Professor Amy B. Werbel Saint Ed’s 133 Office: 802-654-2271 e-mail: [email protected] office hours: M, W 1-3, and by appt. Syllabus Art 252 AB Survey of the History of Art II: Renaissance to Modern Spring, 2011 Section A: Tuesday, Thursday 10-11:40 a.m. Section B (Honors): Tuesday, Thursday 2:30-4:10 p.m. SE 104 Students in Art 252 learn to analyze art, and to see, think, write and speak critically about painting, sculpture, and empowered objects from the fifteenth through twentieth centuries in Europe, America, and West Africa. Throughout the course, we analyze art through changing thematic lenses. Stylistic elements, the role of art in society, and the judgment of what is good, are persistent themes. Required text for this course is Art History vol. II, third edition, by Marilyn Stokstad. Other required readings are posted in “doc sharing” on eCollege. Jan. 18 Introduction: Art and History Unit 1: Subject Matter and Iconography: Artists as Storytellers Daily Response Papers for this unit should reflect on the ways artists tell stories with images. What types of stories do the artists in this unit tell, why, and what means do they use to enhance meaning? Jan. 20 Early Renaissance Painting in Burgundy and Flanders Reading: Stokstad, 583-593, 596-605; excerpt from: Linda Seidel, Jan van Eyck’s Arnolfini Portrait (Cambridge University Press, 1993): 19-58 (on eCollege). Jan. 25 Early Renaissance Painting and Sculpture in Italy Reading: Stokstad, 618-623, 628-640, 646-656; Andrew Butterfield, “Art and Innovation in Ghiberti’s Gates of Paradise, in The Gates of Paradise (Yale University Press, 2007), 16-41 (on eCollege). Unit 2: Educational Purposes: Images as Teachers Daily Response Papers for this unit should reflect on art’s instructional role in society. How, and what, do images teach individuals in these societies? Jan. 27 High Renaissance Painting and Sculpture in Italy Reading: Stokstad, 659-677, 682-691, 696-7; excerpt from Rona Goffen, “Titian’s Sacred and Profane Love and Marriage,” in The Expanding Discourse (HarperCollins, 1992): 111-121 (on eCollege). Feb. 1 Renaissance Art in Germany, the Netherlands, and England Reading: Stokstad 706-719, 728-736; Mitchell B. Merback, ”Torture and Teaching: The Reception of Lucas Cranach the Elder’s Martyrdom of the Twelve Apostles in the Protestant Era,” Art Journal (Spring, 1998): 14-23. Unit 3: Gender and Sexuality Daily Response Papers in this unit should reflect on the ways that art reflects attitudes towards gender and sexuality operative in their cultural context. Feb. 3 Baroque Painting and Sculpture in Italy and Spain Reading: Stokstad, 742-770. February 8 Worldcat, JStor, and Refworks Instruction – Library February 10 Artstor, Scanning, Photoshop, and PowerPoint instruction - Library Feb. 15 Baroque Painting in Flanders and Holland Reading: Stokstad, 772-793. Feb. 17 Susanna for Girls and Guys Reading: Mary Garrard, “Susanna” in Artemisia Gentileschi Princeton University Press, 1989): 182-209 (on eCollege); Eric Jan Sluijter, “Susanna and the Elders,” in Rembrandt and the Female Nude (Amsterdam University Press, 2006): 113-139 (on eCollege). Feb. 22 – No class. February 24 Section A: Exam #1 (Paper Writers – No class) Section B: Research Presentations (Group A) Unit 4: Art and Political Order Daily Response Papers in this unit should address the role art plays in creating and preserving political power and social order. March 1 Neoclassicism and Eighteenth