Ms.

Davis 2019-2020

Advanced Placement Art History

Life beats down and crushes the soul and art reminds you that you have one.

– Stella Adler

We create art because humanity needs art. Our spirit needs art like a vitamin pill.
If we have art, we are happier, more alert, and have more vitality.

– Csaba Markus

Syllabus
Course Description:
The study of art history allows students to discover anew the world in which they live. Throughout the
year we will learn about how people have responded to and communicated their experiences through
art, as well as the historic and cultural contexts in which it was created. Students will be welcomed
into the global art world as active participants, engaging with its forms and content as they research,
discuss, read, and write about art, artists, art making, and respond to and interpret art. This course
will be structured around the big ideas and essential questions of the ​AP Art History Course and Exam
Description.

This course will develop an understanding and knowledge of diverse historical and cultural contexts of
architecture, sculpture, painting and other media. In this course, students examine and critically analyze
major forms of artistic expression from the past and the present from a variety of cultures . While visual
analysis is a fundamental tool of the art historian, art history emphasizes understanding how and why
works of art function in context, considering such issues as patronage, gender, and the functions and
effects of works of art . ​When we ask our students to study the history of images, objects, and buildings,
we want them to think about how their environment impacts all aspects of their lives. Do structures in
our environment suggest stability or chaos? Do images around us encourage conservatism or frivolity?
Are we influenced by imagery to spend, vote, drink, eat, smoke, waste time, work, and so forth? Do we
use images to form stereotypical impressions of people? Does imagery reinforce certain values that we
cherish, or does it challenge long-established traditional notions belonging to a certain society or
culture?

Goals for the Term:

Students will take an inquiry-based approach to exploring, researching, and analyzing works of art and
architecture across time and cultures. Students will aim to develop art-specific vocabulary, to explore
 Ms. Davis 2019-2020
how the structural elements of art and organizational principles of design have been used to solve
artistic challenges and create meaning. Students will learn to identify the functions, forms, media, styles
of art, cultural ideas, and themes related to time periods and geographical places. Through research and
analysis of significant works and their historical contexts students examine changes in the understanding
and structures of art production throughout the world. Students will examine influential factors, such as
people and events, societal and political changes, technological advancements, philosophical ideas, and
cross-cultural influences as a means of discovering and tracing the changing definition of art. Student
historians research and write about art using appropriate discipline-based methods (i.e., historical,
critical, and aesthetic). Students will incorporate hands-on activities and the use of art materials to
create authentic learning experiences.

Course Curriculum and Content

Big Ideas and Essential Questions:​ The AP Art History curriculum and content is structured around the
big ideas and essential questions that frame explorations of the nature of art, art making, and our
responses to art. Twelve learning objectives are associated with the big ideas and essential questions
—The big ideas and essential questions in the ​AP Art History Course and Exam Description​ are used as a
conceptual foundation for the course.

Enduring Understanding and Essential Knowledge Statements:​ These provide contextual information
about the regions and time periods in each content area. Information from enduring understanding and
essential knowledge statements is combined with course learning objectives and works of art in the
image set to form targets of assessment for the AP Art History Exam. Enduring understanding and
essential knowledge statements provide contextual information that serves as a starting point for
student learning in the course.

Required Course Content (Image set): ​Each content area is represented by a number of exemplary works
of art within a prescribed image set of 250 works. AP Art History required course content is
defined to support students’ in-depth learning, critical analysis, and understanding of connections
among global artistic traditions by focusing study on works representing the diversity of art through time
and place. The image set consists of approximately 65 percent works from the Western tradition and 35
percent from non-Western artistic traditions. Students will also be asked to attribute works of art
outside the image set based on their knowledge and understanding of works within the set; attributions
should be provided in the same format and with the same level of detail as identifying information for
each work of art within the image set. Students will include works they choose to study beyond the
image set as AP Art History Course Content.

Course Pacing

Each unit represents one or two of the ten required content areas. We have 172 classes to learn over
250 works of art! Pacing is based on the number of works of art in the unit, with flexibility. The goals are
 Ms. Davis 2019-2020
to integrate the course learning objectives and enduring understanding statements, the overarching
concepts for the content area with the works of study. These will be supported with the essential
knowledge statements through assignments, activities, research and lectures. The teacher and students
will expand upon this foundational information in their exploration of each work of art, referring to
scholarly resources such as the textbooks, primary and secondary source documents, videos, and
museum websites, etc. Students will examine, analyze, research, record, discuss, interpret, and compare
works in the required course content and works beyond the image set as they develop art historical
skills.

