A.P. ART HISTORY
Curriculum Map
2013-2014
Ms. Cestero
A. COURSE DESCRIPTION
This course is intended to prepare students for the Advanced Placement History of Art
Examination. The fall term covers painting, sculpture, and architecture from the Paleolithic
Period through the Early Medieval Era. There are five basic course objectives. First, an
emphasis will be placed on visual literacy, that is, the ability to apply art historical
methodologies to students’ visual environment (from high art to pop culture) so that the
student understands how images encode social and political ideologies. Second, the student
will be encouraged to not only appreciate works of art from other cultures, but to value them
as well. Third, the student will be encouraged to learn to defer judgment when looking at
works of art, developing critical thinking skills by considering the assumptions they bring to
an evaluation and learn to collect evidence before forming opinions. Fourth, the student will
learn the basic canon of western images and be able to understand the basic problems and
flux of that canon. Finally, the student will be encouraged to continue their journey into the
intellectual and emotional joys of aesthetic experiences.
B. REQUIRED TEXTBOOK
Helen Gardner’s Art Through the Ages. Fred S. Kleiner, Christian J. Mamiya, 12th
ed. www.harbrace.com/art/gardner/html (Gateway to Art History to use with Gardner text)
Supplemental Resources:
Barron’s A.P. Art History, Nici, John
The College Board: www.collegeboard.com
Art Bulletin, Art Journal (publications of the College Art Association)
Art News, Modern Painting, Art in America
Smarthistory.org
The Grove Dictionary of Art: www.groveart.com
Required Materials:
Email address
Flash drive
Index cards
Three-ring binder, loose-leaf paper, and dividers
Journal
Black or blue ink pens
Pencils
C. Homework:
Homework of the required reading assignment is on the dates listed in the syllabus.
Additional homework assignments will be announced in class and will be posted on my
website. Students should plan to have homework almost every night in the form of reading,
study guides, journaling, or reviewing. The student will be expected to follow the on-going
reading assignments from the text. This will be an active reading, involving note taking,
concept mapping, or outlining. In addition, periodic studio/journal work will be assigned.
Supplemental reading will be given from time to time. No late homework will be accepted.
In case of excused, unplanned absence, due dates will be extended one day for each class
missed. If you have a planned absence such as a field trip or doctor’s appointment, you are
expected to either turn in the work the day before the absence or drop it off on the day of
the absence or field trip. There will be no extension for unauthorized absences. There will be
no extension if you come to school late/leave early and miss class. Students are expected to
turn in the work on the day it is due if they are in school at all.
D. STUDENT EVALUATION
Students will be evaluated on the following: homework, journals, papers, studio projects,
written tests/quizzes, and class participation. Class participation will be self-assessed weekly.
Positive participation includes sharing thoughts, ideas, and questions in class as well as
communicating with Ms. Simon in and out of class. It also includes coming to class on time,
in dress code, ready to start class when the bell rings and being attentive and positive
throughout class. A final exam will be administered at the end of each semester that is worth
20% of the semester grade.
AP EXAM:

May 6, 2014
E. ADDITIONAL INFORMATION
Academic Dishonesty:
Students are expected to do their own work. Copying or stealing the work of others is
considered plagiarism and is a violation of the HSAB code of conduct.
Make Up Policy
In case of authorized or excused absence, due dates will be extended one day for each class
missed. There will be no extension for unauthorized absences. Late work will not be
accepted. All missing or late assignments will receive a zero. Tests that can be made up must
be done within 48 hours upon return to school. If a test or quiz is missed because of a late
arrival or early release, a zero will be given and the test/quiz cannot be made up. In case of
special circumstances (doctor’s appt. or extended illness), please make arrangements ahead
of time to avoid a zero.
Fall 2013 Calendar
Week 1 Introduction
Week 2 Chapter 1 The Birth of Art, Terms
Week 3 Chapter 2 The Rise of Civilization
Week 4 Chapter 3 Pharaohs and the Afterlife
Week 5 Chapter 4 Minos and the Heroes of Homer
Week 6 Chapter 5: Gods, Heroes, and Athletes
Week 7 Chapter 9: Italy Before the Romans
Week 8 Chapter 10: From Seven Hills to Three Continents
Week 9 Review
Week 10 Chapter 11: Pagans, Christians and Jews
Week 11 Chapter 12: Rome in the East
Week 12 Chapter 16: Europe After the Fall of Rome
Week 13 Chapter 17: The Age of Pilgrimages
Week 14 Chapter 18: The Age of Great Cathedrals
Week 15 Chapter 18 continued
Week 16 Review
Week 17 Exams
Spring 2014 Calendar
Week 18 Chapter 19: From Gothic to Renaissance
Week 19 Chapter 20: Piety, Passion, and Politics
Week 20 Chapter 21: Humanism and the Allure of Antiquity
Week 21 Chapter 22: Beauty, Science, and Spirit in Italian Art
Week 22 Chapter 23: The Age of Reformation
Week 23 Chapter 24: Popes, Peasants, Monarchs, and Merchants
Week 24 Chapter 28: The Enlightenment and its Legacy
Week 25 Chapter 29: The Rise of Modernism
Week 26 Class Work
Week 27 Review
Week 28 Chapter 33: The Development of Modern Art
Week 29 Chapter 34: From Modern to Postmodern
Week 30 Chapter 34 continued
Week 31 Non-Western Art
Week 32 AP Exam Review
Week 33 PPT Slide and Note Review
Week 34 Class Work
Week 35 Exam Review Exams for seniors
Week 36 Exams
AP Art History
Fall 2013
Introduction
1.1
Discuss Rules
Illustrate the Syllabus
· Visual literacy
· The interpretation and criticism of images.
· Taste: high, middle and low
· Taste Grid from 1949 Life magazine
Value other cultures
· Multiculturalism. Separate from the whole
Suspend Judgement
· The objectivity question in history
Aesthetic pleasure
· Nabokov and the “tingle in the spine”
Question: What do you know about art and how and why do you know it.
Questionnaire
Methodology


Using one work to illustrate how art historians discuss a work of art
Jan Van Eyck, Portrait of Giovanni Arnolfini and His Wife
Giovanni Cenami, 1434, oil on wood panel, 33x22” National
Gallery, London
Formalism

Elements of design illustrated
Formalism

Principles of design illustrated
1.2 Discussion
Architectural Analysis Part I
Function








High/ Low
How does the purpose contribute to the design
To what extent does the building manifest its function?
Siting
Topography: site specific based upon harmonizing with the landscape
Orientation: siting the building in terms of the directions
Plan/ Elevation
Regular





Centralized
Entrance(s)
How does one enter the space/structure? ( Door/Gate/ Arch)
How is the entrance emphasized
Is there a transition from outside to inside? (Narthex)
Week 1
continued
Interior Space






How many levels exist?
How is it illuminated? (Natural light/ Electric light/ Candles)
Does the exterior design help the viewer anticipate the interior space or not?
How is the interior decorated?
Seating Arrangement
Spatial Hierarchy: is access controlled?
Movement


How does one approach the building? (Ascend/Descend)
How does one move in the space?


Axial pilgrimage/ procession
Labyrinth
Structure





Engineering System:
Post and Lintel
Arcuated
Vaulting (barrel/groin/ribbed)
Truss
Fenestration:



Clerestory
Lancets/rose window
Palladian
Materials:




Concrete/brick/iron/stone
Are the structural materials concealed or exposed
Massing:
Open/closed

Vertical/horizontal
Architectural Analysis Part II
Aesthetic









Vocabulary and Syntax of the Building ( the architectural language)
Vocabulary: Individual parts or elements
Syntax: The arrangement of the part
Style
How important is the style that has been selected?
Ornamentation
Is the building heavily embellished?
Semeiotics
What message does the building send to the viewer?
September: Week TWO
Chapter 1
Read and be prepared to discuss art and terms listed
Prehistoric
What is the difference between the terms power and authority?
Paleolithic Figures









1-1: Waterworn pebble resembling a human face, from Makapansgat, South Africa,
ca. 3,000,000 BCE. Reddish brown jasperite, approx. 2 3/8” wide.
1-2: Animal facing left, from the Apollo 11 Cave, Namibia, ca. 23,000 BCE. Charcoal
on stone, approx. 5” X 4 1/4”. State Museum of Namibia, Windhoek.
1-3: Human with feline head, from Hohlenstein-Stadel, Germany, ca. 30,000–28,000
BCE. Mammoth ivory, 11 5/8” high. Ulmer Museum, Ulm.
1-4: Nude woman (Venus of Willendorf), from Willendorf, Austria, ca. 28,000–
25,000 BCE. Limestone, approx. 4 1/4” high. Naturhistorisches Museum, Vienna.
1-7: Two bison, reliefs in cave at Le Tuc d’Audoubert, Ariège, France, ca. 15,000–
10,000 BCE. Clay, each approx. 2’ long.
1-8: Bison with turned head, fragmentary spearthrower, from La Madeleine,
Dordogne, France, ca. 12,000 BCE. Reindeer horn, approx. 4” long. Musée des
Antiquités Nationales, Saint-Germain-en-Laye.
1-9: Bison, detail of a painted ceiling in the Altamira cave, Santander, Spain, ca.
12,000–11,000 BCE. Each bison approx. 5’ long.
1-10: Spotted horses and negative hand imprints, wall painting in the cave at PechMerle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long.
1-13: Rhinoceros, wounded man, and disemboweled bison, painting in the well,
Lascaux, Dordogne, France, ca. 15,000–13,000 BCE. Bison approx. 3’ 8” long.
Neolithic Figures




1-14: Great stone tower built into the settlement wall, Jericho, ca. 8000-7000 BCE.
1-15: Human figure, from Ain Ghazal, Jordan, ca. 6750-6250 BCE. Plaster, painted
and inlaid with cowrie shell and bitumen, 3' 5 3/8 high. Louvre, Paris.
1-17: Deer hunt, detail of a wall painting from Level III, Çatal Höyük, Turkey, ca.
5750 BCE. Museum of Anatolian Civilization, Ankara.
1-19: Stonehenge, Salisbury Plain, Wiltshire, England, aerial view, ca. 2550-1600
BCE. Circle is 97' in diameter; trilithons approx. 24' high.
September: Week THREE
Chapter 2 Read and be prepared to discuss art and terms listed
Sumer Figures

2-1: White Temple and ziggurat, Uruk (modern Warka), Iraq, ca. 3200–3000 BCE.

2-3: Female head (Inanna?), from Uruk (modern Warka), Iraq, ca. 3200–3000 BCE.
Marble, approx. 8" high. Iraq Museum, Baghdad.2.4 Warka Vase, p. 34
2-4: Presentation of offerings to Inanna (Warka Vase), from Uruk, Iraq, ca. 3200–
3000 BCE. Alabaster, 3’ 1/4" high. Iraq Museum, Baghdad.
2-5: Statuettes of worshipers, from the Square Temple at Eshnunna (modern Tell
Asmar), Iraq, ca. 2700 BCE. Gypsum inlaid with shell and black limestone, tallest
figure approx. 2’ 6" high. Iraq Museum, Baghdad. Votive Figures, Modern Tell
Asmar Iraq,
2-7: Fragment of the victory stele of Eannatum (Stele of the Vultures), from Girsu
(modern Telloh), Syria, ca. 2600–2500 BCE. Limestone, full stele approx. 5’ 11"
high. Louvre, Paris.
2-8(a): War side of the Standard of Ur, from Tomb 779, Royal Cemetery, Ur
(modern Tell Muqayyar), Iraq, ca. 2600 BCE. Wood inlaid with shell, lapis lazuli, and
red limestone, approx. 8" x 1’ 7". British Museum, London.
2-8(b): Peace side of the Standard of Ur, from Tomb 779, Royal Cemetery, Ur
(modern Tell Muqayyar), Iraq, ca. 2600 BCE. Wood inlaid with shell, lapis lazuli, and
red limestone, approx. 8" x 1’ 7". British Museum, London.





Terms and Vocabulary
1. Cuneiform
2. Ziggurat
3. Mosaic
4. Epic of Gilgamesh
5. Registers
6. Cylinder seals
7. Lapis Lazuli
8. Hierarchic Scale
9. Polychrome
10. Stele
AKKADIAN, NEO-SUMERIAN, BABYLONIAN, AND HITTITE ART



2-12: Head of an Akkadian ruler, from Nineveh (modern Kuyunjik), Iraq, ca. 22502200 B.C. COPPER, 1' 2 3/8" HIGH. IRAQ MUSEUM, BAGHDAD.
2-13: Victory stele of Naram-Sin, from Susa, Iran, 2254-2218 B.C. PINK
SANDSTONE, APPROX. 6' 7" HIGH. LOUVRE, PARIS.
2-14: Ziggurat (northeastern façade with restored stairs), Ur (modern Tell Muqayyar),
Iraq, ca. 2100 B.C.
Week 3 continued
· 2-16: Stele with law code of Hammurabi (upper part), from Susa, Iran, ca. 1780 B.C. Basalt.
Louvre, Approx. 7'4" High, Paris.
· 2-17: Investitureof Zimri-Lim, facsimile of a mural painting, from court 106 of the palace
at Mari, (modern Tell Hariri), Syria, ca. 1775-1760 B.C. Louvre, Paris.
· 2-18: Lion Gate, Boghazköy, Turkey, ca. 1400 B.C. Limestone, Approx7' high.
MIDDLE ELAMITE AND ASSYRIAN ART


2-21: Lamassu (winged, human-headed bull), from the citadel of Sargon II, Dur
Sharrukin (modern Khorsabad), Iraq, ca. 720-705 BCE. Limestone, approx. 13' 10
high. Louvre, Paris.
2-22: Assyrian archers pursuing enemies, relief from the Northwest Palace of
Ashurnasirpal II, Kalhu (modern Nimrud), Iraq, ca. 875-860 BCE. Gypsum, 2' 10
5/8 high. British Museum, London.