Century Art of the Americas Reading: Stokstad, 941-943, 950-952, 963-982 March 3 Romanticism Reading: Stokstad, 981-1000; Todd Porterfield and Susan L. Siegfried, excerpt from: “Staging Empire: Napoleon, Ingres, and David” (Pennsylvania State University Press), 3-22 (on eCollege). Unit 5: Artist’s Biographies: The Intersections of Life and Art Daily Response Papers in this unit should reflect on the ways that artist’s personal life stories and points-of-view contribute to artistic innovation. March 8 Realism and Early Photography Reading: Stokstad, 1009-1023. March 10 Impressionism / Mary Cassatt Reading: Stokstad, 1026-1038; Griselda Pollock, “Mary Cassatt: Painter of Women and Children,” 280-301 (on eCollege). March 15 and 17 – No class. Break. March 22 Post-Impressionism and Symbolism / van Gogh and Gaugin Reading: Stokstad, 1038-1050; Debora Silverman, excerpt from: Van Gogh and Gaugin: The Search for Sacred Art (Farar, Straus, and Giroux, 2000) on eCollege. Unit 6: Art for Personal and Social Empowerment: The West-African Tradition Daily Response Papers for this unit should discuss the ways that creating and consuming art can help individuals and societies gain empowerment. March 24 West African Art Overview Reading: Stokstad, 916-939. Babatunde Lawal, “African Art and the Social Order,” excerpt from The Gèlèdé Spectacle: Art, Gender, and Social Harmony in an African Culture (University of Washington Press, 1996): 318 (on eCollege). March 29 African Art in the Diaspora Reading: Suzanne Preston-Blier, “Vodun Art, Social History and the Slave Trade,” 23-54 (on eCollege). March 31 The Harlem Renaissance Reading: Stokstad, 1111-1117; Richard J. Powell, “The Aaron Douglas Effect,” in Aaron Douglas, Modernist (Yale University Press): 53-73. April 5 Section A: Exam #2/ (Paper Writers – no class) Assignment: Paper writers come to my office hours this week with ideas for research paper topics Section B: Research Presentations (Group B) Unit 7: Art for the Modern Age Daily Response Papers for this unit should discuss the elements of “modernity” in art of the early 20th century. April 7 Cubism and Dada Reading: Stokstad, 1055, 1064-1081, 1088-1103, 1112 Assignment: Section A paper writers and all Section B students submit topic and bibliography for your final presentations. April 12 No Class. Conference. April 14 Surrealism and Abstract Expressionism Reading: Stokstad, 1119-1137; Stephen Polcari, Abstract Expressionism and the Modern Experience, (on eCollege). April 19 Assemblage and Pop Art Reading: Stokstad, 1145-1154; April 21 Post-1970 / Post-Modernism Reading: Stokstad, 1160-1168, 1171-90 Unit 8: Conclusion. The Future of Art? There is no assigned reading for this unit. You may choose to write a review of a contemporary art exhibition at the Burlington City Arts Firehouse Gallery as a Daily Response Paper. April 26 Section A: Exam #3 (Paper writers no class -- meet with me this week) Section B: Regular class, Art in the 21st Century April 28 Art in the 21st Century II May 3 and 5 Final Research Presentations Final Exam t.b.a. Section A. Grading Percentages: Exam Takers: Paper Writers and Presenters: Exam I: 20 pts. Exam II: 20 pts. Exam III: 20 pts. Final Exam: 30 pts. Class Participation: 10 points (15) 2-page daily response papers: 60 points (1) 15-minute research presentation: 30 points Class Participation: 10 points Section B. Grading Percentages: (10) pop quizzes (highest 8 scores): 8 points (12) 2-page response