Materials:
Paper
Highlighters and pens

Resources:
Required textbook. Please rent the Ebook.
eBook: Kleiner, Fred S., ​Gardner’s Art Through the Ages: A Global History.​ 16th ed.
Rental Access Length: 360 Days
ISBN10: 0-357-39115-2
ISBN13: 978-0-357-39115-0

You​ do not need​ to purchase the digital Mindtap Edition. Please rent ONLY the digital book
through May 2020.
Link to digital course book, Gardner's Art Through the Ages: A Global History, 16th
edition

Supplemental Texts
Stokstad, Marilyn. ​Art History. ​Rev. 2nd ed. Upper Saddle River, N.J.: Prentice Hall, 2005.
Atkins, Robert. ​Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the
Present. ​2nd ed. New York: Abbeville Press, 1997.

Videos
Chris Burden: A Video Portrait.​ Directed by Peter Kirby. Produced by Newport Harbor Art Museum,
Media Art Services, and Zona Productions. Distributed by Kultur International Films, 1989.

John Cage: I Have Nothing to Say and I’m Saying It.​ Directed by Allan Miller. Distributed by Kultur Films,
1990.

Art of the Western World.​ 1989. Hosted by Michael Wood. Produced by WNET/New York, Educational
Broadcasting System. Distributed by Annenberg Media, 1989.

“Thomas Kinkade, a Success: Morley Safer Interviews Artist Who’s Also Master Marketer.” 60 Minutes.
CBS. July 4, 2004.

Art:21—Art in the Twenty-first Century​. Produced by Wesley Miller and Ana Otero for PBS Home Video.
Distributed by PBS, 2001–2007. DVD. 960 minutes. Visit the PBS Web site for this series,
 Ms. Davis 2019-2020
www.pbs.org/art21/series.

Assessment:
Students are evaluated through daily preparation, unit tests, quizzes, homework, notes, projects,
presentations and participation in activities.

The approximate breakdown for each form of assessment is as follows:

Tests & Quizzes: ​50% of semester grade

Homework (Notes, Research and Reading): ​20% of semester grade
Assessments (Presentations, Projects and Papers): ​20% of semester grade
Daily Preparation (Participation): ​10% of semester grade

Abbreviation Key for Online Progress Report: P=Preparation (Effort), Q=Quiz, T=Test, H=Homework, and
C=Coursework (For example: Q2=Quiz 2)

Unit Tests-​ Unit tests are administered at the end of each of the 10 Units. Students will be provided a
review outline in addition to class resources such as study guides, their own note cards, powerpoint
presentations, and handouts, to study key concepts covered in class. Test will reflect the format of the
AP Exam. Format includes short essay questions, multiple choice, and long essay questions.

Quizzes-​ Quizzes will occur periodically throughout the semester as a key assessment of understanding.
Quizzes will vary depending on the information in need of review between unit exams. They may be
short in nature, including slide identification and multiple choice questions. Quizzes may or may not be
announced in advanced. If announced in advance they will count towards a quiz grade, otherwise they
will count towards the preparation grade.

Homework- S​ tudents are to complete the assigned reading and take notes on the study guide packets as
preparation for each day. Occasionally I will give a free-response question as homework through the
form of a blog post. Students earn credit for answering questions and taking notes. Key works of art will
be assigned to note cards submitted periodically for credit. Students are to complete the Cue Card
homework on required works of art.

Papers, Presentations, Projects and Activities- ​These include oral presentations, deep discussions, art
talks, the creation of art, museum and gallery visits and written critiques. Writing will enrich student
application of key concepts and understanding of the human figure, power and authority, sacred spaces,
ritual objects, narrative art, and art out of context especially to non-Western art.

