art 5: art history of the western world renaissance to

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1 ART 5: ART HISTORY of the WESTERN WORLD RENAISSANCE to CONTEMPORARY Tuesday & Thursday 3:30-5:00 Chaey College, VSS-108 Instructor: John Machado Email: john.machado@chaey.edu Oce: VSS 81 (ground level under front stairs) Course Description Art 5 is a one-semester survey of Western art and architecture from the Renaissance in Europe to the late- twentieth century in the United States. This course is divided into six sequential units1400-1600, 1600-1750, 1750-1850, 1850-1900, 1900-1945, and 1945 to the presentbut, within each of these, the organization is not strictly chronological. Rather, each unit consists of six recurring topics: a period characterization; place; style or movement; individual artist; individual work of art; and a subject matter. These topics will not follow the same order in each unit, so you should not regard them hierarchically. This structure will introduce you to dierent ways of approaching works of artrelative to an individual maker, to a broader movement, to a particular location, and so onwithout privileging any one approach. In practice, historians must consider all of these factors and others in studying works of art. Beyond the choice to study an individual artist, work, place, style, etc., scholars adhere to diering interpretive strategies (whether they acknowledge these or not) and proceed from varying concerns, of which some of the more obvious are class, gender, and race. No one can have a completely “objective” or “neutral” position relative to history. Each of you has also developed shaping perspectives. Working to recognize these and how they aect your reading/looking will make you a more eective student of history and will expand your capacity for understanding. In this class, the perspectives of dierent art historians will be brought to the fore and examined. A good historian marshals compelling evidence and argues persuasively. You will have the opportunity to read, and test, the arguments of a number of writers on a range of subjects. By the end of the term, you will have been exposed to many of the major works, artists, movements, and media of Western art history of the period, and you will have learned some of the rudiments of looking at works of art. You will know that the appearance of an artwork depends on when, where, why, how, and by whom it was made. You will also know that the interpretation of a work depends on the interpreter, and that you, too, are necessarily an interpreter. This is not to say that all interpretations are equally valid. Interpretations can be ill- or well-informed, responsible or irresponsible, etc. Opinion is not interpretation.

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ART 5: ART HISTORY of the WESTERN WORLD RENAISSANCE to CONTEMPORARY

Tuesday & Thursday 3:30-5:00 Chaffey College, VSS-108

Instructor: John Machado Email: [email protected]: VSS 81 (ground level under front stairs)

Course DescriptionArt 5 is a one-semester survey of Western art and architecture from the Renaissance in Europe to the late-twentieth century in the United States. This course is divided into six sequential units—1400-1600, 1600-1750, 1750-1850, 1850-1900, 1900-1945, and 1945 to the present—but, within each of these, the organization is not strictly chronological. Rather, each unit consists of six recurring topics: a period characterization; place; style or movement; individual artist; individual work of art; and a subject matter. These topics will not follow the same order in each unit, so you should not regard them hierarchically. This structure will introduce you to different ways of approaching works of art—relative to an individual maker, to a broader movement, to a particular location, and so on—without privileging any one approach. In practice, historians must consider all of these factors and others in studying works of art.

Beyond the choice to study an individual artist, work, place, style, etc., scholars adhere to differing interpretive strategies (whether they acknowledge these or not) and proceed from varying concerns, of which some of the more obvious are class, gender, and race. No one can have a completely “objective” or “neutral” position relative to history. Each of you has also developed shaping perspectives. Working to recognize these and how they affect your reading/looking will make you a more effective student of history and will expand your capacity for understanding. In this class, the perspectives of different art historians will be brought to the fore and examined. A good historian marshals compelling evidence and argues persuasively. You will have the opportunity to read, and test, the arguments of a number of writers on a range of subjects.

By the end of the term, you will have been exposed to many of the major works, artists, movements, and media of Western art history of the period, and you will have learned some of the rudiments of looking at works of art. You will know that the appearance of an artwork depends on when, where, why, how, and by whom it was made. You will also know that the interpretation of a work depends on the interpreter, and that you, too, are necessarily an interpreter. This is not to say that all interpretations are equally valid. Interpretations can be ill- or well-informed, responsible or irresponsible, etc. Opinion is not interpretation.

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ReadingsStokstad, Marilyn. Art History: A View of the West, Volume 2 (third edition).

We will not be adhering directly to the chronology outlined in the survey text, Stokstad’s Art History. Although the survey text is required reading, do not think of it as a template for the course. The survey text will provide background reading, to give you a sense of the broad sweep of Western art, and to expose you to many more artists than we will discuss in class. Material in Stokstad directly pertaining to a given lecture will often be scattered, so it is not practical to assign particular pages. Instead, I have indicated the generally relevant section at the beginning of each unit. It will be to your advantage to read the sections in Stokstad as early as possible in each unit, a practice that will enhance what you hear in class. But do not focus on matching pages to lectures; it is not a productive way to read. The Stokstad text (hardback version that includes both volumes 1 and 2) is also on reserve in the library.

Supplemental readings are listed on the course schedule. These readings will be discussed during the class lecture and student involvement will be encouraged. Information from

the readings may also be used on the exams. They can be accessed on Blackboard under Course Documents.

I also recommend that you read Sylvan Barnet's A Short Guide to Writing About Art; any edition. This book is not limited in usefulness to the writing of papers, but offers tips for organizing your thoughts about art in ways generally appropriate to all of your work in this class.

