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ARTH 1441: Historical Survey of the Arts

Renaissance to Modern
Louisiana State University, Fall Semester 2016
MWF 11:30 a.m.-12:20 p.m., 100 Dodson
Professor Darius Alexander Spieth
Office: 219, Design Building
Ph. 578-4947, E-mail: dspieth@lsu.edu
Office hours: MWF 10:30 - 11:20 p.m.
(or whenever door is open)
________________________________________________________
Teaching Assistant:
William Judson
210 Design Building
Office hours:
Fr. 1:00-2:00 p.m.
Phone: 225-278-1470
E-mail: wjudso2@lsu.edu
Address any question related to record keeping of clicker questions
(see below) to William Judson, NOT Darius Spieth.
William cannot answer technical questions concerning
clickers and their registration, for which see Help Desk at Middleton Library.

___________________________________________________________
Description: The course surveys the development of art and architecture from the
Renaissance to the modern era.
The first part of the course will trace how the rediscovery of art from classical antiquity
inspired artistic innovations in Italy and Northern Europe from the fourteenth to the
sixteenth century. The second part of the course is dedicated to early modern art, from the
eighteenth to the nineteenth century in Europe, with an emphasis on the French
Revolution and its aftermath. In the last third of the course we will focus on various
avant-garde movements in Europe and America in the early twentieth century. The survey
will conclude with an overview of the increasingly pluralistic art world that has emerged
in the United States and Europe since 1945.

This course satisfies LSUs General Education requirement in the Arts. It meets several of
the learning objectives outlined for General Education courses by (1) incorporating study
of broader art historical themes and their underlying concepts; (2) introducing students to
acknowledged artistic masters and masterworks; and (3) encouraging an understanding of
historical, visual, and aesthetic paradigms.
Requirements and Grading:
Exams
60%
(3 exams @ 20% each)
Unannounced quizzes
20%
(15 questions out 20; 5 lowest dropped)
Critical Response Papers
20%
(2 papers @ 10% each)
Grading Scale: Course grades will be based on the following scale:
A+
A
AB+
B
BC+
C
CD+
D
DF

= 96.50-100%
= 92.50-96.49%
= 89.50-92.49%
= 86.50-89.49%
= 82.50-86.49%
= 79.50-82.49%
= 76.50-79.49%
= 72.50-76.49%
= 69.50-72.49%
= 66.50-69.49%
= 62.50-66.49%
= 59.50-62.49%
= 59.49% and below

Positively no I (Incomplete) grades.

Make-up policy: Requests for make-up exams or acceptance of late papers require
written, official documentation, giving the specific reason why you cannot take the
exam or submit the paper on time. Contact the TA directly concerning make-ups.
15 Unannounced Quizzes (clicker questions):
There will be 20 unannounced clicker questions over the course of the semester; the 5
lowest scores will be dropped automatically at the end of the semester.
Each quiz will consist out of one question with only two answer choices, A or B;
the question will be projected on the screen. A correct answer will get a score of
100; an incorrect answer, a score of 20.

If you are absent on the day of a quiz, the resulting 0 will count towards the five
scores that will be dropped. THERE WILL BE NO MAKE-UPS UNDER ANY
CIRCUMSTANCE.
The question can appear at the beginning, the middle, or the end of the lecture.
The question will draw on materials covered either during the current or the
immediately preceding lecture. (For instance, if there is a quiz on a Wednesday, it
can cover materials from the previous Monday and the content of the lecture on
that Wednesdays, up to the moment the question appears on the screen)
In order to have your reply to the questions registered, you need to acquire a
so-called clicker, an electronic device registered to your name through
Moodle:
o Clickers can be bought for about $40.00 at the bookstore
o There is a limited supply of clickers available for checkout for the
duration of the semester at Middleton library (no charge)
o If you know somebody who purchased a clicker before, you can use
that clicker, provided it is properly registered under your name
It is YOUR responsibility to get the clicker registered to your name. Once it
has been registered, ALWAYS have to bring the clicker to class (If you forget
to bring it, and there is a quiz, no score can be registered)
For instructions on how to obtain/register clickers, go to:
Student Response System Clicker: How To Purchase/Obtain a SRS
Clicker
http://grok.lsu.edu/Article.aspx?articleId=10620
Student Response System Clicker: Register
http://grok.lsu.edu/Article.aspx?articleId=10619
IMPORTANT NOTE: The clicker registration system does not known
O (the letter in the alphabet), only 0 (zeroes) do not put in any
Os.
If are experiencing technical problems with your clicker, have questions
regarding use, or if you missed the January 20 demonstration and dont
know how to register the device, go to the Help Desk at Middleton library.
DO NOT CONTACT THE PROFESSOR OR THE TA WITH TECHNICAL
QUESTIONS REGARDING CLICKERS. CONTACT THE STAFF AT THE
HELP DESK!
Exams: There are three multiple-choice exams in this class. The first two will be given
on September 23 (F) and October 26 (W) during regular class time; the final exam is
scheduled for December 7 (W), 12:30-2:30 a.m.
All exams will consist of 25 multiple-choice questions.
Twenty questions will require the identification of artworks or monuments by
name of creator, title, medium, location (if architecture or site-specific works),
style, and date.