NEO-BABYLONIAN AND ACHAEMENID PERSIAN ART

2-25: Ishtar Gate (restored), Babylon, Iraq, ca. 575 BCE. Glazed brick. Staatliche
Museen, Berlin.
Terms and Vocabulary
1. Crenellation
2. Battlement
3. Columns: base/ shaft/ capital
4. fluting
5. Metalworking: repousse
September: Week FOUR
Chapter 3 Read and be prepared to discuss art and terms listed
THE PREDYNASTIC AND EARLY DYNASTIC
Egypt/Aegean
How does status influence style?
What does the afterlife look like?



3-1: People, boats, and animals, watercolor copy of a wall painting from tomb 100 at
Hierakonpolis, Egypt, Predynastic, ca. 3500-3200 BCE. Paint on plaster, approx. 16'
3 long. Egyptian Museum, Cairo.
3-2: Palette of King Narmer (left, back; right, front), from Hierakonpolis, Egypt,
Predynastic, ca. 3000-2920 BCE. Slate, approx. 2' 1 high. Egyptian Museum, Cairo.
3-4: IMHOTEP, Stepped Pyramid and mortuary precinct of Djoser, Saqqara, Egypt,
Dynasty III, ca. 2630-2611 BCE.
Old Kingdom





3-8: Great Pyramids, Gizeh, Egypt, Dynasty IV. From left: Pyramids of Menkaure,
ca. 2490-2472 BCE; Khafre, ca. 2520-2494 BCE; and Khufu, ca. 2551-2528 BCE.
3-11: Great Sphinx (with Pyramid of Khafre in the background at left), Gizeh,
Egypt, Dynasty IV, ca. 2520-2494 BCE. Sandstone, approx. 65' high, 240' long.
3-12: Khafre, from Gizeh, Egypt, Dynasty IV, ca. 2520-2494 BCE. Diorite, approx.
5' 6 high. Egyptian Museum, Cairo.
3-13: Menkaure and Khamerernebty (?), from Gizeh, Egypt, Dynasty IV, ca. 24902472 BCE. Graywacke, approx. 4' 6 1/2 high. Museum of Fine Arts, Boston.
3-16: Ti watching a hippopotamus hunt, relief in the mastaba of Ti, Saqqara, Egypt,
Dynasty V, ca. 2450-2350 BCE. Painted limestone, hunting scene approx. 4' high.
Middle Kingdom


3-18: Fragmentary head of Senusret III, Dynasty XII, ca. 1860 BCE. Red quartzite,
approx. 6 1/2 high. Metropolitan Museum of Art, New York.
3-20: Interior hall of the rock-cut tomb of Amenemhet (BH 2), Beni Hasan, Egypt,
Dynasty XII, ca. 1950-1900 BCE
New Kingdom







3-21: Mortuary temple of Hatshepsut (with the Middle Kingdom mortuary temple of
Mentuhotep II at left), Deir el-Bahri, Egypt, Dynasty XVIII, ca. 1473-1458 BCE.
3-22: Hatshepsut with offering jars, from the upper court of her mortuary temple,
Deir el-Bahri, Egypt, ca. 1473-1458 BCE. Red granite, approx. 8' 6 high.
Metropolitan Museum of Art, New York.
3-23: Temple of Ramses II, Abu Simbel (now relocated), Egypt, Dynasty XIX, ca.
1290-1224 BCE. Sandstone, colossi approx. 65' high.
3-24: Interior of the temple of Ramses II, Abu Simbel (now relocated), Egypt,
Dynasty XIX, ca. 1290-1224 BCE. Sandstone, pillar statues approx. 32' high.
3-25: Restored view of the temple of Amen-Re, Karnak, Egypt, begun fifteenth
century BCE (Jean-Claude Golvin).
3-26: Hypostyle hall, temple of Amen-Re, Karnak, Egypt, Dynasty XIX, ca. 12901224 BCE.
3-28: Temple of Horus, Edfu, Egypt, ca. 237-47 BCE.
Week 4
continued






3-32: Akhenaton, from the temple of Aton, Karnak, Egypt, Dynasty XVIII, ca. 13531335 BCE. Sandstone, approx. 13' high. Egyptian Museum, Cairo.
3-33: THUTMOSE, Nefertiti, from Tell el-Amarna, Egypt, Dynasty XVIII, ca. 13531335 BCE. Painted limestone, approx. 1' 8 high. Ägyptisches Museum, Berlin.
3-35: Akhenaton, Nefertiti, and three daughters, from Tell el-Amarna, Egypt,
Dynasty XVIII, ca. 1353-1335 BCE. Limestone, approx. 12 1/4 high. Ägyptisches
Museum, Berlin.
3-36: Innermost coffin of Tutankhamen, from his tomb at Thebes, Egypt, Dynasty
XVIII, ca. 1323 BCE. Gold with inlay of enamel and semiprecious stones, approx. 6'
1 long. Egyptian Museum, Cairo.
3-37: Death mask of Tutankhamen, from the innermost coffin in his tomb at
Thebes, Egypt, Dynasty XVIII, ca. 1323 BCE. Gold with inlay of semiprecious
stones, 1' 9 1/4 high. Egyptian Museum, Cairo
3-39: Last judgment of Hu-Nefer, from his tomb at Thebes, Egypt, Dynasty XIX, ca.
1290-1280 BCE. Painted papyrus scroll, approx. 1' 6 high. British Museum, London.
THE LATE PERIOD

3-40: Mentuemhet, from Karnak, Egypt, Dynasty XXVI, ca. 650 BCE. Granite,
approx. 4' 5 high. Egyptian Museum, Cairo.
Terms and Vocabulary
1. Egyptian pantheon: Horus/ Osiris/ Isis (Creation Myth)
2. Papyrus
3. canon of proportions: width of fist 1 basic measure/ male body 18 fists high
4. Mastaba
5. Sarcophagus
6. Elements of Architecture:
7. ]Colonnade
8. Engaged column
9. Pylon
10. Hypostyle hall
11. Fenestration
September: Week FIVE
Chapter 4 Read and be prepared to discuss art and terms listed
Aegean Art
Cycladic Art (Cycladic Islands)







4-1: Figurine of a woman, from Syros (Cyclades), Greece, ca. 2500-2300 BCE.
Marble, approx. 1' 6 high. National Archaeological Museum, Athens.
4-3: Aerial view (looking southwest) of the palace at Knossos (Crete), Greece, ca.
1700-1400 BCE.
4-5: Stairwell in the residential quarter of the palace at Knossos (Crete), Greece, ca.
1700-1400 BCE.
4-6: Minoan woman or goddess (La Parisienne), from the palace at Knossos (Crete),
Greece, ca. 1450-1400 BCE. Fragment of a fresco, approx. 10 high. Archaeological
Museum, Herakleion.
4-7: Bull-leaping, from the palace at Knossos (Crete), Greece, ca. 1450-1400 BCE.
Fresco, approx. 2' 8 high, including border. Archaeological Museum, Herakleion.
4-11: Marine Style octopus jar, from Palaikastro (Crete), Greece, ca. 1500 BCE.
Approx. 11 high. Archaeological Museum, Herakleion.
4-14: Snake Goddess, from the palace at Knossos (Crete), Greece, ca. 1600 BCE.
Faience, approx. 1' 1 1/2 high. Archaeological Museum, Herakleion.
Mycenaean Art (Late Helladic/Mainland Greece Art)
· 4-17: Corbeled gallery in the walls of the citadel, Tiryns, Greece, ca. 1400-1200 BCE.
· 4 4-18: Three methods of spanning a passageway: (a) post and lintel, (b) corbeled arch, (c)
arch.
· 4-20: Lion Gate, Mycenae, Greece, ca. 1300-1250 BCE. Limestone, relief panel approx. 9' 6
high.
· 4-21: Treasury of Atreus, Mycenae, Greece, ca. 1300-1250 BCE.
· . 4-23: Funerary mask, from Grave Circle A, Mycenae, Greece, ca. 1600-1500 BCE. Beaten
gold, approx. 1' high. National Archaeological Museum, Athens
.
Terms and Vocabulary
1.
2.
3.
4.
Sir Arthur Evans, 1900
Legend of the Minotaur (Minos, Ariadne, Theseus)
Labyrinth
Fresco
1. Hellas
2. Heinrich Scheilmann, 1870 (Troy and Mucenae)
3. Corbeled arch/corbeled vault
4. Relieving triangle
5. Beehive Tomb
6. Tholos
September: Week SIX
Chapter 5 Read and be prepared to discuss art and terms listed
Greek Art: Pre-Classic
How does Greek funerary art differ from Egyptian funerary art? Why?
Geometric Period
· 5-1: Geometric krater, from the Dipylon cemetery, Athens, Greece, ca. 740 BCE. Approx.
3' 4 1/2" high. Metropolitan Museum of Art, New York
Orientalizing Period
· 5-3: Mantiklos Apollo, statuette of a youth dedicated by Mantiklos to Apollo, from Thebes,
Greece, ca. 700-680 BCE. Bronze, approx. 8" high. Museum of Fine Arts, Boston.
Greek Archaic Period
· 5-4: Corinthian black-figure amphora with animal friezes, from Rhodes, Greece, ca. 625600 BCE. Approx. 1' 2" high. British Museum, London.
· 5-8: Kouros, ca. 600 BCE. Marble, approx. 6' 1/2" high. Metropolitan Museum of Art,
New York.
· 5-11: Peplos Kore, from the Acropolis, Athens, Greece, ca. 530 BCE. Marble, approx. 4'
high. Acropolis Museum, Athens
· 5-12: Kore, from the Acropolis, Athens, Greece, ca. 520-510 BCE. Marble, approx. 1' 9
1/2" high. Acropolis Museum, Athens.
Early Doric Italy
· 5-13: Temple of Hera I (“Basilica"), Paestum, Italy, ca. 550 BCE.
· 5-17: Gigantomachy, detail of the north frieze of the Siphnian Treasury, Delphi, Greece,
ca. 530 BCE. Marble, approx. 2' 1" high. Archaeological Museum, Delphi.
· 5-18: KLEITIAS and ERGOTIMOS, François Vase (Attic black-figure volute krater),
from Chiusi, Italy, ca. 570 BCE. General view (left) and detail of centauromachy on other
side of vase (right). Approx. 2' 2" high. Museo Archeologico, Florence.
· 5-20: ANDOKIDES PAINTER, Achilles and Ajax playing a dice game (Attic bilingual
amphora), from Orvieto, Italy, ca. 525-520 BCE. Black-figure side (left) and red-figure side
(right). Approx. 1' 9" high. Museum of Fine Arts, Boston.
· 5-22: EUTHYMIDES, Three revelers (Attic red-figure amphora), from Vulci, Italy, ca. 510
BCE. Approx. 2' high. Staatliche Antikensammlungen, Munich.
· 5-24: Temple of Aphaia, Aegina, Greece, ca. 500-490 BCE. 5.8
Early Classic (Severe Style) 480-450 BCE



5-29: Temple of Hera II, Paestum, Italy, ca. 460 BCE.
5-30: East pediment from the Temple of Zeus, Olympia, Greece, ca. 470-456 BCE.
Marble, approx. 87' wide. Archaeological Museum, Olympia.
5-33: Kritios Boy, from the Acropolis, Athens, Greece, ca. 480 BCE. Marble, approx.
2' 10" high. Acropolis Museum, Athens.

5-36: Zeus (or Poseidon?), from the sea off Cape Artemision, Greece, ca. 460-450
BCE. Bronze, approx. 6' 10" high. National Archaeological Museum, Athens.
Week 6 continued

5-37: MYRON, Diskobolos (Discus Thrower). Roman marble copy after a bronze
original of ca. 450 BCE, 5' 1" high. Museo Nazionale Romano-Palazzo Massimo alle
Terme.
High Classic 450-400 BCE








5-38: POLYKLEITOS, Doryphoros (Spear Bearer). Roman marble copy from
Pompeii, Italy, after a bronze original of ca. 450-440 BCE, 6' 11" high. Museo
Nazionale, Naples.
5-40: Aerial view of the Acropolis, Athens, Greece.
5-42: IKTINOS and KALLIKRATES, Parthenon, the Temple of Athena Parthenos
(view from the northwest), Acropolis, Athens, Greece, 447-438 BCE
5-46: Helios and his horses, and Dionysos (Herakles?), from the east pediment of the
Parthenon, Acropolis, Athens, Greece, ca. 438-432 BCE. Marble, greatest height
approx. 4' 3". British Museum, London.
5-50: Erechtheion (view from the southeast), Acropolis, Athens, Greece, ca. 421-405
BCE.
5-52: Caryatid from the south porch of the Erechtheion, Acropolis, Athens, Greece,
ca. 421-405 BCE. Marble, 7' 7" high. British Museum, London.
5-53: KALLIKRATES, Temple of Athena Nike (view from the northeast),
Acropolis, Athens, Greece, ca. 427-424 BCE.
5-54: Nike adjusting her sandal, from the south side of the parapet of the Temple of
Athena Nike, Acropolis, Athens, Greece, ca. 410 BCE. Marble, approx. 3' 6" high.
Acropolis Museum, Athens
Late Classic 400-320






5-60: PRAXITELES, Aphrodite of Knidos. Roman marble copy after an original of
ca. 350-340 BCE. Approx. 6' 8" high. Vatican Museums, Rome.
5-62: PRAXITELES, Hermes and the infant Dionysos, from the Temple of Hera,
Olympia, Greece. Marble copy after an original of ca. 340 BCE, approx. 7' 1" high.
Archaeological Museum, Olympia.
5-65: LYSIPPOS, Apoxyomenos (Scraper). Roman marble copy after a bronze
original of ca. 330 BCE, approx. 6' 9" high. Vatican Museums, Rome
5-67: Head of Alexander the Great, from Pella, Greece, ca. 200-150 BCE. Marble,
approx. 1' high. Archaeological Museum, Pella.
5-69: PHILOXENOS OF ERETRIA, Battle of Issus, ca. 310 BCE. Roman copy
(Alexander Mosaic) from the House of the Faun, Pompeii, Italy, late second or early
first century BCE. Tessera mosaic, approx. 8' 10" X 16' 9". Museo Nazionale,
Naples.
5-70: POLYKLEITOS THE YOUNGER, Theater, Epidauros, Greece, ca. 350
BCE.
Hellenistic
· 5-74: PAIONIOS OF EPHESOS and DAPHNIS OF MILETOS, Temple of Apollo,
Didyma, Turkey, begun 313 BCE. Restored view of facade (left) and plan (right).
· 5-78: Reconstructed west front of the Altar of Zeus, from Pergamon, Turkey, ca. 175 BCE.
Staatliche Museen, Berlin.

