ART 5: ART HISTORY of the WESTERN WORLD
RENAISSANCE to CONTEMPORARY
Tuesday & Thursday 3:30-5:00
Chaffey College, VSS-108
Instructor: John Machado
Email: john.machado@chaffey.edu
Office: VSS 81 (ground level under front stairs)
Course Description
Art 5 is a one-semester survey of Western art and architecture from the Renaissance in Europe to the latetwentieth century in the United States. This course is divided into six sequential units—1400-1600, 1600-1750,
1750-1850, 1850-1900, 1900-1945, and 1945 to the present—but, within each of these, the organization is not
strictly chronological. Rather, each unit consists of six recurring topics: a period characterization; place; style
or movement; individual artist; individual work of art; and a subject matter. These topics will not follow the
same order in each unit, so you should not regard them hierarchically. This structure will introduce you to
different ways of approaching works of art—relative to an individual maker, to a broader movement, to a
particular location, and so on—without privileging any one approach. In practice, historians must consider all
of these factors and others in studying works of art.
Beyond the choice to study an individual artist, work, place, style, etc., scholars adhere to differing interpretive
strategies (whether they acknowledge these or not) and proceed from varying concerns, of which some of the
more obvious are class, gender, and race. No one can have a completely “objective” or “neutral” position
relative to history. Each of you has also developed shaping perspectives. Working to recognize these and how
they affect your reading/looking will make you a more effective student of history and will expand your
capacity for understanding. In this class, the perspectives of different art historians will be brought to the fore
and examined. A good historian marshals compelling evidence and argues persuasively. You will have the
opportunity to read, and test, the arguments of a number of writers on a range of subjects.
By the end of the term, you will have been exposed to many of the major works, artists, movements, and media
of Western art history of the period, and you will have learned some of the rudiments of looking at works of
art. You will know that the appearance of an artwork depends on when, where, why, how, and by whom it was
made. You will also know that the interpretation of a work depends on the interpreter, and that you, too, are
necessarily an interpreter. This is not to say that all interpretations are equally valid. Interpretations can be illor well-informed, responsible or irresponsible, etc. Opinion is not interpretation.
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Readings
Stokstad, Marilyn. Art History: A View of the West, Volume 2 (third edition).
We will not be adhering directly to the chronology outlined in the survey text, Stokstad’s
Art History. Although the survey text is required reading, do not think of it as a template
for the course. The survey text will provide background reading, to give you a sense of
the broad sweep of Western art, and to expose you to many more artists than we will
discuss in class. Material in Stokstad directly pertaining to a given lecture will often be
scattered, so it is not practical to assign particular pages. Instead, I have indicated the
generally relevant section at the beginning of each unit. It will be to your advantage to
read the sections in Stokstad as early as possible in each unit, a practice that will
enhance what you hear in class. But do not focus on matching pages to lectures; it is
not a productive way to read. The Stokstad text (hardback version that includes both
volumes 1 and 2) is also on reserve in the library.
Supplemental readings are listed on the course schedule. These readings will be
discussed during the class lecture and student involvement will be encouraged. Information from
the readings may also be used on the exams. They can be accessed on Blackboard under Course Documents.
I also recommend that you read Sylvan Barnet's A Short Guide to Writing About Art; any edition. This book is
not limited in usefulness to the writing of papers, but offers tips for organizing your thoughts
about art in ways generally appropriate to all of your work in this class.
Images
Lectures will be illustrated by images of works of art. Many, but not all, of these are pictured
and discussed in Stokstad. Please be advised that some images may contain nudity or violent
content. Images are also available for review from an online image reserve linked through
Blackboard or directly at http://homepage.mac.com/jlmachado2/ART5/Menu33.html
Blackboard
Additional information, announcements, online quizzes, class handouts and a
listing of your assignment grades will be made available on the website for this course through
Blackboard, http://blackboard.chaffey.edu/. Your username is your first initial, last initial (both
in lowercase) and your 7-digit student ID number. Your password is your six-digit date of birth
in the mmddyy format. Your Blackboard password is not connected to your ChaffeyView
password. I will often send out notices and answer questions pertaining to the course through
this website. Some of the documents posted on the website will need to be downloaded to
your computer. The downloaded files will be in a format
known as PDF. In order to view and print these files you must have the
program Adobe Acrobat Reader on your computer. The program is free
and can be downloaded at http://www.adobe.com/.
Examinations
There will be three in-class exams. They will not be cumulative. The
exams will focus on evaluating your comprehension and analytical
understanding of art historical information and cultural concepts. This
will be done through a series of multiple-choice, fill-in, identification,
and short response type questions. See the class schedule for dates. A
study guide will be available on Blackboard a week before each exam.
Bring a blue or black pen to class on the day of exam.
Make-up exams will only be available in extreme cases and to those
students excused by me in advance. Those with unexcused absences do
not have this option. An unexcused absence will result in a zero grade.
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In-Class Assignments
There will be several small in-class assignments spread over the term. They
will consist of short questions on the topic at hand that you will discuss
and respond to in writing. To earn these points you must be present
during class lectures. There will be no make-ups for these assignments.
