Leonardo da Vinci, Tintoretto, Bellini) Feb 17 Catch up and Review Feb 22 EXAM #1 (on Ch. 14, 15, 16, 17) EXAM #1 Feb 24 High Renaissance and Mannerism in Northern Europe and Spain Gardner, Ch. 18 (Focus on High Renaissance in Northern Europe: Bosch, Dürer, Bruegel)
7 Feb 29 High Renaissance and Mannerism in Northern Europe and Spain Gardner, Ch. 18 (Focus on Spain: Colegio de San Gregorio, El Greco) March 2 Baroque in Italy and Spain Gardner, Ch. 19 (Focus on Bernini, Gentileschi, Velázquez) Mar 7 Baroque in Northern Europe Gardner, Ch. 20 (Focus on Claesz, Kalf, Rembrandt) Mar 9 Rococo to Neoclassicism: the 18 th century in Europe and America Gardner, Ch. 21 (Focus on Watteau, Vigée-Lebrun, Copley,) MFA Paper #1 Due Mar 14 and 16 Spring Break Mar 21 Catch up and Review Mar 23 EXAM #2 (Ch. 18, 19, 20, 21) EXAM #2 March 28 Romanticism in Europe from 1800 to 1870 Gardner, Ch. 22 (Focus on Romanticism: Goya, Constable, Turner) Mar 30 Realism in Europe from 1800 to 1870 Gardner, Ch. 22 (Focus on Realism: Courbet, Millet, Manet) April 4 Impressionism: Europe and America, 1870 to 1900 Gardner, Ch. 23 (Focus on Impressionism: Monet, Degas, Kiyonaga, Cassatt) Apr 6 Post-Impressionism in Europe from 1870 to 1900 Gardner, Ch. 23 (Focus on Post- Impressionism: Van Gogh, Cézanne) Apr 11 Modernism in Europe and America, 1900 to 1945 Gardner, Ch. 24 (Focus on Matisse, Picasso, Braque) Apr 13 Modernism and Postmodernism in Europe and America, 1945 to 1980 Gardner, Ch. 25 (Focus on Pollock, Mitchell, Warhol, Chicago, Nevelson) Apr 18 No Class-Patriots Day
8 Apr 20 Contemporary Art Worldwide: Art as Sociopolitical Message Gardner, Ch. 26 (Kruger, Neshat, Kiki Smith) MFA Paper #2 Due Apr 25 Contemporary Art Worldwide: Art as Sociopolitical Message Gardner, Ch. 26 (Lin, Whiteread, Holzer) Apr 27 Catch-up May 2 Review, Course Evaluations May 4 Exam III (on Ch. 22, 23, 24, 25, 26) (during Final Exam period). Room 216, 5pm
9 Guide to Analyzing Art Dr. Sarah Bromberg ANALYSIS OF VISUAL QUALITIES 1. Forms/shapes a. Form refers to an object’s shape or structure either in two dimensions (for example, a human figure painted on a canvas) or in three dimensions (for example, a statue carved from a marble block). b.What type of two-dimensional shapes or three-dimensional forms do you see? 2. Line a. A line can define an artwork’s shape or form. Lines can be made visible by drawing or chiseling on a flat surface. A line can be an edge of a form. b.Sculpture/Three-Dimensional Work: What kinds of lines have been incised, carved or placed inside the forms? Use adjectives.
You've reached the end of your free preview.
Want to read all 18 pages?
- Summer '19
- Sistine Chapel, Formalism, An Oak Tree