caning, p. 175

Dada (Chapter 11)

Duchamp, Bottle Rack and Fountain (Installation View), p. 242
Duchamp, Bicycle Wheel, p. 243

Surrealism (Chapter 15)

Masson, Battle of Fishes, p. 329
Dali, The Persistence of Memory, p. 332
Picasso, Guernica, p. 346

American Art before World War II (Chapter 16)

Wood, American Gothic, p. 381
Lange, Migrant Mother, p. 387
Rivera, Detroit Industry, p. 391
Calder, Lobster Trap and Fish Tail, p. 402

Abstract Expressionism (Chapter 17)

De Kooning, Woman I, p. 409
Pollock, Number 1, 1950 (Lavender Mist), p. 411
Rothko, Untitled (Number 5068.49), p. 420
Newman, Onement I, p. 422
Motherwell, Elegy to the Spanish Republic, No. 34, p. 427
Smith, The Letter, p. 429

You must know at least five historical points and/or vocabulary terms with their full definitions and explanations for EACH of these works of art. In addition, you must provide the artist’s name, the title of the work of art, the date as it is stated in the textbook, the country of origin and the style. You must know the artist’s last name or the name by which they are best known.

All of these images are available on ARTstor, which can be found at: http://www.kingsborough.edu/kcclibrary/Pages/AtoZdatabases.aspx

Register for an ARTstor account and you can access all of the images from there.

Printable Version

- Study all terms from the vocabulary sheets since the first week of class.
- Focus on the following works of art to study. You will be tested on 7 of these works:

The Search for Truth: Early Photography, Realism and Impressionism (Chapter 2)

Daguerre, The Artist’s Studio, p. 18
Atkins, Cystoseira granulate, p. 19
Courbet, A Burial at Ornans, p. 25
Manet, Luncheon on the Grass, p. 29
Monet, Impression: Sunrise, p. 34
Degas, Little Dancer Fourteen Years Old, p. 39

Post-Impressionism (Chapter 3)

Seurat, A Sunday Afternoon on the Island of La Grande Jatte, p. 52
Cézanne, Mont Sainte-Victoire Seen from Les Lauves, p. 59
Rousseau, The Sleeping Gypsy, p. 63
Rodin, The Age of Bronze, p. 64
Gauguin, Vision After the Sermon, p. 71
Van Gogh, The Night Café, p. 74
Toulouse-Lautrec, Moulin Rouge – La Goulou, p. 80

Origins of Modern Architecture and Design (Chapter 4)

Sullivan, Guaranty Trust Building, p. 91
Roebling, The Brooklyn Bridge, p. 93

Art Nouveau and the Beginnings of Expressionism (Chapter 5)

Aubrey Beardsley, Salomé with the Head of John the Baptist, p. 95
Klimt, Adele Bloch-Bauer I, p. 98
Munch, The Scream, p.105

You must know at least five historical points and/or vocabulary terms with their full definitions and explanations for EACH of these works of art. In addition, you must provide the artist’s name, the title of the work of art, the date as it is stated in the textbook, the country of origin and the style. You must know the artist’s last name, but not necessarily his/her first name.

All of these images are available on ARTstor, which can be found at: http://www.kingsborough.edu/kcclibrary/Pages/AtoZdatabases.aspx

Register for an ARTstor account and you can access all of the images from there.

Printable Version

- Study and memorize all terms from vocabulary sheets completed so far.
- Focus on the following works of art to study. You will be tested on 7 of these works:

Fourteenth-Century Art in Europe (Chapter 17)

Cimabue, Virgin and Child Enthroned, p. 535
Giotto, Virgin and Child Enthroned, p. 536
Giotto, Scrovegni (Arena) Chapel, [all related images] p. 538-540
Giotto, Kiss of Judas, p. 540
Duccio, Maestà, p. 542
Lorenzetti, Effects of Good Government in the City and the Country, p.528-529, 546-547
Pucelle, The Hours of Jeanne d’Évreux, p. 550

The Early Renaissance (Chapter 18)

Van Eyck, Double Portrait of a Giovanni Arnolfini and his Wife, p. 560, 575
Sluter, Well of Moses, p. 565
Limbourg Brothers, January, from the Très Riches Heures du Duc de Berry, p. 567
Master of Flémalle (Campin), Mérode Alterpiece, p. 572-573
Christus, A Goldsmith in His Shop, p. 581
Schongauer, Demons Torturing Saint Anthony, p.590

Renaissance Art in Fifteenth-Century Italy (Chapter 19 – first half of chapter)

Brunelleschi, Dome of Florence Cathedral, p. 596
Brunelleschi, Sacrifice of Isaac, p. 601
Ghiberti, Sacrifice of Isaac, p. 601
Donatello, David, p. 604
Masaccio, The Holy Trinity, p. 610-611

You must know at least five historical points and/or vocabulary terms with their full definitions and explanations for EACH of these works of art. In addition, you must provide the artist’s name, the title of the work of art, the date as noted in the textbook, the country of origin and the style. You must know the artist’s last name or the name by which they are best known.