5-81: EPIGONOS(?), Dying Gaul. Roman marble copy after a bronze original from
Pergamon, Turkey, ca. 230-220 BCE, approx. 3' 1/2" high. Museo Capitolino, Rome.
· 5-85: Sleeping satyr (Barberini Faun), from Rome, Italy, ca. 230-200 BCE. Marble, approx.
7' 1" high. Glyptothek, Munich.
Week 6
continued

5-86: Seated boxer, from Rome, Italy, ca. 100-50 BCE. Bronze, approx. 4' 2 1/2"
high. Museo Nazionale Romano, Rome.

HELLENISTIC ART UNDER ROMAN PATRONAGE
· 5-89: ATHANADOROS, HAGESANDROS, and POLYDOROS OF RHODES,
Laocöon and his sons, from Rome, Italy, early first century A. D. Marble, approx. 7' 10 1/2"
high. Vatican
Museums, Rome.
Terms and Vocabulary
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Ancient Greek Chronology
Geometric 1100-750 BCE
Orientalizing 725-600
Archaic 600-480
Early Classic 480-450
Classic 450-400
Late Classic 400-350
Hellenistic 350-0
Caryatids
Ceramics Chronology
Geometric
Orientalizing (Corinthian Ware)
Black Figure Ware Greek Archaic Period
Bi-lingual Ware Greek Archaic Period
Red Figure Ware Greek Archaic Period
16.
17.
18.
19.
20.
21.
22.
23.
White Ground Classic
Pericles
Phidias
Elgin Marbles
The Canon
Mausoleum
Alexander the Great
Aristotle, On the Art of Poetry
September: Week SEVEN
Chapter 9 Read and be prepared to discuss art and terms listed.
Italy Before the Romans
Roman Art
Sculpture: 3 phases
1. Republican Sculpture (Roman Verism) 509 BCE-27 BC
Ends with Julius Caesar
2. Early Empire (Early Roman Imperial) (Roman Hellenism) 27 BCE-180 CE
From Agustus to Marcus Aurelius
3. Late Empire (Late Roman Imperial) 180 BCE-395 CE
Constantine
Edict of Milan, 313: grants religious freedom
Early Etruscan Art






9-1: Fibula with Orientalizing lions, from the Regolini-Galassi Tomb, Cerveteri, Italy,
ca. 650-64:0 BCE. Gold, approx. 1' 1/2" high. Vatican Museums, Rome.
9-2: Model of a typical Etruscan temple of the sixth century BCE, as described by
Vitruvius. Istituto di Etruscologia e di Antichità Italiche, Università di Roma, Rome.
9-3: Apulu (Apollo), from the roof of the Portonaccio Temple, Veii, Italy, ca. 51050:0 BCE. Painted terracotta, approx. 5' 11" high. Museo Nazionale di Villa Giulia,
Rome.
9-04: Sarcophagus with reclining couple, from Cerveteri, Italy, ca. 520 BCE. Painted
terracotta, approx. 6' 7" X 3' 9 1/2". Museo Nazionale di Villa Giulia, Rome.
9-7: Interior of the Tomb of the Reliefs, Cerveteri, Italy, third century BCE.
9-8: Leopards, banqueters, and musicians, detail of mural paintings in the Tomb of
the Leopards, Tarquinia, Italy, ca. 480-47:0 BCE.

9-9: Diving and fishing, detail of mural paintings in the Tomb of Hunting and
Fishing, Tarquinia, Italy, ca. 530-52:0 BCE.
Later Etruscan Art




9-10: Capitoline Wolf, from Rome, Italy, ca. 500-48:0 BCE. Bronze, approx. 2' 7
1/2" high. Palazzo dei Conservatori, Rome.
9-11: Chimera of Arezzo, from Arezzo, Italy, first half of fourth century BCE.
Bronze, approx. 2' 7 1/2" high. Museo Archeologico Nazionale, Florence.
9-13: Porta Marzia, Perugia, Italy, second century BCE.
9-14: Sarcophagus of Lars Pulena, from Tarquinia, Italy, early second century BCE.
Tufa, approx. 6' 6" long. Museo Archeologico Nazionale, Tarquinia.
October: Week EIGHT
Chapter 10 Read and be prepared to discuss art and terms listed.
The Art of Ancient Rome





10-2: Temple of Fortuna Virilis" (Temple of Portunus), Rome, Italy, ca. 75 BCE
10-3: Temple of Vesta (?), Tivoli, Italy, early first century BCE.
10-6: Relief with funerary procession, from Amiternum, Italy, second half of first
century BCE. Limestone, approx. 2' 2" high. Museo Nazionale d'Abruzzo, L'Aquila.
10-7: Head of a Roman patrician, from Otricoli, Italy, ca. 75-50: BCE. Marble,
approx. 1' 2" high. Museo Torlonia, Rome.
10-8 Portrait of a Roman general, from the Sanctuary of Hercules, Tivoli, Italy, ca.
75-50: BCE. Marble, approx. 6' 2" high. Museo Nazionale Romano-Palazzo Massimo
alle Terme, Rome
Pompeii




10-10: Aerial view of the forum, Pompeii, Italy, with Temple of Jupiter (Capitolium),
and Basilica, second century BCE and later.
10-11: Aerial view of the amphitheater, Pompeii, Italy, ca. 70 BCE
10-12: Brawl in the Pompeii amphitheater, wall painting from House I,3,23, Pompeii,
Italy, ca. 60-79: CE. Approx. 5' 7" x 6' 1". Museo Nazionale, Naples.
10-13: Atrium of the House of the Vettii, Pompeii, Italy, second century BCE,
rebuilt 62-79: CE.
The First Style and Greece:

10-14: First Style wall painting in the fauces of the Samnite House, Herculaneum,
Italy, late second century BCE.
The Second Style illusionism:



10-15: Dionysiac mystery frieze, Second Style wall paintings in Room 5 of the Villa
of the Mysteries, Pompeii, Italy, ca. 60-50: BCE. Frieze approx. 5' 4" high.
10-16: Second Style wall paintings (general view and detail of tholos) from
Cubiculum M of the Villa of Publius Fannius Synistor, Boscoreale, Italy, ca. 50-40:
BCE. Approx. 8' 9" high. Metropolitan Museum of Art, New York.
10-17: Gardenscape, Second Style wall painting, from the Villa of Livia, Primaporta,
Italy, ca. 30-20: BCE. Approx. 6' 7" high. Museo Nazionale Romano-Palazzo
Massimo alle Terme, Rome.
Third Style elegance:




10-18: Detail of a Third Style wall painting, from Cubiculum 15 of the Villa of
Agrippa Postumus, Boscotrecase, Italy, ca. 10 BCE. Approx. 7' 8" high. Metropolitan
Museum of Art, New York.
10-19: The old farmer of Corycus, folio 7 verso of the Vatican Vergil, ca. 400-42:0
CE. Tempera on parchment, approx. 1' 1/2" X 1'. Biblioteca Apostolica Vaticana,
Rome.
10-20: Fourth Style wall paintings in Room 78 of the Domus Aurea (Golden House)
of Nero, Rome, Italy, 64-68: CE.
10-22: Neptune and Amphitrite, wall mosaic in the summer triclinium of the House
of Neptune and Amphitrite, Herculaneum, Italy, ca. 62-79: CE.
Week 8
continued

10-24: Still life with peaches, detail of a Fourth Style wall painting, from
Herculaneum, Italy, ca. 62-79: CE. Approx. 1' 2" x 1' 1 1/2". Museo Nazionale,
Naples.
Early Empire


10-25: Portrait of Augustus as general, from Primaporta, Italy, copy of a bronze
original of ca. 20 BCE. Marble, 6' 8" high. Vatican Museums, Rome.
10-27: Ara Pacis Augustae (Altar of Augustan Peace), Rome, Italy, 13-9: BCE. (View
from the southwest).
Rome






10-30: Maison Carrée, Nîmes, France, ca. 1-10: CE.
10-31: Pont-du-Gard, Nîmes, France, ca. 16 BCE.
10-32: Porta Maggiore, Rome, Italy, ca. 50 CE.
10-34: Colosseum (Flavian Amphitheater), Rome, Italy, ca. 70-80: CE.
10-35: Portrait of Vespasian, from Ostia, Italy, ca. 69-79: CE. Marble, approx. 1' 4"
high. Museo Nazionale Romano-Palazzo Massimo alle Terme, Rome.
10-36: Portrait bust of a Flavian woman, from Rome, Italy, ca. 90 CE. Marble,
approx. 2' 1" high. Museo Capitolino, Rome.



10-37: Arch of Titus, Rome, Italy, after 81 CE.
10-38: Spoils of Jerusalem, relief panel from the Arch of Titus, Rome, Italy, after 81
CE. Marble, approx. 7' 10" high.
10-39: Triumph of Titus, relief panel from the Arch of Titus, Rome, Italy, after 81
CE. Marble, approx. 7' 10" high.
High Empire









10-42: Column of Trajan, Forum of Trajan, Rome, Italy, dedicated 112 CE.
10-45: Arch of Trajan, Benevento, Italy, ca. 114-11:8 CE.
10-47: Portrait bust of Hadrian as general, from Tel Shalem, Israel, ca. 130-13:8 CE.
Bronze, approx. 2' 11" high. Israel Museum, Jerusalem.
10-50: Interior of the Pantheon, Rome, Italy, 118-12:5 CE.
10-51: Canopus and Serapeum, Hadrian's Villa, Tivoli, Italy, ca. 130-13:8 CE.
10-52: Al-Khazneh ( Treasury"), Petra, Jordan, second century CE.
10-54: Ceiling and wall paintings in Room IV of the Insula of the Painted Vaults,
Ostia, Italy, early third century CE.
10-55: Neptune and creatures of the sea, floor mosaic in the Baths of Neptune,
Ostia, Italy, ca. 140 CE.
10-59: Equestrian statue of Marcus Aurelius, from Rome, Italy, ca. 175 CE. Bronze,
approx. 11' 6" high. Musei Capitolini, Rome.
Week 8
continued

10-63: Mummy portrait of a man, from Faiyum, Egypt, ca. 160-17:0 CE. Encaustic
on wood, approx. 1' 2" high. Albright-Knox Art Gallery, Buffalo.
Late Empire







10-64: Painted portrait of Septimius Severus and his family, from Egypt, ca. 200 CE.
Tempera on wood, approx. 1' 2" diameter. Staatliche Museen, Berlin.
10-68: Reconstruction drawing of the central hall (frigidarium) of the Baths of
Caracalla, Rome, Italy, 212-21:6 CE.
10-71: Battle of Romans and barbarians (Ludovisi Battle Sarcophagus), from Rome,
Italy, ca. 250-26:0 CE. Marble, approx. 5' high. Museo Nazionale Romano-Palazzo
Altemps, Rome.
10-74: Portraits of the four tetrarchs, from Constantinople, ca. 305 CE. Porphyry,
approx. 4' 3" high. Saint Mark's, Venice.
10-76: Arch of Constantine, Rome, Italy, 312-31:5 CE (south side).
10-80: Aula Palatina, Trier, Germany, early fourth century CE
10-81: Aula Palatina, Trier, Germany, early fourth century CE
Terms and Vocabulary
1. Forum
2. Domus (Roman private home)
3. Atrium: inner courtyard
4. Impluvium: basin to collect rain water
5. Cubiculum: bedrooms (cubicles)
6. Tablinum: office
7. Triclinium: dining room
8. Veneer or facing (revetment)
9. Barrel Vaults
10. Groin Vaults
11. Vitruvius, The Ten Books of Architecture, c. 25 BCE
October: Week NINE
Review
Week 10 October 25-29
Chapter 11 Read and be prepared to discuss art and terms listed.
Pagans, Christians, and Jews







11-1: Interior of the synagogue at Dura-Europos, Syria, with wall-paintings of Old
Testament themes, ca. 245-256. Tempera on plaster. Reconstruction in National
Museum, Damascus.
11-3: The Good Shepherd, the story of Jonah, and orants, painted ceiling of a
cubiculum in the Catacomb of Saints Peter and Marcellinus, Rome, Italy, early fourth
century.
11-4: Sarcophagus with philosopher, orant, and Old and New Testament scenes,
Santa Maria Antiqua, Rome, Italy, ca. 270. Marble, 1' 11 1/4 X 7' 2.
11-5: Sarcophagus of Junius Bassus, from Rome, Italy, ca. 359. Marble, 3' 10 1/2 X
8'. Museo Storico del Tesoro della Basilica di San Pietro, Rome.
11-6: Christ seated, from Civita Latina, Italy, ca. 350-375. Marble, approx. 2' 4 1/2
high. Museo Nazionale Romano-Palazzo Massimo alle Terme, Rome.
11-8: Interior of Santa Sabina, Rome, Italy, 422-432.
11-9: Interior of Santa Costanza, Rome, Italy, ca. 337-351.





