Advanced Placement: HISTORY OF ART Honors: HISTORY OF ART

Mr. Rosen 2009-2010

Basic Text for the Course: Marilyn Stokstad’s Art History, 2005 edition. Published by Prentice Hall, Inc., and Harry N. Abrams, Inc. Alternate Texts for the Course: Gene A. Mittler’s Art in Focus, 2000 edition. Published by Glencoe/McGraw-Hill. Objectives for the Course:

1. The student will recognize, list, and describe the characteristics of a variety of art periods and styles from the Prehistoric period to the late 20th century.

2. The student will apply his/her understanding of the elements of design and composition to the description of works of art from the Prehistoric period to the late 20th century.

3. The student will recognize the influences of scientific discoveries, culture, religion, function and historic events on artists and art movements.

4. The student will compare and explain how one artist’s approach to his/her artwork differs from that of other artists of his/her time.

5. The student will recognize and compare the depiction of the same subject matter in different ways by different artists.

6. The student will possess the ability to demonstrate an acceptance and/or understanding of works of art from the Prehistoric period to the late 20th century.

7. The student will show confidence in his/her ability to critically evaluate artworks.

Requirements for the course involve three areas: Class Participation, Testing, and various written and drawing assignments. Class Participation Grade (CPG):

1. Take good notes to supplement the class notes. 2. Participate in class activities and discussions. 3. Because of the amount of material that must be covered before exams

in May, good attendance is essential to success in this course. a. Even satisfactory absences and tardies will lower the daily grade* to some extent; if you are not present, you are unable to participate. b. Unsatisfactory absences and tardies or poor conduct will lower your grade a great deal. *see page 2: “Testing & Extra credit” and page 3: “Key to averaging Grades”

Advanced Placement: HISTORY OF ART Grading:

1. Each quiz will count for 1 grade. 2. Each test will count for 2-3 grades. 3. The other assignment grades will vary. 4. The Honors course will be graded on a different curve than the AP course.

Testing: 1. Tests will follow completion of each set of class notes or when a unit is

completed. 2. There will be two to three tests given during each nine-weeks grading

period. 3. The fourth grading period may have only one test grade, plus a final

written exam. 4. In order to give students a chance to learn how to write art history essays,

the essay portions of the first two essay tests during the first semester may be retaken in order to try for a higher grade.* Essay sections on makeup tests may not be retaken.

a. Students, who earn a “B” on a test, may retake the essay portion to raise their grade to an “A”.

b. Students, who earn a “C” or lower on a test, may retake the essay portion to raise their grade to a “B”.

c. The multiple-choice or matching sections of tests may not be retaken.

Other assignments include: 1. Floor plans and elevations of such buildings as Greek temples, Basilicas, Romanesque Churches, Gothic Churches. 2. Visits to art galleries or exhibitions 3. Children’s book on a chapter 4. Articles from the newspaper or magazines 5. Drawings of Greek sculptural style, vase painting style, other illustration of style Extra credit may be earned by: 1. Attending after school movies. 2. Attending study sessions. 3. Completing study guide pages for three periods. Other Instructional materials 1. Collection of approximately 3000 slides. 2. 107 class sets of Art Scholastic magazines

3. Various art supplies for experimentation. 4. Class notes compiled by Jean Greenaway and Virginia Milne. Basic Text for the Course: Marilyn Stokstad’s Art History, 2005 edition. Published by Prentice Hall, Inc., and Harry N. Abrams, Inc. Supplementary Texts for the Course: Gene A. Mittler’s Art in Focus, 2000 edition. Published by Glencoe/McGraw-Hill. AP Art History – Reading/Test Schedule First Nine Weeks Week Dates Chapter to Read pages 1 Aug 24 Preface, Intro, Starter kit xii,xxix 2 Aug 31 Chapter 1 Prehistory 1 Quiz 9/3/09 Chapter 1 Test (open book) 9/10/09 3 Sept 8 Chapter 2 Ancient Near East 27 Quiz Chapter 2 9/14/09 4 Sept 14 Chapter 3 Ancient Egypt 53 Quiz Chapter 3 9/18/09 Test Ancient Near East and Ancient Egypt 9/22/09 5 Sept 21 Chapter 4 Aegean Art 89 Quiz Chapter 4 9/24/09 6-7 Sept 29 Chapter 5 Art of Ancient Greece 113 Quiz Chapter 5 pg 113-142 10/1/09 Quiz pg 142-179 10/5/09 Test Aegean and Greek 10/9/09 8-10 Oct 12 Chapter 6 Etruscan and Roman 181 Quiz Chapter 6 10/15/09 Test Etruscan Roman Art 10/26/09 Second Nine Weeks 1 Nov 2 Chapter 7 Early Christian, Jewish, Byzantine 249 Quiz Chapter 7 11/2/09 2 Nov 9 Chapter 8&9 Islamic and Indian 303, 329 Quiz Chapter 8 & 9 11/10/09 3 Nov 16 Chapter 10 Chinese 359 Quiz Chapter 10 11/19/09 Test Islamic, Indian and Chinese 11/25/09 4 Nov 23 Chapter 14 Early Medieval Europe 441 Quiz 12/1/09