Preparation (Participation)-​ Participation, preparation, and productivity are a part of the effort grade. A
daily preparation grade will be earned and posted bi-weekly in addition to preparation quizzes or
assignments.
 Ms. Davis 2019-2020

Class Policies​:
● Observe safety precautions​ around materials and equipment by never bringing food or drinks to
class unless approved by teacher.
● Laptops and approved devices may only be used for class related assignments ​upon teacher
instruction. ​Using the classroom printer is a privilege and will be used only upon teacher
approval.
● Respect​ is expected at all times. This includes respect for personal artwork, respect for other
people’s artwork, respect for the classroom and materials, and most of all respect for people’s
ideas, opinions, and feelings voiced in discussion
● Uphold the Honor Code ​for all aspects of this course.
● Maintain focus​ by refraining from use of music, books, materials, or homework for other classes
at all times.
● It is imperative that you ​attend class on a regular basis​ prepared to work. Due to the nature of
the course, missing a class can significantly affect the quality of your work. It is ​your
responsibility ​to make up any missing assignments, projects, or tests due to absence. To make
up your daily effort grade, you will need to submit a write up absent report (typed, written, or
electronic) including what you missed and a recovery plan on how you intend to make up the
work, upon your return.
● You must provide a pass if you are late to class.
● It is your responsibility to ​keep the art room clean​. You must give yourself the appropriate
amount of time to clean up your workspace and return your supplies during active studio time.

Expectations:
The following are key guidelines of the course:
● In addition to work completed in class, ​reading and assignments will have to be completed
at home​ – this will help accomplish our goals in the time allotted.
● Deadlines must be met​. Procrastination is not accepted in this course. Point deductions will
occur for work submitted late as outlined in the student handbook.
● Students must be ​active participants​ in class. Discussions, daily art talks, and critiques are
key learning processes in this course and students must contribute their ideas and thoughts
at all times.
● Students must ​be prepared​ for class. Students must arrive to class on time with their
materials and use the class time to its fullest extent.
● Students will study classic and contemporary artists and trends during the duration of the
course. Students are expected to ​visit galleries and local art museums​ on their own at least
2 times during the semester.
● The foundation of each class is an open-forum ​student discussion​ using thinking routines on
the art historical significance of the works of art assigned for that day. Reading the text is
essential to our success in the course and your understanding of the material. Reviewing
material on an on-going nightly basis is also imperative to your success.
 Ms. Davis 2019-2020

Extra Help Policy:

I am available for extra help each day after school. Please see me to set up an appointment time to
ensure availability.

Plagiarism Statement:
Any attempt to submit work belonging to another student will result in a zero and referral to the honor
council. Any submitted artwork must be original. Students are encourage to use reference materials as a
resource, but reproducing photographs that are not your own or an image created by another artist in
not original work and will not be accepted.

Student Activities:
Student presentation of topics is a valuable and exciting method for mastery of learning. Some of these
presentations require them to follow a prescribed format, while others allow for more flexibility.

Daily Art Talks:

During the course of the year, students take turns presenting an art talk based on subjects of personal
interest, regardless of the material we have covered in class, after I have approved the topic. The daily
talks are meant to be brief, just three to five minutes each and only two or three per period, but they
help the class make connections with the units of study. I encourage students to use visuals and turn in
an information sheet on their topic of discussion for this graded activity. I will hand out examples and
rubrics that will further explain the requirements of this activity to meet our course goals.

Gallery and Museum Visits and Critiques

On their own, students are to visit both a museum and a local art gallery showing regional artists. They
are to visit each of these places at least once during the semester and write a short critique about the
art they have seen there. They may choose which term to go to an art gallery and which term to visit a
museum. Requirements, examples, and rubrics for this activity will be provided. Ms. Davis will also
provide transportation when necessary.

Review of a Contemporary Art Exhibit:

You will be visiting an art exhibit of your choosing before the end of December. The only requirement is
that the exhibit be of work from the twentieth or twenty-first century; it may be an exhibit of only one
artist’s work or a group show. You may choose to visit Art Basel in Miami or any number of local
galleries. After your visit, you will be writing a review of the exhibit. In preparation for the writing of
your review, you will need to find two recent reviews to read as examples. They should be stapled to
your final assignment. You will find helpful reviews in Time, Newsweek, the New York Times, the New
Yorker, or even the Miami Herald. After you have read a couple of reviews and visited the exhibit, get
writing!