All of these images are available on ARTstor, which can be found at: http://www.kingsborough.edu/kcclibrary/Pages/AtoZdatabases.aspx

Register for an ARTstor account and you can access all of the images from there.

Duccio/Velazquez Assignment

 Printable Version

Prompt: Do you agree or disagree with the acquisitions of Duccio’s Madonna and Child (c. 1300) and Velázquez’s Juan de Pareja (1650) by the Metropolitan Museum of Art? Come up with a thought-provoking thesis, one that indicates not only whether you agree or disagree, but why. Then use the rest of the essay to support and develop that thesis. 

Directions: To complete this assignment you must answer the question objectively, using the facts from the written texts you read in ENG 12 and ART 34, and subjectively, using your experience with the paintings at the museum. 

Important for Art 34: During the first week of class we had a discussion of different types of value, including intrinsic, material, sentimental/psychological, nationalistic, and value based on believe systems. While you must consider the prices paid for the two paintings in dollar amounts, please also consider what other types of value are inherent in these works. Apart from the money paid, what else makes these two works valuable to the Metropolitan Museum of Art? Additionally, please add any historical information about these two artists that you learned in Art 34, either from the course lectures or from the course textbook. Why are these two works historically important? 

Important for ENG 12: There are many approaches that you could take in your discussion. For instance, based on your own aesthetic standards, you might feel that one or both of these works are not “great art” and thus were not worth the monetary price paid and the effort extended to acquire them. Or you might indeed believe that the works are great art, but that the financial cost was exorbitant, or that the ethical issues involved in the acquisition were too severe. Or you might feel that the Met is fortunate to have these works of art and you are glad they bought them “by any means necessary.” Also, as with all the essays you write in ENG 12, assume that there are many potential readers—some familiar with our course material, some not. That means you will need to write in a way that is intelligible to everyone. Don’t assume that all your readers know about Hoving and de Montebello and Velazquez and Duccio already. Give just enoughbackground information so that all your readers can follow along easily.  

Required Sources:

• Hoving, “Truth, Not Art.” (Making the Mummies Dance)
• Tompkins, “The Missing Madonna.” (The New Yorker)
• Stokstad and Cothren, Art History, Vol. II (especially pages 540-545 and 731-734) 

Optional Sources:

• www.metmuseum.org, in particular the pages on the website that discuss these two artworks.
• Danziger, Museum (especially the chapter on Keith Christiansen, where he talks about the Duccio painting; you might also include material from the chapter on Philippe de Montebello)
• Two additional written sources taken from the CUNY databases that you find on your own (this will be required for the revision of the essay, not the first version, but you are welcome to include those sources on the first version too if you wish). 

Documentation: Paraphrase, quote and summarize in detail from your written sources, and include an accurate Works Cited page. Make extensive use of the notes you took at the museum when you saw these two paintings in person. Perhaps you’ll even visit the Met again on your own to look once more at these two paintings—and at so much else that the museum has to offer!  

Additional directions: This essay should be typed, double-spaced, with margins of about an inch on all four sides; page numbers should be in the upper-right-hand corner or bottom center. Remember to follow the guidelines (available on Course Documents in Blackboard) from your first paper about how the first page should look (with heading and title). This time, the last page of the paper will be your Works Cited. 

Due date: Send your paper as a Word attachment via e-mail to Prof. Amarnick (steven.amarnick@gmail.com) and Prof. Pierre (caterina.pierre@kbcc.cuny.edu) no later than 10 a.m. Monday, Oct. 24^th. (Prof. Pierre would also like a hard copy brought to class on October 27^th.) Make sure that the subject line of the e-mail refers to this class and/or this assignment. In the body of the e-mail, please also address both of us by name, write a brief message, and sign your own name. The revision for this paper will be due no later than 10 a.m. Monday, Nov. 7^th.

Printable Version

Historical: artwork depicts an actual event from recorded history

Religious: artwork depicts a scene from a biblical or other religious text or religious figures in a setting created by the artist

Mythological: artwork depicts a scene and/or figures from the myths of (usually) ancient Greece and Rome

Portraits: artwork depicts a large image of an actual person or persons (usually known to the artist)

Self-Portraits: artwork depicts an image of the artist him/herself

Genre: artwork depicts a scene of typical everyday life; people shown are usually unidentified

Landscape: artwork depicts an outdoors scene, where people are either not shown or they are small/unimportant

Seascape: artwork depicts a scene of the sea, often with boats or ships on the sea and devoid of people

Still-life: artwork depicts fruit, flowers an/or other inanimate objects as the main subject; people are often not shown; often has a hidden moral message

• Subjects in RED: Literary or text-based subjects; usually large format
• Subjects in GREEN: Human/People-based subjects; usually mid-size format
• Subjects in BLUE: Recording/copying of what is seen only; no people, no story; usually small format