11-13: The parting of Lot and Abraham, mosaic in the nave of Santa Maria
Maggiore, Rome, Italy, 432-440.
11-14: Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425.
11-15: Christ as the Good Shepherd, mosaic from the entrance wall of the
Mausoleum of Galla Placidia, Ravenna, Italy, ca. 425.
11-16: Interior of Sant'Apollinare Nuovo, Ravenna, Italy, dedicated 504.
11-18: Saints Onesiphorus and Porphyrius, detail of the dome mosaic, Church of
Saint George, Thessaloniki, Greece, ca. 390-450.
Luxury Arts



11-19: Rebecca and Eliezer at the well, folio 7 recto of the Vienna Genesis, early
sixth century. Tempera, gold, and silver on purple vellum, approx. 1' 1/4" X 9 1/4".
Österreichische Nationalbibliothek, Vienna.
11-20: Christ before Pilate, folio 8 verso of the Rossano Gospels, early sixth century.
Tempera on purple vellum, approx. 11" X 10 1/4". Diocesan Museum,
Archepiscopal Palace, Rossano.
11-21: Suicide of Judas and Crucifixion of Christ, plaque from a casket, ca. 420.
Ivory, 3" x 3 7/8" British, Museum, London.
November: Week ELEVEN
Chapter 12 Read and be prepared to discuss art and terms listed.
EARLY BYZANTINE ART (527-726)










12-1: Justinian as world conqueror (Barberini Ivory), mid-sixth century. Ivory, 1' 1
1/2" X 10 1/2". Louvre, Paris.
12-2: Saint Michael the Archangel, right leaf of a diptych, early sixth century. Ivory,
approx. 1' 5" X 5 1/2". British Museum, London.
12-3: ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, Hagia Sophia
(view facing north), Constantinople (Istanbul), Turkey, 532-537.
12-5: ANTHEMIUS OF TRALLES and ISIDORUS OF MILETUS, interior of
Hagia Sophia, Constantinople (Istanbul), Turkey, 532-537.
12-6: Aerial view of San Vitale, Ravenna, Italy, 526-547.
12-9: Choir and apse of San Vitale with mosaic of Christ between two angels, Saint
Vitalis, and Bishop Ecclesius, Ravenna, Italy, 526-547.
12-10: Justinian, Bishop Maximianus, and attendants, mosaic from the north wall of
the apse, San Vitale, Ravenna, Italy, ca. 547.
12-12: Saint Apollinaris amid sheep, apse mosaic, Sant'Apollinare in Classe, Ravenna,
Italy, ca. 533-549
12-13: Transfiguration of Jesus, apse mosaic, Church of the Virgin, monastery of
Saint Catherine, Mount Sinai, Egypt, ca. 548-565.
12-15: Ascension of Christ, folio 13 verso of the Rabbula Gospels, from Zagba,
Syria, 586. Approx. 1' 1" X 10 1/2". Biblioteca Medicea-Laurenziana, Florence.

12-16: Virgin (Theotokos) and Child between Saints Theodore and George, icon,
sixth or early seventh century. Encaustic on wood, 2' 3" X 1' 7 3/8". Monastery of
Saint Catherine, Mount Sinai, Egypt.
ICONOCLASM (726-843)
Byzantium in crisis:
During this period almost two-thirds of the Byzantine's Empire was lost.
Middle Byzantine Art (843-1204)







12-17: Virgin (Theotokos) and Child enthroned, apse mosaic, Hagia Sophia,
Constantinople (Istanbul), Turkey, dedicated 867.
12-20: Interior of Katholikon, Hosios Loukas, Greece, first quarter of eleventh
century.
12-21: Christ as Pantokrator, dome mosaic in the Church of the Dormition, Daphni,
Greece, ca. 1090-1100.
12-22: Crucifixion, mosaic in the Church of the Dormition, Daphni, Greece, ca.
1090-1100.
12-23: Interior of Saint Mark's (view facing east), Venice, Italy, begun 1063.
12-24: Pantokrator, Theotokos and Child, angels, and saints, apse mosaic in the
cathedral at Monreale, Italy, ca. 1180-1190.
12-26: Christ enthroned with saints (Harbaville Triptych), ca. 950. Ivory, central
panel
· Codex, Illuminated manuscript, Vellum
November: Week TWELVE
Chapter 16 Read and be prepared to discuss art and terms listed.
Early Medieval Art




16-1: Merovingian looped fibula, from Jouy-le-Comte, France, mid sixth century.
Silver gilt worked in filigree, with inlays of garnets and other stones, 4" long. Musée
des Antiquités Nationales, Saint-Germain-en-Laye.
16-2: Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625.
Gold, glass, and enamel cloisonné with garnets and emeralds, 7 1/2" long. British
Museum, London.
16-3: Animal-head post, from the Oseberg, Norway, ship burial, ca. 825. Wood, head
approx. 5" high. Vikingskipshuset, Oslo.
16-4: Wooden portal of the stave church at Urnes, Norway, ca. 1050-1070.
Hiberno-Saxon Art

16-5: Man (symbol of Saint Matthew), folio 21 verso of the Book of Durrow,
possibly from Iona, Scotland, ca. 660-680. Ink and tempera on parchment, 9 5/8" X
6 1/8". Trinity College Library, Dublin.




16-6: Cross and carpet page, folio 26 verso of the Lindisfarne Gospels, from
Northumbria, England, ca. 698-721. Tempera on vellum, 1' 1 1/2" X 9 1/4". British
Library, London.
16-7: Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria,
England, ca. 698-721. Tempera on vellum, 1' 1 1/2" X 9 1/4". British Library,
London.
16-8: Chi-rho-iota page, folio 34 recto of the Book of Kells, probably from Iona,
Scotland, late eighth or early ninth century. Tempera on vellum, 1' 1" X 9 1/2".
Trinity College Library, Dublin.
16-9: High Cross of Muiredach (east face), Monasterboice, Ireland, 923. Sandstone,
approx. 18' high.
Mozarabic

16-10: EMETERIUS, The tower and scriptorium of San Salvador de Tábara,
colophon (folio 168) ofthe Commentary on the Apocalypse by Beatus, from Tábara,
Spain, 970. Temperaon parchment, 14 1/8" X 10". Archivo Histórico Nacional,
Madrid.
Carolingian




16-11: Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France,
ninth century. Bronze, originally gilt, 9 1/2" high. Louvre, Paris.
16-15: Crucifixion, front cover of the Lindau Gospels, from Saint Gall, Switzerland,
ca. 870. Gold, precious stones, and pearls, 1' 1 3/8" X 10 3/8". Pierpont Morgan
Library, New York.
16-18: Torhalle (gatehouse), Lorsch, Germany, ninth century.
16-20: Westwork of the abbey church, Corvey, Germany, 873-885.
Ottonian


16-21: Nave of the church of Saint Cyriakus, Gernrode, Germany, 961-973
16-22: Saint Michael's, Hildesheim, Germany, 1001-1031.
Week 12
continued


16-24: Doors with relief panels (Genesis, left door; life of Christ, right door),
commissioned by Bishop Bernward for Saint Michael's, Hildesheim, Germany, 1015.
Bronze, 16' 6" high. Saint Michael's, Hildesheim.
16-26: Crucifix commissioned by Archbishop Gero for Cologne Cathedral,
Germany, ca. 970. Painted wood, height of figure 6' 2".
Terms and Vocabulary
1. Hiberno-Saxon
2. carpet-page
3. Illuminated Manuscript
4. Visigoth
5. basilica
November: Week THIRTEEN
Chapter 17 Read and be prepared to discuss art and terms listed.
Romanesque Art