Your review should include these components:

• An introduction that gives me some background about the artist and some idea of the artist’s work,
along with your thesis.
• A description of the show: How big is the exhibit? How are the works displayed? What do the
works look like? What is the lighting like? How do the works interact with their setting and the
 Ms. Davis 2019-2020
architecture of the building or room? Are the works labeled? Has the curator provided commentary
about the pieces?
• An analysis of the works: What is the overall effect of the works? How do they interact with each
other? Is there some significance in the way the works are juxtaposed or paired?
• An evaluation of the exhibit: What is your personal reaction to the overall exhibit? Should I see it or
pass on it? Make sure your evaluation is supported with evidence from the works.
Your review should be no more than two pages, double-spaced, and typed in 12-point font. Please be
sure to include the exhibit title, location, and duration. The review title should be informative and
engaging.

Here are some ​tips ​from ​A Short Guide to Writing About Art ​to follow when writing your review (Sylvan
Barnet, ​A Short Guide to Writing About Art,​ 9th ed. (Upper Saddle River, N.J.: Prentice Hall, 2008),
164-65.):

• Read any texts that are on the walls. (You may learn from them—or you may find them intrusive.)
• If a brochure is available at the exhibition, take it, read it after you have walked through the exhibition
once, and then walk through the exhibition at least once more. On this second trip, you may want to
record (in the form of marginal jottings) your responses to comments made in the brochure. Save the
brochure, or buy a catalog if one is available; such material will provide sources for the illustrations in
your paper.
• If an audio program is available, listen to it as you go through the exhibition. Take notes on the
comments you think are noteworthy—and be sure to acknowledge the program if you use any of the
material in your review.
• Take notes while you are at the exhibition; don’t assume you will remember titles and dates, or the
ways in which works are juxtaposed, or even all of your responses to individual works.
• In your first draft, don’t worry about limitations of space. Put down whatever you think is worth
saying, and later revise the review to bring it within the established length.
• Express your opinions—subjectivity is inherent—but go easy on such terms as “I think,” “I feel,” “in my
opinion.” Express opinions chiefly by calling attention to details that will in effect compel the reader to
share your responses.
• If possible, revisit the exhibition after you have revised your draft, so that you can improve the review
(probably by adding concrete details) before handing it in.
• Give your review an interesting title: not “A Review of an Exhibition of van Gogh’s Self-Portraits” but
perhaps “Van Gogh Looks at Vincent.” The final version of the title will probably be almost the last thing
you write, but make certain that the final draft of the review fulfills expectations that the title arouses.

Critical Art Making

Critical hands-on art projects in class throughout the course of the semester, based on artwork covered.
Sometimes artwork will be completed individually and other times collaboratively. It provides students
with an opportunity to synthesize and reinforce vocabulary, concepts, and methods, and to apply them.
These projects help students see the connection between viewing and creating art.
 Ms. Davis 2019-2020

Course Calendar:
Week Dates Calendar Items Assignments
1 8/15- Unit 1: Introduction Homework:
8/19 Introduction: Syllabus, course overview, ○ Review Syllabus/Course
requirements Calendar
How to read using reading guides ○ Read Gardner’s Intro: Pg.
What is art history? 1-13
Themes in art history
Structures of art ○ Reflection Paper #1
Elements and principles of composition/design ○ What is art?
Composition and style (Both a formal system ​and
○ Paragraph #1 DUE
a vehicle of expression)
○ Reading
Reading Guide 1- Chapter 1. Art before History
○ Chapter 1. Art before History
(Chapter 1) (Reading Only, Pg.
16-28)
Paragraph #1 Due:​ What is art?

2 8/22- Quiz #1:​ Structures of Art and Art History

8/26 Homework:
Unit 2: Global Prehistory and the Pacific ○ Reading
○ Chapter 33. Oceania.
Chapter 1. Art before History ○ 5 CUECards DUE
Chapter 33. Oceania.