5 Nov 30 Chapter 15 Romanesque Art 471 Quiz 12/7/09 6-7 Dec 7 Chapter 16 Gothic Art 513 Quiz 12/11/09 Test Early Med, Romanesque, Gothic 1/12/10 8-9 Jan 4 Semester Exam TBA (Prerenaissance) Third Nine Weeks 1 Jan 25 Chapter 17 Early Renaissance in Europe 577 Quiz 1/19/10 and 1/26/10 2-3 Feb 1 Chapter 18 16th Century Renaissance in Europe 645 Quiz 2/3/10 Test Renaissance 2/11/10 4 Feb 16 Chapter 19 Baroque, Rococo, Early American 719, 899 Quiz 2/18/09 5-6 Feb 22 Chapter 26, Neoclassicism, Romanticism 912-961 Quiz 2/24/10 Test Baroque, Neoclassicism, Romanticism 3/5/10 7 Mar 8 Chapter 12, American Pre-Columbian 405 Quiz 3/11/10 8 Mar 15 Chapter 13, African Culture 427 Chapter 24, Pacific Culture 859 Test American Pre-Columbian, African, Pacific 3/19/10 9 Mar 22 Chapter 27, Realism to Impressionism 971 Quiz 3/25/10 Fourth Nine Weeks 1 April 6 Impressionism continued,

Test Realism, Impressionism, Post Impressionism 4/8/10 2-3 April 12 Chapter 28, Rise of Modernism 1019 Quiz 4/14/10 Test 4/22/10 4 April 26 Twentieth Century Architecture 5 May 3 International and Avant-Garde since 1945 1083 Test 20th Cen., International, Avant-Garde 5/6/10 6 May 10 Photography May 12 AP Art History Test at Noon

This has been included in the AP Art History Syllabus as example of study in art beyond the European tradition, religion, and function. AP HISTORY OF ART: The Middle Ages: Islamic Art Introduction to Islamic Art A. Because of the swift advance of Islam upon the Christian world.

1. The Byzantine Empire had to concentrate all its efforts on keeping Islam at the bay in the East. 2. The Roman Catholic Church turned to the Frankish kingdom of Charlemagne for political and economic support. 3. The center of Western civilization shifted from the Mediterranean area to those lands near the English Channel.

B. In Islam, every Moslem has equal access to Allah (no kinds of “priests” or “clergy” are required) and the requirements of Islam are few: 1. Prayer at stated times of the day (alone or in a mosque) 2. Alms giving 3. Fasting 4. A pilgrimage to Mecca, birthplace of Mohammed (570-632 CE) C. Islam (continuing the traditions of Ancient Mesopotamia), through its art, learning, and craftsmanship, was to have a far-ranging influence on the European Middle Ages. 1. Islamic influence spread through: a. Conquest of the Near East and North Africa b. Crusaders returning from the Holy Land with Islamic artifacts 2. Islam is credited with transmitting to Western civilization: a. Arabesque ornament (ultimately Persian) b. Paper manufacture (ultimately Chinese, but brought into Europe through the Moors in Spain). c. Arabic numerals d. Greek philosophy and science preserved by the Arabic scholars (Remember the loss of ancient Greek in the burning of the library at Alexandria, Egypt.)

D. Islam absorbed the conquered populations and adapted their cultural heritages to the requirements of Islam. The Islamic Mosque A. Mosque means “place of prostration” and this is why mosques are designed to be close to the ground, with the emphasis on the horizontal. B. The early Moslem place of prayer was: 1. A church taken over for the purpose 2. A Persian many-columned hall (like the Palace of Darius & Xerxes) 3. A rectangular field surrounded by a fence or a ditch. C. The one element these improvised mosques had in common was the marking “quibla”. 1. The quibla marks the direction to which Moslems turn in praying, toward Mecca. 2. The side toward Mecca was emphasized by the colonnade or merely by

placing the entrance to the mosque on the side opposite the direction of Mecca. D. At the end of the 7th Century, the Moslem rulers began to erect mosques and palaces on a large scale as visible symbols of their power. E. A distinctive Islamic architectural tradition crystallized only in the course of the 8th century. Near (Middle) Eastern Islamic Architecture A. The Dome of the Rock in Jerusalem (begun 643 CE), was designed by Greeks, but built by Muslims from many countries.

1. It marks the top of a rock mountain on which, it is believed, Abraham attempted to sacrifice his son and from which Mohammed ascended to Paradise.

a. The rock occupies the center of the mosque, directly underneath the dome. b. And ambulatory surrounds the Rock in order to enable all to view the Rock and to control the flow of visitors, just as in Santa Costanza.