papers: 48 points (1) 10-minute research presentation: 10 (1) 20-minute research presentation: 20 points Class Participation: 14 points Attendance and Class Participation: You are permitted two unexcused absences from class. Further absences will be penalized by a two-point reduction in your final grade per extra absence. If you know you need to be absent, please call or e-mail me in advance, so that we can confer about missed work. Pop Quizzes In Section B, there will be 10 pop quizzes given at unannounced times and dates. Pop quizzes will consist of 4-5 simple multiple choice or true/false questions that demonstrate whether you have done the reading. Each pop quiz is worth one point. Your top eight scores will count. Daily Response Papers Daily Response papers give you the opportunity to synthesize course information in short, thematic essays. You should use quotes from the readings, and discuss examples of art we have talked about, to provide “evidence” for your answer to the question for the unit paper. These are due in the correct eCollege dropbox before class on the day listed. Late daily response papers are not accepted for credit. These papers should be approximately 600 words. You should use in-text citations to course materials, e.g. (Stokstad, 754). No bibliography is necessary. Titles of Works of Art should be italicized or underlined. Use the following grading rubric to guide your preparation for this assignment: DRP Component CONTENT & CRITICAL THINKING • Is the unit question and daily material addressed fully? • Are art historical terminology and concepts understood and discussed correctly? • Does the paper use quotes from the reading, and discussion of appropriate works of art that demonstrate comprehension of assigned course materials? ORGANIZATION & STRUCTURE • Is the essay focused? • Is the flow of information logical? • Paragraphs: Are they organized in a deliberate and helpful way? • Paragraphs: Are they fully developed and appropriate in length? • Transitions: Do they help the reader move from thought to thought? LANGUAGE CONTROL • Style: Is it controlled and easy to read? • Style: Is it appropriate to the assignment and a general academic audience? • Language: Are Standard Written English guidelines followed for: o sentence structure o grammar Comments o o o o word choice/usage punctuation quotations/citations spelling GRADE: 10-minute Presentations: These are 10-minute presentations of a book chapter or article that adds dimension and depth to one of the artists or themes we study during the first three units. Reference librarians will teach students use of tools to assist in learning how to find appropriate sources and present images to the class. PLEASE clear your choice with me before proceeding . . . J 15- or 20-minute Research Presentation The final research presentation is an opportunity for students to apply extended research, analysis, and interpretation to one work of art on the important works list. Students are expected to formulate an original thesis about the meaning and significance of this work, and to support it well with trustworthy sources. A minimum of seven academic peerreviewed, modern sources should be used in preparing your presentation. Students must bring their presentations to class on a flash drive. Use the following grading rubric to guide your preparation for this assignment: PRESENTATION COMPONENT ORGANIZATION: • Provides overview at outset • Provides