ImagesLectures will be illustrated by images of works of art. Many, but not all, of these are pictured and discussed in Stokstad. Please be advised that some images may contain nudity or violent content. Images are also available for review from an online image reserve linked through Blackboard or directly at http://homepage.mac.com/jlmachado2/ART5/Menu33.html

Blackboard Additional information, announcements, online quizzes, class handouts and a listing of your assignment grades will be made available on the website for this course through Blackboard, http://blackboard.chaffey.edu/. Your username is your first initial, last initial (both in lowercase) and your 7-digit student ID number. Your password is your six-digit date of birth in the mmddyy format. Your Blackboard password is not connected to your ChaffeyView password. I will often send out notices and answer questions pertaining to the course through this website. Some of the documents posted on the website will need to be downloaded to

your computer. The downloaded files will be in a format known as PDF. In order to view and print these files you must have the program Adobe Acrobat Reader on your computer. The program is free and can be downloaded at http://www.adobe.com/.

Examinations There will be three in-class exams. They will not be cumulative. The exams will focus on evaluating your comprehension and analytical understanding of art historical information and cultural concepts. This will be done through a series of multiple-choice, fill-in, identification, and short response type questions. See the class schedule for dates. A study guide will be available on Blackboard a week before each exam. Bring a blue or black pen to class on the day of exam.

Make-up exams will only be available in extreme cases and to those students excused by me in advance. Those with unexcused absences do not have this option. An unexcused absence will result in a zero grade.

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In-Class AssignmentsThere will be several small in-class assignments spread over the term. They will consist of short questions on the topic at hand that you will discuss and respond to in writing. To earn these points you must be present during class lectures. There will be no make-ups for these assignments. Each in-class assignment is worth 10 points.

Online QuizzesThere will be short multiple-choice quizzes given online through Blackboard. These quizzes will contain questions on the assigned textbook readings. The quizzes will be available on Blackboard until midnight on its due date. From the time you first access (look at) each quiz you will have one hour to complete that quiz. Since the quiz will be available for many days before it is due, there will be no make-up quizzes provided. The due dates of the online quizzes are listed on the class schedule. It is your responsibility to keep track of when each quiz is due. I recommend not waiting until the last minute to complete the quizzes. Each quiz is worth 10 points.

Term ProjectEach student is to complete ONLY ONE of the following projects. Projects are due at the beginning of class on the given due date listed in the schedule in this syllabus, no exceptions. See attached assessment rubric for writing guidelines and standards. Students are strongly urged to seek assistance as needed at the Student Success Centers.

Chaffey College has created Student Success Centers, which offer free tutorials, workshops, study groups, directed learning activities, and computer access to assist students in their academic development and success. Four of the centers located on the Rancho Cucamonga campus are designed to address specific subject needs:

   Math Success Center Room PS-12 (909) 652-6452 Language Success Center BEB      (909) 652-6907  Writing Success Center      Library    (909) 652-6820   Reading Success Center     BEB      (909) 652-6932

Option One In colored pencil, pen, crayon, or paint do two small-scale self-portraits, one in the Impressionist style and the other in a Cubist style. These should be small enough so that you can present them side by side on a single 8 1/2 x 11 inch board or sheet of paper. In addition, write a two-page paper explaining specifically how your self-portraits portray the important characteristics of these styles and relate to the history of these styles. The paper should be in your own words and clearly show your understanding of how you have used these styles. The final text of the paper is to be two pages, double-spaced in a twelve-point font. Include proper citations for any sources used.

Option TwoFind a magazine advertisement influenced by an artistic movement we have studied. Write a four-page paper that identifies the style, discusses what aspects or characteristics of the movement’s style the advertising designer has borrowed, what attitude or feeling the ad attempts to convey, and how effective it is in doing so. The paper should be in your own words and clearly show your understanding of the art movement. The final text of the paper is to be four pages, double-spaced in a twelve-point font. Include proper citations for any sources used. Attach advertisement to back of paper.

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Option ThreeFor this paper you will visit the Norton Simon Museum in Pasadena (www.nortonsimon.org) in order to view original artworks in person. You will write a paper on the topic described below. The final text of the paper is to be four pages, double-spaced in a twelve-point font. Include proper citations for any sources used. The paper should be in your own words and clearly reflect your own observations. Attach an admission ticket or receipt as proof of the date of your visit.

Assignment: Compare and contrast three still life paintings from three periods covered in this course. Discuss the composition, use of color and line, and the paint application technique used by each artist. Look very closely at the works and discuss specific aspects in your paper. Be sure to incorporate knowledge and vocabulary learned in your art history course.

Select your three paintings from the following pieces located in the museum. One painting must come from each century listed below, 17th, 18th and 19th.

17th Century• Sebastian Stoskopff, Sti% Life with Empty Glasses, 1644• Isaak Soreau, Sti% Life with Fruits and Flowers, c.1635• Ambrosius Bosschaert, the Elder, Flowers in a Glass Beaker, c.1620• Francisco de Zurbaran, Sti% life with Lemons, Oranges and a Rose, 1633• Pieter Claesz, Sti% Life with Rummer, 1645• Jan Davidzoon de Heem, Vase of Flowers, 1654• Louise Moillon, Sti% Life with Cherries, Strawberries and Gooseberries, 1630

18th Century• Jean Baptiste Simeon Chardin, Sti% Life with Fowl, c.1728-30• Jean Baptiste Simeon Chardin, Sti% Life with Cooking Utensils, c.1728-30• Henri-Horace Roland de la Porte, Sti% Life, c.1765• Thomas-Germain-Joseph Duvivier, An Architect’s Table, 1772

19th Century• Paul Cezanne, Vase of Flowers, c.1879-82• Paul Cezanne, Tulips in a Vase, c.1890-92• Vincent van Gogh, Sti% Life, 1884-85• Pierre Auguste Renoir, Bouquet of Lilacs, 1875• Gustave Courbet, Vase of Lilacs, Roses and Tulips, 1863• Gustave Courbet, Apples, Pears and Primroses on a Table, 1871-72

Attendance and Class ConductRegular attendance and punctuality at all class meetings are expected. If you do not attend regularly, you will find your performance on examinations impaired. The examinations are based on both the readings and the material covered in class.

