COLLEGE OF THE REDWOODS Office: CA 127 Office Phone: 476-4320
ART 4H - HONORS ART
APPRECIATION E-mail:
cindy-hooper@redwoods.edu
Meets: MW
Instructor: Cindy
Hooper Website:www.redwoods.edu/departments/art/hooper
Spring 2005
Course Objectives: This course will
provide you with a detailed overview of the History of Art and its many
legends, intrigues, and aesthetic dimensions.
This particular semester, we will focus principally on the art of
Ancient Greece and on the classical legacy found within subsequent periods of
art history. You'll also have the
opportunity to make actual artworks, and to creatively demonstrate the many aesthetic
lessons we've learned from the ancients!
Course Calendar
1-24: Lecture #1:
Introduction to Art Historical Terminology. Reading: Introduction: pp. 1-13 of The
Subjects and Vocabulary of Art History in
1-26: #2: Aegean Art.
1-31: #3: Greek Ceramics. Reading: pp. 94-103 of Greek Art in H. W. Janson’s History of Art (on reserve) and pp. 1-14
of Pollitt (your first text) and pp. 130-131 of Greek Vase by Exekias by Timothy Potts in Civilization: Ancient Treasures from the British Museum (from your
reader) and pp. 44-61 of Mourners on
Greek Vases: Remarks on the Social History of Women by Christine Mitchell
Havelock in Feminism and Art History
(from your reader).
2-2: #4: Archaic Sculpture.
2-7: #5: Classical Sculpture.
2-9: #6: Greek Architecture and the Parthenon.
2-14: #7: The Parthenon’s Sculptures.
2-16: Review for test #1
2-21: President’s Day (no
classes)
2-23: Test #1 (bring a Blue book)
2-28: #8: The Late Classical Period. Reading: pp.
138-142 of Fourth Century Sculpture
in H. W. Janson’s History of Art (on
reserve) and pp. 111-159 and 174-178 of Pollitt plus pp. 69-77 of Nannette
Salomon’s The Venus Pudica: Uncovering
Art History’s ‘Hidden Agendas’ and Pernicious Pedigrees in Generations and Geographies in the Visual
Arts: Feminist Readings (from your reader).
3-2: #9: Hellenistic Art.
3-7: #10: Roman Art.
3-9: #11: The Italian Renaissance (The
Quattrocento).
3-14/3-16: (Spring Break)
3-21: #12: The Italian Renaissance (The Quattrocento
and Cinquecento).
3-23: #13: Baroque Classicism: Reading: pp. 650-659
and 666-679 of
3-28: Review for Test #2
3-30: Test #2 (bring a Blue book)
4-4: Sculpture Project: Aphrodites and Vessel
forms: Lecture and Demonstration on Preparing the Clay.
4-6: Sculpture Project: Aphrodites and Vessel
forms.
4-11: Sculpture Project:
Aphrodites and Vessel forms.
4-13: Sculpture Project:
Aphrodites and Vessel forms.
4-18: Sculpture Project:
Aphrodites and Vessel forms.
4-20: Lecture and Demonstration
on decorating your sculpture projects.
4-25: #14: Baroque and Rococo Neoclassicism:
Reading: pp. 702-714 of
4-27: #15: Nineteenth Century Neo-Classicism:
Reading: pp. 734-749 and 753-765 of
5-2: #16: Realism and Impressionism:
5-4: #17: Modern Classicism: Painting. Reading: pp. 838-842, 874-875, and 881-895 of Adams plus Cezanne and Poussin: The Classical Vision of
Landscape (from your reader) and pp. 168-169 (Cezanne), 178-184 (Matisse),
and 200-223 (Picasso) in On Classic
Ground: Picasso, Leger, de Chirico and the New Classicism (on reserve).
5-9: #18: Modern Classicism: Sculpture.
5-11: Review for Test #3
5-18: Test #3 (
Course Requirements: There will be 3 full hours per week
of in-depth slide lectures, extensive group discussion, and intensive
artmaking. Your total involvement in
each of these activities is absolutely required. There will also be approximately 20-60 pages
of reading assigned each week, and each
reading must be completed before each corresponding lecture. You will be given 3 essay examinations at the
times marked on your course calendar, and must complete one ceramic sculpture
project.
Course Grading
3 Tests: 60% (of your grade)
1 sculpture project: 20%
Participation in
classroom discussions: 20%
100%
Participation: Attending class is crucially important as everything
you will need to know for the tests, group discussions, and sculpture project
will be presented during our lecture/discussion sessions. Your active and ongoing participation in these lecture/discussion
sessions is required for a
satisfactory grade in this course. Also,
bear in mind that if you are generally a really active participator, be sure to let the more quiet ones have their turn. Conversely, if you are generally shy about
speaking up, be sure to find opportunities to jump in and let your observations
be known. As the moderator, I seek to
equitably distribute classroom participation, so please be aware of this
priority. Also, if you must miss a class, be sure to see me or obtain and
carefully study a classmate's lecture notes.
Required Texts: Art and
Experience in Classical
Laurie Schneider Adams’ Art Across Time, Volume II, (McGraw Hill
Publishing)
Additional readings on reserve in the CR library and in the form of
a class handout.
Required Art Supplies:
1 bag of Soldate 60 or EM Mix clay (Bought at Hensel's Materials
or at Phoenix Supply)
Plastic drop cloth or sheets of dry cleaner's plastic
Spray bottle and a small tin for water
A ceramic tool set (purchased at the
Apron or old clothes to wear