3 8/29- Unit 2: Global Prehistory and the Pacific Homework:

9/2 ○ Watch Video Clips from Kahn
Exam #1 Global Prehistory and the Academy
Pacific
4 9/5- No Classes September 5 Homework:
9/9 ○ Mesopotamia and Persia​,
Unit 3- Ancient Mediterranean Chapter 2
Art of the Ancient Near East: Sumerians, Persian ○ Pg. 31-52
Empire
Mesopotamia and Persia (Chapter 2) ○ Mesopotamia and Persia​,
Art of ancient Egypt (Chapter 3) Chapter 2, Pg. 31-52
Themes and Concepts: Church and state, power
○ Reading 31-52
and authority, permanence, color, afterlife, scale,
 Ms. Davis 2019-2020

convention of drawn and sculpted figures, wall ○ Prepare Daily Art Talk
painting, idealism versus naturalism, post and Presentation
lintel, narrative, composite creatures, sacred
space, mega-equipment for architectural
construction, formal analysis

Introduce ​Daily art talks

5 9/12- Daily Art Talks:​ Presentations due

9/16 Homework:
Unit 3- Ancient Mediterranean
Art of ancient Greece (Chapter 5) ○ Mesopotamia and Persia​,
Late Classical Period Chapter 2, Pg. 31-52
Studio Project:​ Red–black figure vase clay ○ Reading 31-52
Themes and Concepts: Beauty and nature,
progression of the human form, order and ○ Egypt Under the Pharaohs,​
mathematics, scale, pottery, fresco, mortal or Chapter 3
immortal, narrative, sacred space, architectural
elements, formal analysis

6 9/19- Unit 3- Ancient Mediterranean ○ Pg. 55-82

9/23 Etruscan Art (Chapter 6)
Themes and Concepts: Practicality, painting style,
portraiture, concrete, barrel vault, enclosed
space versus uninterrupted space, dome, Greek
or Roman temple architecture, power and
authority, idealism versus naturalism, formal
analysis

7 9/26- Unit 3- Ancient Mediterranean Homework:

9/30 Etruscan Art (Chapter 6) ○ Reading
Themes and Concepts: Practicality, painting style, ○ Ancient Greece,​ Chapter 5, Pg.
portraiture, concrete, barrel vault, enclosed 105-144
space versus uninterrupted space, dome, Greek
or Roman temple architecture, power and ○ Ancient Greece,​ Chapter 5, Pg.
authority, idealism versus naturalism, formal 144-162
analysis
○ The Etruscans,​ Chapter 6, Pg.
165-176
 Ms. Davis 2019-2020

8 10/3- No classes October 3 Homework:

10/7
Exam #2- Ancient Mediterranean ○ The Roman Empire​, Chapter 7,
179-218
Etruscan Art (Chapter 6)
Themes and Concepts: Practicality, painting style, ○ The Roman Empire​, Chapter 7,
portraiture, concrete, barrel vault, enclosed 219-230
space versus uninterrupted space, dome, Greek
versus Roman temple architecture, power and ○ Late Antiquity, Chapter 8,
authority, idealism versus naturalism, formal 233-252
analysis
○ Byzantium, Chapter 9,
Art of ancient Rome: Republic (Chapter 7) 254-256
Art of ancient Rome: Early Empire through Late
Imperial

The fall of Rome (Chapter 7)

Late Antiquity; the emergence of Christian Rome
9 10/10- No classes October 12
10/14 Unit 4- Early Europe and Colonial America, Islamic o Byzantium, Chapter 9,
Art 257-280

Early Christian Art (Chapter 8) o Islamic World, Chapter 10,

Themes and Concepts: West versus East, sacred 282-304
space, basilica versus central plan, pilgrims,
mosaics, scale, narrative, illuminated manuscript, o Early Medieval Art, Chapter
church and state, hieratic art, sarcophagi, icon,
11, 307-330
iconography, conflation of time, comparative
architecture, formal analysis

Byzantine Art (Chapter 9)

Art of Islam (Chapter 10)

Themes and Concepts: West versus East, sacred

space, basilica versus central plan, pilgrims,
mosaics, scale, narrative, illuminated manuscript,
church and state, hieratic art, sarcophagi, icon,
iconography, conflation of time, comparative
architecture, formal analysis

Week Dates Calendar Items Assignments

10 10/17 Conference Day No School Homework:
 Ms. Davis 2019-2020

- Unit 4- Early Europe and Colonial America, Islamic o Romanesque, Chapter 12,
10/21 Art 333-362

Early Medieval art (Chapter 11) o Gothic Europe, Chapter 13,

363-398
Romanesque: Pilgrimages, the Crusades, and
taking back the Holy Land (Chapter 12) o Late Medieval, 13th and 14th
Century Italy, Chapter 14,
Early Gothic (Chapter 13)
401-420
Themes and Concepts: Prototype, monastic,
illuminated manuscript, barrel vault, pointed
arch, tympanum, roles of Christ, jamb figure,
height and light, Gothic architectural elements,
crossing square, stained glass, formal analysis
High, Mature French Gothic (Chapter 13)
Gothic outside of France
Late Italian Gothic