I cannot compel you to pay attention, but I expect you to conduct yourself in a manner that does not prevent anyone else from doing so. That means you should not talk, read the newspaper, noisily put away your notebooks or leave before the class is officially over, or cause other distractions. Please turn off your mobile telephones. For further information please see the student conduct regulations and student compliance.

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Services for Students with DisabilitiesChaffey College provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the office of Disability Programs & Services (DPS) located in CCW-21A, ex. 2380.

Office HoursPlease take advantage of my office hours. I will be happy to answer any questions about course materials or art history in general. In a survey class it is not always possible for an instructor to make a meaningful academic connection with each individual student. It is your responsibility to decide if you need additional time with me outside of class in order to do well.

Academic DishonestyAcademic dishonesty is defined as an intentional act of deception in which a student seeks to claim credit for the work or effort of another person or uses unauthorized materials or fabricated information in any academic work. It includes "cheating” (intentional use or attempted use of unauthorized materials, information, or study aid), "fabrication” (intentional falsification or invention of any information), "assisting in dishonesty” (intentionally or knowingly helping or attempting to help another commit an act of dishonesty), "tampering” (altering or interfering with evaluation instruments and documents), and "plagiarism” (intentionally or knowingly representing the words or ideas of another person as one's own).

I have zero tolerance for academic dishonesty and will fail any student engaging in such acts.

Extra CreditMaximum of 40 points total (due by last class lecture)

A survey designed to evaluate the learning experience of the student at the mid-semester point will be posted on Blackboard. Five points will be awarded for completing this survey. To receive an extra 10 points write a review of a minimum of two pages (as if you were writing for a newspaper) of an art exhibit at an art museum (other than one already assigned for this class). Inform your readers about the guiding idea of the show. Describe the range of objects and works of art (in terms of media, use, style, and so on) and describe a few in some detail. Comment about what you think is most and least interesting in the exhibit. Most importantly, discuss how the art relates to the history of art. Attach an admission ticket or receipt as proof of the date of your visit.Become a contributor to the blog, Tesserae. Students of this class, as well as others that are or have taken a class from me will be participating in expanding this online community. Post your thoughtful and critical art historical interpretations and insights for others to consider and respond to. The complete guidelines can be viewed at http://tesserae.blogspot.com. When ready send me an email and I will send you an invite to become a contributor. A maximum of 25 extra credit points are possible, 5 points for each substantive and original posting. To qualify you must submit your first post before the first in-class examination. You can post often, but only one post per week will be awarded extra credit points. In addition, you will receive 1 point for leaving a substantive response to posts by other people.

GradingExaminations: 300 points Term Project: 100 pointsOnline Quizzes: 120 points In-class Assignments: 70 pointsInfo & Learning styles: 10 pointsTOTAL: 600 points

ART 5 ART HISTORY of the WESTERN WORLD: RENAISSANCE TO CONTEMPORARY Chaffey College John Machado To enable you to grasp the structure of the course, the six units and six recurring topics—along with their subjects within each unit—are given in the tables below. A separate section lists dates, readings and assignments for each class meeting.

TOPICS/ UNITS

1400-1600 1600-1750 1750-1850 1850-1900 1900-1945 1945-Present

period characterization

Renaissance Baroque Romanticism

Modernism

Post-Modernism

place

15th century Florence

17th century Rome

mid-19th century Paris

New York in the 20th century

style or movement

Mannerism Dutch realism Realism Impressionism Futurism Pop art

individual artist

Michelangelo Artemesia Gentileschi

Goya

Auguste Rodin Picasso Jackson Pollock

individual work of art

Jan Van Eyck, The Arnolfini Wedding

Bernini, Cornaro Chapel

Manet, Bar at the Folies-Bergère

Frank Lloyd Wright, Fallingwater

Christo and Jeanne-Claude, Running Fence

subjects

prints fête gallante landscape photography

the subconscious (Surrealism)

public art: Serra’s Tilted Arc; Lin’s Vietnam Veterans Memorial

FIRST EXAM

SECOND EXAM

THIRD EXAM

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ART 5 ART HISTORY of the WESTERN WORLD: RENAISSANCE TO CONTEMPORARY Chaffey College COURSE SCHEDULE AND ASSIGNMENTS (T/TH) Material in Stokstad directly pertaining to a given lecture will often be scattered, so rather I have indicated the generally relevant pages for each unit. Supplemental readings for discussion are listed with their corresponding lectures and can be found on Blackboard in Course Documents.

DATE SUBJECT READINGS/ASSIGNMENTS 1/13

• Welcome • Course introduction

Stokstad, Introduction Review Chapter 12

1400-1600 1/15 • 15th century Florence 1/20 • The Renaissance Online Quiz 1: Chapter 13 due 1/22 • Jan Van Eyck, The Arnolfini

Wedding

1/27 • Renaissance prints Online Quiz 2: Chapter 14 due David Landau and Peter Parshall, The Renaissance Print, 1470-1550. New Haven: Yale University Press, 1994. 1-6, 33-38, 78-90.

1/29 • Michelangelo 2/03 • Mannerism Online Quiz 3: Chapter 15 due 1600-1750 2/05 • 17th century Rome, Baroque 2/10 • Bernini, Cornaro Chapel Online Quiz 4: Chapter 16 due 2/12 • Artemesia Gentileschi Garrard, Mary D. Artemisia and Susanna. Feminism and Art

History: Questioning the Litany. Eds. Norma Broude and Mary D. Garrard. New York: Harper & Row, 1982. 146-71.

2/17 • Dutch realism Online Quiz 5: Chapter 17 due 2/19 • fête gallante The fête gallante is covered in first section of Chapter 18. 2/24 Examination 1

1750-1850 2/26

• Romanticism Online Quiz 6: Chapter 18 due

3/03 • Goya • landscape

Barbara Novak, “Sound and Silence: Changing Concepts of the Sublime,” in Novak, Nature and Culture: American Landscape and Painting (New York, 1980), 34-44.