necessary context for material in introduction – acknowledges prior audience understanding and/or need for background information • presents information in a logical order • sums up important points in a conclusion CONTENT: • Student articulates a critical argument about the work discussed • General information is provided as necessary, but the presentation also “goes deep” on important points and artwork • Student demonstrates mastery of content through clear discussion of trustworthy scholarly sources and artwork that is appropriate to the topic • Each work of art shown has a caption underneath, listing artist, title, and date • The student makes clear reference to sources used, and presents a bibliography in MLA style as the final slide of the presentation. COMMENTS PRESENTATION: • The presentation is fully-prepared and well rehearsed, with smooth transitions • Speech is audible and clear, with moderate pace and good volume • The student looks out at the audience frequently, and directs attention to important elements of art work displayed • PowerPoint frames are clear and helpful, with little text, no typos, and appropriate stylistic choices • Time is well used and appropriate to the assignment GRADE: Exams Each of the three 90-minute exams requires that test-takers demonstrate their understanding of themes and “important” works of art presented in class and readings. Each exam will include a variety of types of questions, including multiple choice and short essays. The 120-minute final exam is comprehensive, and includes these types of questions, plus analysis of “unknown works” for which you are asked to identify the style and approximate date of works based on general principles. Each exam has its own important works list, which you may bring to class, covered with as many notes as you can fit. Although you may look at the important works list during exams (no other materials are allowed), please be aware that these tests will contain many questions. If you aren’t already VERY familiar with course materials, you will not have time to complete the exam. Art 252 – Spring, 2011 - Important Works List - Exam #1 Note - * indicates that the work is in a reading on eCollege, not in the Stokstad textbook. Early Renaissance Painting in Burgundy and Flanders Detail of page with Thamyris, from Bocaccio’s De Claris Mulieribus, 1402 Paul, Herman and Jean Limbourg, January, The Duke of Berry at Table, from the Tres Riches Heures, 1411-16 Robert Campin, The Mérode Altarpiece, c. 1425-28 Jan van Eyck, Double Portrait; Traditionally Known as Giovanni Arnolfini and his Wife, Giovanna Cenami (?), 1434 Jan and Hubert van Eyck, Ghent Altarpiece (closed and open), 1432 Rogier van der Weyden, Deposition, c. 143-1438 Rogier van der Weyden, Portrait of a Lady, c. 1455 Rogier van der Weyden, Last Judgment Altarpiece (open), after 1443 Early Renaissance Painting and Sculpture in Italy Perugino, The Delivery of the Keys to St. Peter, 1481 Anonymous, Ideal City with a Fountain and Statues of the Virtues, c. 1500 * Lorenzo Ghiberti, Gates of Paradise, full view, “Jacob and Esau” and “Adam and Eve”panels 1425-1452 Donatello, David, c. 1446-1460(?) Donatello, Equestrian Monument of Erasmo de Narni, 1443-53 Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, c. 1425-27/8 Andrea Mantegna, Frescoes in the Camera Picta, Ducal Palace, Mantua, 1465-74 Fra Angelico, Annunciation, c. 1438-1445 Andrea del Castagno, Last Supper, Resurrection, Crucifixion, and