In addition, five questions on the exam will test your knowledge about art
historical terminology, stylistic developments, and historical contexts of works
introduced in class. These five questions will consist of simple associations of
terms.
You will have one and a half minutes (90 seconds) for each
identification/question. On exam day, you must bring a large (8 x 11) Scantron
form (see sample below), a No. 2 pencil, and a smudge-free eraser. Crumpled,
dirty, or folded Scantrons are not acceptable. Keep your Scantron protected by
an envelope at all times.
More detailed information regarding procedures on the exam days will be given
during regular class periods prior to the tests and during optional review sessions.
Writing Assignments:
Critical Response Papers (2 x): These papers will be due in class on September 9 (F)
and November 9 (W).
WARNING:
Papers MUST be written on the subjects assigned below. If you fail to
address the subjects, the paper will automatically be assigned an F
grade!
Beware that copying and pasting text passages from the internet and
passing them on as your own work constitutes PLAGIARISM, which
will be treated accordingly (grade of 0 for assignment, see Sanctions
for Academic Misconduct as outlined in:
https://sites01.lsu.edu/wp/lsuonline/files/2013/08/Academic-IntegrityOrientation-Moodle-Module.pdf).
The paper is NOT group work! Do not share your paper (your
intellectual property) with other students in class (especially, do not
send paper electronically, if you are asked for a sample by a friend
or classmate) to avoid the risk of your work being inadvertently
plagiarized (see sanctions, above).
Topic Paper #1 (due Sept. 9): Peasants and the Rural Life in Art. Select one
artwork shown in class or one that you have discovered on your own that is
appropriate for the subject.
Examples of artworks that may be appropriate for this purpose:
Ambrogio Lorenzetti, Peaceful Country, from Effects of Good
Government in the City and in the Country, Sala della Pace,
Palazzo, Pubblicco, Siena, 1338-1339, fresco
Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen,
ca. 1670, oil on canvas
David Teniers (although not covered in class, feel free to discover
one of this Golden Age painters compositions by yourself)
Louis Le Nain, Family of Country People, ca. 1640,
oil on canvas

Jean-Franois Millet, The Gleaners, 1857, oil on canvas

Topic Paper #2 (due Nov. 9): Jean-Auguste-Dominique Ingres (1780-1867).

Select, research, and analyze an artwork by Ingres of your own choice.
Address the following points:
Introduction paragraph: Who was Ingres? Why is the work you
selected typical for Ingres and his times?
What subject matter is depicted? If the painting (or drawing, or
print) has a narrative, summarize it shortly. What compositional
choices did Ingres make to depict the subject?
What was the purpose and the historical context for the creation of
the work? (For example, was it commissioned for a specific
building, or for a specific occasion?)
Both essays should:
o Include information about the artist/architect/creator.
o Mention/discuss materials used, title, date, dimension
o Engage visual information provided by the work of art or architecture
in the analysis.
o Does the work tell a story? If so, what is it?
o Point out the historical context and inherent aesthetic qualities of the
work.
o Use some of the broader art historical themes and their underlying
concepts introduced in class.
o Be written in clear and grammatically correct English.
Each paper should be 2 pages long (not counting cover page), double spaced and
with standard margins. Possible illustrations do not count toward the two-page
requirement.
Papers must be stapled and have a title. Title page is not required.
Make sure to include your name on the front sheet of the paper.
On the due date: Submit the paper before or immediately after class.
POSTIVELY NO SUBMISSIONS DURING AN ONGOING LECTURE.
Reading:
Recommended textbook:
Fred S. Kleiner, Gardners Art Through the Ages, 14th edition, vol. II, Boston:
Wadsworth, 2013. ISBN: 978-1133954804 (Abbreviated hereafter GAR)
Note: You may be able to find earlier editions of Gardners Art Through the Ages,
vol. II, much more cheaply on the internet. Feel free to buy and use these copies
instead of the expensive current edition above; however, in this case, it is your