17-1: Interior of Saint-Étienne, Vignory, France, 1050-1057
· 17-4: Aerial view (from the southeast) of Saint-Sernin, Toulouse, France, ca. 1070-1120.
· 17-6: Interior of Saint-Sernin, Toulouse, France, ca. 1070-1120.
· 17-8: Interior of abbey church of Notre-Dame, Fontenay, France, 1139-1147.
· 17-9: Interior of Speyer Cathedral, Speyer, Germany, begun 1030; nave vaults, ca. 10821106.
· 17-10: Sant'Ambrogio, Milan, Italy, late eleventh to early twelfth century.
· 17-11: Interior of Sant'Ambrogio, Milan, Italy, late eleventh to early twelfth century
· 17-12: West facade of Saint-Étienne, Caen, France, begun 1067.
· 17-13: Interior of Saint-Étienne, Caen, France, vaulted ca. 1115-1120.
· 17-15: Interior of Durham Cathedral, England, begun ca. 1093.
· 17-16: Plan and transverse section of Durham Cathedral, England (after Kenneth John
Conant).
· 17-17: Cathedral complex, Pisa, Italy; cathedral begun 1063; baptistery begun 1153;
campanile begun 1174.
Sculpture
· 17-20: Cloister of Saint-Pierre, Moissac, France, ca. 1100-1115. Limestone with marble
relief panels, piers approx. 6' high.
· 17-22: WILIGELMO, creation and temptation of Adam and Eve, frieze on the west
facade, Modena Cathedral, Modena, Italy, ca. 1110. Marble, approx. 3' high.
· 17-23: South portal of Saint-Pierre, Moissac, France, ca. 1115-1135. Marble, approx. 16' 6"
wide at base
· 17-24: Lions and Old Testament prophet (Jeremiah or Isaiah?), from the trumeau of the
south portal of Saint-Pierre, Moissac, France, ca. 1115-1130. Marble, approx. life-size.
· 17-26: Ascension of Christ and Mission of the Apostles, tympanum of the center portal of
the narthex of La Madeleine, Vézelay, France, 1120-1132.
· 17-30: Virgin and Child (Morgan Madonna), from the Auvergne, France, second half of
twelfth century. Painted wood, 2' 7" high. Metropolitan Museum of Art, New York (gift of J.
Pierpont Morgan, 1916).
Painting
· 17-32: Christ in Majesty, apse fresco from Santa María de Mur, near Lérida, Spain, midtwelfth century. 22’ X 24’. Museum of Fine Arts, Boston.
· 17-34: Nave of the abbey church, Saint-Savin-sur-Gartempe, France. Painted barrel vault,
ca. 1100.
· 17-35: The vision of Hildegard of Bingen, detail of a facsimile of a lost folio in the Scivias
by Hildegard of Bingen, from Trier or Bingen, Germany, ca. 1050–1079. Formerly in
Hessische Landesbibliothek, Wiesbaden
Week 13
continued
· 17-37: MASTER HUGO, Moses expounding the Law, folio 94 recto of the Bury Bible,
from Bury Saint Edmunds, England, ca. 1135. Ink and tempera on vellum, approx. 1’ 8” X
1’ 2”. Corpus Christi College, Cambridge.
Terms and Vocabulary
1. Romanesque
2. pilgrimage
3. groin vault
4. ribbed groin vault
5. buttress
6. tympanum
7. barrel vault
8. Santiago de Compostela, 1078-1122
9. Cluny
10. Reliquary
Week 14 -15 November into December
Chapter 18 Read and be prepared to discuss art and terms listed.
French Gothic
· 18-1: Ambulatory and radiating chapels, abbey church, Saint-Denis, France, 1140–1144.
· 18-03: Vaults of the ambulatory and radiating chapels of the choir, abbey church, SaintDenis, France, 1140–1144
· 18-4: Aerial view from the northwest of Chartres Cathedral, Chartres, France, begun 1134;
rebuilt after 1194.
· 18-5: Royal Portal, west facade, Chartres Cathedral, Chartres, France, ca. 1145–1155.
· 18-6: Old Testament queen and kings, jamb statues, central doorway of Royal Portal,
Chartres Cathedral, Chartres, France, ca. 1145–1155.
· 18-7: West facade of Laon Cathedral, Laon, France, begun ca. 1190.
· 18-8: Interior of Laon Cathedral (view facing east), Laon, France, begun ca. 1190
High Gothic
· 18-11: Plan of Chartres Cathedral, Chartres, France, as rebuilt after 1194 (after Paul
Frankl).
· 18-12: Interior of Chartres Cathedral (view facing east), Chartres, France, begun 1194
· 18-13: Virgin and Child and angels (Notre Dame de la Belle Verrière), window in the choir
of Chartres Cathedral, Chartres, France, ca. 1170, with thirteenth-century side panels.
Stained glass, 16’ X 7’ X 8”.
· 18-14: Rose window and lancets, north transept, Chartres Cathedral, Chartres, France, ca.
1220. Stained glass, rose window approx. 43’ in diameter.
· 18-15: Saints Martin, Jerome, and Gregory, jamb statues, Porch of the Confessors (right
doorway), south transept, Chartres Cathedral, Chartres, France, ca. 1220–1230.
· 18-17: ROBERT DE LUZARCHES, THOMAS DE CORMONT, and RENAUD DE
CORMONT, interior of Amiens Cathedral (view facing east), France, begun 1220.
· 18-18: ROBERT DE LUZARCHES, THOMAS DE CORMONT, and RENAUD DE
CORMONT, vaults, clerestory, and triforium of the choir of Amiens Cathedral, Amiens,
France, begun 1220.
· 18-19: ROBERT DE LUZARCHES, THOMAS DE CORMONT, and RENAUD DE
CORMONT, west facade of Amiens Cathedral, Amiens, France, begun 1220.
· 18-20: Christ (Beau Dieu), trumeau statue of central doorway, west facade, Amiens
Cathedral, Amiens, France, ca. 1220–1235.
· 18-21: West facade of Reims Cathedral, Reims, France, ca. 1225–1290.
· 18-22: Visitation, jamb statues of central doorway, west facade, Reims Cathedral, Reims,
France, ca. 1230
· 18-23: Interior of the upper chapel, Sainte-Chapelle, Paris, France, 1243–1248.
· 18-24: Virgin and Child (Virgin of Paris), Notre-Dame, Paris, France, early fourteenth
century.
· 18-25: West facade of Saint-Maclou, Rouen, France, ca. 1500–1514.
· 18-30: God as architect of the world, folio 1 verso of a moralized Bible, from Paris, ca.
1220–1230. Ink, tempera, and gold leaf on vellum, 1’ 1 1/2” X 8 1/4”. Österreichische
Nationalbibliothek, Vienna.
· 18-36: The Castle of Love and knights jousting, lid of a jewelry casket, from Paris, France,
ca. 1330–1350. Ivory and iron, 4 1/2” X 9 3/4”. Walters Art Gallery, Baltimore.
Week 14-15
continued
English Gothic
· 18-37: Aerial view of Salisbury Cathedral, Salisbury, England, 1220-1258; west facade
completed 1265; spire ca. 1320-1330.
· 18-39: Interior of Salisbury Cathedral (view facing east), Salisbury, England, 1220-1258.
· 18-40: Choir of Gloucester Cathedral (view facing east), Gloucester, England, 1332-1357.
· 18-41: ROBERT and WILLIAM VERTUE, Chapel of Henry VII, Westminster Abbey,
London, England, 1503-1519.
· 18-42: Tomb of Edward II, Gloucester Cathedral, Gloucester, England, ca. 1330-1335.
· 18-43: RICHARD DE BELLO(?), Mappamundi (world map) of Henry III, ca. 1277-1289.
Tempera on vellum, approx. 5' 2" X 4' 4". Hereford Cathedral, Hereford, England.
German Gothic and Holy Roman Empire
· 18-44: GERHARD OF COLOGNE, Cologne Cathedral (aerial view from the southwest),
Cologne, Germany, begun 1248; nave, facade, and towers completed 1880.
· 18-45: GERHARD OF COLOGNE, Choir of Cologne Cathedral (view facing east),
Cologne, Germany, completed 1322.
· 18-46: Saint Elizabeth (aerial view from the northeast), Marburg, Germany, 1235-1283.
· 18-47: Interior of Saint Elizabeth (view facing west), Marburg, Germany, 1235-1283.
· 18-48: Death of the Virgin, tympanum of left doorway, south transept, Strasbourg
Cathedral, Strasbourg, France, ca. 1230.
· 18-51: Virgin with the Dead Christ (Röttgen Pietà), from the Rhineland, Germany, ca.
1300-1325. Painted wood, 2' 10 1/2" high. Rheinisches Landemuseum, Bonn.
· 18-52: NICHOLAS OF VERDUN, the Klosterneuburg Altar, from the abbey church at
Klosterneuburg, Austria, 1181. Gilded copper and enamel, 3' 6 3/4" high. Stiftsmuseum,
Klosterneuburg
· 18-54: NICHOLAS OF VERDUN, Shrine of the Three Kings, from Cologne Cathedral,
Cologne, Germany, begun ca. 1190. Silver, bronze, enamel, and gemstones, 5' 8" X 6' X 3'
8". Cathedral Treasury, Cologne
Italian Gothic
· 18-55: LORENZO MAITANI, west facade of Orvieto Cathedral, Orvieto, Italy, begun
1310.
· 18-56: Doge's Palace, Venice, Italy, begun ca. 1340-1345; expanded and remodeled, 14241438
· 18-57: Milan Cathedral (view from the southwest), Milan, Italy, begun 1386
Terms and Vocabulary
1. Abbot Suger
2. Rose Window
3. tracery (plate and bar)
4. lancets
5. flying buttresses
6. rib vaults
7. trefoil/quatrefoil
8. Croclet
9. Scholasticism
10. Trivium
11. Quadrivium and 12. Andachtsbilder
Week 16 Review
Week 17 Exams
January: Week EIGHTEEN
Chapter 19 Read and be prepared to discuss art and terms listed.
Early Renaissance Art
· 19-1: BONAVENTURA BERLINGHIERI, panel from the Saint Francis Altarpiece, San
Francesco, Pescia, Italy, 1235. Tempera on wood, approx. 5' x 3' x 6".
· 19-2: NICOLA PISANO, pulpit of Pisa Cathedral baptistery, Pisa, Italy, 1259-1260.
Marble, approx. 15' high.
· 19-5: PIETRO CAVALLINI, Seated Apostles, detail of the Last Judgment, Santa Cecilia in
Trastevere, Rome, Italy, ca. 1291. Fresco.
· 19-7: GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10'
8" x 6' 8". Galleria degli Uffizi, Florence.
· 19-8: Interior of the Arena Chapel (Cappella Scrovegni), Padua, Italy, 1305-1306.
· 19-9: GIOTTO DI BONDONE, Lamentation, Arena Chapel, Padua, Italy, ca. 1305.
Fresco, 6' 6 3/4" x 6' 3/4".
· 19-12: SIMONE MARTINI AND LIPPO MEMMI(?), Annunciation, 1333 (frame
reconstructed in the nineteenth century). Tempera and gold leaf on wood, approx. 10' 1" x 8'
8 3/4". Galleria degli Uffizi, Florence.
· 19-13: PIETRO LORENZETTI, The Birth of the Virgin, from Altar of Saint Savinus,
Siena Cathedral, Siena, Italy, 1342. Tempera on wood, approx. 6' 1" x 5' 11". Museo
dell'Opera del Duomo, Siena.
· 19-15: AMBROGIO LORENZETTI, Peaceful City, detail from the fresco Effects of
Good Government in the City and in the Country, Sala della Pace, Palazzo Pubblico, Siena,
Italy, 1338-1339.
· 19-17: ARNOLFO DI CAMBIO and others, Florence Cathedral (view from the south),
Florence, Italy, begun 1296.
· 19-18: Nave of Florence Cathedral (view facing east), Florence, Italy, begun 1296
· 19-19: Nave of Santa Maria Novella, Florence, Italy, ca. 1246-1470.
· 19-20: ORCAGNA, tabernacle, Or San Michele, Florence, Italy, begun 1349. Mosaic, gold,
marble, lapis lazuli. BERNARDO DADDI, Madonna and Child with saints, painted panel
insert, 1346-1347.
Terms and Vocabulary
1. Black Death
2. The Great Schism
January: Week NINETEEN
Week 20 Read and be prepared to discuss art and terms listed.
French Illumination


20-1: LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), January, from
Les Très Riches Heures du Duc de Berry, 1413-1416. Tempera (need to check with
owning institution), and ink on vellum, approx. 8 ½" x 5 ½". Musée Condé,
Chantilly.
20-2: LIMBOURG BROTHERS (POL, HENNEQUIN, HERMAN), October,
from Les Très Riches Heures du Duc de Berry, 1413-1416. Tempera (need to check
with owning institution), and ink on vellum, approx. 8 1/2" x 5 1/2". Musée Condé,
Chantilly.
15th Century Flemish Art



20-5: JAN VAN EYCK, Ghent Altarpiece (closed), Saint Bavo Cathedral, Ghent,
Belgium, completed 1432. Oil on wood, approx. 11' 6" x 7' 6".
20-06: JAN VAN EYCK, Ghent Altarpiece (open), Saint Bavo Cathedral, Ghent,
Belgium, completed 1432. Oil on wood, approx. 11' 6" x 15'.
20-9: IRK BOUTS, Last Supper (central panel of the Altarpiece of the Holy
Sacrament), Saint Peter's, Louvain, Belgium, 1464-1468. Oil on wood, approx. 6' x 5'.
Florence Art




20-11: HANS MEMLING, Altarpiece of the Virgin with Saints and Angels (or Saint
John Altarpiece), Hospitaal Sint Jan, Bruges, Belgium, 1479. Oil on wood, approx. 5'
7 3/4" x 5' 7 3/4" (center panel), 5' 7 3/4" x 2' 7 1/8" (each wing).
20-13: JAN VAN EYCK, Giovanni Arnolfini and His Bride, 1434. Oil on wood,
approx. 2' 8" x 1' 11 1/2". National Gallery, London.
20-15: PETRUS CHRISTUS, A Goldsmith in His Shop, Possibly Saint Eligius, 1449.
Oil on wood, approx. 3' 3" x 2' 10". Metropolitan Museum of Art, New York (the
Robert Lehman Collection, 1975).
20-16: JAN VAN EYCK, Man in a Red Turban, 1433. Oil on wood, approx. 10 1/4"
x 7 1/2". National Gallery, London
Flemish Painter Bosch

20-18: HIERONYMUS BOSCH, Garden of Earthly Delights. Creation of Eve (left
wing), Garden of Earthly Delights (central panel), Hell (right wing), 1505-1510. Oil
on wood, center panel 7' 2 5/8" x 6' 4 3/4". Museo del Prado, Madrid.
15th Century French Art

20-19: JEAN FOUQUET, Étienne Chevalier and Saint Stephen, left wing of Melun
Diptych, ca. 1450. Oil on wood, 3' ½" x 2' 9 1/2". Gemäldegalerie, Staatliche
Museen, Berlin. Virgin and Child, right wing of Melun Diptych, ca. 1451. Oil on
wood, 3' 1 1/4" x 2' 9 1/2". Koninklijk Museum voor Schone Kunsten, Antwerp,
Belgium.
15th Century German Art

20-20: STEPHAN LOCHNER, Madonna in the Rose Garden, ca. 1430-1435.
Tempera on wood, approx. 1' 8" x 1' 4". Wallraf-Richartz Museum, Cologne.
Week 19
continued




20-22: VEIT STOSS, The Death and Assumption of the Virgin (wings open), altar
of the Virgin Mary, church of Saint Mary, Krakow, Poland, 1477-1489. Painted and
gilded wood, 43' x 35'.
20-23: TILMAN RIEMENSCHNEIDER, The Assumption of the Virgin, center
panel of the Creglingen Altarpiece, parish church, Creglingen, Germany, ca. 14951499. Carved lindenwood, 6' 1" wide
20-24: MICHEL WOLGEMUT and Shop, "Tarvisium," page from the so-called
Nuremberg Chronicle, 1493. Printed by Anton Koberger.
20-25: MARTIN SCHONGAUER, Saint Anthony Tormented by Demons, ca.
1480-1490. Engraving, approx. 1' 1" x 11". Metropolitan Museum of Art, New York
(Rogers Fund, 1920).
15th Century Spanish Art

20-26: Portal, Colegio de San Gregorio, Valladolid, Spain, ca. 1498.
Terms and Vocabulary
1. Hundred Years War
January: Week TWENTY
Chapter 21 Read and be prepared to discuss art and terms listed.
15th Century Early Italian Renaissance







21-1: FILIPPO BRUNELLESCHI, Sacrifice of Isaac, competition panel for east
doors, baptistery of Florence Cathedral, Florence, Italy, 1401-1402. Gilded bronze
relief, 1' 9" x 1' 5". Museo Nazionale del Bargello, Florence.
21-2: LORENZO GHIBERTI, Sacrifice of Isaac, competition panel for east doors,
baptistery of Florence Cathedral, Florence, Italy, 1401-1402. Gilded bronze relief, 1'
9" x 1' 5". Museo Nazionale del Bargello, Florence
21-4: LORENZO GHIBERTI, east doors ("Gates of Paradise"), baptistery, Florence
Cathedral, Florence, Italy, 1425-1452. Gilded bronze relief, approx. 17' high. Modern
copy, ca. 1980. Original panels in Museo dell'Opera del Duomo, Florence.
21-6: NANNI DI BANCO, Four Crowned Saints, Or San Michele, Florence, Italy,
ca. 1408-1414. Marble, figures approx. life-size. Modern copy in exterior niche.
Original sculpture in museum on second floor of Or San Michele.
21-7: DONATELLO, Saint Mark, Or San Michele, Florence, Italy, 1411-1413.
Marble, approx. 7' 9" high. Modern copy in exterior niche. Original sculpture in
museum on second floor of Or San Michele.
21-9: GENTILE DA FABRIANO, Adoration of the Magi, altarpiece from Santa
Trinità, Florence, Italy, 1423. Tempera on wood, approx. 9' 11" x 9' 3". Galleria degli
Uffizi, Florence.
21-10: MASACCIO, Tribute Money, Brancacci Chapel, Santa Maria del Carmine,
Florence, Italy, ca. 1427. Fresco, 8' 1" x 19' 7".