Entombment, 1447 Sandro Boticelli, The Birth of Venus, c. 1484-86 Giovanni Bellini, St. Francis in Ecstasy, c. 1470s High Renaissance Painting and Sculpture in Italy Leonardo, The Last Supper, 1495-98 Leonardo, Mona Lisa, c. 1503 Leonardo, Vitruvian Man, c. 1490 Michelangelo, Pietá, c. 1500 Michelangelo, David, 1501-4 Michelangelo, Sistine Chapel Ceiling, interior, ceiling top to bottom, Creation of Adam (all 1508-12), and Last Judgment, 1536-1541 Raphael, School of Athens, 1510-11 Raphael, Leo X with Cardinals, c. 1517 Titian, Venus of Urbino, c. 1538 Titian, The Pastoral Concert, c. 1510 Titian, The Pesaro Madonna, 1519-1526 Titian, Isabella d’Este, 1534-1536 Sofonisba Anguissola, Self-Portrait, c. 1552 * Titian, Sacred and Profane Love, 1514 High Renaissance Art in Germany, the Netherlands, and England Matthias Grünewald, Isenheim Altarpiece, closed and open, c. 1510-15 Albrecht Dürer, Self-Portrait, 1500 Albrecht Dürer, Adam and Eve, 1504 Lucas Cranach the Elder, Nymph of the Spring, c. 1537 Albecht Altdorfer, Danube Landscape, c. 1525 Caterina van Hemessen, Self-Portrait, 1548 Pieter Breughel the Elder, Return of the Hunters, 1565 Hans Holbein the Younger, Henry VIII, 1540 Attributed to Levina Bening Teerling or William Scrots, Elizabeth I when Princess, c. 1559 * Lucas Cranach the Elder, Martyrdom of Saint James the Lesser, c. 1512 (woodcut) Baroque Painting and Sculpture in Italy and Spain Gianlorenzo Bernini, David, 1623 Gianlorenzo Bernini, Saint Teresa of Ávila in Ecstasy, 1645-52 Caravaggio, Bacchus, 1595-1596 Caravaggio, Entombment, c. 1603-4 Artemisia Gentileschi, Judith and Maidservant with the Head of Holofernes, 1625 Artemisia Gentileschi, Self-Portrait as the Allegory of Painting, 1630 Giovanni Battista Gaulli, The Triumph of the Name of Jesus and the Fall of the Damned, 1672-1685 Francisco de Zurbarán, Saint Serapion, 1628 Diego Velasquez, Las Meninas, 1656 * Artemisia Gentileschi, Susanna and the Elders, 1610 Baroque Painting in Flanders and Holland Jan Breughel and Peter Paul Rubens, Henry IV Receiving the Portrait of Marie deMedici, c. 1621-25 Frans Hals, Catherina Hooft and Her Nurse, c. 1620 Frans Hals, Officers of the Harlem Militia Company of St. Adrian, c. 1627 Judith Leyster, Self-Portrait, 1635 Rembrandt, Captain Frans Banning Cocq Mustering His Company, 1642 Rembrandt, The Jewish Bride, c. 1665 Rembrandt, Three Crosses (fourth state), 1663 Jan Vermeer, View of Delft, c. 1662 Jan Vermeer, Woman Holding a Balance, 1664 Gerard Ter Borch, The Suitor’s Visit, c. 1658 Rachel Ruysch, Flower Still Life, after 1700 *Rembrandt, Susanna and The Elders, 1636 -------------------------------------------------------------- Art 252 – Spring, 2010 - Important Works List - Exam #2 Note - * indicates that the work is in reading on eCollege, not in Stokstad textbook. Neoclassicism and Eighteenth Century Art of the Americas John Singleton Copley, Samuel Adams, c. 1770-2 Jean-Honoré Fragonard, The Meeting, 1771-1773 Joshua Reynolds, Lady Sarah Bunbury Sacrificing to the Graces, 1765 Angelica Kauffmann, Cornelia Pointing to her Children as Her Treasures, 1785 Benjamin West, The Death of General Wolfe, 1770 John Henry Fuseli, The Nightmare, 1781 Marie-Louise Élisabeth Vigée Lebrun, Portrait of Marie Antoinette with Her Children, 1787 Adéläide Labille-Guiard, Self-Portrait with Two Pupils, 1785 Jaques Louis-David, Oath of the Horatii, 1784-1785 Jaques-Louis David, The Death of Marat, 1793 Anne-Louis