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  • National Art Education Association

    Teaching Art History: Getting StartedAuthor(s): John A. Stinespring and Brian D. SteeleSource: Art Education, Vol. 46, No. 2, Art History (Mar., 1993), pp. 7-13Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193370 .Accessed: 16/06/2014 10:05

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  • Teaching Art History: Getting Started John A. Stinespring and Brian D. Steele

    The introduction of 'The New Social Studies" in the late 1960s affected, in turn, ways in which history was taught. The new social studies emphasized identifying the methodology of practicing historians and social scientists in order to identify the basic structure of subjects. Rather than just reading the products of historical writing and trying to modernize them, students were taught to do history by using its methodology to analyze and interpret primary source material. Textbooks gener- ated during that time contrasted with traditional chronological narrative versions of history by including collections of primary source readings focused on a single event or period of time. Documents describing official versions of a Civil War battle issued by both the United States government and the government of the Confederacy were accompanied by diaries written by soldiers on both sides describ- ing their perceptions of the battle. Empha- sis was placed on students' employing a variety of skills such as drawing inferences and classifying data in the pursuit of student-generated conclusions and inter- pretations.

    The new social studies rather alarmed some traditional teachers who had doubts about the shift in emphasis from broad coverage to depth and who felt insecure about teaching the skills involved. How- ever, attention to what historians did effected a considerable change in the outlook of history teachers, textbooks, and students. History was no longer considered a static statement of truth but rather a dynamic process producing results that could be examined and reinterpreted even by students. It is logical, consequently, for this approach to history to influence ways that art history can be taught, even in a primarily studio context.

    Studio art is inherently activity-based. Studio-centered art teachers may not see art history as activity, but rather as informa- tion and consequently may perceive that art history can only be taught as their freshman survey most likely was taught. Nicknamed "art in the dark," this method involved primarily recitation of facts and

    interpretations handed down as if these matters were universal truths.

    Consequently, we are moved to share those many ways to "do" history with students that can assist teachers seeking to develop more effective art history teaching in their classrooms. In a purely studio-based class, a teacher needs to acquire a resource library for frequent reference, to inspire students to broaden their repertoire of ideas for projects and to see their art as part of a long tradition of art making.' Art teachers need to understand that they do not have to be expert art historians in order to provide effective art history instruction, or to deliver art history instruction with lectures. In fact, lecture has long ago been shown to produce poor results in retention of information and motivation, especially below the college level. Furthermore, lecture tends to make a teacher do all the work while the passive (and often bored and inattentive) students' brains remain idle.

    Teaching art history requires learning activities related to the actions of art historians. What do they do? Can we create developmentally appropriate meth-

    Students from John F. Kennedy High School, New York, visiting Nancy Spero's studio through The New Museum of Contemporary Art's High School Arts Education Program, Spring 1991. Photo credit: Zoya Kocur. Courtesy of The New Museum of Contemporary Art, New York, NY.

    Art Education/March 1993 7

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  • ods that are like the behavior of art histori- ans? Art historians themselves question art historical methods and the philosophies that underlie them. Since 1986, a section entitled "Views and Overviews" in the Art Bulletin has highlighted the state of re- search in specific areas: old and new methods used in examining Medieval art (Kessler, 1988; Sandier, Kessler, 1989), feminist theory (Gouma-Peterson & Mathews, 1987; Broude & Garrard, Gouma-Peterson & Mathews, 1989), psychoanalytic research (Spector, 1988), and color theory (Gage, 1990). In addition to the standard historical questions of who, what, where, and when, current art histori- cal practice often examines theoretical assumptions that govern investigation. Some techniques examine how a work of art is put together to create a meaningful structure. Others relate the work to the psychology of the artist. Still others may downplay chronology and even the idea of a work of art in favor of placing the work within the social context in which it origi- nated. Many scholars identify the contex- tual study of art as the American contribu- tion to art historical studies. The validity of such approaches provokes healthy criti- cism among art historians, and their application may be complex. Rather than explore more controversial methods, in this article we have chosen to examine tradi- tional techniques of investigation that can be adopted by instructors with minimal background in art history for the use of students at the secondary level.