3/05 • landscape • Realism

Online Quiz 7: Chapter 19 up to page that starts "Impressionism" due

1850-1900 3/10 • mid-19th century Paris 3/12 • Modernism 3/17 & 3/19 Spring Break – No Classes

3/24 • photography

Susan Sontag, “In Plato’s Cave,” from On Photography (1977; Harmondsworth, Engl.: Penguin, 1979), 3-24.

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DATE SUBJECT READINGS/ASSIGNMENTS 3/26 • Manet, Bar at Folies-Bergère Online Quiz 8: Remainder of Chapter 19 due 3/31 • Impressionism 4/02 • Auguste Rodin 4/07

Examination 2

1900-Present 4/09 • Picasso

Online Quiz 9: Chapter 20 up to section that starts "Early Modern Art in the Americas" due

4/14 • Futurism • the subconscious (Surrealism)

4/16 • the subconscious (Surrealism) • F.L. Wright, Fallingwater

Term project option #1 due Online Quiz 10: Remainder of Chapter 20 due

4/21

Faculty Lecture – No Class

4/23 • New York and American Modernism

4/28 • New York and American Modernism

• Post-Modernism

Term project option #2 due Online Quiz 11: Chapter 21 up to section that starts “The Final Assault on Convention” due Rosalind Krauss, “Sculpture in the Expanded Field,” October (Spring 1979), 8: 30-44.

4/30

• Post-Modernism

5/05 • Pop Art Term project option #3 due Online Quiz 12: Remainder of Chapter 21 due

5/07 • Christo and Jeanne-Claude, Running Fence

5/12 • public art: Serra, Tilted Arc; Lin, Vietnam Veterans Memorial

Judith Balfe and Margaret Wyszomirski, “The Commissioning of a Work of Public Sculpture,” from Public Art/Public Controversy: The Tilted Arc on Trial, ed. Sherrill Jordan (New York: ACA Books, 1987) Nicholas Capasso, “Vietnam Veterans Memorial,” from Tod A. Marder, The Critical Edge: Controversy in Recent American Architecture (Massachusetts Institute of Technology Press, 1985)

5/14 2:15 pm

Examination 3

John Machado Art History Spring 2009

Monday Tuesday Wednesday Thursday Friday 8

8

8

8

8

9:30-11:00 Art 5 VSS-108

9:30-11:00 Art 3 VSS-108

9:30-11:00 Art 5 VSS-108

9:30-11:00 Art 3 VSS-108

11:00-12:00 Office Hour VSS-81

11:00-12:00 Office Hour VSS-81

11:00-12:30 Art 7 VSS-108

11:00-12:30 Art 7 VSS-108

12:30-2:00 ASCC Meeting

12:30-2:00 Faculty Senate

12:30-2:00 College Hour

12:30-2:00

2:00-3:30

2:30-3:30 Office Hour VSS-81

2:00-3:30

2:30-3:30 Office Hour VSS-81

3:30-5:00 Art 3 VSS-108

3:30-5:00 Art 5 VSS-108

3:30-5:00 Art 3 VSS-108

3:30-5:00 Art 5 VSS-108

5 5:30 5:30

7

7

7

7

10 10 10 10 [email protected] 909.652.6110

Fall Semester 2008 August 25 – December 2187 service days

Class Schedule Available . . . . . . . . . . . . . . . . . . . . . . . . . . April 7 (on the web)Application Period

CCCApply (online) . . . . . . . . . . . . . . . . . . . . . . . . . . . March 3 – August 25Mailed-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 3 – August 8In Person . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 3 to last day to add

Registration Letters for Continuing Students . . . . . . . . . . . . . . April 18Registration Period

Priority Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . May 5Continuing Students . . . . . . . . . . . . . . . . . . . . . . . . . . May 6 – 29New & Returning Students . . . . . . . . . . . . . . . . . . . . . . June 2 – August 13NO REGISTRATION AVAILABLE . . . . . . . . . . . . . . . . . . . . August 14, 15, and until noon on August 22WALK-IN REGISTRATION AND WAITLISTS . . . . . . . . . . . . . August 18 – 21

Payment DeadlineFor students registered between May 5 and August 13 . . . . . . . August 13

Institutional Flex Days. No classes held . . . . . . . . . . . . . . . . . August 20 – 22INSTRUCTION BEGINS . . . . . . . . . . . . . . . . . . . . . . . . . . . August 25Late Registration

Instructor signature or ADD CODE required for CLOSED classes August 25 – 29Labor Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . September 1

Instructor signature or ADD CODE required for ALL classes . . . September 2 – 12Refund Deadline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . September 8Deadline to ADD full-term classes (4:30 p.m.) . . . . . . . . . . . . . . September 12

See Schedule of Classes for deadline to add all other classesCensus Date for full term classes . . . . . . . . . . . . . . . . . . . . . September 15Deadline to DROP full-term classes without a“W”(4:30 p.m.) . . . . . September 19Veterans Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . November 11Deadline to DROP full-term classes (7:00 p.m.) . . . . . . . . . . . . . November 26

See Schedule of Classes for deadline to drop all other classesDeadline to apply for credit by exam, graduation, certificates . . . . . November 26Deadline to ADD open-entry/exit classes (7:00 p.m.) . . . . . . . . . . November 26Thanksgiving Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . November 27 – 30FINAL EXAMINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . December 15 – 21INSTRUCTION ENDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . December 21Winter Recess, College Closed . . . . . . . . . . . . . . . . . . . . . . . December 24 – January 1Grades available online . . . . . . . . . . . . . . . . . . . . . . . . . . . January 7Transcripts available upon request . . . . . . . . . . . . . . . . . . . . January 20

Spring Semester 2009 January 12 – May 2089 service days

Class Schedule Available . . . . . . . . . . . . . . . . . . . . . . . . . . October 27 (on the web)Application Period