Late Medieval Italy (Chapter 14)

Themes and Concepts: Trecento, Quattrocento,

International Style, oil versus tempera, miniature
versus monumental, psychological portraiture,
altarpiece, Giotto, Madonna and Child, optical
versus conceptual, value in painting, patron,
secondary symbolism, mathematics, linear
perspective, human figure, sacre conversation,
Humanism, Neo-Platonism, David and the
element of time, formal analysis

11 10/24 No classes October 26 Parent Conferences Homework:

- Unit 4- Early Europe and Colonial America, Islamic o
10/28 Art
Exam #3- Early Europe and Colonial
America, Islamic Art

12 10/31 Unit 5- Indigenous Americas and Africa Homework:

- o Chapter 14. Native Arts of
11/4 the Americas before 1300.
o Chapter 32. Native Arts of
the Americas after 1300.
 Ms. Davis 2019-2020

13 11/7- Early Dismissal @ 12:00 Homework:

11/11
Unit 5- Indigenous Americas and Africa Chapter 14. Native Arts of the
Americas before 1300.
Exam #4- Indigenous Americas and Chapter 32. Native Arts of the
Africa Americas after 1300.

14 11/14 Homework:
- Unit 6- Global Contemporary o Chapter 31
11/18

15 11/21 Happy Thanksgiving! No school 11/23-11/25 Homework:

- o Chapter 31
11/25 Introduce Presentation #2: Art Beyond the
European Tradition—Sacred Spaces and
Ritual Objects Connection to Contemporary
Objects
Unit 6- Global Contemporary
16 11/28 Unit 6- Global Contemporary Homework:
-
12/2 o Chapter 31
17 12/5- Unit 6- Global Contemporary
12/9
Exam # 5- Global Contemporary

Midterm Exam Review

18 12/12 Midterm Exam Review

-
12/16 12/17-12/19 FINAL EXAMS

Semester 2
Week Dates Calendar Items Assignments
 Ms. Davis 2019-2020

19 1/2/17- No School January 3 Homework:

1/6/17
Sixteenth-Century Italy: High Renaissance and o Reading and Study Guide
Mannerist Art (Chapter 17) Notes, Chapter 17
Themes and Concepts: Sfumato, drama on stage, o Notecards
compressed space, spatial organization, o Study for Exam #8
personification, Rome versus Venetian, formal analysis

Introduce: Paper ​ Art Beyond the European

Tradition—Sacred Spaces and Ritual Objects
Quiz: ​Late and High Renaissance Italy

Class Activity-​
Italian Renaissance Mural Painting, Community
Service Project
20 1/9- Exam #8​: Late Gothic art and art of fifteenth-century Homework:
1/13 Italy, Northern Europe, and Spain o Reading and Study Guide
Notes
Sixteenth-century Northern European and Spanish art o Chapter 18 and Chapter 19
(Chapter 18) o Watch Video: Tim’s
Vermeer
Themes and Concepts: Martin Luther,
Counter-Reformation, printmaking, painting
composition, perspective, reclining nude, first
“Modern” artists, Greco–Roman appropriation,
human figure painting and sculpture, Northern
Europe/Spain versus Italy, formal analysis (specifically
the triangle)

Class Activity-​
Italian Renaissance Mural Painting

Baroque Art (Chapter 19)

Themes and Concepts: Static versus dynamic, drama,

perspective, trompe l’oeil, Caravaggist, portraiture,
tenebrism, color theory, landscape, still life, genre
painting, secular versus religious art

21 1/16- No School 1/16- MLK Day Homework:

1/20 Unit Exam #9: Sixteenth-century Italian, o Reading and Study Guide
Northern European, and Spanish art; Notes
Mannerist art
 Ms. Davis 2019-2020

Baroque Art (Chapter 19)

Themes and Concepts: Static versus dynamic, drama,

perspective, trompe l’oeil, Caravaggisti, portraiture,
tenebrism, color theory, landscape, still life, genre
painting, secular versus religious art
22 1/23- Late Baroque and Rococo Art, Nineteenth-Century Homework:
1/27 Pluralism of Style (Chapter 20)