    Chronology The favorite organizational structure of the

    'Ideally, the resources balance visual and textual information; they might include recent editions of two college-level survey texts, since their coverage varies: e.g., H. de la Croix (1991), H.W. Janson (1991), and/ or F. Hartt (1989); their bibliographies guide additions to period-based literature. The editors of Time-Life, Inc., periodically re-issue "The World of' series (e.g., The World of Giotto, The World of Rubens), wherein artists' lives, contemporaries, social situations are examined in a lively style that should interest secondary students. To extend factual coverage and supplement photographs at moderate cost, consider adding a publication such as the Larousse Encyclope- dia (1981); dictionaries perhaps offer fewer pictures, e.g., J. Vinson (1990) or B. S. Meyers (1969). Useful for reference to special topics are "companion" volumes, e.g., J. Hall (1979) and H. Osborne (1970). Many of the publishers named here also offer specialized selections on topics such as ancient mythology, religious iconography, female artists, and twentieth-century art.

    inexperienced or totally subject-centered (as opposed to student-centered) teacher is the concept of chronology. Presenting historical material in chronological order is a seductive procedure because it seems perfectly logical and implies a cause-and- effect relationship between events. Besides inaccurately suggesting that sequence necessarily has meaning, chronology can be easily mistaken to imply an underlying belief in continuous progress, with the modern era being the highest form of human achievement. Chronology is too weak a concept to dominate the organiza- tion of entire courses at the secondary level. On the other hand, history by defini- tion requires some temporal frame of reference, since art often manifests a combination of ideas, aspirations, subjects, and styles peculiar to a specific time and place. A few key dates place objects within a global time frame and establish a basic chronology. For example, an approximate date of c. 450 B.C. (or even 500 B.C.) for Greek art is sufficient to place art within a culture that may be studied in other classes for its literature, drama, or political sys- tems. Chronology becomes more important when it illuminates a development within a specific culture, or in cases in which a culture borrows from another, but here also, dates can be simplified to present a broad chronology as a foundation upon which students can build: 550 B.C., 450 B.C., 300 B.C., and 100 A.D. present a useful sequence for Greek Archaic, Greek Classical, Greek Hellenistic, and Roman art (respectively) that illustrates both the development of ideas in Greece and the point at which a new political power used those ideas. These dates require memori- zation, but they provide basic reference points.

    Chronology is most important when it demonstrates specific causal relationships, such as the impact of photography on Manet's composition. Students might make time lines to use for reference during the rest of the course. A time line that links art with historical events helps place the individual object within the context of political history or patronage. A sequence of dates for the Persian invasions of Athens, the defeat of Persia, the founding of the Delian League, the leadership of Athens by Pericles, the building campaigns on the Acropolis, and the Peloponnesian

    8 Art EducatiornMarch 1993

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  • Wars indicates how the Parthenon is as much a political symbol as a religious structure. Or, to situate the Sistine ceiling within the activities of a great patron as well as the artist, a teacher might suggest a sequence that includes the dates of the election of Julius II to the Papacy, the major papal campaigns, the projects for Julius' tomb, the building of New St. Peter's, and the redecoration of the Vatican Apartments. Not only does this place one artist's work in a historical context, it begins to suggest the enormous energy generated in High Renaissance Rome by the work- ings of the art market. Such timelines ideally address specific situations so that the chronologies both illuminate individual works and contain more detail than the charts found in standard textbooks. In preparing for exams in college survey courses, students often learn a great deal in making flash cards to study: encourage your students to create a chart or project that emphasizes dates, events, and work(s) clearly and creatively. For ex- ample, a poster assignment might specify simplified design, artistic lettering, and recreations of period images to connect events with a chronological bar graph; a bulletin board project would allow larger scale and connections with colored strings; admittedly complex, a mobile could sketch a sculptural time line with bars that sus- pend "event" and vertical connections that indicate dates. The construction of a chronology and discussion of its implica- tions augment rote memorization; creative construction may even stimulate the intellectual involvement that helps to fix material in memory.

    Art Criticism One way to get students to appreciate and to discuss art early in the course is to teach them the phenomenological approach to art criticism activity developed by Gene A. Mittler (1986). The Mittler model requires no art history to begin with and needs only basic instruction in the elements and principles of design in order to work with the concept of formalism. Students are to withhold interpretations and judgments until they have thoroughly examined the work objectively and analytically through the description and analysis stages. They need to understand the difference between a critical judgment of success, based on

    established criteria, and an opinion, which is a statement of personal taste ("I like it."). At this point, established criteria can be restricted to the broad categories of imitationalism (the theory of art that under- stands and judges art in terms of how photographically real the work looks), formalism (the theory that judges art in terms of how it is designed), and emotion- alism (the theory that judges art for its ability to communicate a meaning, idea, feeling, or mood). Although it may seem paradoxical to use criticism to introduce art history, several processes are identical to both practices: description, objective analysis, careful visual examination, and differentiation between judgments based upon criteria and personal opinions. In particular, the phases of description and analysis form an ideal vantage point from which to begin a study of period styles.2