21-12: MASACCIO, Holy Trinity, Santa Maria Novella, Florence, Italy, ca. 1428.
Fresco, 21' x 10' 5".
21-13: FILIPPO BRUNELLESCHI, dome of Florence Cathedral (view from the
south), Florence, Italy, 1420-1436
21-23: DONATELLO, David, late 1420s - late 1450s. Bronze, 5' 2 1/4" high. Museo
Nazionale del Bargello, Florence.
21-27: SANDRO BOTTICELLI, Birth of Venus, ca. 1482. Tempera on canvas,
approx. 5' 8" x 9' 1". Galleria degli Uffizi, Florence.
21-33: LEON BATTISTA ALBERTI, Palazzo Rucellai, Florence, Italy, ca. 14521470.
21-36: FRA ANGELICO, Annunciation, San Marco, Florence, Italy, ca. 1440-1445.
Fresco, 7' 1" x 10' 6".
21-37: ANDREA DEL CASTAGNO, Last Supper, the Refectory, monastery of
Sant'Apollonia, Florence, Italy, 1447. Fresco, approx. 15' x 32'.
21-38: FRA FILIPPO LIPPI, Madonna and Child with Angels, ca. 1455. Tempera
on wood, approx. 3' x 2' 1". Galleria degli Uffizi, Florence.
21-40: PERUGINO, Christ Delivering the Keys of the Kingdom to Saint Peter,
Sistine Chapel, Vatican, Rome, Italy, 1481-1483. Fresco, 11' 5 1/2" x 18' 8 1/2".
21-41: LEON BATTISTA ALBERTI, west facade of Sant'Andrea, Mantua, Italy,
designed ca. 1470
21-45: ANDREA MANTEGNA, interior of the Camera degli Sposi, Palazzo Ducale,
Mantua, Italy, 1474. Fresco.
21-46: ANDREA MANTEGNA, ceiling of the Camera degli Sposi, Palazzo Ducale,
Mantua, Italy, 1474. Fresco, 8' 9" in diameter.
Week 20
continued




21-48: ANDREA MANTEGNA, Dead Christ, ca. 1501. Tempera on canvas, 2' 2
3/4" x 2' 7 7/8". Pinacoteca di Brera, Milan.
21-49: PIERO DELLA FRANCESCA, Finding of the True Cross and Proving of
the True Cross, San Francesco, Arezzo, Italy, ca. 1455. Fresco, 11' 8 3/8" x 6' 4".
21-50: PIERO DELLA FRANCESCA, Enthroned Madonna and Saints Adored by
Federico da Montefeltro (Brera Altarpiece), ca. 1472-1474. Oil on panel, 8' 2" x 5' 7".
Pinacoteca di Brera, Milan.
21-51: LUCA SIGNORELLI, Damned Cast into Hell, San Brizio Chapel, Orvieto
Cathedral, Orvieto, Italy, 1499-1504. Fresco, approx. 23' wide
January: Week TWENTY-ONE
Chapter 22 Read and be prepared to discuss art and terms listed.
Italian High Renaissance

22-1: LEONARDO DA VINCI, Virgin of the Rocks, ca. 1485. Oil on wood
(transferred to canvas), approx. 6' 3" x 3' 7". Louvre, Paris.












22-2: LEONARDO DA VINCI, cartoon for Virgin and Child with Saint Anne and
the Infant Saint John, ca. 1505-1507. Charcoal heightened with white on brown
paper, approx. 4' 6" x 3' 3". National Gallery, London.
22-3: LEONARDO DA VINCI, Last Supper (top, uncleaned; bottom, cleaned), ca.
1495-1498. Fresco (oil and tempera on plaster), 29' 10" x 13' 9". Refectory, Santa
Maria delle Grazie, Milan.
22-4: LEONARDO DA VINCI, Mona Lisa, ca. 1503-1505. Oil on wood, approx. 2'
6" x 1' 9". Louvre, Paris.
22-8: DONATO D'ANGELO BRAMANTE, Tempietto, San Pietro in Montorio,
Rome, Italy, 1502(?).
22-9: MICHELANGELO BUONARROTI, David, 1501-1504. Marble, 13' 5" high.
Galleria dell'Accademia, Florence.
22-10: MICHELANGELO BUONARROTI, Moses, San Pietro in Vincoli, Rome,
Italy, ca. 1513-1515. Marble, approx. 8' 4" high.
22-12: Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy,
built 1473.
22-13: MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican
City, Rome, Italy, 1508-1512. Fresco, approx. 128' x 45'.
22-14: MICHELANGELO BUONARROTI, Creation of Adam (detail), ceiling of
the Sistine Chapel, Vatican City, Rome, Italy, 1511-1512. Fresco, approx. 18' 8" x 9'
2".
22-17: RAPHAEL, Philosophy (School of Athens), Stanza della Segnatura, Vatican
Palace, Rome, Italy, 1509-1511. Fresco, approx. 19' x 27'.
22-22: MICHELANGELO BUONARROTI, tomb of Giuliano de' Medici, New
Sacristy (Medici Chapel), San Lorenzo, Florence, Italy, 1519-1534. Marble, central
figure approx. 5' 11" high.
22-23: ANTONIO DA SANGALLO THE YOUNGER, Palazzo Farnese (view
from the northwest), Rome, Italy, ca. 1530-1546..
Venetian Renaissance



22-31: GIOVANNI BELLINI, San Zaccaria Altarpiece, San Zaccaria, Venice, Italy,
1505. Oil on wood transferred to canvas, approx. 16' 5" x 7' 9".
22-32: GIOVANNI BELLINI and TITIAN, The Feast of the Gods, 1529. Oil on
canvas, approx. 5' 7" x 6' 2". National Gallery of Art, Washington (Widener
Collection).
22-38: TITIAN, Venus of Urbino, 1538. Oil on canvas, approx. 4' x 5' 6". Galleria
degli Uffizi, Florence
Mannerist Drama



22-52: TINTORETTO, Last Supper, Chancel, San Giorgio Maggiore, Venice, Italy,
1594. Oil on canvas, 12' x 18' 8".
22-53: PAOLO VERONESE, Christ in the House of Levi, 1573. Oil on canvas,
approx. 18' 6" x 42' 6". Galleria dell'Accademia, Venice.
22-56: ANDREA PALLADIO, Villa Rotonda (formerly Villa Capra), near Vicenza,
Italy, ca. 1566-1570.
January into February: Week TWENTY-TWO
Week 23 Read and be prepared to discuss art and terms listed.
High Renaissance in Northern Europe and Spain
Germany




23-2: MATTHIAS GRÜNEWALD, Isenheim Altarpiece (closed), Crucifixion
(center panel), from the chapel of the Hospital of Saint Anthony, Isenheim,
Germany, ca. 1510-1515. Oil on panel, center panel 9' 9 1/2" x 10' 9", each wing 8' 2
1/2" x 3' 1/2", predella 2' 5 1/2" x 11' 2". Musée d'Unterlinden, Colmar.
23-5: ALBRECHT DÜRER, Four Apostles, 1526. Oil on panel, each panel 7' 1" x 2'
6". Alte Pinakothek, Munich.
23-6: ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving,
approx. 9 7/8" x 7 5/8". Museum of Fine Arts, Boston (centennial gift of Landon T.
Clay).
23-10: HANS HOLBEIN THE YOUNGER, The French Ambassadors, 1533. Oil
and tempera on panel, approx. 6' 8" x 6' 9 1/2". National Gallery, London.
France