Each in-class assignment is worth 10 points.
Online Quizzes
There will be short multiple-choice quizzes given online through
Blackboard. These quizzes will contain questions on the assigned
textbook readings. The quizzes will be available on Blackboard until
midnight on its due date. From the time you first access (look at) each
quiz you will have one hour to complete that quiz. Since the quiz will
be available for many days before it is due, there will be no make-up
quizzes provided. The due dates of the online quizzes are listed on the class schedule. It is
your responsibility to keep track of when each quiz is due. I recommend not waiting until the last minute to
complete the quizzes. Each quiz is worth 10 points.
Term Project
Each student is to complete ONLY ONE of the following projects. Projects are due at the beginning of class
on the given due date listed in the schedule in this syllabus, no exceptions. See attached assessment rubric
for writing guidelines and standards. Students are strongly urged to seek assistance as needed at the
Student Success Centers.
Chaffey College has created Student Success Centers, which offer free tutorials, workshops, study groups,
directed learning activities, and computer access to assist students in their academic development and success.
Four of the centers located on the Rancho Cucamonga campus are designed to address specific subject needs:
Math Success Center Room PS-12
Language Success Center BEB
Writing Success Center Library Reading Success Center BEB (909) 652-6452
(909) 652-6907
(909) 652-6820
(909) 652-6932
Option One
In colored pencil, pen, crayon, or paint do two small-scale self-portraits, one
in the Impressionist style and the other in a Cubist style. These should be
small enough so that you can present them side by side on a single 8 1/2 x 11
inch board or sheet of paper. In addition, write a two-page paper explaining
specifically how your self-portraits portray the important characteristics of
these styles and relate to the history of these styles. The paper should be in
your own words and clearly show your understanding of how you have
used these styles. The final text of the paper is to be two pages, doublespaced in a twelve-point font. Include proper citations for any sources used.
Option Two
Find a magazine advertisement influenced by an artistic movement we have studied.
Write a four-page paper that identifies the style, discusses what aspects or characteristics
of the movement’s style the advertising designer has borrowed, what attitude or feeling
the ad attempts to convey, and how effective it is in doing so. The paper should be in
your own words and clearly show your understanding of the art movement. The
final text of the paper is to be four pages, double-spaced in a twelve-point font. Include
proper citations for any sources used. Attach advertisement to back of paper.
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Option Three
For this paper you will visit the Norton Simon Museum in Pasadena (www.nortonsimon.org) in order to view
original artworks in person. You will write a paper on the topic described below. The final text of the paper is
to be four pages, double-spaced in a twelve-point font. Include proper citations for any sources used. The
paper should be in your own words and clearly reflect your own observations. Attach an admission
ticket or receipt as proof of the date of your visit.
Assignment: Compare and contrast three still life paintings from three periods covered in this course.
Discuss the composition, use of color and line, and the paint application technique used by each artist.
Look very closely at the works and discuss specific aspects in your paper. Be sure to incorporate
knowledge and vocabulary learned in your art history course.
Select your three paintings from the following pieces located in the museum.
One painting must come from each century listed below, 17th, 18th and 19th.
17th Century
• Sebastian Stoskopff, Sti% Life with Empty Glasses, 1644
• Isaak Soreau, Sti% Life with Fruits and Flowers, c.1635
• Ambrosius Bosschaert, the Elder, Flowers in a Glass Beaker, c.1620
• Francisco de Zurbaran, Sti% life with Lemons, Oranges and a Rose, 1633
• Pieter Claesz, Sti% Life with Rummer, 1645
• Jan Davidzoon de Heem, Vase of Flowers, 1654
• Louise Moillon, Sti% Life with Cherries, Strawberries and Gooseberries, 1630
18th Century
• Jean Baptiste Simeon Chardin, Sti% Life with Fowl, c.1728-30
• Jean Baptiste Simeon Chardin, Sti% Life with Cooking Utensils, c.1728-30
• Henri-Horace Roland de la Porte, Sti% Life, c.1765
• Thomas-Germain-Joseph Duvivier, An Architect’s Table, 1772
19th Century
• Paul Cezanne, Vase of Flowers, c.1879-82
• Paul Cezanne, Tulips in a Vase, c.1890-92
• Vincent van Gogh, Sti% Life, 1884-85
• Pierre Auguste Renoir, Bouquet of Lilacs, 1875
• Gustave Courbet, Vase of Lilacs, Roses and Tulips, 1863
• Gustave Courbet, Apples, Pears and Primroses on a Table, 1871-72
Attendance and Class Conduct
Regular attendance and punctuality at all class meetings are expected. If you do not attend regularly, you will
find your performance on examinations impaired. The examinations are based on both the readings and the
material covered in class.
I cannot compel you to pay attention, but I expect you to conduct yourself in a
manner that does not prevent anyone else from doing so. That means you should
not talk, read the newspaper, noisily put away your notebooks or leave before the
class is officially over, or cause other distractions. Please turn off your mobile
telephones. For further information please see the student conduct regulations
and student compliance.