2. This oldest Islamic monumental has an octagonal base, and many columns inside support the golden, now anodized aluminum, dome. 3. The building is Byzantine in its rotunda form and was designed for this one particular spot (site specific) and not copied elsewhere. 4. The exterior and the interior of the mosque are covered with glazed ceramic tiles.

a. On the interior, vine scrolls and the floral motifs are combined with Arabic writing to decorate the surfaces.

b. Black and gray marble are used in geometric patterns (Roman influence) and in alternating bands or stripes on the arches (Islamic) to contrast with and organize the wealth of gold tiles.

B. The Palace at Mshatta in Jordan (c. 743 CE), has lacelike carving (tracery) and plant motifs reminiscent of Byzantine architectural ornament.

1. The inclusion of Assyrian/Persian winged lions and similar mythical animals interwoven or interlaced with plant forms are familiar from nomad’s gear. 2. The geometric framework of zigzags and rosettes uniformly repeated over the entire width of the façade, suggest a taste for symmetrical abstract patterns which is highly characteristic of Islamic art.

a. Although the sources of the design elements can be traced to ancient Mesopotamia and early Byzantium, the combination of them at Mshatta is characteristic of Islamic art. b. Plant motifs, geometric shapes, and human and animal forms are stylized to become a screen of interlacing pattern. c. Such curving, intricate design is called arabesque (Arab-like). d. The purpose is decorative, rather than symbolic. e. Such non-repetitive design allows for infinite variation and extension.

3. The style of lacelike carving, interlacing of natural forms into arabesque patterns, seen on the Palace at Mshatta, is of great importance to the history of Western art, as it recurs in Moorish and Gothic architecture, and influences manuscript illuminations, textile design and etc.

C. The Great Mosque at Samarra, Iraq (848-852 CE) is the largest mosque in the world. 1. The floor area is nearly 10 acres, of which five and a half were covered by a

wooden roof supported by 464 columns. 2. The spiral minaret, linked to the mosque by a ramp, reflects its descent from

the ziggurats of ancient Mesopotamia. a. The famed Tower of Babel was still in a fair state of repair when this one was built. b. The whole layout of the mosque and minaret are strikingly similar to the Khorsabad Palace of the Assyrian king, Sargon II.

3. The basic features of the Great Mosque’s plan are typical of mosques of this period:

a. A rectangle with its main axis pointing to Mecca encloses a courtyard. b. The courtyard is surrounded by many-columned aisles that run toward the quibla side (of the mosque), which has the greatest number of aisles:

1) The center of the quibla side is marked by a small niche called the mihrab. 2) The mihrab is usually enclosed in a rounded arch that rises slightly to a point in the center, called a mihrab (ogee) arch. 3) The shape of the mihrab arch is often used as a decorative motif elsewhere in the mosque.

4) The mihrab arch will come into use in European Medieval architecture through the Moors in Spain.

c. On the side opposite the quibla is the minaret. (A tower from which the faithful are summoned to prayer by the cry of the muezzin).

Western Islamic Architecture

A. The Mosque at Cordova, Spain (begun 786 CE), was designed as a simpler version of the Samarra type, but with the aisles confined to the quibla side.

1. Repetitive aisles, defined by columns, as in early mosques plans, made it easy to lengthen or multiply the aisles to create a larger building.

2. The sanctuary of the mosque was covered by a wooden roof (later replaced by a stone vaults) resting on double arcades rising from short slender columns.

a. The striped, horseshoe-like arches are so closely associated with Islamic architecture, that they are identified as Islamic arches.

3. The combination of multiple columns and two-tiered arcade creates an obscured, limitless, and mysterious interior.

4. When the spatial effect of the Mosque at Cordova is compared with that of Byzantine architecture, one finds them very different, because they have been shaped to suit the needs of two different religions.

Byzantine Space Islamic Space Requires a large space which Requires a large space with some gives an unobstructed view indication of the direction of Mecca. of the altar and the priest, who Islam does not require a person to leads the service. lead a service, so an unobstructed Space is treated as volume and view is not required. has an unobstructed, clearly The limits of the space are purposely defined shape. obscured.

B. The Court of the Lions at the Alhambra Palace in Granadam Spain (1354-1391 CE) has the distinctively “Spanish-flavored” Islamic style, called Moorish (North African and Spanish), seen in the Mosque at Cordova.

1. The Moorish or Islamic style reaches its ultimate stage of refinement in the Court of the Lions.

2. The very slender, single, paired or tripled columns support extravagantly complex, stilted arches united into a colonnade by a stucco (cast plaster or cement) screen of interlaced design.

3. The Court of the Lions is linked to the façade of the Palace at Mshatta, six centuries earlier, by the same basic sense of symmetry and rhythmic order.

4. Arch ribs disappear behind a honeycomb of stalactite or flame-like shapes that hang from the ceilings and arches.

Turkish Islamic Architecture

A. The Mosque of the Sultan Ahmen I in Istanbul, Turkey (1609-1616 AD/CE) elaborates and regularizes the design of the Byzantine Hagia Sophia into a square.

1. The main dome is abutted by four half-domes instead of two and there are four smaller domes at the corners nest to the minarets.