responsibility to figure out the page numbers that correspond to the lecture
materials currently covered.
Readings will be assigned from this book as listed in the course outline below. Lectures
are based on the assumption that the assigned reading is complete before each class.
Study materials and Publication of Grades:
Lectures will be given as PowerPoint Presentations. These will be made accessible a
few days before class on Moodle. The PowerPoint presentations, your textbook, and your
notes taken in class will be your primary resources when studying for the exams. If you
experience technical problems downloading files from Moodle, contact the
Computer Help Desk directly (578-0100). Unfortunately, we cannot assist you in
resolving your computer-related problems.
Prior to the exams, I will publish lists of works of art from each lecture for which
you will be held accountable (these files are published weekly on Moodle; they are
named Essential Works). This will narrow down the number of objects you need
to memorize from each lecture to about ten on average.
Course Outline:
August 22 (M): Art and the Experience of the Modern World
August 24 (W): The Proto-Renaissance in Italy: Berlinghieri, Cimabue, Duccio, Simone
Martini, Pietro and Ambrogio Lorenzetti, Giotto
GAR, 401-420
August 26 (F): Fifteenth-Century Painting in Italy (Early Renaissance): Gentile da
Fabriano, Masaccio, Fra Angelico, Uccello, Ghirlandaio, Castagno, Fra
Filippo Lippi, Perugino, Mantegna, Piero della Francesca, Signorelli
GAR, 572-581, 589-596
August 29 (M): Developments in Sculpture and Architecture during the Early
Renaissance: Pisano, Ghiberti, Nanni di Banco, Donatello, Verrocchio,
Della Robbia; Arnolfo di Cambio, Brunelleschi, Michelozzo, Alberti
GAR, 403-404, 417-419, 559-572, 581-588
August 31 (F): Renaissance in Northern Europe: Van Eyck, Van der Weyden, Bouts,
Van der Goes, Memling, Campin, Bosch, Sluter, Riemenschneider,
Schongauer
GAR, 535-555, 644-645

September 2 (F): High Renaissance in Central Italy: Botticelli, Leonardo da Vinci,

Michelangelo, Raphael
GAR, 581, 599-618
September 5 (M): No Class Labor Day.
September 7 (W): High Renaissance in Venice: Bellini, Titian, Giorgione;
Sculpture and Architecture during the High Renaissance: Pollaiuolo,
Michelangelo (as sculptor); Bramante, Sangallo, Michelangelo (as
architect)
GAR, 569-570, 618-632
September 9 (F): Mannerist Painting, Sculpture, and Architecture: Pontormo,
Parmigianino, Bronzino, Arcimboldo, Anguissola, Tintoretto,
Veronese, Cellini, Giambologa, Giulio Romano, Sansovino, A. da
Ponte, Palladio
GAR, 619-622, 632-642
Writing Assignment No. 1 due in class! No late papers will be accepted!
-- Make sure paper has your name on it.
September 12 (M): Painting in the Age of Reformation: Grnewald, Drer, Altdorfer,
Holbein the Younger, Gossaert, Massys, Bruegel the Elder, Bruegel
the Younger
GAR, 645-663
September 14 (W): Baroque Art in Italy and Spain: Bernini, Caravaggio, Gentileschi,
Carracci, Reni, Pietro da Cortona, Fra Andrea Pozzo; Ribera,
Zurbarn, Velzquez, El Greco
GAR, 665-666, 678-693
September 16 (F): Baroque Architecture in Italy: Maderno, Bernini, Borromini, Guarini;
French Art of the Seventeenth Century: Poussin, Claude Lorrain, Le
Nain, De La Tour, Callot
GAR, 669-678
September 19 (M): Seventeenth-Century Art in Northern Europe: Rubens, Van
Dyck, Rembrandt, Van Honthorst, Hals, Cuyp, Ruisdael, Vermeer,
Steen, Claesz, Kalf, Brouwer

GAR, 695-713
September 21 (W): Review for Exam I
September 23 (F): Exam I
Bring large (8 x 11) Scantron, pencil, and smudge-free eraser
September 26 (M): Art and Architecture in the Age of French Absolutism: Rigaud,
Hardouin-Mansart and Le Brun, Girardon and Regnaudin; Venetian Art
of the Eighteenth Century: Canaletto, Giambattista and
Giandomenico Tiepolo
GAR, 714-718, 743-744
September 28 (W): French Rococo Art: Boffrand, Cuvillis, Watteau, Boucher,
Fragonard, Clodion
GAR, 732-735
September 30 (F): Art in the Age of the Enlightenment: Greuze, Chardin, Vige-Lebrun,
Gainsborough, Reynolds, Hogarth, Huber, Wright of Derby
GAR, 738-744
October 3 (M): Neoclassicism and the French Revolution: David, Drouais,
Girodet-Trioson, Hennequin, Soufflot, Vignon
GAR, 745-749, 758
October 5 (W): Neoclassicism in France during the Empire and Restoration: David,
Girodet-Trioson, Regnault, Gros, Ingres
GAR, 755-761
October 7 (F): No Class Fall Holiday.
October 10 (M): Neoclassicism Outside of France: Canova, West,
Kauffmann, Boyle and Kent, Wood the Younger, Jefferson
GAR, 742, 746-747, 749-751, 758-759
October 12 (W): Romanticism I: Gricault, Delacroix, Barye, Rude