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Services for Students with Disabilities
Chaffey College provides upon request appropriate academic accommodations for qualified students with
disabilities. For more information, contact the office of Disability Programs & Services (DPS) located in
CCW-21A, ex. 2380.
Office Hours
Please take advantage of my office hours. I will be happy to answer any questions about course materials
or art history in general. In a survey class it is not always possible for an instructor to make a meaningful
academic connection with each individual student. It is your responsibility to decide if you need additional
time with me outside of class in order to do well.
Academic Dishonesty
Academic dishonesty is defined as an intentional act of deception in which a student
seeks to claim credit for the work or effort of another person or uses unauthorized
materials or fabricated information in any academic work. It includes
"cheating” (intentional use or attempted use of unauthorized materials, information,
or study aid), "fabrication” (intentional falsification or invention of any information),
"assisting in dishonesty” (intentionally or knowingly helping or attempting to help another
commit an act of dishonesty), "tampering” (altering or interfering with evaluation instruments and
documents), and "plagiarism” (intentionally or knowingly representing the words or ideas of another person
as one's own).
I have zero tolerance for academic dishonesty and will fail any student engaging in such acts.
Extra Credit
Maximum of 40 points total (due by last class lecture)
A survey designed to evaluate the learning experience of the student at the mid-semester point will be
posted on Blackboard. Five points will be awarded for completing this survey.
To receive an extra 10 points write a review of a minimum of two pages (as if you were writing for a
newspaper) of an art exhibit at an art museum (other than one already assigned for this class). Inform your
readers about the guiding idea of the show. Describe the range of objects and works of art (in terms of
media, use, style, and so on) and describe a few in some detail. Comment about what you think is most
and least interesting in the exhibit. Most importantly, discuss how the art relates to the history of art.
Attach an admission ticket or receipt as proof of the date of your visit.
Become a contributor to the blog, Tesserae. Students of this class, as well as others that are or have taken a
class from me will be participating in expanding this online community. Post your thoughtful and critical
art historical interpretations and insights for others to consider and respond to. The complete guidelines
can be viewed at http://tesserae.blogspot.com. When ready send me an email and I will send you an invite
to become a contributor. A maximum of 25 extra credit points are possible, 5 points for each substantive
and original posting. To qualify you must submit your first post before the first in-class examination. You
can post often, but only one post per week will be awarded extra credit points. In addition, you will
receive 1 point for leaving a substantive response to posts by other people.
Grading
Examinations: Term Project:
Online Quizzes: In-class Assignments:
Info & Learning styles:
TOTAL: 300 points
100 points
120 points
70 points
10 points
600 points
5
ART 5
ART HISTORY of the WESTERN WORLD: RENAISSANCE TO CONTEMPORARY
Chaffey College
John Machado
To enable you to grasp the structure of the course, the six units and six recurring topics—along
with their subjects within each unit—are given in the tables below. A separate section lists dates,
readings and assignments for each class meeting.
TOPICS/
UNITS
1400-1600
period
Renaissance
characterization
1600-1750
1750-1850
1850-1900
Baroque
Romanticism Modernism
1900-1945
1945-Present
PostModernism
place
15th century
Florence
17th century
Rome
mid-19th
century Paris
style or
movement
Mannerism
Dutch realism Realism
Impressionism
individual
artist
Michelangelo
Artemesia
Gentileschi
Auguste Rodin Picasso
Jackson
Pollock
Manet, Bar at
the FoliesBergère
Frank Lloyd
Wright,
Fallingwater
Christo and
Jeanne-Claude,
Running Fence
photography
the
subconscious
(Surrealism)
public art:
Serra’s Tilted
Arc; Lin’s
Vietnam
Veterans
Memorial
Goya
individual work Jan Van Eyck, Bernini,
of art
The Arnolfini Cornaro
Wedding
Chapel
subjects
prints
fête gallante
FIRST
EXAM
landscape
SECOND
EXAM
New York in
the 20th century
Futurism
Pop art
THIRD
EXAM
ART 5
ART HISTORY of the WESTERN WORLD: RENAISSANCE TO CONTEMPORARY
Chaffey College
COURSE SCHEDULE AND ASSIGNMENTS (T/TH)
Material in Stokstad directly pertaining to a given lecture will often be scattered, so rather I have
indicated the generally relevant pages for each unit. Supplemental readings for discussion are
listed with their corresponding lectures and can be found on Blackboard in Course Documents.
DATE
1/13
1/15
1/20
1/22
1/27
SUBJECT
• Welcome
• Course introduction
1400-1600
• 15th century Florence
• The Renaissance
• Jan Van Eyck, The Arnolfini
Wedding
• Renaissance prints
READINGS/ASSIGNMENTS
Stokstad, Introduction
Review Chapter 12
Online Quiz 1: Chapter 13 due
Online Quiz 2: Chapter 14 due
David Landau and Peter Parshall, The Renaissance Print, 14701550. New Haven: Yale University Press, 1994. 1-6, 33-38, 7890.