2. The exterior of the mosque is far more harmonious than that of Hagia Sophia because of the logic and geometric precision used for the mounting sequence of the domes.

B. The Taj Mahal at Agra, India (1630-1648 AD/CE) was built by one of the Moslem rulers (Moguls) of India, Shah Jahan, as a memorial to his favorite wife, who had died in childbirth.

1. This masterpiece of architecture has harmonious shapes and weightless elegance, enhanced by the balloon-like dome.

2. The shape of the dome is repeated in the windows, portals, carved designs, everywhere on the building.

3. The white marble walls, broken by deep recesses, appear paper-thin. 4. Its dreamy mood is enhanced by its setting behind a long reflecting pool

lined with contrasting dark green shrubs. Islamic Decorative Objects, Painting, and Sculpture

A. In practice, the Islamic ban on making images of living things was fully effective only against large-scale representational art for public display

1. Nonreligious representational art of landscape of landscapes and animals, found in newly conquered territories, was accepted.

2. Human and animal figures survive as decorative motifs no more important than geometric or plant ornament.

B. Among the peoples who shaped Moslem civilization, all shared a love of portable, richly decorated objects as the common heritage of their nomadic past (nomadic gear).

1. The nomad’s techniques merged with the repertory forms and materials accumulated by the craftsmen of Egypt the Near East, and the Graeco-Roman world.

2. Many of the finest specimens of Islamic decorative art are found in the churched and palaces of western Europe.

C. The Coronation Cloak of Roger II of Sicily (1133-1134 AD/CE), the coronation

cloak of the German emperors was created by Islamic artists. 1. The symmetrical grouping of two lions attacking camels on either side of a

symbolic tree of life is a motif whose ancestry goes back thousands of years in the ancient Near East.

2. When worn, the animals form another ancient motif, that of a human between two guardian figures.

D. The Incense Burner from Khurasan, Iran (1181-1182 AD/CE), of bronze and 33 ½” tall, is one of the largest pieces of free-standing sculpture in all of Islamic art.

1. It is a decorated, perforated incense burner in the shape of a fantastic animal.

2. When filled with burning incense, it “breathes” smoke.

E. Artists of other faiths were employed by Arab rulers to illustrate scientific texts and to do illustrations of Arab literature.

1. The Mongol invasion of the 13th century brought the influence of Chinese landscape painters, which became an important factor in Persian Islamic art.

a. “The Two Warriors Fighting in a Landscape” from a Persian manuscript of 1396, demonstrates Chinese influence.

b. The story (narrative) to be illustrated served as a point of departure for the artist.

c. The delicately shaded rocks, trees, and flowers clearly reflect their Chinese source.

d. The relative space occupied by the figures (little) as compared to that of the landscape (most) is typical of Chinese landscapes.

e. However, the decorative quality of the design is characteristically Islamic, like the pattern of a Persian carpet.

2. Another important result of the Chinese influence was the emergence of religious themes in Persian miniatures.

a. “Mohammed’s Ascension to Paradise” illustrates Mohammed on a miraculous mount named Braq, descended from the guardian figure of Assyria.

b. The Chinese influence seen in the flame-like golden halos, a familiar feature of Buddhist art, and in the stylized clouds, costumes and faces of the angels.

c. The agitated movement of the angels, converging upon Mohammed recalls Christian art.

d. The only concession to Islamic iconoclasm in the painting is that Mohammed’s face has been left blank.

3. Flexible Arabic lettering is used in “Allah”, a calligraphic illustration of the 15th century, to write the name of Allah over and over.

a. Arabic lettering is capable of an infinite variety of decorative elaborations, both geometric and curvilinear.

b. Within a set of formal rules, its intricacies can form a maze, a rug pattern, etc.

This has been included in the AP Art History Syllabus as example of : Topics : Sculpture, Architecture, Painting Themes: Religion, Economics, Politics Concepts: Characteristics, Importance to Art History (I have similar notes on every chapter) AP HISTORY OF ART: Aegean Art: Cycladic, Minoan, & Mycenaean Art Introduction to Aegean Art:

A. Archaeologists use “Aegean” to designate the ancient civilizations that flourished on the islands in the Aegean Sea between what is now Greece and Turkey (Anatolia/Asia Minor).

1. The Cycladic civilization on the Cycladic islands near Anatolia 2. The Minoan civilization on the island of Crete and Thera (Santorini) 3. The Mycenaean civilization in the Peloponneseus, which is connected

to southern, mainland Greece by a narrow neck of land B. These cultures flourished between 2500 – 1100 BCE CYCLADIC ART: Sculpture (2500-1100 BCE)

A. Few traces are left pf the ancient inhabitants of the Cycladic islands apart from the contents of their modest tombs.

B. The tombs contained a large number of marble idols or fertility figures, most of which are standing nude female figures ranging in size from a few inches to life size. Ex: “ The Idol from Amorgos”

C. The characteristics of these Cycladic “idols” are: 1. Arms folded across the waist 2. Body is slim, angular and wedge-shaped, abstract, somewhat flat 3. Exhibits a feeling for the organic structure of the body in:

a. The delicate curves of the outline b. The slightly convex knees, breast, and abdomen

4. Face is a tilted, oval shield a. Neck is columnar b. Ridge like nose, other features were originally painted on

5. Scale varies from very small to life size D. Cycladic female idols, such as “the Idol from Amorgos,” are important to

history of art because:

1. They represent such a bold departure from the female sculptures of the past.

a. Earlier figures, such as the “Venus of Willendorf,” were more robust, rounded and heavy or monumental in their appearance.

b. The Cycladic female idols are slim, angular, and delicate in appearance.