Girodet-Trioson, Portrait of Jean-Baptiste Belley, 1797 Romanticism John Singleton Copley, Watson and the Shark, 1778 Antoine-Jean Gros, Napoleon in the Plague House at Jaffa, 1804 Jean-Auguste Dominique Ingres, Large Odalisque, 1814 Jean-Auguste Dominique Ingres, Portrait of Madame Desiré Raoul-Rochette, 1830 Théodore Géricault, Raft of the “Medusa,” 1818-1819 Eugéne Delacroix, Liberty Leading the People: July 28, 1830, 1830 Francisco Goya, The Sleep of Reasons Produces Monsters, 1796-8 Francisco Goya, Third of May. 1808, 1814-5 *Jean-Auguste Dominique Ingres, Napoleon I on his Throne, 1806 *Jacques-Louis David, Le Sacre, 1808 Realism and Early Photography Louis-Jaques-Mandé Daguerre, The Artist’s Studio, 1837, daguerrotype Oscar Rejlander, The Two Paths of Life, 1857 Julia Margaret Cameron, Portrait of Thomas Carlyle, 1867 Gustave Courbet, The Stone Breakers, 1849 Gustave Courbet, A Burial at Ornans, 1849 Rosa Bonheur, Plowing in the Ninervais: The Dressing of the Vines, 1849 Honoré Daumier, The Third-Class Carriage, c. 1862 Thomas Eakins, The Gross Clinic, 1875 Impressionism Édouard Manet, The Luncheon on the Grass, 1863 Édouard Manet, Olympia, 1863 Claude Monet, On the Banks of the Seine, Bennecourt, 1868 Claude Monet, Rouen Cathedral, 1894 Pierre-August Renoir, Moulin de la Galette, 1876 Edgar Degas, The Rehearsal on Stage, c. 1874 Gustave Caillebotte, Paris Street, Rainy Day, 1877 Pierre-August Renoir, Bathers, 1887 Mary Cassatt, Woman in a Loge, 1879 Mary Cassatt, Maternal Caress, 1891 *Mary Cassatt, Reading “Le Figaro”, c. 1878 Post-Impressionism and Symbolism Paul Cézanne, Mont Sainte-Victoire, 1885-7 Paul Cézanne, Still Life with Basket of Apples, 1890-1894 Paul Cezanne, The Large Bathers, 1906 Georges Seurat, A Sunday Afternoon on the Island of La Grand Jatte, 1884-86 Vincent Van Gogh, The Starry Night, 1889 Vincent van Gogh, Japonaiserie: Flowering Plum Tree, 1887 Paul Gaugin, Mahana no atua (Day of the God), c. 1894 Edvard Munch, The Scream, 1893 * Vincent van Gogh, Self-Portrait Dedicated to Paul Gaugin, 1888 * Paul Gaugin, Self-Portrait: Les Misérables, 1888 West-African and African Diaspora Art Kojo Bonsu, Finial of a Spokesperson’s Staff, Ghana, 1960s-1970s Nankani compound, Sirigu, Ghana, 1972 Doll (Biiga), Burkina Fasso, mid-20th Century Twin Figures (Ere Ibeji), Yoruba, 20th Century Temne Nowo Masquerade with Attendants, Mende Culture 1980 Power Figure (nkisi nkonde), Kongo culture, 19th century Spirit Spouse Blolo Bla, Democratic Republic of Congo, 19th century Ifa Divination Session, Yoruba culture, Nigeria Mbap Mabbinc Mambeky, photograph by Eliot Elisofon, 1947 Kente cloth, Ashanti culture, Ghana, 20th century Initiation Wall Panels, Nkanu Peoples, Democratic Republic of Congo, Early 20th century El Anatsui, Flag for a New World Power, 2004 *Basinjom Anti-Witchcraft Mask *Togo, Ouatchi Sculptures Harlem Renaissance Diego Rivera, Man, Controller of the Universe, 1934 Aaron Douglas, Aspects of Negro Life: From Slavery through Reconstruction, 1934 Augusta Savage, La Citadelle: Freedom, 1930 Dorothea Lange, Migrant Mother, Nipomo, California, 1936 Jacob Lawrence, During the World War there was a Great Migration North by Southern Negroes, 1940-1 James VanDerZee, Couple Wearing Raccoon Coats with a Cadillac, 1932 *Aaron Douglas, Cover for The American Negro, 1928 -------------------------------------------------------------- Art 252 – Spring, 2010 - Important Works List - Exam #3 Cubism and