GAR, 762-770
October 14 (F): Romanticism II: Fuseli, Blake, Goya, Constable, Friedrich, Turner
GAR, 770-775
October 17 (M): Realism: Courbet, Millet, Daumier; A Painter of Modern Life: Manet
GAR, 775-782
October 19 (W): Academic Art and Architecture of the Second Empire and Third
Republic: Grme, Henri Regnault, Bouguereau, Bonheur, Puvis de
Chavannes, Labrouste, Garnier
GAR, 782-3, 779, 830
October 21 (F): Impressionism in France: Monet, Caillebotte, Pissarro, Renoir, Degas,
Morisot
GAR, 799-809
October 24 (M): Review for Exam II
October 26 (W): Exam II
Bring large (8 x 11) Scantron, pencil, and smudge-free eraser
October 28 (F): Symbolism and Art Nouveau: Moreau, Redon, Toulouse-Lautrec, Klimt,
Munch, Rodin, Horta, Gaud; Post-Impressionism I: Seurat, Signac
GAR, 810-824
October 31 (M): Post-Impressionism II: Czanne, Gauguin, Van Gogh
GAR, 810-824
November 2 (W): Fauvism: Matisse, Derain, Vlaminck; German
Expressionism Die Brcke: Kirchner, Nolde; Der Blaue Reiter:
early Kandinsky, Marc
GAR, 835-843
November 4 (F): Early Picasso and the Making of Cubism: Blue and Rose Periods, Les
Demoiselles dAvignon, Analytic and Synthetic Cubism: Braque,
Picasso, Delaunay, Lger, Lipchitz, Archipenko; Picassos Guernica

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GAR, 844-853
November 7 (M): Suprematism and Constructivism in Russian Avant-Garde Art:
Malevich, Lissitzky, Rodchenko, Tatlin, Gabo
GAR, 858-861
November 9 (W): The De Stijl Movement in the Netherlands: Mondrian, Rietveld;
The Bauhaus in Germany and the International Style in
Architecture: Klee, Albers, Moholy-Nagy, Gropius, Breuer, Mies
van der Rohe, Le Corbusier
GAR, 880-887
Writing Assignment No. 2 due in class! No late papers will be accepted!
-- Make sure paper has your name on it. -November 11 (F): Italian Futurism: Balla, Boccioni, Severini
GAR, 853-855
Optional Extra Credit Opportunity:
Guest Lecture by Henri Zerner, Prof. Emeritus, Harvard University, on Ingres,
November 11 (F), 5:00 p.m., Union Theater. More details will be provided in class.
November 14 (M): Dadaism: Arp, Hausmann, Hch, Schwitters, Duchamp
GAR, 856-858
November 16 (W): Surrealism: de Chirico, Ernst, Dali, Magritte, Mir, Oppenheim,
Man Ray
GAR, 874-880
November 18 (F): Neue Sachlichkeit: Grosz, Beckmann, Dix, Schlichter
GAR, 874-880
November 21 (M): Modern Art and Architecture in America: OKeeffe, Hartley, Davis,
Demuth, Hopper, Wood, Benton, Calder, Wright; Mexican Mural
Painting: Orozco, Rivera
GAR, 887-896
November 22 (W): Art after World War II: Abstract Expressionism and the New York

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School: Pollock, de Kooning, Rothko, Newman; Post-Painterly

Abstraction: Kelly, Stella, Frankenthaler, Louis
GAR, 902-908
There is class on November 22 (Wed.), as Thanksgiving Break, per University
regulations, only starts at 12:30 p.m.!
November 25 (F): No Class Thanksgiving Holiday.
November 28 (M): Pop Art: Hamilton, Johns, Rauschenberg, Lichtenstein, Warhol,
Oldenburg, Close, Hanson; Minimalism: Smith, Judd, Serra;
Conceptual, Performance, and Land Art: Tinguely, Beuys, Kosuth,
Nauman, Smithson, Christo;
GAR, 909-917, 932-937
November 30 (W): From Modernism to Postmodernism in Architecture: Van der
Rohe & Johnson, Yamasaki, Rogers & Piano, Venturi, Rauch & Scott,
Johnson & Burgee, Graves, Moore, Gehry
GAR, 921-932, 942-949, 962-963. 954-959
December 2 (F): From Modernism to Postmodernism in Art: Schnabel, Kiefer Paik,
Sherman, Holzer, Koons, Williams, Chihuly
GAR, 921-932, 942-949, 962-963. 954-959
December 7 (W): Exam III (Final), 12:30 2:30 a.m., 100 Dodson
Bring large (8 x 11) Scantron, pencil, and smudge-free eraser