2. They are the oldest life size figures of the female nude.

MINOAN ART: 2000 – 1500 BCE

A. The earliest excavations were undertaken in Crete before 1900 AD by Sir Arthur Evans in order to test the factual core of Homer’s Iliad

B. The Minoan civilization is by far the richest of the Aegean civilization, but external forces (earthquakes, fire, etc.) caused violent disruptions in the Minoan period.

C. Minoan art is important to the history of art because: 1. it connects both Egyptian and Near Eastern art to later Greek art 2. it is inventive, fresh, playful, and rhythmic.

Minoan Architecture

A. Between 2000-1700 BCE, the Minoans created their own system of writing and an urban civilization centering on several great palaces at Knossos, Phaistos, and Mallia, which were destroyed (probably by earthquake) around 1700 BCE. 1. Minoan economic life centered on shipping and trade.

a. Cretan export articles have been found in Egypt and elsewhere.

b. The Minoan kings (all named “Minos”) appear to have been the equivalent of the head of a merchant aristocracy.

2. There were elaborate harbor installments at Crete, but no fortifications.

B. The Palace of Minos at Knossos is important to the history of art because: 1. It was the largest and most ambitious of the palace-cities. (Europe’s

first big city with a population of approx. 80,000.) 2. It was composed of so may rooms that it survived in Greek legend as

the labyrinth of the Minotaur. 3. What we know of the Minoan civilization is the result of the careful

excavation and partial restoration of Knossos by Sir Arthur Evans. C. The characteristics of Minoan architecture found at Knossos:

1. There is no indication that they strove for a unfilled, monumental effect a. The numerous porticoes (covered porches), staircases, and air

shafts gave the palace an open, airy quality even though two to

three sides of the palace were built into the hillside and had doorways or windows on only one side.

b. The palace was not only a royal residence, but a great center for administrative offices and commercial storerooms and workshops.

2. The engineering and masonry construction of Minoan palaces is excellent throughout.

a. Knossos had channels fro running water at all five levels of the palace, with “toilets” that “flushed.”

b. Ceiling and roof supports were square piers, recalling those in Egyptian valley temples, or wooden columns (painted red or black) which tapered downward, topped by a wide, cushion shaped capital.

3. The interior surfaces were painted with richly decorated, elegant frescoes.

Minoan Sculpture

A. The religious life of Minoan Crete appears to have centered on certain sacred places, such as small chapels in the palaces.

B. Although the bull seems to have an important role in religious rites, the Minoan religion’s chief deity appears to have been female. 1. The bull is represented in many frescoes and sculptures.

a. There is evidence that the bull was a Minoan sacrificial animal. b. It is believed that the Minoans, and possibly other Aegean and

Greek cultures, believed that the earth was held between the horns of a great bull who, when angered, shook his head causing earthquakes.

2. It is not known whether the so-called “Snake Goddess” was really a religious figure or not.

a. It is believed that the bared breasts of the statuette suggest female fertility and the snakes, earth deities and/or male fertility.

b. The statue may represent a ritual of snake-handling rather than a divine attribute and/or may represent a priestess performing a ritual.

c. Snakes are scarce in Crete so the idea of a snake cult may have been imported, but no “snake goddesses” have been found out side of Crete.

d. The of the “Snake Goddess” hints at a kidnap with Mesopotamian (Sumerian) art in:

1) its emphatically conical shape, 2) the large, staring eyes, 3) the heavy, arched eyebrows, 4) the long, coiled hair, 5) its clay construction,

e. The style of the “Snake Goddess” is Minoan in its costume : bared breasts, cinched “wasp” waist, elegant hairstyle, and coiled snakes

Minoan Painting & Ceramics: A. Between 2000 and 1700 BCE, Crete developed a type of pottery called

Komares ware (c. 1800 BCE), famous for its technical perfection and its geometric-organic, dynamic, swirling ornament.

B. There is evidence that the Mycenaeans of mainland Greece were hired as mercenaries by the Egyptians during the period of 1700-1580 BCE and that they were transported between the Peloponnesus and Egypt by Minoan ships.

1. This provided the Minoans with closer contact with Egypt and may account for the sudden prosperity toward 1600 BCE.

2. It may also account for the rapid development of naturalistic Minoan wall painting at that same time.

C. After a century of slow recovery from the catastrophe of 1700 BCE, there was an explosive increase in wealth and creative energy which resulted in a new repertory of designs drawn from marine, plant, and animal life and from ritual.