23-11: JEAN CLOUET, Francis I, ca. 1525-1530. Tempera and oil on panel, approx.
3' 2" x 2' 5". Louvre, Paris.
23-14: PIERRE LESCOT and JEAN GOUJON, west facade of the Square Court of
the Louvre, Paris, France, begun 1546.
The Netherlands
· 23-22: PIETER BRUEGEL THE ELDER, Hunters in the Snow, 1565. Oil on panel,
approx. 3' 10" x 5' 4". Kunsthistorisches Museum, Vienna.
Spain
· 23-26: EL GRECO, The Burial of Count Orgaz, Santo Tomé, Toledo, Spain, 1586. Oil on
canvas, approx. 16' x 12'.
February: Week TWENTY-THREE
Chapter 24 Read and be prepared to discuss art and terms listed.
Baroque Art of the 17th Century
· 24-2: CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612
· 24-6: GIANLORENZO BERNINI, Scala Regia, Vatican City, Rome, Italy, 1663–1666.
· 24-7: GIANLORENZO BERNINI, David, 1623. Marble, approx. 5’ 7” high. Galleria
Borghese, Rome.
· 24-8: GIANLORENZO BERNINI, interior of the Cornaro Chapel, Santa Maria della
Vittoria, Rome, Italy, 1645–1652.
· 24-9: GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria
della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
· 24-10: FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome,
Italy, 1665–1676.
· 24-12: FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome,
Italy, begun 1642
· 24-14: Chapel of Saint Ivo (view into dome), College of the Sapienza, Rome, Italy, begun
1642
· 24-18: CARAVAGGIO, Conversion of Saint Paul, Cerasi Chapel, Santa Maria del Popolo,
Rome, Italy, ca. 1601. Oil on canvas, approx. 7’ 6” x 5’ 9”.
· 24-19: CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei
Francesi, Rome, Italy, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”.
· 24-20: CARAVAGGIO, Entombment, from the chapel of Pietro Vittrice, Santa Maria in
Vallicella, Rome, Italy, ca. 1603. Oil on canvas, 9’ 10 1/8” x 6’ 7 15/16”. Musei Vaticani,
Pinacoteca, Rome.
· 24-21: ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on
canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.
· 24-23: ANNIBALE CARRACCI, Loves of the Gods, ceiling frescoes in the gallery,
Palazzo Farnese, Rome, Italy, 1597–1601.
· 24-24: GUIDO RENI, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–
1614.
· 24-26: GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus, ceiling fresco
with stucco figures in the vault of the Church of Il Gesù, Rome, Italy, 1676–1679.
Spanish Baroque
· 24-29: FRANCISCO DE ZURBARÁN, Saint Serapion, 1628. Oil on canvas, 3’ 11 1/2” x
3’ 4 3/4”. Wadsworth Atheneum, Hartford (The Ella Gallup Sumner and Mary Catlin
Sumner Collection Fund).
· 24-30: DIEGO VELÁZQUEZ, Water Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5 1/2”
x 2’ 7 1/2”. Wellington Museum, London.
Flemish Art
· 24-36: PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil
on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris.
· 24-37: PETER PAUL RUBENS, Allegory of the Outbreak of War, 1638. Oil on canvas, 6’
9” x 11’ 3 7/8”. Pitti Gallery, Florence
· 24-38: ANTHONY VAN DYCK, Charles I Dismounted, ca. 1635. Oil on canvas, approx.
9’ x 7’. Louvre, Paris.
Week 23
continued
Netherlands
· 24-43: FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil
on canvas, 5’ 7” x 8’ 2”. Frans Halsmuseum, Haarlem.
· 24-44: REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3
3/4” x 7’ 1 1/4”. Mauritshuis, The Hague.
· 24-45: REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night
Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum,
Amsterdam.
· 24-47: REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’
8 3/4” x 3’ 1”. The Iveagh Bequest, Kenwood House, London.
· 24-48: REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the
Children (Hundred Guilder Print), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont
Morgan Library, New York.
· 24-49: JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”.
National Gallery of Art, Washington (gift of Mr. and Mrs. Robert Woods Bliss).
· 24-53: JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x
3’ 8”. Kunsthistorisches Museum, Vienna.
French Baroque
· 24-59: NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, approx. 3’ 11” x 5’
10”. Louvre, Paris.
· 24-61: FRANÇOIS MANSART, Orléans wing of the Château de Blois, Blois, France,
1635–1638.
· 24-70: FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the
Nymphs, Grotto of Thetis, Park of Versailles, Versailles, France, ca. 1666–1672. Marble, lifesize. Park of Versailles.
English Renaissance and Baroque
· 24-73: INIGO JONES, Banqueting House at Whitehall, London, England, 1619–1622.
· 24-74: SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England, 1675–
1710.
Germany
· 24-76: BALTHASAR NEUMANN, interior of the pilgrimage chapel of Vierzehnheiligen,
near Staffelstein, Germany, 1743-1772.
· 24-78: EGID QUIRIN ASAM, Assumption of the Virgin, monastery church at Rohr,
Germany, 1723
· 24-79: GIAMBATTISTA TIEPOLO, The Apotheosis of the Pisani Family, ceiling fresco
in the Villa Pisani, Stra, Italy, 1761-1762.
February: Week TWENTY-FOUR
Chapter 28 Read and be prepared to discuss art and terms listed.
Rococo- The 18th Century in France
· 28-1: GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLESJOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France,
1737-1740.
· 28-3: ANTOINE WATTEAU, L'Indifférent, ca. 1716. Oil on canvas, approx. 10' x' 7 .
Louvre, Paris.
· 28-5: FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, approx. 5' 6" x 2'
10". The Wallace Collection, London.
· 28-6: JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2' 11" x
2' 8". The Wallace Collection, London
· 28-7: CLODION, Nymph and Satyr, ca. 1775. Terracotta, approx. 1' 11 high. Metropolitan
Museum of Art, New York (bequest of Benjamin Altman, 1913).
· 28-8: WILLIAM HUNTER, Child in Womb, drawing from dissection of a woman who
died in the ninth month of pregnancy, from Anatomy of the Human Gravid Uterus, 1774.
· 28-9: JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery (in
which a lamp is put in place of the sun), ca. 1763-1765. Oil on canvas, 4' 10" x 6' 8". Derby
Museums and Art Gallery, Derby, Derbyshire
· 28-10: ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at
Coalbrookdale, England (first cast-iron bridge over the Severn River), 1776-1779. 100' span.
The Taste for Natural in France
· 28-11: JEAN-BAPTISTE GREUZE, The Village Bride, 1761. Oil on canvas, 3' x 3' 10 1/2
. Louvre, Paris.
In England
· 28-14: WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil
on canvas, approx. 2' 4" x 3'. National Gallery, London.
· 28-15: THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on
canvas, approx. 7' 2 5/8 x 5' 5/8 . National Gallery of Art, Washington
The Taste for Natural in Colonial America,
· 28-17: BENJAMIN WEST, The Death of General Wolfe, 1771. Oil on canvas, approx. 5' x
7' National Gallery of Canada, Ottawa
In Italy
· 28-19: ANTONIO CANALETTO, Basin of San Marco from San Giorgio Maggiore, ca.
1740. Oil on canvas. The Wallace Collection, London.
Neoclassicism· 28-20: ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures,
or Mother of the Gracchi, ca. 1785. Oil on canvas, 3' 4" x 4' 2". Virginia Museum of Fine
Arts, Richmond
· 28-21: JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 11' x
14'. Louvre, Paris
· 28-22: JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas, approx. 5'
3" x 4' 1". Musées Royaux des Beaux-Arts de Belgique, Brussels.
· 28-23: JACQUES-LOUIS DAVID, The Coronation of Napoleon, 1805-1808. Oil on
canvas, 20' 4 1/2 x 32' 1 3/4 . Louvre, Paris.
Week 24
continued
· 28-25: PIERRE VIGNON, La Madeleine, Paris, France, 1807-1842.
· 28-26: ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria
Borghese, Rome.
In England
· 28-27: RICHARD BOYLE (earl of Burlington) and WILLIAM KENT, Chiswick House,
near London, England, begun 1725. British Crown Copyright.
· 28-28: JOHN WOOD THE YOUNGER, the Royal Crescent, Bath, England, 1769-1775
· 28-29: JAMES STUART, Doric portico, Hagley Park, Worcestershire, England, 1758.
In the US
· 28-31: THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770-1806.
FROM NEOCLASSICISM TO ROMANTICISM
· 28-34: ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas,
approx. 17' 5 x 23. Louvre, Paris
· 28-36: JEAN-AUGUSTE-DOMINIQUE INGRES, Apotheosis of Homer, 1827. Oil on
canvas, approx. 12' 8" x 16' 10 3/4 . Louvre, Paris
· 28-37: JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on
canvas, approx. 2' 11" x 5' 4". Louvre, Paris.
Romanticism
· 28-40: WILLIAM BLAKE, Ancient of Days, frontispiece of Europe: A Prophecy, 1794.
Metal relief etching, hand colored, approx. 9 1/2" x 6 3/4". The Whitworth Art Gallery, The
University of Manchester
· 28-41: FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los
Caprichos, ca. 1798. Etching and aquatint, 8 1/2" x 6". Metropolitan Museum of Art, New
York
· 28-42: FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas, approx. 9' 2"
x 11'. Museo del Prado, Madrid
· 28-43: FRANCISCO GOYA, The Third of May 1808, 1814. Oil on canvas, approx. 8' 8" x
11' 3". Museo del Prado, Madrid.
· 28-44: FRANCISCO GOYA, Saturn Devouring One of His Children, 1819–1823. Detail
of a detached fresco on canvas, full size approx. 4' 9" x 2' 8". Museo del Prado, Madrid.
· 28-45: THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas,
approx. 16' x 23'. Louvre, Paris
· 28-47: EUGÈNE DELACROIX, Death of Sardanapalus, 1826. Oil on canvas, approx. 12'
1" x 16' 3". Louvre, Paris
· 28-48: EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, approx.
8' 6" x 10' 8". Louvre, Paris
· 28-52: CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas,
approx. 3' 7-1/2" x 7' 1/4".Staatliche Museen au Berlin-Preussischer Kulturbesitz,
Nationalgalerie
· 28-53: JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4' 3" x 6' 2". National
Gallery, London.
· 28-54: JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing
Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2' 11 11/16 x
4' 5/16 . Museum of Fine Arts, Boston
Week 24
continued
· 28-55: THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton,
Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 4' 3 1/2 x 6' 4". Metropolitan
Museum of Art, New York
· 28-56: ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil
on canvas, 6' x 10'. National Museum of American Art, Smithsonian Institution,
Washington.
· 28-57: FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on canvas,
3' 4" x 5' 4". Cleveland Museum of Art, Cleveland, Ohio
Revivalist Architecture
· 28-58: CHARLES BARRY and A. W. N. PUGIN, Houses of Parliament, London,
England, designed 1835.
· 28-59: JOHN NASH, Royal Pavilion, Brighton, England, 1815-1818
· 28-61: HENRI LABROUSTE, reading room of the Bibliothèque Sainte-Geneviève, Paris,
France, 1843-1850
· 28-62: JOSEPH PAXTON, Crystal Palace, London, England, 1850-1851. Iron and glass.
Victoria and Albert Museum, London
Photography
· 28-63: EUGÈNE DURIEU and EUGÈNE DELACROIX, Draped Model (back view),
ca. 1854. Albumen print, 7 5/ 16" x 5 1/8". J. Paul Getty Museum, Los Angeles
· 28-64: LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837.
Daguerreotype. Collection Société Française de Photographie, Paris.
· 28-65: JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early
Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype.
Massachusetts General Hospital Archives and Special Collections, Boston
· 28-68: TIMOTHY O'SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July
1863. Negative by Timothy O'Sullivan. Original print by ALEXANDER GARDNER. The
New York Public Library (Astor, Lenox and Tilden Foundations, Rare Books and
Manuscript Division), New York.
Terms and Vocabulary
Science versus Natural
1. The Enlightenment
2. The Doctrine of Empiricism
3. The Doctrine of Progress
4. Chinoiserie
5. Fetes Galante
6. Pastel
February: Week TWENTY-FIVE
Week 29 Read and be prepared to discuss art and terms listed
The Rise of Modernism
· 29-1: GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5' 3" x 8' 6".
Formerly at Gemäldegalerie, Dresden (destroyed in 1945).
· 29-3: JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, approx. 2' 9" x 3'
8". Louvre, Paris
· 29-5: HONORÉ DAUMIER, Nadar Raising Photography to the Height of Art, 1862.
Lithograph, 10 3/4" x 8 3/4". Museum of Fine Arts, Boston.
· 29-6: HONORÉ DAUMIER, The Third-Class Carriage, ca. 1862. Oil on canvas, 2' 1 3/4"
x 2' 11 1/2". Metropolitan Museum of Art, New York
· 29-7: ÉDOUARD MANET, Le Déjeuner sur l'Herbe (Luncheon on the Grass), 1863. Oil
on canvas, approx. 7' x 8' 10". Réunion des Musées Nationaux.
· 29-8: ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4' 3" x 6' 3". Musée d'Orsay,
Paris.
· 29-9: ADOLPHE-WILLIAM BOUGUEREAU, Nymphs and Satyr, 1873. Oil on canvas,
approx. 8' 6" high. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
· 29-10: MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, 1853–1855. Oil on
canvas, 8' 1/4" x 16' 7 1/2". Metropolitan Museum of Art, New York
An American realist
· 29-11: WINSLOW HOMER, The Veteran in a New Field, 1865. Oil on canvas, 2' 1/8" x
3' 2 1/8". Metropolitan Museum of Art, New York
· 29-12: THOMAS EAKINS, The Gross Clinic, 1875. Oil on canvas, 8' x 6' 6". Jefferson
Medical College of Thomas Jefferson University, Philadelphia
· 29-13: EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George
Eastman House, Rochester, New York.
· 29-14: JOHN SINGER SARGENT, The Daughters of Edward Darley Boit, 1882. Oil on
canvas, 7' 3 3/8" x 3 5/8". Courtesy of Museum of Fine Arts, Boston
· 29-15: HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 3' 8 1/4"
x 2' 11 1/2". Collection of William H. and Camille Cosby.
German
· 29-16: WILLIAM LEIBL, Three Women in a Village Church, 1878-1881. Oil on canvas,
approx. 2' 5" x 2' 1". Kunsthalle, Hamburg.
Pre-Raphaelite
· 29-17: JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2' 6" x 3' 8". Tate
Gallery, London
· 29-19: GERTRUDE KÄSEBIER, Blessed Art thou Among Women, 1899. Platinum print
on Japanese tissue, 9 3/8" x 5 1/2". Museum of Modern Art, New York
Impressionism
· 29-20: CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1' 7 1/2" x 2' 1 1/2".
Musée Marmottan, Paris.
· 29-21: CLAUDE MONET, Saint-Lazare Train Station, 1877. Oil on canvas, 2' 5 3/4" x 3'
5". Musée d'Orsay, Paris
Week 25
continued
· 29-22: Gustave Cailebotte, Paris: A Rainy Day, 1877. Oil on canvas, approx. 6' 9" x 9' 9".
The Art Institute of Chicago
· 29-23: CAMILLE PISSARRO, La Place du Théâtre Français, 1898. Oil on canvas, 2' 4
1/2" x 3' 1/2". Los Angeles County Museum of Art, Los Angeles
· 29-25: PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas,
approx. 4' 3" x 5' 8". Louvre, Paris
· 29-26: ÉDOUARD MANET, A Bar at the Folies-Bergère, 1882. Oil on canvas, approx. 3'
1" x 4' 3". The Courtauld Gallery, London.
· 29-27: EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1' 11" x 2' 9". Glasgow
Museum, Glasgow
· 29-28: BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, approx. 1' 8" x 2'.
· 29-29: CLAUDE MONET, Rouen Cathedral: The Portal (in Sun), 1894. Oil on canvas, 3'
3 1/4" x 2' 1 7/8". Metropolitan Museum of Art, New York
· 29-30: EDGAR DEGAS, The Tub, 1886. Pastel, 1' 11 1/2" x 2' 8 3/8". Musée d'Orsay,
Paris
· 29-31: MARY CASSATT, The Bath, ca. 1892. Oil on canvas, 3' 3" x 2' 2". The Art Institute
of Chicago, Chicago
· 29-32: HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on
canvas, approx. 4' x 4' 7". The Art Institute of Chicago, Chicago
· 29-33: JAMES ABBOTT MCNEILL WHISTLER, Nocturne in Black and Gold (The
Falling Rocket), ca. 1875. Oil on panel, 1' 11 5/8" x 1' 6 1/2". Detroit Institute of Arts,
Detroit
Post Impressionism