1/29
2/03
2/05
2/10
2/12
• Michelangelo
• Mannerism
1600-1750
• 17th century Rome, Baroque
• Bernini, Cornaro Chapel
• Artemesia Gentileschi
2/17
2/19
2/24
• Dutch realism
• fête gallante
Examination 1
2/26
1750-1850
• Romanticism
3/03
•
•
3/05
3/10
3/12
3/17 & 3/19
• landscape
• Realism
1850-1900
• mid-19th century Paris
• Modernism
Spring Break – No Classes
3/24
•
Online Quiz 3: Chapter 15 due
Online Quiz 4: Chapter 16 due
Garrard, Mary D. Artemisia and Susanna. Feminism and Art
History: Questioning the Litany. Eds. Norma Broude and Mary D.
Garrard. New York: Harper & Row, 1982. 146-71.
Online Quiz 5: Chapter 17 due
The fête gallante is covered in first section of Chapter 18.
Online Quiz 6: Chapter 18 due
Goya
landscape
Barbara Novak, “Sound and Silence: Changing Concepts of
the Sublime,” in Novak, Nature and Culture: American
Landscape and Painting (New York, 1980), 34-44.
Online Quiz 7: Chapter 19 up to page that starts
"Impressionism" due
photography
Susan Sontag, “In Plato’s Cave,” from On Photography
(1977; Harmondsworth, Engl.: Penguin, 1979), 3-24.
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DATE
3/26
3/31
4/02
4/07
SUBJECT
• Manet, Bar at Folies-Bergère
• Impressionism
• Auguste Rodin
Examination 2
4/09
1900-Present
• Picasso
4/14
•
•
READINGS/ASSIGNMENTS
Online Quiz 8: Remainder of Chapter 19 due
Online Quiz 9: Chapter 20 up to section that starts
"Early Modern Art in the Americas" due
Futurism
the subconscious (Surrealism)
the subconscious (Surrealism)
4/16
•
4/21
• F.L. Wright, Fallingwater
Faculty Lecture – No Class
4/23
•
4/28
•
Term project option #1 due
Online Quiz 10: Remainder of Chapter 20 due
New York and American
Modernism
New York and American
Modernism
•
Post-Modernism
4/30
•
Post-Modernism
5/05
•
Pop Art
5/07
•
5/12
•
Christo and Jeanne-Claude,
Running Fence
public art: Serra, Tilted Arc;
Term project option #2 due
Online Quiz 11: Chapter 21 up to section that starts
“The Final Assault on Convention” due
Rosalind Krauss, “Sculpture in the Expanded Field,”
October (Spring 1979), 8: 30-44.
Term project option #3 due
Online Quiz 12: Remainder of Chapter 21 due
Judith Balfe and Margaret Wyszomirski, “The
Commissioning of a Work of Public Sculpture,” from
Public Art/Public Controversy: The Tilted Arc on Trial, ed.
Sherrill Jordan (New York: ACA Books, 1987)
Lin, Vietnam Veterans Memorial
Nicholas Capasso, “Vietnam Veterans Memorial,” from
Tod A. Marder, The Critical Edge: Controversy in Recent
American Architecture (Massachusetts Institute of
Technology Press, 1985)
5/14 2:15 pm
Examination 3
3
John Machado
Art History
Spring 2009
Monday
8
Tuesday
8
Wednesday
8
Thursday
8
9:30-11:00
Art 5
VSS-108
9:30-11:00
Art 3
VSS-108
9:30-11:00
Art 5
VSS-108
9:30-11:00
Art 3
VSS-108
11:00-12:00
Office Hour
VSS-81
11:00-12:30
Art 7
VSS-108
11:00-12:00
Office Hour
VSS-81
11:00-12:30
Art 7
VSS-108
12:30-2:00
ASCC Meeting
12:30-2:00
Faculty Senate
12:30-2:00
College Hour
12:30-2:00
2:00-3:30
2:00-3:30
2:30-3:30
Office Hour
VSS-81
3:30-5:00
Art 3
VSS-108
3:30-5:00
Art 5
VSS-108
5
5:30
5:30
7
10
2:30-3:30
Office Hour
VSS-81
3:30-5:00
Art 3
VSS-108
3:30-5:00
Art 5
VSS-108
7
7
7
10
10
10
[email protected]
909.652.6110
Friday
8
Chaffey College
2008–2009 Academic Calendar
Fall Semester 2008
August 25 – December 21
May 5
May 6 – 29
June 2 – August 13
August 14, 15, and until noon on August 22
August 18 – 21
August 13
August 20 – 22
August 25
August 25 – 29
September 1
September 2 – 12
September 8
September 12
1
2009
M T W T F S S M T W T F S S
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August
March 3 – August 25
March 3 – August 8
March 3 to last day to add
April 18
2008
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April 7 (on the web)
September
Class Schedule Available . . . . . . . . . . . . . . . . . . . . . . . . . .
Application Period
CCCApply (online) . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mailed-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
In Person . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Registration Letters for Continuing Students . . . . . . . . . . . . . .