Themes and Concepts: Imperialism, colonialism,

fantasy, scientific experimentation, Neoclassical
versus
Romantic, historical documentation, narrative,
political art, color as mood, compositional
organization, Hudson River School

23 1/30- Test #10: Baroque art Homework:

2/3
Late Baroque and Rococo Art, Nineteenth-Century
Pluralism of Style (Chapter 20)

Themes and Concepts: Imperialism, colonialism,

fantasy, scientific experimentation, Neoclassical
versus
Romantic, historical documentation, narrative,
political art, color as mood, compositional
organization, Hudson River School

24 2/6- 2/13 Teacher Planning, No School Homework:

2/10
Chapter 6, South and Southeast Asia before 1200
Chapter 7, China and Korea to 1279
Chapter 8, Japan before 1333
25 2/13- 2/17-2/20 Long Weekend, No School Homework:
2/17
Unit Exam #11: Late Baroque and Rococo
Art; Pluralism

Chapter 26, South and Southeast Asia after 1200.

Chapter 27, China and Korea after 1279.
Chapter 28, Japan after 1336.
 Ms. Davis 2019-2020

26 2/20- No classes 2/20

2/24 Chapter 13, The Islamic World.
27 2/27- 3/1 No classes Teacher Parent Conferences Homework:
3/3 Chapter 14. Native Arts of the Americas before
1300.
Chapter 32. Native Arts of the Americas after
1300.

Paper: Art Beyond the European

Tradition—Narrative in Art and Art Out of
Context
28 3/6- Chapter 33. Oceania.
3/10 Chapter 34. Africa after 1800
29 3/13- No School Spring Break 3/13-3/17
3/17
30 3/20- No School 3/20 Faculty Development
3/24
Daily Art Talks “Master Artists” presentations

Development of Modernism: Post-Impressionism,

Expressionism, the Avant-Garde, Fauvism,
Die Brücke, Der Blaue Reiter, Cubism, Purism,
Futurism, Dada, the Ashcan School,
Abstraction, New Objectivity, Surrealism,
Suprematism, Constructivism, De Stijl, the
Bauhaus, International Style, kinetic sculptures,
political and social art, Regionalism
World War II and its aftermath: Abstract
Expressionism, Post-Painterly Abstraction,
Minimalism, performance art, Conceptual Art,
Pop Art, Super-Realism, Earth Art, Post-
Modernism, Neo-Expressionism, installations,
gender and cultural issues
31 3/27- Daily Art Talks “Master Artists” presentations
3/31
Development of Modernism: Post-Impressionism,
Expressionism, the Avant-Garde, Fauvism,
Die Brücke, Der Blaue Reiter, Cubism, Purism,
Futurism, Dada, the Ashcan School,
Abstraction, New Objectivity, Surrealism,
Suprematism, Constructivism, De Stijl, the
 Ms. Davis 2019-2020

Bauhaus, International Style, kinetic sculptures,

political and social art, Regionalism
World War II and its aftermath: Abstract
Expressionism, Post-Painterly Abstraction,
Minimalism, performance art, Conceptual Art,
Pop Art, Super-Realism, Earth Art, Post-
Modernism, Neo-Expressionism, installations,
gender and cultural issues

32 4/3- Twentieth-Century Architecture (Chapters 29)

4/7
Themes and Concepts: Time and speed as elements,
color theory, paint as texture, natural light, emotional
color, pre-Modernism, cast iron, scientific technology,
realism versus morality, Barbizon School

Introduce Final Project​: “Architects of the Modern

World: Impressionism Through
Contemporary Architecture” projects, ​Pick and
Propose Architectural Model
33 4/10- Happy April Break No Classes 4/10-4/14
4/14
34 4/17- Twentieth-Century Architecture (Chapter 30, 31)
4/21
Themes and Concepts: Time and speed as elements,
color theory, paint as texture, natural light, emotional
color, pre-Modernism, cast iron, scientific technology,
realism versus morality, Barbizon School

Project​: Research for the “Architects of the

Modern World: Impressionism Through
Contemporary Art” projects
35 4/24- Review for AP EXAM
4/28 Image groupings of themes and like images!!
Set up timeline imagery.
36 5/1-5/5 Final AP EXAM