1. In ceramics, the “Octopus Vase” (c. 1500 BCE) shows the playful, rhythmic, harmonious line and expression so characteristic of Minoan art.

2. The incised “Harvester Vase” (c. 1550-1500 BCE) shows men cheerfully singing as they return from the harvest.

D. The walls of the “new” palaces on Crete and the walls recently uncovered at Akrotini on the small island of Thera, north of Crete in Cyclades, are uncovered with “naturalistic” frescoed murals: scenes from nature showing animals and birds among luxuriant vegetation.

1. In “Cat Stalking a Pheasant” and “Landscape” at Thera (the earliest known landscape in Europe), influences from Egyptian painting can be seen:

a. Flat forms, silhouetted against a background of solid color;

b. Acute, naturalistic depiction of animals; c. Ornamentalized plants.

2. The innovations of the Minoan artists can be seen in:

a. The rhythmic, undulating movement; b. The weightless forms, which have a “floating” quality,

as though they were underwater. 3. Marine life was a favorite subject of Minoan painting, and that

“floating” quality pervades all other Minoan paintings, such as “The Dolphin Mural” from the “Queen’s Apartment” at Knossos.

E. The “floating” quality is often the result of the lack of a ground line in Minoan painting, as is seen in “The Bull Dancers Fresco” (also called “The Bull Jumpers/Toreador Fresco”

1. The acrobatic routine/sport/ritual depicted has been idealized by stressing the subject’s harmonious, playful aspect.

2. In keeping with ancient tradition, the males are depicted with dark, reddish brown skin and the females with pale creamy skin.

3. Here, as in other Knossos murals such as “La Parisienne,” “The Jar Bearers’ Fresco,” and others, the Minoans are portrayed as an elegant, richly garbed, smiling, sophisticated people.

MYCENAEAN ART (c. 1600-1100 BCE)

A. Ancient Mycenae was rediscovered by German amateur archeologist, Heinrich Schliemann, who had earlier uncovered ancient Troy.

B. During Late Helladic times a number of settlements, grouped around palaces which corresponded in many to those of Minoan Crete, existed on the Peloponnesian area of the Greek mainland.

C. The Mycenaeans, descendants of the earliest Greek tribes, had a lot of contact with the Minoans and with Egypt and the near East which os evident in:

1. an Egyptian influence on burial customs and a lavish use of gold, of which only Egypt had an ample supply;

2. a strong artistic influence from Crete in the shape of their columns (tapered toward the bottom but were painted with geometric designs) and decorative motifs or various sorts;

3. The use of lions with tense, muscular bodies as guardians of the gate, among other sculptural themes, suggest an influence from Mesopotamia.

Mycenaean Architecture

A. Prior to 1600 BCE, Mycenaeans had modest tombs yielding only simple pottery and a few bronze weapons.

B. Toward 1600 BCE, the Mycenaeans began to bury their dead in deep shafts graves within grave circles.

1. Masks, formed from sheets of gold of silver were found, by Heinrich Schliemann, alongside the royal dead intact Mycenaean tombs.

2. It is believed that, as in Egypt and in the Chimu of Peru, these death masks were originally placed over the faces of the dead.

3. The tombs also contained drinking vessels, jewelry, and weapons, much of it of gold.

a. “The Vaphio Cups,” two famous gold cups from a tomb at Vaphio, show men capturing cattle on the range.

b. Although the men look much like the depictions of Minoan males with their long coiled hair and “wasp” waists, the design on the cups lack the “floating,” continuous rhythmic movement of Minoan art and the bulls have the look of cattle rather than of the sacred bull of Crete.

C. A little later, cone-shaped stone chambers known as “beehive” tombs were built and then heaped with dirt to form a protective mound. (Later, the Etruscans, in Italy, would use a similar method of construction for their tombs.)

D. Toward 1400 BCE, the Mycenaeans were the rulers of Crete as their power had risen as that of the Minoans declined.

E. The great monuments of Mycenaean architecture were all built between 1400 and 1200 BCE and are important to the history of art because they are forerunners of Greek temple design.

1. The development of the beehive tombs reached its peak toward 1300 BCE in such impressive structures as “The Treasury of Atreus,” misnamed by Schliemann because of the great wealth of gold objects it contained.

a. “The Treasury of Atreus” is a prime example of corbelled vaulting.

b. It was the largest vaulted structure (40’ high) without interior supports in all antiquity, until the Roman Pantheon was built 1,500 year later.