Registration Period
Priority Registration . . . . . . . . . . . . . . . . . . . . . . . . . . .
Continuing Students . . . . . . . . . . . . . . . . . . . . . . . . . .
New & Returning Students . . . . . . . . . . . . . . . . . . . . . .
NO REGISTRATION AVAILABLE . . . . . . . . . . . . . . . . . . . .
WALK-IN REGISTRATION AND WAITLISTS . . . . . . . . . . . . .
Payment Deadline
For students registered between May 5 and August 13 . . . . . . .
Institutional Flex Days. No classes held . . . . . . . . . . . . . . . . .
INSTRUCTION BEGINS . . . . . . . . . . . . . . . . . . . . . . . . . . .
Late Registration
Instructor signature or ADD CODE required for CLOSED classes
Labor Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Instructor signature or ADD CODE required for ALL classes . . .
Refund Deadline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Deadline to ADD full-term classes (4:30 p.m.) . . . . . . . . . . . . . .
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September 19
November 11
November 26
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November 26
November 26
November 27 – 30
December 15 – 21
December 21
December 24 – January 1
January 7
January 20
See Schedule of Classes for deadline to drop all other classes
Deadline to apply for credit by exam, graduation, certificates
Deadline to ADD open-entry/exit classes (7:00 p.m.) . . . . .
Thanksgiving Holiday . . . . . . . . . . . . . . . . . . . . . . .
FINAL EXAMINATIONS . . . . . . . . . . . . . . . . . . . . . .
INSTRUCTION ENDS . . . . . . . . . . . . . . . . . . . . . . .
Winter Recess, College Closed . . . . . . . . . . . . . . . . . .
Grades available online . . . . . . . . . . . . . . . . . . . . . .
Transcripts available upon request . . . . . . . . . . . . . . .
Spring Semester 2009
January 12 – May 20
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October 20 – January 12
October 20 to December 19
October 20 until the last day to add
November 7
November 27 – 30
November 17
November 18 – December 3
December 4 – 19
December 24 – January 1
December 22, 23, January 2, and until
noon on January 9
Walk-in registration and waitlists . . . . . . . . . . . . . . . January 5 – 8
Payment Deadlines
For students registered between November 17 and December 17 December 19
Institutional Flex Days. No classes held . . . . . . . . . . . . . . . . . January 8, 9
INSTRUCTION BEGINS . . . . . . . . . . . . . . . . . . . . . . . . . . . January 12
Late Registration
Instructor signature or ADD CODE required for CLOSED classes January 12 – 16
Instructor signature or ADD CODE required for ALL classes . . . January 20 – 30
Martin Luther King, Jr. Holiday . . . . . . . . . . . . . . . . . . . . . . . January 19
Refund Deadline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . January 26
Deadline to ADD full-term classes (4:30 p.m.) . . . . . . . . . . . . . . January 30
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February 2
February 6
February 9
February 16
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March 6
March 16 – 22
April 11, 12
April 17
5
1
3
4
5
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8
13 14 15 16 17 18 19 9 10 11 12 13 14 15
9
20 21 22 23 24 25 26 16 17 18 19 20 21 22
10
27 28 29 30 31
⁄30 24⁄31 25 26 27 28 29
23
9
10
2
8
9 10 11 12
12
12
10 11 12 13 14 15 16 13 14 15 16 17 18 19
13
13
17 18 19 20 21 22 23 20 21 22 23 24 25 26
14
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24 25 26 27 28 29 30 27 28 29 30
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3
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9 10 11 12 13 14 4
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1
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1
2
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9 10
16
15 16 17 18 19 20 21 11 12 13 14 15 16 17
17
22 23 24 25 26 27 28 18 19 20 21 22 23 24
18
6
7
29 30 31
5
6
7
3
25 26 27 28 29 30 31
Starting dates are all different, please refer to Computing Service’s
report in roll sheet packet regarding Daily Census, Short-Term, or
NOTE:
Positive Attendance Classes.
Weekend classes meet following Friday holidays and before Monday holidays unless
specifically designated as a holiday on this calendar.
LEGEND
See Schedule of Classes for deadline to add all other classes
Census Date for full term classes. . . . . . . . . . . . . . . . .
Lincoln’s Birthday Holiday . . . . . . . . . . . . . . . . . . . .
Deadline to DROP full-term classes without a “W” (7:00 p.m.)
Washington’s Birthday Holiday . . . . . . . . . . . . . . . . .
Deadline to apply for graduation and certificates
for ceremony participants . . . . . . . . . . . . . . . . . .
Spring Break . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Easter Weekend . . . . . . . . . . . . . . . . . . . . . . . . . .
Deadline to DROP full-term classes (4:30 p.m.) . . . . . . . .
4
8
. . . . . . . . . . . . . . . October 27 (on the web)
December
Class Schedule Available . . . . . . . . . . .
Application Period
CCCApply (online) . . . . . . . . . . . .
Mailed-in . . . . . . . . . . . . . . . . . .
In Person . . . . . . . . . . . . . . . . . .
Registration Letters for Continuing Students
Closed for Thanksgiving Holiday . . . . . .