29-34: VINCENT VAN GOGH, The Night Café, 1888. Oil on canvas, approx. 2' 4
1/2" x 3'. Yale University Art Gallery, New Haven
29-35: VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, approx. 2' 5" x
3' 1/4". Museum of Modern Art, New York
29-36: PAUL GAUGUIN, The Vision after the Sermon or Jacob Wrestling with the
Angel, 1888. Oil on canvas, 2' 4 3/4" x 3' 1/2". National Gallery of Scotland,
Edinburgh.
29-37: PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are
We Going?, 1897. Oil on canvas, 4' 6 13/ 16" x 12' 3". Museum of Fine Arts, Boston
29-39: GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on
canvas, approx. 6' 9" ´ 10'. The Art Institute of Chicago, Chicago
29-40: PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2' 3
1/2" x 2' 11 1/4". Philadelphia Museum of Art, Philadelphia
Symbolism
· 29-43: GUSTAVE MOREAU, Jupiter and Semele, ca. 1875. Oil on canvas, approx. 7' x 3'
4". Musée Gustave Moreau, Paris.
· 29-45: HENRI ROUSSEAU, The Sleeping Gypsy, 1897. Oil on canvas, 4' 3" x 6' 7".
Museum of Modern Art, New York
· 29-46: EDVARD MUNCH, The Cry, 1893. Oil, pastel, and casein on cardboard, 2' 11
3/4" x 2' 5". National Gallery, Oslo.
Week 25
continued
Sculpture
· 29-47: JEAN-BAPTISTE CARPEAUX, Ugolino and His Children, 1865–1867. Marble, 6'
5" high. Metropolitan Museum of Art, New York
· 29-50: AUGUSTE RODIN, Burghers of Calais, 1884–1889, cast ca. 1953–1959. Bronze, 6'
10 1/2" high, 7' 11" long, 6' 6" deep. Hirshhorn Museum and Sculpture Garden,
Smithsonian Institution, Washington
· 29-51: WILLIAM MORRIS, Green Dining Room, 1867. Victoria & Albert Museum,
London
· 29-54: AUBREY BEARDSLEY, The Peacock Skirt, 1894. Pen-and-ink illustration for
Oscar Wilde's Salomé.
· 29-55: ANTONIO GAUDI, Casa Milá, Barcelona, 1907.
FIN-DE-SIÈCLE CULTURE
The term fin-de-siècle refers to a certain unrestrained and freewheeling sensibility that emerged
in the context of the political upheaval toward the end of the nineteenth century. Prosperity
promoted a culture of decadence and indulgence.
· 29-56: GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”.
Austrian Gallery, Vienna.
OTHER ARCHITECTURE IN THE LATER 19TH CENTURY
· 29-57: ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, Paris, 1889 (photo: 1889-1890).
Wrought iron, 984’ high
· 29-58: HENRY HOBSON RICHARDSON, Marshall Field wholesale store (demolished),
Chicago, 1885-1887.
· 29-59: LOUIS SULLIVAN, Guaranty (Prudential) Building, Buffalo, 1894-1896
· 29-60: LOUIS SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899-1904
· 29-61: RICHARD MORRIS HUNT, The Breakers, Newport, Rhode Island, 1892
Week 26 February 28-March 4
Class Work
Week 27 March 7-10
Review
Week 28 March 21-25
Chapter 33 Read and be prepared to discuss art and terms listed.
The Development of Modernist Art
Expressionism
Fauvism
· 33-1: HENRI MATISSE, Woman with the Hat, 1905. Oil on canvas, 2' 7 3/4" x 1' 11
1/2". San Francisco Museum of Modern Art, San Francisco
· 33-2: HENRI MATISSE, Red Room (Harmony in Red), 1908-1909. Oil on canvas,
approx. 5' 11" x 8' 1". State Hermitage Museum, Saint Petersburg.
· 33-4: ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas,
4' 11 1/4" x 6' 6 7/8". Museum of Modern Art, New York (
· 33-5: EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left panel of a triptych,
oil on canvas, approx. 2' 10" x 3' 3". Hamburger Kunsthalle, Hamburg.
· 33-6: VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on canvas, 3'
7 7/8" x 5' 3 7/8". Solomon R. Guggenheim Museum, New York
· 33-7: FRANZ MARC, Fate of the Animals, 1913. Oil on canvas, 6' 4 3/4" x 8' 9 1/2".
Kunstmuseum, Basel.
Abstract
Cubism
· 33-8: PABLO PICASSO, Gertrude Stein, 1906-1607. Oil on canvas, 3' 3 3/8" x 2' 8".
Metropolitan Museum of Art, New York
· 33-9: PABLO PICASSO, Les Demoiselles d'Avignon, June-July 1907. Oil on canvas, 8' x 7'
8". Museum of Modern Art, New York
· 33-10: GEORGES BRAQUE, The Portuguese, 1911. Oil on canvas, 3' 10 1/8" x 2' 8".
Öffentliche Kunstsammlung Basel, Kunstmuseum, Basel
· 33-11: ROBERT DELAUNAY, Champs de Mars or The Red Tower, 1911. Oil on canvas,
5' 3" x 4' 3". Art Institute of Chicago, Chicago
Synthetic Cubism
· 33-12: PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil and oilcloth on canvas,
10 5/8" x 1' 1 3/4". Musée Picasso, Paris.
Sculpture
· 33-15: JACQUES LIPCHITZ, Bather, 1917. Bronze, 2' 10 3/4" x 1' 1 1/4" x 1' 1".
Nelson-Atkins Museum of Art, Kansas City
Esthetic
· 33-18: FERNAND LÉGER, The City, 1919. Oil on canvas, approx. 7' 7" x 9' 9 1/2".
Philadelphia Museum of Art, Philadelphia
Futurism
· 33-19: GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2' 11
3/8" x 3' 7 1/4". Albright-Knox Art Gallery, Buffalo, New York
· 33-20: UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931).
Bronze, 3' 7 7/8" high x 2' 10 7/8" x 1' 3 3/4". Museum of Modern Art, New York
Dada
· 33-23: MARCEL DUCHAMP, Fountain, (second version), 1950. Ready-made glazed
sanitary china with black paint, 12" high. Philadelphia Museum of Art, Philadelphia
Surrealism and Fantasy
· 33-45: MAX ERNST, Two Children Are Threatened by a Nightingale, 1924. Oil on wood
with wood construction, 2' 3 1/2" high, 1' 10 1/2" wide, 4 1/2" deep. Museum of Modern
Art, New York
Week 28
continued
· 33-46: SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 9 1/2" x 1'
1". Museum of Modern Art, New York
· 33-47: RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on
canvas, 1' 11 5/8" x 3' 1". Los Angeles County Museum of Art, Los Angeles
· 33-48: MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup,
4 3/8" in diameter; saucer, 9 3/8" in diameter; spoon, 8". Museum of Modern Art, New
York
· 33-49: FRIDA KAHLO, The Two Fridas, 1939. Oil on canvas, 5' 7" x 5' 7". Collection of
the Museo de Arte Moderno, Mexico City.
· 33-50: JOAN MIRÓ, Painting, 1933. 5' 8" x 6' 5". Museum of Modern Art, New York
· 33-51: PAUL KLEE, Twittering Machine, 1922. Watercolor and pen and ink, on oil
transfer drawing on paper, mounted on cardboard, 2' 1" x 1' 7". Museum of Modern Art,
New York
Suprematism and Constructivism
· 33-52: KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915 (dated
1914). Oil on canvas, 1' 10 7/8" x 1' 7". Museum of Modern Art, New York
De Stijl
· 33-55: PIET MONDRIAN, Composition in Red, Blue, and Yellow, 1930. Oil on canvas, 2'
4 5/8" x 1' 9 1/4". Private Collection
· 33-56: GERRIT RIETVELD, Schröder House, Utrecht, the Netherlands, 1924.
The Bauhaus
· 33-58: JOSEF ALBERS, Homage to the Square: "Ascending", 1953. Oil on composition
board, 3' 7 1/2" x 3' 7 1/2". Collection of Whitney Museum of American Art, New York
· 33-59: WALTER GROPIUS, Shop Block, the Bauhaus, Dessau, Germany, 1925-1926.
· 33-60: MARCEL BREUER, tubular chair, 1925.
· 33-62: LUDWIG MIES VAN DER ROHE, model for a glass skyscraper, Berlin,
Germany, 1922 (no longer extant).
The International Style
· 33-64: LE CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929.
Art Deco
· 33-65: WILLIAM VAN ALEN, Chrysler Building, New York, New York, 1928-1930.
Spire of stainless steel, overall height 1,048'.
Natural
· 33-66: FRANK LLOYD WRIGHT, Robie House, Chicago, Illinois, 1907-1909.
· 33-68: FRANK LLOYD WRIGHT, Kaufmann House (Fallingwater), Bear Run,
Pennsylvania, 1936-1939.
· 33-69: CONSTANTIN BRANCUSI, Bird in Space, 1928. Bronze (unique cast), 4' 6" x 8"
x 6" high. Museum of Modern Art, New York
· 33-72: ALEXANDER CALDER, Untitled, 1976. Aluminum honeycomb, tubing, and
paint, 29' 10 1/2" x 76'. National Gallery of Art, Washington, D.C.
ART AS POLITICAL STATEMENT IN THE 1930s
· 33-73: PABLO PICASSO, Guernica, 1937. Oil on canvas, 11' 5 1/2" x 25' 5 3/4". Museo
Nacional Centro de Arte Reina Sofia, Madrid.
· 33-75: DOROTHEA LANGE, Migrant Mother, Nipomo Valley, 1935. Gelatin silver print.
Copyright © the Dorothea Lange Collection, The Oakland Museum of California, City of
Oakland
Week 28
continued
· 33-76: EDWARD HOPPER, Nighthawks, 1942. Oil on canvas, 2' 6" x 4' 8 11/16". The
Art Institute of Chicago, Chicago
· 33-77: JACOB LAWRENCE, No. 49 from The Migration of the Negro, 1940-1941.
Tempera on masonite, 1' 6" x 1'. The Phillips Collection, Washington
· 33-78: GRANT WOOD, American Gothic, 1930. Oil on beaverboard, 2' 5 7/8" x 2' 7/8".
Art Institute of Chicago, Chicago
· 33-79: THOMAS HART BENTON, Pioneer Days and Early Settlers, State Capitol,
Jefferson City, 1936. Mural.
· 33-81: DIEGO RIVERA, Ancient Mexico, from the History of Mexico fresco murals,
National Palace, Mexico City, 1929-1935. Fresco
Week 29-30 March 29-April 8
Chapter 34 Read and be prepared to discuss art and terms listed
Art of the Later 20th Century
Post War Expressionism
· 34-1: FRANCIS BACON, Painting, 1946. Oil and pastel on linen, 6' 5 7/8" x 4' 4".
Museum of Modern Art, New York
· 34-3: ALBERTO GIACOMETTI, Man Pointing, 1947. Bronze no. 5 of 6, 5' 10" x 3' 1' 5
5/8". Nathan Emory Coffin Collection of the Des Moines Art Center, Des Moines.
· 34-4: JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and
aluminum paint on canvas, 7' 3" x 9' 10". National Gallery of Art, Washington
· 34-6: WILLEM DE KOONING, Woman I, 1950-1952. Oil on canvas, 6' 3 7/8" x 4' 10".
Museum of Modern Art, New York.
· 34-8: MARK ROTHKO, No. 14, 1960. Oil on canvas, 9' 6" x 8' 9". San Francisco Museum
of Modern Art
· 34-12: HELEN FRANKENTHALER, Bay Side, 1967. Acrylic on canvas, 6' 2" x 6' 9".
Private Collection, New York.
Minimal
· 34-15: DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel
brackets, ten units, 6 1/8" x 2' x 2' 3" each, with 60 intervals. Hirshhorn Museum and
Sculpture Garden, Smithsonian Institution, Washington
· 34-16: MAYA YING LIN, Vietnam Veterans Memorial, Washington, D.C., 1981-1983.
Black granite, each wing 246' long.
· 34-17: LOUISE NEVELSON, Tropical Garden II, 1957-1959. Wood painted black, 5' 11
1/2" x 10' 11 3/4" x 1'. Musée National d'Art Moderne, Centre Georges Pompidou, Paris.
Conceptual
· 34-25: JOSEPH KOSUTH, One and Three Chairs, 1965. Wooden folding chair,
photographic copy of a chair, and photographic enlargement of a dictionary definition of a
chair; chair, 2' 8 3/8" x 1' 2 7/8" x 1' 8 7/8"; photo panel, 3' x 2' 1/8"; text panel, 2' 2' 1/8".
Museum of Modern Art, New York
Pop Art
· 34-28: JASPER JOHNS, Flag, 1954-1955, dated on reverse 1954. Encaustic, oil, and
collage on fabric mounted on plywood, 3' 6 1/4" x 5' 5/8". Museum of Modern Art, New
York (gift of Philip Johnson in honor of Alfred H. Barr, Jr.).
· 34-30: ROY LICHTENSTEIN, Hopeless, 1963. Oil on canvas, 3' 8" x 3' 8".
Kunstmuseum, Basel
· 34-32: ANDY WARHOL, Marilyn Diptych, 1962. Oil, acrylic, and silk-screen enamel on
canvas. Tate Gallery, London.
Superrealism
· 34-33: CLAES OLDENBURG, photo of one-person show at the Green Gallery, New
York, 1962.
· 34-34: AUDREY FLACK, Marilyn, 1977. Oil over acrylic on canvas, 8' x 8'. Collection of
the University of Arizona Museum, Tucson
· 34-35: CHUCK CLOSE, Big Self-Portrait, 1967-1968. Acrylic on canvas, 8' 11" x 6' 11" x
2". Collection Walker Art Center, Minneapolis
Week 29-30
continued
Site-Specific Art and Environmental Art
· 34-37: ROBERT SMITHSON, Spiral Jetty, 1970. Black rock, salt crystals, earth, red water
(algae) at Great Salt Lake, Utah. 1,500' x 15' x 3 1/2'. Estate of Robert Smithson; courtesy
James Cohan Gallery, New York; collection of DIA Center for the Arts, New York.
· 34-38: CHRISTO and JEANNE-CLAUDE, Surrounded Islands, Biscayne Bay, Greater
Miami, Florida, 1980-1983. Pink woven polypropylene fabric, 6 1/2 million sq. ft.
NEW MODELS FOR ARCHITECTURE: MODERNISM TO
POSTMODERNISM
· 34-40: FRANK LLOYD WRIGHT, Solomon R. Guggenheim Museum (exterior view
from the north), New York, 1943-1959
· 34-41: Interior of the Solomon R. Guggenheim Museum, New York, 1943-1959.
· 34-42: LE CORBUSIER, Notre Dame du Haut, Ronchamp, France, 1950-1955.
· 34-43: Interior of Notre Dame-du-Haut, Ronchamp, France, 1950-1955.
· 34-44: JOERN UTZON, Sydney Opera House, Sydney, Australia, 1959-1972. Reinforced
concrete; height of highest shell, 200'.
· 34-47: SKIDMORE, OWINGS AND MERRILL, Sears Tower, Chicago, 1974 (photo
1975).
· 34-54: FRANK GEHRY, Guggenheim Museum, Bilbao, Spain, 1997.
POSTMODERNISM IN PAINTING, SCULPTURE, AND NEW MEDIA
· 34-55: JULIAN SCHNABEL, The Walk Home, 1984-1985. Oil, plates, copper
· bronze, fiberglass, and bondo on wood, 9' 3" x 19' 4".
· 34-59: JUDY CHICAGO, The Dinner Party, 1979. Multimedia, including ceramics and
stitchery, 48' x 48' x 48' installed.
· 34-60: MIRIAM SCHAPIRO, Anatomy of a Kimono (section), 1976. Fabric and acrylic on
canvas, 6' 8" x 8' 6". Collection of Bruno Bishofberger, Zurich.
· 34-61: CINDY SHERMAN, Untitled Film Still #35, 1979. Black-and-white photograph,
10" x 8".
· 34-66: FAITH RINGGOLD, Who's Afraid of Aunt Jemima?, 1983. Acrylic on canvas with
fabric borders, quilted, 7' 6" 6' 8".
· 34-70: DAVID HAMMONS, Public Enemy, installation at Museum of Modern Art, New
York, 1991. Photographs, balloons, sandbags, guns, and other mixed media.
· 34-73: MAGDALENA ABAKANOWICZ, artist with Backs, at the Musée d'Art Moderne
de la Ville de Paris, Paris, France, 1982. Copyright © Magdalena Abakanowicz/Licensed by
VAGA, New York, NY/Marlborough Gallery, NY.
· 34-74: DAVID WOJNAROWICZ, When I Put My Hands On Your Body, 1990. Gelatinsilver print and silk-screened text on museum board, 2' 2" x 3' 2".
· 34-80: TONY OURSLER, Mansheshe, 1997.Ceramic, glass, video player, videocassette,
CPJ-200 video projector, sound, 11" x 7" x 8" each. Courtesy the artist and Metro Pictures,
New York
· 34-82: MARK TANSEY, A Short History of Modernist Painting, 1982. Oil on canvas,
three panels, each 4' 10" x 3' 4".
· 34-85: GUERRILLA GIRLS, The Advantages of Being A Woman Artist, 1988. Poster.
Week 31 April 11-15
Non-Western Art
Week 32 April 18-21
A.P. Exam Review
Week 33 April 25-29
Student Work Review
Week 34 May 2-6
PPT Slide and Notes Review
Week 35 May 9-13
Exam Review
Week 36 May
Exam Reviews and Senior Exams