This has been included in the syllabus as an example of the Quizzes given for every reading assignment.     AP Art History Quiz – African Art    Scarification     Benin      Spirit Spouse      Iyoba       Great Friday Mosque      Conical Tower       Torons        Power figure      Kente       Biiga        Ife  1.    _______________ heads were usually made of bronze have narrow parallel lines that represent _______________________.  2.  Art from the __________ Middle period include bronze Plaques that decorated the royal palace and tell the military history of the country.  3.  Frequently  artist created masks in ivory including masks of the ___________, or queen mother.  4.   West African structures like the________________, have  wooden beams called ________________, projecting from the walls.  5.  The word Zimbabwe derives  from a term meaning houses of stone.  One of the most famous structures from this area is the ____________________.  6.  A_________________ is a play thing for little girls.  7.  Legal agreements can be made by driving a nail or a piece of metal into a _________________________ to waken the spirit of the  nkisi nkonde.  8.  A Blolo bla or a ____________________ are kept in a persons room and dressed in beautiful clothes and jewelry and are meant to help a person and their mate have a life that unfolds smoothly.  9.  The Ashanti are know for their beautiful woven textiles called _____________.   

              AP Art History Quiz‐ Art of the Pacific cultures  X‐ray Style  Appliqué     tiki     moko  Easter Island      Tamberan        tatanua     bargeboards     Malanggan      tapa  1.   The Moai are ancestoral figures on _______________.  2.  Aboriginal people of Australia draw distinctive __________ drawings showing important internal structures.  3.  In the country of Papua New Guinea a ceremonial structure is called a _________________ house.  4.  A________________ceremony is an elaborate funeral ritual.  5.  Cloth that is sewn in layers is ___________________.  6.  A cloth made of bark is called _________________.  7 _____________ figures frequently represent legendary heroes or ancestor figures.  They usually have a large head and huge eyes and are in a seated position.  8. The Sky father of the Maori people is represented in the meeting house at  

Te‐Hau‐ki‐Turanga.  The ______________represent his outstretched enfolding arms.  9.  The bilateral swirling patterns seen in tattoos of he Maori men are called _____________.              Ap Art History Quiz – North and South American Art  Moon Goddess Coydxauhgue,     Sand painting     Pueblos     ovoid                  Temple of the Sun           Olmec             talud–tablero Codices      Chacmmols         geoglyphs       beveled            Temple of the feathered serpent         Stelai           classical   1.   Colossal earthworks called _______________were built by the Nazca in Peru.  2.   Colossal heads were created by the _______________in Mexico.  3.  The ceremonial center of Teotihuacan have three major structures, the Pyramid of the Sun, the Pyramid of the moon and ___________________. This structure exhibits __________________(slope and panel) construction.  4.  Mayan record keeping include hieroglyphic writing on monumental ___________________.  5.  Mayan _________________period  paintings include _____________ which are books of folded paper made from the maguey plant.  6.  Sculpture at Chichen Itza include half‐reclining figures known as ________________.  

7.  _____________________ are a traditional Navajo Art Form and are not meant of public display.  They are destroyed by night fall on the day that they are made.  8. Characteristic of Northwest painting and weaving, images are composed of two basic elements: the ___________ a slightly bent rectangle with rounded corners and the formline a continuous shape defining line  9.  __________ villages in the Southwest United States consist of multistoried apartment like dwellings.   10.  The ___________________was killed by her brother the sun God.  A disk shows her body broken into pieces as it hit the ground.  11. Inca masonry, as seen on the _____________, has blocks of stone that fit tightly together without mortar and have ____________ edges.  This has been included in the syllabus as an example of a major assignment. Children’s book assignment 1. Determine which test you had the lowest grade on. 2. Write a children’s book about that period in art history. The book should be written at a fourth grade level. The book should include the following. a. 20 pages b. ten pictures ( picture must be related to the text on the adjoining page.) c. Table of contents

d. Title page which includes: title, source of information, editor (you). e. Hard cover with a cover illustration 3. The book will be graded on content, neatness, creativity, effort. This has been included in the syllabus as an example of various drawing assignments throughout the year.   Drawing assignments  1) Find  the Diagram of  the Greek  temple  in  the chapter on Greece draw  it on 

graph paper and label the parts.  2) Design  a  vase  painting  in  either  the Greek Geometric  style  or  the Oriental style.   Describe the pertinent characteristics.  3) Choose a sculpture from the Archaic, Classical or Hellenistic period and draw   it. Describe the pertinent characteristics  4) Find the floor plan of the Church of San Vitale in Ravenna Italy.   Draw it on graph paper and label the parts.  

5) Draw  the  floor plan on graph paper  for a Basilica Plan church and  label  the parts.  6) Draw the elevation for a Romanesque Church Portal on graph paper and label the parts.  7) Draw the elevation of the façade of Il Gesu on graph paper and label the parts                    This has been included in the syllabus as an example of a major assignment Trip to Art Basel Worth two A’s Must show ticket stub and must write 200 word description of one work of art in the show. Include the artists name, media,

subject matter. Discuss three of the following, color, line texture, value or shape. Discuss how you relate to this work of art this work of art. Does it mean anything to you? How would you interpret what the artist is trying to say or do? Gallery or Museum visit/ 3rd quarter Must show ticket stub and must write 200 word description of one work of art in the show. Include the artists name, media, subject matter. Discuss three of the following, color, line texture, value or shape. Discuss how you relate to this work of art. Does it mean anything to you? How would you interpret what the artist is trying to say or do?    This is included in the syllabus as an example an assignment. February 13, 2007  The students will answer the following questions in the Art in Focus book. Chapter 11, Page 253 questions 1 ‐4 

    Page 261 questions 1 ‐4 Chapter 12, page 272, questions 1‐4  Be sure to answer the question completely.  Some answers require an educated opinion.  All papers are due at the end of class, even if they are not finished.                         This has been included in the syllabus as an example of a major assessment. I have a similar test for every chapter.