CCCApply (online) . . . . . . . . . . . . . . . . . . . . . . . . . . . October 20 – January 12Mailed-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . October 20 to December 19In Person . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . October 20 until the last day to add

Registration Letters for Continuing Students . . . . . . . . . . . . . . November 7Closed for Thanksgiving Holiday . . . . . . . . . . . . . . . . . . . . . November 27 – 30Registration Period

Priority Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . November 17Continuing Students . . . . . . . . . . . . . . . . . . . . . . . . . . November 18 – December 3New & Returning Students . . . . . . . . . . . . . . . . . . . . . . December 4 – 19Closed for Winter Recess . . . . . . . . . . . . . . . . . . . . . . . December 24 – January 1No registration available . . . . . . . . . . . . . . . . . . . . . December 22, 23, January 2, and until

noonon January 9Walk-in registration and waitlists . . . . . . . . . . . . . . . January 5 – 8

Payment DeadlinesFor students registered between November 17 and December 17 December 19

Institutional Flex Days. No classes held . . . . . . . . . . . . . . . . . January 8, 9INSTRUCTION BEGINS . . . . . . . . . . . . . . . . . . . . . . . . . . . January 12Late Registration

Instructor signature or ADD CODE required for CLOSED classes January 12 – 16Instructor signature or ADD CODE required for ALL classes . . . January 20 – 30

Martin Luther King, Jr. Holiday . . . . . . . . . . . . . . . . . . . . . . . January 19Refund Deadline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . January 26Deadline to ADD full-term classes (4:30 p.m.) . . . . . . . . . . . . . . January 30

See Schedule of Classes for deadline to add all other classesCensus Date for full term classes. . . . . . . . . . . . . . . . . . . . . . February 2Lincoln’s Birthday Holiday . . . . . . . . . . . . . . . . . . . . . . . . . February 6Deadline to DROP full-term classes without a“W”(7:00 p.m.) . . . . . February 9Washington’s Birthday Holiday . . . . . . . . . . . . . . . . . . . . . . February 16Deadline to apply for graduation and certificates

for ceremony participants . . . . . . . . . . . . . . . . . . . . . . . March 6Spring Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 16 – 22Easter Weekend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April 11, 12Deadline to DROP full-term classes (4:30 p.m.) . . . . . . . . . . . . . April 17

See Schedule of Classes for deadline to drop all other classesDeadline to apply for credit by exam, graduation and certificate

for non-ceremony participants . . . . . . . . . . . . . . . . . . . . April 17Deadline to ADD open-entry/exit classes (4:30 p.m.) . . . . . . . . . . April 17Faculty Lecture (no classes held; contract/regular faculty service day) April 21FINAL EXAMINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . May 14 – 20INSTRUCTION ENDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 20Commencement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 21Memorial Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 25Grades available online . . . . . . . . . . . . . . . . . . . . . . . . . . . May 28Transcripts available upon request . . . . . . . . . . . . . . . . . . . . June 15

Chaffey College 2008–2009 Academic Calendar

Revised 2-4-08

2008 2009M T W T F S S M T W T F S S

NOTE: Starting dates are all different, please refer to Computing Service’sreport in roll sheet packet regarding Daily Census, Short-Term, or

Positive Attendance Classes.

Weekend classes meet following Friday holidays and before Monday holidays unlessspecifically designated as a holiday on this calendar.

WEEK

Decem

ber

November

October

September

Augu

st

WEEK

May

April

March

February

January

#

= Instruction Begins

= Holiday

= Final Examinations

= Faculty Lecture of the Year

= Spring Break

= Institutional/Flex Days. No classes held.

= Commencement

LEGEND

#

1 2 3 1 2 3 4

4 5 6 7 8 9 10 5 6 7 8 9 10 11

11 12 13 14 15 16 17 12 13 14 15 16 17 18 1

18 19 20 21 22 23 24 19 20 21 22 23 24 25 2

1 25 26 27 28 29 30 31 26 27 28 29 30 31 3

2 1 2 3 4 5 6 7 1

3 8 9 10 11 12 13 14 2 3 4 5 6 7 8 4

4 15 16 17 18 19 20 21 9 10 11 12 13 14 15 5

5 22 23 24 25 26 27 28 16 17 18 19 20 21 22 6

6 29 30 23 24 25 26 27 28 7

1 2 3 4 5 1

7 6 7 8 9 10 11 12 2 3 4 5 6 7 8 8

8 13 14 15 16 17 18 19 9 10 11 12 13 14 15 9

9 20 21 22 23 24 25 26 16 17 18 19 20 21 22

10 27 28 29 30 31 23⁄30 24⁄31 25 26 27 28 29 10

1 2 1 2 3 4 5 11

11 3 4 5 6 7 8 9 6 7 8 9 10 11 12 12

12 10 11 12 13 14 15 16 13 14 15 16 17 18 19 13

13 17 18 19 20 21 22 23 20 21 22 23 24 25 26 14

14 24 25 26 27 28 29 30 27 28 29 30 15

15 1 2 3 4 5 6 7 1 2 3

16 8 9 10 11 12 13 14 4 5 6 7 8 9 10 16

17 15 16 17 18 19 20 21 11 12 13 14 15 16 17 17

22 23 24 25 26 27 28 18 19 20 21 22 23 24 18

29 30 31 25 26 27 28 29 30 31

ART 5 - Course Grades

Assignments Points Possible Points Earned

Info & Learning Styles

Online Quiz 1

Online Quiz 2

Online Quiz 3

Online Quiz 4

Online Quiz 5

Online Quiz 6

Online Quiz 7

Online Quiz 8

Online Quiz 9

Online Quiz 10

Online Quiz 11

Online Quiz 12

In-Class Assignment 1

In-Class Assignment 2

In-Class Assignment 3

In-Class Assignment 4

In-Class Assignment 5

In-Class Assignment 6

In-Class Assignment 7

Examination 1

Examination 2

Examination 3

Term Project

Extra Credit

10

10

10

10

10

10

10

10

10

10

10

10

10

10

10

10

10

10

10

10

100

100

100

100

(max 40)

TOTAL 600

600

To calculate your course grade divide the total points that you earned by the total points possible.