Registration Period
Priority Registration . . . . . . . . . . . .
Continuing Students . . . . . . . . . . .
New & Returning Students . . . . . . .
Closed for Winter Recess . . . . . . . .
No registration available . . . . . .
7
1
March
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April
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May
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November
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October
See Schedule of Classes for deadline to add all other classes
Census Date for full term classes . . . . . . . . . . . . . . . .
Deadline to DROP full-term classes without a “W” (4:30 p.m.)
Veterans Day Holiday . . . . . . . . . . . . . . . . . . . . . . .
Deadline to DROP full-term classes (7:00 p.m.) . . . . . . . .
= Instruction Begins
= Spring Break
= Holiday
= Institutional/Flex Days. No classes held.
= Final Examinations
#
#
= Commencement
= Faculty Lecture of the Year
See Schedule of Classes for deadline to drop all other classes
Deadline to apply for credit by exam, graduation and certificate
for non-ceremony participants . . . . . . . . . . . . . . . . . . . .
Deadline to ADD open-entry/exit classes (4:30 p.m.) . . . . . . . . . .
Faculty Lecture (no classes held; contract/regular faculty service day)
FINAL EXAMINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . .
INSTRUCTION ENDS . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Commencement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Memorial Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Grades available online . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transcripts available upon request . . . . . . . . . . . . . . . . . . . .
April 17
April 17
April 21
May 14 – 20
May 20
May 21
May 25
May 28
June 15
Revised 2-4-08
ART 5 - Course Grades
Assignments
Points Possible
Points Earned
To calculate your course
grade divide the total points
that you earned by the total
points possible.
Info & Learning Styles
10
Online Quiz 1
10
Online Quiz 2
10
Online Quiz 3
10
Online Quiz 4
10
Online Quiz 5
10
Online Quiz 6
10
Online Quiz 7
10
Online Quiz 8
10
Online Quiz 9
10
Online Quiz 10
10
Online Quiz 11
10
Online Quiz 12
10
In-Class Assignment 1
10
In-Class Assignment 2
10
In-Class Assignment 3
10
÷
In-Class Assignment 4
10
600
In-Class Assignment 5
10
In-Class Assignment 6
10
In-Class Assignment 7
10
Examination 1
100
Examination 2
100
Examination 3
100
Term Project
100
Extra Credit
TOTAL
(max 40)
600
For example, if you earned
510 points, divide 510 by
600. The result being .85 or
85% of the points possible
for the course, which would
be a course grade of B.
Points Earned
=
Percentage
ART HISTORY
John Machado
The practice of Art History is dedicated to exploring the historical
significance of art, architecture, and design. Students of art history are
offered opportunities to survey and appreciate the richness and the diversity
of visual arts from the past to present. Addressing artworks from all places
and periods, art historians deal with form, technique, iconography and
historical function. In addition, art history is an inherently interdisciplinary
field, requiring that students investigate the areas of philosophical aesthetics,
artists' biographies, current and historical art institutions, as well as
traditions and cultures. Art history enables students to develop keen visual
sensibilities in addition to the skills of critical thinking, speaking, and
writing.
Art history is the study of cultural history through visual means and of visual
culture by historical means.
10
GRADING STANDARDS:
Machado
High Level Performance: Grade of A (90-100%): High level performance implies excellence in
thinking and performance within the domain of art history, along with the development of a range
of knowledge acquired through the exercise of thinking skills and abilities. A-level work is, on
the whole, not only clear, precise, and well-reasoned, but insightful as well. Basic terms and
distinctions are learned at a level that implies insight into basic concepts and principles. The Alevel student has internalized the basic intellectual standards appropriate to the assessment of
his/her own work in a subject and demonstrates insight into self-evaluation. The A-level student
often raises important questions and issues, analyzes key questions and problems clearly and
precisely, recognizes key questionable assumptions, clarifies key concepts effectively, uses
language in keeping with educated usage, frequently identifies relevant competing points of view,
and demonstrates a commitment to reason carefully from clearly stated premises in the subject, as
well as marked sensitivity to important implications and consequences. A-level work displays
excellent reasoning and problem-solving skills and works consistently at a high level of
intellectual excellence.
The Grade of B (80-89%): The grade of B implies sound thinking and performance within the
domain of art history, along with the development of a range of knowledge acquired through the
exercise of thinking skills and abilities. B level work is, on the whole, clear, precise, and wellreasoned, but does not have depth of insight. Basic terms and distinctions are learned at a level
that implies comprehension of basic concepts and principles. The B-level student has internalized
some of the basic intellectual standards appropriate to the assessment of his/her own work in a
subject and demonstrates competence in self-evaluation. The B-level student often raises
questions and issues, analyzes questions and problems clearly and precisely, recognizes some
questionable assumptions, clarifies key concepts competently, typically uses language in keeping
with educated usage, sometimes identifies relevant competing points of view, and demonstrates
the beginnings of a commitment to reason carefully from clearly stated premises in a subject, as
well as some sensitivity to important implications and consequences. B-level work displays sound
reasoning and problem-solving skills and works consistently at a competent level of intellectual
performance.