AP History of Art – Renaissance A Identify the work of art in the slide using the list below. Architecture

A. Villa Rotunda a. Bramante B. Church Il Gesu C. Tempieto b. Michelangelo D. Laurentian Library, c. Giacomo da Vignola , Giacomo dela Porta E. Compidoglio by Michelangelo d. Paladi F. St Giorgio Maggiore G. Tomb of Giulliano de Medici a. High Italian

b. Late Northern c. Mannerist Sculpture

A. Saltcellar of Francis I a. Michaelangelo B. Pieta b. Cellini C. Rape of the Sabine woman c. Bologna D. David E. Moses F. Slave

Painting

A. Mona Lisa a. El Greco B. Schools of Athens b. Durer C. Sistine Chapel c. Giorgioni D Last Supper d. Michelanglo E. Four Horsemen of the Apocalypse e. Tintoretto F. Madonna with the long neck f. Parmigianino G. Venus of Urbino g. Raphael H. Tempest h. Bruegel

I . Self Portrait i. Castagno J. View of Toledo j. Holbein K. Henry the VIII k. Veronese L. Return of the Hunters M The Cowper Madonna N. Feast at the House of Levi Multiple choice questions. A 1. The equestrian statue or Marcus Aurelius, from the second century CE was later incorporated into a major civic center in Rome designed by a. Michelangelo b. Bernini c. Palladio d. Bramante

2. Which of the following was not a Venetian painter a. Titian b. Tintoretto c. Corregio d. Bellini 3. The long series of portraits painted for the court of Henry the VIII were from thebrush of a. Durer b. Holbien, the younger c. Cranach d. Michelangelo 4. The Italian Renaissance artist who unlike his contemporaries displayed a monumental sculptural quality in his painting was a. Michelangelo b. Raphael c.Andrea del Sarto d. Ghirlandaio 5. A dramatic struggle between light and darkness, elongated figures and a supernatural quality all are characteristics of the paintings of a. Da Vinci b. el Greco Boticelli d. Velasquez 6. The vivid roistering peasant life of his time was used as subject matter for the paintings of a. Rubens b. Brueghel c. Durer d. Holbien 7. In contrast to Florentine painters who were primarily interested in the study of form to express ideas, the Venetians strove for a. abstract conceptions b. sumptuous magnificence c. two dimensional expression d. brutal reality 8. Of the following names which are not grouped in chronological order a. Leonardo Da Vinci, Raphael, Pontormo b. Michelanglo, Raphael, Parmigianino c. Tintoretto, Veronese, Titian d. Bosch, Durer, Holbein 9. The following combinations are correct Except a. Rome b. Florence c. Rome d. Florence 10. The first monumental image of a nude goddess since Roman times in a pose derived from classical statures is a. Georgione’s Tempest b. Botticellis’s The Birth of Venus c. Titian’s Aristo

d. Correggion’s Danae 11. Chiaroscuro was a technique used by da Vinci, among others specifically to a. create perspective c. model form b. out line color areas d. add a dream like haze to the painting 12. Michelangelo’s self portrait is found in a. The Last Judgement c. The Rebellious Slave b. Moses d. Zaccarias 13. A Florentine Renaissance painter, engineer, surveryor, and esteemed architect was a. Sebastiano c. Raphael b. Signorelli d. Da Vinci 14 Michelangelo’s works, Day and Night, are integral parts of the a. Sistine Chapel c. Laurenziana Library b. Tomb of Giuliano de’ Medici d. Tomb of Julius II 15. Of the following examples which one is NOT a high Renaissance piece of architecture. a. Tempieto . b. St. Peters c. San Lorenzo d. Laurentian Library 16. “ Of all the Italians, the Venetians were most truly painters.” This statement applies particularly to a. Titian b. Fra Angelico c. Michelangelo d. Raphael 17 All of the following are correct EXCEPT a. Rome – Campidoglio c. Venice- Church of San Girogio Maggiore b. b. b.Florence – Baptistry d. Florence - St. Peter’s This has been included in the syllabus as an example of formal visual analysis and cultural and historical context.  

    Early Renaissance – Essay Question  Choose two works of art that are narratives. (Choose works from you text book).  Discuss period, artist, region, media, three characteristics, story, and why are these pieces important to Art History .  Also discuss what they tell us about the culture, such as religion, politics, economics etc.  Finally choose three of the elements to discuss (line, shape, color, value or texture and choose two of the principles to discuss ( rhythm, balance, emphasis, proportion or unity.)  Points will be subtracted for incorrect information, story telling or verbiage.