For example, if you earned 510 points, divide 510 by 600. The result being .85 or 85% of the points possible for the course, which would be a course grade of B.

Points Earned

÷

=

Percentage

ART HISTORY John Machado The practice of Art History is dedicated to exploring the historical significance of art, architecture, and design. Students of art history are offered opportunities to survey and appreciate the richness and the diversity of visual arts from the past to present. Addressing artworks from all places and periods, art historians deal with form, technique, iconography and historical function. In addition, art history is an inherently interdisciplinary field, requiring that students investigate the areas of philosophical aesthetics, artists' biographies, current and historical art institutions, as well as traditions and cultures. Art history enables students to develop keen visual sensibilities in addition to the skills of critical thinking, speaking, and writing. Art history is the study of cultural history through visual means and of visual culture by historical means.

art
Text Box
10

GRADING STANDARDS: Machado High Level Performance: Grade of A (90-100%): High level performance implies excellence in thinking and performance within the domain of art history, along with the development of a range of knowledge acquired through the exercise of thinking skills and abilities. A-level work is, on the whole, not only clear, precise, and well-reasoned, but insightful as well. Basic terms and distinctions are learned at a level that implies insight into basic concepts and principles. The A-level student has internalized the basic intellectual standards appropriate to the assessment of his/her own work in a subject and demonstrates insight into self-evaluation. The A-level student often raises important questions and issues, analyzes key questions and problems clearly and precisely, recognizes key questionable assumptions, clarifies key concepts effectively, uses language in keeping with educated usage, frequently identifies relevant competing points of view, and demonstrates a commitment to reason carefully from clearly stated premises in the subject, as well as marked sensitivity to important implications and consequences. A-level work displays excellent reasoning and problem-solving skills and works consistently at a high level of intellectual excellence. The Grade of B (80-89%): The grade of B implies sound thinking and performance within the domain of art history, along with the development of a range of knowledge acquired through the exercise of thinking skills and abilities. B level work is, on the whole, clear, precise, and well-reasoned, but does not have depth of insight. Basic terms and distinctions are learned at a level that implies comprehension of basic concepts and principles. The B-level student has internalized some of the basic intellectual standards appropriate to the assessment of his/her own work in a subject and demonstrates competence in self-evaluation. The B-level student often raises questions and issues, analyzes questions and problems clearly and precisely, recognizes some questionable assumptions, clarifies key concepts competently, typically uses language in keeping with educated usage, sometimes identifies relevant competing points of view, and demonstrates the beginnings of a commitment to reason carefully from clearly stated premises in a subject, as well as some sensitivity to important implications and consequences. B-level work displays sound reasoning and problem-solving skills and works consistently at a competent level of intellectual performance. The Grade of C (70-79%): The grade of C implies mixed thinking and performance within the domain of art history, along with some development of a range of knowledge acquired through the exercise of thinking skills and abilities. C level work is inconsistently clear, precise, and well-reasoned; moreover, it does not display depth of insight or even consistent competence. Basic terms and distinctions are learned at a level that implies the beginnings of, but inconsistent comprehension of, basic concepts and principles. The C-level student has internalized a few of the basic intellectual standards appropriate to the assessment of his/her own work in a subject, but demonstrates inconsistency in self-evaluation. The C-level student sometimes raises questions and issues, sometimes analyzes questions and problems clearly and precisely, recognizes some questionable assumptions, clarifies some concepts competently, inconsistently uses language in keeping with educated usage, sometimes identifies relevant competing points of view, but does not demonstrate a clear commitment to reason carefully from clearly stated premises in a subject, nor consistent sensitivity to important implications and consequences. C-level work displays inconsistent reasoning and problem-solving skills and works, at best, at a competent level of intellectual performance.

art
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The Grade of D (60-69%): The grade of D implies poor thinking and performance within the domain of art history. On the whole, the student tries to get through the course by means of rote recall, attempting to acquire knowledge by memorization rather than through comprehension and understanding. The student is not developing critical thinking skills and understandings as requisite to understanding course content. D-level work represents thinking that is typically unclear, imprecise, and poorly reasoned. The student is achieving competence only on the lowest order of performance. Basic terms and distinctions are often incorrectly used and reflect a superficial or mistaken comprehension of, basic concepts and principles. The D-level student has not internalized the basic intellectual standards appropriate to the assessment of his/her own work in a subject and does poorly in self-evaluation. The D-level student rarely raises questions and issues, superficially analyzes questions and problems, does not recognize his/her assumptions, only partially clarifies concepts, rarely uses language in keeping with educated usage, rarely identifies relevant competing points of view, and shows no understanding of the importance of a commitment to reason carefully from clearly stated premises in a subject. The D-level student is insensitive to important implications and consequences. D-level work displays poor reasoning and problem-solving skills and works, at best, at a low level of intellectual performance. The Grade of F (59% or less): The student tries to get through the course by means of rote recall, attempting to acquire knowledge by memorization rather than through comprehension and understanding. The student is not developing critical thinking skills and understandings as requisite to understanding course content. F-level work represents thinking that is regularly unclear, imprecise, and poorly reasoned. The student is not achieving competence in his/her academic work. Basic terms and distinctions are regularly incorrectly used and reflect a mistaken comprehension of, basic concepts and principles. The F-level student has not internalized the basic intellectual standards appropriate to the assessment of his/her own work in a subject and regularly mis-evaluates his/her own work. The F-level student does not raise questions or issues, does not analyze questions and problems, does not recognize his/her assumptions, does not clarify concepts, does not use language in keeping with educated usage, confuses his/her point of view with the truth, and shows no understanding of the importance of a commitment to reason carefully from clearly stated premises in a subject. The F-level student is oblivious to important implications and consequences. F-level work displays incompetent reasoning and problem-solving skills and consistently poor intellectual performance.

art
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ASS

ESSM

ENT

RU

BR

IC: W

ritin

g As

sign

men

ts

Inst

ruct

or: J

ohn

Mac

hado

St

uden

t:

Ass

ignm

ent:

D

ate:

Exce

eds

Expe

ctat

ions

M

eets

Exp

ecta

tion

App

roac

hing

Exp

ecta

tions

D

oes

Not

Mee

t Exp

ecta

tions

CONTENT (40 Points)

Com

plie

s w

ith a

ll pa

rts o

f the

as

sign

men

t.