Dada Pablo Picasso, Guernica, 1937 Henri Matisse, The Woman with the Hat, 1905 Henri Matisse, The Joy of Life, 1905-6 Karl Schmidt-Rotluff, Three Nudes, 1913 Paula Modersohn-Becker, Self-Portrait with an Amber Necklace, 1906 Egon Schiele, Self-Portrait Nude, 1911 Vasily Kandinsky, Improvisation 28, 1912 Paul Klee, Hammamet with its Mosque, 1914 Pablo Picasso, Family of Saltimbanques, 1905 Pablo Picasso, Les Damoiselles D’Avignon, 1907 Pablo Picasso, Ma Jolie, 1911-1912 Pablo Picasso, Glass and Bottle of Suze, 1912 Gustave Klimt, The Kiss, 1907-8 Hugo Ball Reciting the Sound Poem “Karawane,” 1916 Marcel Duchamp, Fountain, 1917 Marcel Duchamp, L.H.O.O.Q., 1919 Hannah Höch, Dada Dance, 1922 Alfred Stieglitz, The Flatiron Building, 1903 Georgia O’Keefe, City Night, 1926 Frida Kahlo, The Two Fridas, 1939 Surrealism and Abstract Expressionism Salvador Dali, Birth of Liquid Desires, 1931-2 Meret Oppenheim, Object (Luncheon in Fur, 1936 Jackson Pollock, Male and Female, 1942 Hans Namuth, Photograph of Jackson Pollock Painting, 1950 Jackson Pollock, Autumn Rhythm (Number 30), 1950 Lee Krasner, The Seasons, 1957 Willem de Kooning, Woman I, 1950-1952 Assemblage and Pop Art Robert Rauschenberg, Canyon, 1959 Jasper Johns, Target with Four Faces, 1955 Yves Klein, Anthropométries of the Blue Period, 1960 Richard Hamilton, Just What is it that Makes Today’s Homes so Different, so Appealing?, 1955 Andy Warhol, Marilyn Diptych, 1962 Andy Warhol, Birmingham Race Riot, 1964 Roy Lichtenstein, Oh Jeff. . .I Love You Too, But , 1964 Claes Oldenberg, Lipstick Ascending on Caterpillar Tracks, 1969-1974 Art 252 – Spring, 2010 - Important Works List – FINAL EXAM Note - * indicates that the work is in reading on eCollege, not in Stokstad textbook. Early Renaissance Painting in Burgundy and Flanders Paul, Herman and Jean Limbourg, January, The Duke of Berry at Table, from the Tres Riches Heures, 1411-16 Robert Campin, The Mérode Altarpiece, c. 1425-28 Jan van Eyck, Double Portrait; Traditionally Known as Giovanni Arnolfini and his Wife, Giovanna Cenami (?), 1434 Early Renaissance Painting and Sculpture in Italy * Lorenzo Ghiberti, Gates of Paradise, “Jacob and Esau” and “Adam and Eve”panels 1425-1452 Donatello, David, c. 1446-1460(?) Masaccio, Trinity with the Virgin, Saint John the Evangelist, and Donors, c. 1425-27/8 Andrea del Castagno, Last Supper, Resurrection, Crucifixion, and Entombment, 1447 Sandro Boticelli, The Birth of Venus, c. 1484-86 High Renaissance Painting and Sculpture in Italy Leonardo, Vitruvian Man, c. 1490 Michelangelo, David, 1501-4 Michelangelo, Sistine Chapel Ceiling, Creation of Adam, 1508-12 Raphael, School of Athens, 1510-11 Titian, Venus of Urbino, c. 1538 Sofonisba Anguissola, Self-Portrait, c. 1552 * Titian, Sacred and Profane Love, 1514 High Renaissance Art in Germany, the Netherlands, and England Albrecht Dürer, Self-Portrait, 1500 Lucas Cranach the Elder, Nymph of the Spring, c. 1537 Caterina van Hemessen, Self-Portrait, 1548 Pieter Breughel the Elder, Return of the Hunters, 1565 Hans Holbein the Younger, Henry VIII, 1540 Baroque Painting and Sculpture in Italy and Spain Gianlorenzo Bernini, David, 1623 Gianlorenzo Bernini, Saint Teresa of Ávila in Ecstasy, 1645-52 Caravaggio, Entombment, c. 1603-4 Artemisia Gentileschi, Judith and Maidservant with the Head of Holofernes, 1625 Diego Velasquez, Las Meninas, 1656 * Artemisia Gentileschi, Susanna and the Elders, 1610 Baroque Painting in Flanders and Holland