The Grade of C (70-79%): The grade of C implies mixed thinking and performance within the
domain of art history, along with some development of a range of knowledge acquired through
the exercise of thinking skills and abilities. C level work is inconsistently clear, precise, and wellreasoned; moreover, it does not display depth of insight or even consistent competence. Basic
terms and distinctions are learned at a level that implies the beginnings of, but inconsistent
comprehension of, basic concepts and principles. The C-level student has internalized a few of
the basic intellectual standards appropriate to the assessment of his/her own work in a subject, but
demonstrates inconsistency in self-evaluation. The C-level student sometimes raises questions
and issues, sometimes analyzes questions and problems clearly and precisely, recognizes some
questionable assumptions, clarifies some concepts competently, inconsistently uses language in
keeping with educated usage, sometimes identifies relevant competing points of view, but does
not demonstrate a clear commitment to reason carefully from clearly stated premises in a subject,
nor consistent sensitivity to important implications and consequences. C-level work displays
inconsistent reasoning and problem-solving skills and works, at best, at a competent level of
intellectual performance.
11
The Grade of D (60-69%): The grade of D implies poor thinking and performance within the
domain of art history. On the whole, the student tries to get through the course by means of rote
recall, attempting to acquire knowledge by memorization rather than through comprehension and
understanding. The student is not developing critical thinking skills and understandings as
requisite to understanding course content. D-level work represents thinking that is typically
unclear, imprecise, and poorly reasoned. The student is achieving competence only on the lowest
order of performance. Basic terms and distinctions are often incorrectly used and reflect a
superficial or mistaken comprehension of, basic concepts and principles. The D-level student has
not internalized the basic intellectual standards appropriate to the assessment of his/her own work
in a subject and does poorly in self-evaluation. The D-level student rarely raises questions and
issues, superficially analyzes questions and problems, does not recognize his/her assumptions,
only partially clarifies concepts, rarely uses language in keeping with educated usage, rarely
identifies relevant competing points of view, and shows no understanding of the importance of a
commitment to reason carefully from clearly stated premises in a subject. The D-level student is
insensitive to important implications and consequences. D-level work displays poor reasoning
and problem-solving skills and works, at best, at a low level of intellectual performance.
The Grade of F (59% or less): The student tries to get through the course by means of rote recall,
attempting to acquire knowledge by memorization rather than through comprehension and
understanding. The student is not developing critical thinking skills and understandings as
requisite to understanding course content. F-level work represents thinking that is regularly
unclear, imprecise, and poorly reasoned. The student is not achieving competence in his/her
academic work. Basic terms and distinctions are regularly incorrectly used and reflect a mistaken
comprehension of, basic concepts and principles. The F-level student has not internalized the
basic intellectual standards appropriate to the assessment of his/her own work in a subject and
regularly mis-evaluates his/her own work. The F-level student does not raise questions or issues,
does not analyze questions and problems, does not recognize his/her assumptions, does not clarify
concepts, does not use language in keeping with educated usage, confuses his/her point of view
with the truth, and shows no understanding of the importance of a commitment to reason
carefully from clearly stated premises in a subject. The F-level student is oblivious to important
implications and consequences. F-level work displays incompetent reasoning and problemsolving skills and consistently poor intellectual performance.
12
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Student:
Complies with all parts of the
assignment.
Reflects the writer’s critical
understanding of views
different from the writer’s
own by carefully and fully
addressing varying points of
view.
Includes observations,
evaluations, conclusions,
demonstrations, and/or
applications that go beyond
mere description and indicate
a high level of personal
involvement and innovative
thinking.
Exhibits logical reasoning in
order to shed new light on
topics included.
Makes clear an overall
purpose.
Includes rich and relevant
details.
Uses sources with
sophistication and in a
variety of ways.
Demonstrates a creative
approach to writing.
Uses a variety of sentence
lengths, openers, and
patterns to avoid monotony.
Displays accurate and vivid
word choices.
Includes an interesting,
relevant, and engaging title.
Exceeds Expectations
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Assignment:
Employs techniques of
sentence variety.
Displays accurate word
choices.
Includes a relevant title.
Complies with most parts of
the assignment.
Reflects the writer’s
understanding of views
different from the writer’s
own by addressing varying
points of view.
Includes observations,
evaluations, conclusions,
demonstrations, and/or
applications that go beyond
mere description and indicate
personal involvement.
Exhibits logical reasoning.
Strongly suggests an overall
purpose.
Includes relevant and
interesting details.
Integrates sources ethically
and effectively.
Meets Expectation
ASSESSMENT RUBRIC: Writing Assignments
Instructor: John Machado
CONTENT
(40 Points)
STYLE
(20 Points)
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Provides some variety in
sentence openers and
sentence types to avoid
monotony.
Includes a title, though the
title may seem lackluster or
inappropriate.
Complies with the main parts
of the assignment.
Finds significance in the topic
beyond the writer’s individual
response to it.
Does not merely describe or
provide basic information on
the topic.