R

efle

cts

the

writ

er’s

crit

ical

un

ders

tand

ing

of v

iew

s di

ffere

nt fr

om th

e w

riter

’s

own

by c

aref

ully

and

fully

ad

dres

sing

var

ying

poi

nts

of

view

.

In

clud

es o

bser

vatio

ns,

eval

uatio

ns, c

oncl

usio

ns,

dem

onst

ratio

ns, a

nd/o

r ap

plic

atio

ns th

at g

o be

yond

m

ere

desc

riptio

n an

d in

dica

te

a hi

gh le

vel o

f per

sona

l in

volv

emen

t and

inno

vativ

e th

inki

ng.

Exhi

bits

logi

cal r

easo

ning

in

orde

r to

shed

new

ligh

t on

topi

cs in

clud

ed.

Mak

es c

lear

an

over

all

purp

ose.

In

clud

es ri

ch a

nd re

leva

nt

deta

ils.

Use

s so

urce

s w

ith

soph

istic

atio

n an

d in

a

varie

ty o

f way

s.

Com

plie

s w

ith m

ost p

arts

of

the

assi

gnm

ent.

Ref

lect

s th

e w

riter

’s

unde

rsta

ndin

g of

vie

ws

diffe

rent

from

the

writ

er’s

ow

n by

add

ress

ing

vary

ing

poin

ts o

f vie

w.

Incl

udes

obs

erva

tions

, ev

alua

tions

, con

clus

ions

, de

mon

stra

tions

, and

/or

appl

icat

ions

that

go

beyo

nd

mer

e de

scrip

tion

and

indi

cate

pe

rson

al in

volv

emen

t.

Ex

hibi

ts lo

gica

l rea

soni

ng.

Stro

ngly

sug

gest

s an

ove

rall

purp

ose.

In

clud

es re

leva

nt a

nd

inte

rest

ing

deta

ils.

Inte

grat

es s

ourc

es e

thic

ally

an

d ef

fect

ivel

y.

Com

plie

s w

ith th

e m

ain

parts

of

the

assi

gnm

ent.

Find

s si

gnifi

canc

e in

the

topi

c be

yond

the

writ

er’s

indi

vidu

al

resp

onse

to it

.

D

oes

not m

erel

y de

scrib

e or

pr

ovid

e ba

sic

info

rmat

ion

on

the

topi

c.

Exhi

bits

logi

cal r

easo

ning

for

the

mos

t par

t, bu

t may

co

ntai

n on

e or

two

exam

ples

of

faul

ty re

ason

ing.

In

dica

tes

an o

vera

ll pu

rpos

e,

thou

gh to

a le

ss e

xten

t tha

n is

exp

ecte

d.

May

incl

ude

seve

ral

inst

ance

s of

ext

rane

ous

deta

il, b

ut a

ttem

pts

to

pres

ent r

elev

ant d

etai

ls.

Inte

grat

es s

ourc

es e

thic

ally

.

Doe

s no

t com

ply

with

the

mai

n pa

rts o

f the

ass

ignm

ent.

Doe

s no

t por

tray

sign

ifica

nce

in th

e to

pic

beyo

nd th

e w

riter

’s

indi

vidu

al re

spon

se to

it.

Mer

ely

desc

ribes

or p

rovi

des

basi

c in

form

atio

n on

the

topi

c.

Doe

s no

t exh

ibit

evid

ence

of

logi

cal t

hink

ing.

Av

oids

pla

giar

ism

, tho

ugh

sour

ce u

se m

ay b

e pr

oble

mat

ic (i

.e.,

sour

ces

not

used

in th

e sp

irit o

f the

ir in

tent

, sou

rces

cho

sen

do n

ot

seem

app

ropr

iate

or c

redi

ble,

ov

er-r

elia

nce

on s

ourc

es is

ap

pare

nt, e

tc.).

STYLE (20 Points)

Dem

onst

rate

s a

crea

tive

appr

oach

to w

ritin

g.

Use

s a

varie

ty o

f sen

tenc

e le

ngth

s, o

pene

rs, a

nd

patte

rns

to a

void

mon

oton

y.

Dis

play

s ac

cura

te a

nd v

ivid

w

ord

choi

ces.

In

clud

es a

n in

tere

stin

g,

rele

vant

, and

eng

agin

g tit

le.

Em

ploy

s te

chni

ques

of

sent

ence

var

iety

.

D

ispl

ays

accu

rate

wor

d ch

oice

s.

Incl

udes

a re

leva

nt ti

tle.

Prov

ides

som

e va

riety

in

sent

ence

ope

ners

and

se

nten

ce ty

pes

to a

void

m

onot

ony.

In

clud

es a

title

, tho

ugh

the

title

may

see

m la

cklu

ster

or

inap

prop

riate

.

Prov

ides

som

e va

riety

in

sent

ence

type

s, b

ut m

ay

seem

mon

oton

ous.

D

oes

not i

nclu

de a

title

.

ORGANIZATION (30 Points)

Has

a re

cogn

izab

le th

esis

, cl

early

sta

ted

or s

trong

ly

impl

ied.