Frans Hals, Catherina Hooft and Her Nurse, c. 1620 Judith Leyster, Self-Portrait, 1635 Rembrandt, Captain Frans Banning Cocq Mustering His Company, 1642 Jan Vermeer, Woman Holding a Balance, 1664 *Rembrandt, Susanna and The Elders, 1636 Neoclassicism and Eighteenth Century Art of the Americas Angelica Kauffmann, Cornelia Pointing to her Children as Her Treasures, 1785 John Henry Fuseli, The Nightmare, 1781 Marie-Louise Élisabeth Vigée Lebrun, Portrait of Marie Antoinette with Her Children, 1787 Adéläide Labille-Guiard, Self-Portrait with Two Pupils, 1785 Jaques Louis-David, Oath of the Horatii, 1784-1785 Anne-Louis Girodet-Trioson, Portrait of Jean-Baptiste Belley, 1797 Romanticism John Singleton Copley, Watson and the Shark, 1778 Antoine-Jean Gros, Napoleon in the Plague House at Jaffa, 1804 Jean-Auguste Dominique Ingres, Large Odalisque, 1814 Théodore Géricault, Raft of the “Medusa,” 1818-1819 Francisco Goya, Third of May. 1808, 1814-5 *Jean-Auguste Dominique Ingres, Napoleon I on his Throne, 1806 *Jacques-Louis David, Le Sacre, 1808 Realism and Early Photography Louis-Jaques-Mandé Daguerre, The Artist’s Studio, 1837, daguerrotype Gustave Courbet, A Burial at Ornans, 1849 Rosa Bonheur, Plowing in the Ninervais: The Dressing of the Vines, 1849 Honoré Daumier, The Third-Class Carriage, c. 1862 Thomas Eakins, The Gross Clinic, 1875 Impressionism Édouard Manet, Olympia, 1863 Claude Monet, Rouen Cathedral, 1894 Pierre-August Renoir, Moulin de la Galette, 1876 Edgar Degas, The Rehearsal on Stage, c. 1874 Gustave Caillebotte, Paris Street, Rainy Day, 1877 Pierre-August Renoir, Bathers, 1887 Mary Cassatt, Woman in a Loge, 1879 Post-Impressionism and Symbolism Paul Cézanne, Mont Sainte-Victoire, 1885-7 Georges Seurat, A Sunday Afternoon on the Island of La Grand Jatte, 1884-86 Vincent Van Gogh, The Starry Night, 1889 Paul Gaugin, Mahana no atua (Day of the God), c. 1894 * Vincent van Gogh, Self-Portrait Dedicated to Paul Gaugin, 1888 * Paul Gaugin, Self-Portrait: Les Misérables, 1888 West-African and African Diaspora Art Kojo Bonsu, Finial of a Spokesperson’s Staff, Ghana, 1960s-1970s Twin Figures (Ere Ibeji), Yoruba, 20th Century Power Figure (nkisi nkonde), Kongo culture, 19th century Mbap Mabbinc Mambeky, photograph by Eliot Elisofon, 1947 Kente cloth, Ashanti culture, Ghana, 20th century *Togo, Ouatchi Sculptures Harlem Renaissance Aaron Douglas, Aspects of Negro Life: From Slavery through Reconstruction, 1934 Augusta Savage, La Citadelle: Freedom, 1930 Jacob Lawrence, During the World War there was a Great Migration North by Southern Negroes, 1940-1 *Aaron Douglas, Cover for The American Negro, 1928 Cubism and Dada Pablo Picasso, Guernica, 1937 Henri Matisse, The Joy of Life, 1905-6 Paula Modersohn-Becker, Self-Portrait with an Amber Necklace, 1906 Egon Schiele, Self-Portrait Nude, 1911 Pablo Picasso, Les Damoiselles D’Avignon, 1907 Pablo Picasso, Ma Jolie, 1911-1912 Marcel Duchamp, Fountain, 1917 Alfred Stieglitz, The Flatiron Building, 1903 Georgia O’Keefe, City Night, 1926 Surrealism and Abstract Expressionism Salvador Dali, Birth of Liquid Desires, 1931-2 Jackson Pollock, Autumn Rhythm (Number 30), 1950 Assemblage and Pop Art Robert Rauschenberg, Canyon, 1959 Jasper Johns, Target with Four Faces, 1955 Andy Warhol, Marilyn Diptych, 1962 Roy Lichtenstein, Oh Jeff. . .I Love You Too, But , 1964 Claes Oldenberg, Lipstick Ascending on Caterpillar Tracks, 1969-1974
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