Exhibits logical reasoning for
the most part, but may
contain one or two examples
of faulty reasoning.
Indicates an overall purpose,
though to a less extent than
is expected.
May include several
instances of extraneous
detail, but attempts to
present relevant details.
Integrates sources ethically.
Approaching Expectations
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Provides some variety in
sentence types, but may
seem monotonous.
Does not include a title.
Does not comply with the
main parts of the assignment.
Does not portray significance
in the topic beyond the writer’s
individual response to it.
Merely describes or provides
basic information on the topic.
Does not exhibit evidence of
logical thinking.
Avoids plagiarism, though
source use may be
problematic (i.e., sources not
used in the spirit of their
intent, sources chosen do not
seem appropriate or credible,
over-reliance on sources is
apparent, etc.).
Does Not Meet Expectations
Date:
ORGANIZATION
(30 Points)
GRAMMAR
(10 Points)
Has a recognizable thesis,
clearly stated or strongly
implied.
Has well-constructed
paragraphs that are
organized around
recognizable topics.
All paragraphs work together
to build a logical, intentional
progression.
All paragraphs move
seamlessly from one to the
next.
Has an effective and
engaging introduction.
Has a conclusion that brings
the issue full circle,
illuminates the overall
significance, and provides a
sense of closure.
Has no serious errors in
grammar, punctuation,
mechanics, or spelling.
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POINTS FOR THIS PROJECT
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TOTAL
100
Points Earned
Has no more than three
serious errors in grammar,
punctuation, mechanics, or
spelling.
Attempts to adhere to a
controlling idea.
Paragraphs are somewhat
organized around
recognizable topics, though
controlling idea may be
difficult to discern.
All paragraphs relate logically
to the thesis, though the
relationship may be difficult
to discern in some instances.
Has transitions between
some paragraphs.
Has an introduction and
conclusion, though one or
both may need to be
strengthened.
Points Possible
CONTENT
40
STYLE
20
ORGANIZATION
30
GRAMMAR
10
Has no more than two
serious errors in grammar,
punctuation, mechanics, or
spelling.
Is organized from a
controlling idea.
Has paragraphs that are
organized around
recognizable topics.
All paragraphs relate logically
to the thesis.
Has transitions between
most paragraphs.
Has an appropriate
introduction.
Has an appropriate
conclusion.
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B
35-32
17-16
26-24
8
A
40-36
20-18
30-27
10-9
7
23-21
15-14
31-28
C
6
20-18
13-12
27-24
D
Has four or more serious
errors in grammar,
punctuation, mechanics, or
spelling.
Lacks evidence of an attempt
to adhere to a controlling idea.
Is broken into paragraphs,
though paragraph breaks may
seem uninformed.
Many or all paragraphs do not
seem to relate to the thesis.
Fails to include an
introduction, a conclusion, or
both.
Machado
Learning Styles Homework
Go to the web site: http://www.metamath.com//lsweb/dvclearn.htm
THEN:
1. Read the provided information on Learning Styles.
2. Click on Learning Styles Survey at bottom of page and take survey.
http://www.metamath.com/multiple/multiple_choice_questions.html
3. Print out two copies of your results, one for you and one to turn in. A sample copy
of Professor Machado’s results is on the back of this page.
• Be sure your name and your class name/day/time are written at the top.
• If your results say you are equally all four styles, read back through the
Learning Styles and decide which one most accurately describes you.
4. Write:
• A paragraph or two about whether or not you think this is an accurate
description of how you seem to learn best.
• Also include whether or not you think this information is useful to you.
Why or why not?
5. Staple one copy of your survey results and your written paragraph to the back of your
completed Student Information form (the last page of this syllabus) and return to your
professor.
-----------------------------------------------------------------------------------------------------------Learning Styles:
•
Visual/Verbal Learning Style: written material
•
Visual/Non Verbal Learning Style: pictures
•
Auditory Learning Style: hearing/speaking
•
Tactile/Kinesthetic Learning Style: movement/touch
Getting to Know You: Student Information
Complete and return to the professor. This form will be used for recording the class enrollment.
You must complete, sign and return this form in order to retain your enrollment in the course.
Name:
Level:
FR SOPH Other:________ (circle one)
Program/major
Please attach photo of
yourself here. (A
photocopy is fine.)
Email
Are you
currently
employed?
What important things are currently going on in your life that you would like the
professor to be aware of (that you’re comfortable sharing)?
What do you hope to gain from taking this class?
What other art history classes have you taken?
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Student Agreement
My signature below confirms that I understand and agree to the following:
I have read the syllabus provided by my professor for this course.
I understand and agree to abide by the requirements set forth for this course.
I will attend classes regularly and participate in class discussions and activities.
I will complete all reading and writing assignments on time.
I will be enthusiastic and have a positive attitude about my learning.
If I am having any problems fulfilling the requirements of this course, I will seek out
my professor for further assistance.
I will follow all academic rules and laws pertaining to academic honesty.
I will take full responsibility for my learning and conduct in this course.
_______________________________________
student signature
______________ _______________
date
course name/time