H

as w

ell-c

onst

ruct

ed

para

grap

hs th

at a

re

orga

nize

d ar

ound

re

cogn

izab

le to

pics

.

Al

l par

agra

phs

wor

k to

geth

er

to b

uild

a lo

gica

l, in

tent

iona

l pr

ogre

ssio

n.

All p

arag

raph

s m

ove

seam

less

ly fr

om o

ne to

the

next

.

H

as a

n ef

fect

ive

and

enga

ging

intro

duct

ion.

H

as a

con

clus

ion

that

brin

gs

the

issu

e fu

ll ci

rcle

, illu

min

ates

the

over

all

sign

ifica

nce,

and

pro

vide

s a

sens

e of

clo

sure

.

Is o

rgan

ized

from

a

cont

rolli

ng id

ea.

Has

par

agra

phs

that

are

or

gani

zed

arou

nd

reco

gniz

able

topi

cs.

All p

arag

raph

s re

late

logi

cally

to

the

thes

is.

Has

tran

sitio

ns b

etw

een

mos

t par

agra

phs.

H

as a

n ap

prop

riate

in

trodu

ctio

n.

Has

an

appr

opria

te

conc

lusi

on.

Atte

mpt

s to

adh

ere

to a

co

ntro

lling

idea

.

Pa

ragr

aphs

are

som

ewha

t or

gani

zed

arou

nd

reco

gniz

able

topi

cs, t

houg

h co

ntro

lling

idea

may

be

diffi

cult

to d

isce

rn.

All p

arag

raph

s re

late

logi

cally

to

the

thes

is, t

houg

h th

e re

latio

nshi

p m

ay b

e di

fficu

lt to

dis

cern

in s

ome

inst

ance

s.

Has

tran

sitio

ns b

etw

een

som

e pa

ragr

aphs

.

H

as a

n in

trodu

ctio

n an

d co

nclu

sion

, tho

ugh

one

or

both

may

nee

d to

be

stre

ngth

ened

.

Lack

s ev

iden

ce o

f an

atte

mpt

to

adh

ere

to a

con

trollin

g id

ea.

Is b

roke

n in

to p

arag

raph

s,

thou

gh p

arag

raph

bre

aks

may

se

em u

ninf

orm

ed.

Man

y or

all

para

grap

hs d

o no

t se

em to

rela

te to

the

thes

is.

Fails

to in

clud

e an

in

trodu

ctio

n, a

con

clus

ion,

or

both

.

GRAMMAR (10 Points)

Has

no

serio

us e

rror

s in

gr

amm

ar, p

unct

uatio

n,

mec

hani

cs, o

r spe

lling

.

Has

no

mor

e th

an tw

o se

rious

err

ors

in g

ram

mar

, pu

nctu

atio

n, m

echa

nics

, or

spel

ling.

Has

no

mor

e th

an th

ree

serio

us e

rror

s in

gra

mm

ar,

punc

tuat

ion,

mec

hani

cs, o

r sp

ellin

g.

Has

four

or m

ore

serio

us

erro

rs in

gra

mm

ar,

punc

tuat

ion,

mec

hani

cs, o

r sp

ellin

g.

PO

INTS

FO

R T

HIS

PR

OJE

CT

Po

ints

Pos

sibl

e Po

ints

Ear

ned

A

B

C

D

C

ON

TEN

T 40

40

-36

35-3

2 31

-28

27-2

4

STYL

E 20

20

-18

17-1

6 15

-14

13-1

2

OR

GA

NIZ

ATI

ON

30

30

-27

26-2

4 23

-21

20-1

8

GR

AM

MA

R

10

10-9

8

7 6

TO

TAL

100

Machado Learning Styles Homework Go to the web site: http://www.metamath.com//lsweb/dvclearn.htm THEN: 1. Read the provided information on Learning Styles.

2. Click on Learning Styles Survey at bottom of page and take survey.

http://www.metamath.com/multiple/multiple_choice_questions.html 3. Print out two copies of your results, one for you and one to turn in. A sample copy

of Professor Machado’s results is on the back of this page. • Be sure your name and your class name/day/time are written at the top. • If your results say you are equally all four styles, read back through the

Learning Styles and decide which one most accurately describes you.

4. Write: • A paragraph or two about whether or not you think this is an accurate

description of how you seem to learn best. • Also include whether or not you think this information is useful to you.

Why or why not? 5. Staple one copy of your survey results and your written paragraph to the back of your

completed Student Information form (the last page of this syllabus) and return to your professor.

------------------------------------------------------------------------------------------------------------ Learning Styles: • Visual/Verbal Learning Style: written material • Visual/Non Verbal Learning Style: pictures • Auditory Learning Style: hearing/speaking • Tactile/Kinesthetic Learning Style: movement/touch

Getting to Know You: Student Information Complete and return to the professor. This form will be used for recording the class enrollment. You must complete, sign and return this form in order to retain your enrollment in the course.

Name: Level:

FR SOPH Other:________ (circle one)

Program/major

Email

Are you currently employed?

Please attach photo of

yourself here. (A photocopy is fine.)

What important things are currently going on in your life that you would like the professor to be aware of (that you’re comfortable sharing)? What do you hope to gain from taking this class?

What other art history classes have you taken?

Student Agreement My signature below confirms that I understand and agree to the following:

⇒ I have read the syllabus provided by my professor for this course. ⇒ I understand and agree to abide by the requirements set forth for this course. ⇒ I will attend classes regularly and participate in class discussions and activities. ⇒ I will complete all reading and writing assignments on time. ⇒ I will be enthusiastic and have a positive attitude about my learning. ⇒ If I am having any problems fulfilling the requirements of this course, I will seek out

my professor for further assistance. ⇒ I will follow all academic rules and laws pertaining to academic honesty. ⇒ I will take full responsibility for my learning and conduct in this course. _______________________________________ ______________ _______________ student signature date course name/time