    Style One of the basic concepts used by art historians is that of style. In 1888, Heinrich W0lfflin (1966) formulated five categories to describe differences between Renais- sance and Baroque architecture without lapsing into taste- or value-laden judg- ments. In his 1915 Principles of Art History, (1950) he used the same categories to investigate all art. His categories examine the range between linear and painterly handling, planar and recessive space, open and closed form (in his words, tectonic and atectonic arrangement), multiplicity and unity, and absolute and relative clarity. The degree of clarity is a summary category that evaluates the overall effect generated by the other four polarities: the Renaissance work is distin- guished by an insistent formal clarity, the Baroque work, by an apparent spontaneity that masks or obscures its calculated structure. W61fflin thought that art pos- sessed its own internal laws of develop- ment, so he posed the linear (Renais- sance) and the painterly (Baroque) as two modes of seeing or imagining that suc- ceeded each other virtually without the efforts of individual artists. Although this philosophical assumption is no longer acceptable, Wolfflin generated a vocabu- lary useful in describing design characteris-

    2For more complete information, write the authors at the Department of Art, Texas Tech University, Box 42081, Lubbock, TX 79409-2081.

    Art Education/March 1993 9

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  • tics precisely, objectively, and in compara- tive terms.

    Since the terminology is comparative (one painting is more linear than another), the easiest way to demonstrate and discuss it is to use another technique that W6lfflin pioneered, the projection of two images simultaneously for comparison. Domenico Veneziano's St. Lucy Altarpiece (central panel), c. 1445, compared with Peter Paul Rubens' Elevation of the Cross, 1610, clearly illustrates these polarities (De la Croix, Tansey, & Kirkpatrick, 1991, figs. 16-32, 19-39). Domenico smoothes forms and outlines them (linear), while Rubens leaves brushstrokes that suggest flesh blurred by the surrounding atmosphere (painterly). Layers of forms parallel the picture plane and screen the distance (planar), or they project and recede along diagonals to emphasize both near and far space (recessive). Domenico's figures echo the panel in a gridlike arrangement (tectonic form) and their silhouettes sport few projections (closed form). Rubens' figures gesticulate (open form) and ignore the constraints of the panel to balance asymmetrically (atectonic). Domenico's clear light and even spacing emphasize individual parts; Rubens imposes unity with shadows that subordinate intertwined figures to the spotlighted protagonist. The

    ART STYLE WORK SHEET

    Name of Style

    Name

    Location(s)

    Dates Names of Artists Titles of Artworks Dates 1. 2. 3. 4. 5. Characteristics of the Art Style

    Describe one thing that was going on in the world at the time that might have influenced the artists and the style: On the back, list all the sources you used to make this report.

    Figure 1. Art Style Work Sheet

    comparison exemplifies W81fflin's Renais- sance and Baroque.

    When students understand the basic vocabulary, they can explore this type of visual (stylistic) analysis in projects that are suitable to small group activity or to takehome assignments. Classroom discus- sion of the results will develop students' facility in using comparative terminology. First, ask students to locate other illustra- tions that support the polarities of Renais- sance and Baroque. A second assignment should identify images that do not clearly match up with the period divisions. For example, Poussin's Et in Arcadia Ego in the Louvre, c. 1655 (see De la Croix, et al., fig. 19-60), is more linear and "Renais- sance" than Rubens' painting. Compared with the St. Lucy Altarpiece, Poussin emphasizes distant space more in spite of generally tectonic arrangement, and the figures have more complex diagonal gestures even though they continue to move along the picture plane. Titian's Christ Crowned with Thorns, c. 1573-1575 (fig. 17-64) is more painterly, recessive, and unified than the St. Lucy Altarpiece, although compared with the Rubens painting, its planar qualities stand out. Referring to other works of the era, stu- dents then can record a) the works of art that exhibit all or most of W61fflin's "Renais- sance" polarities, b) those that exhibit most of them, c) those that are entirely "Ba- roque," and d) those that exhibit significant elements of the painterly polarities. This is how art historians have formulated the concept of period styles. By grouping works of art that share common visual characteristics, historians and their readers organize those artists and artworks avail- able to study.

    Since the nineteenth century, the type of subject, attitudes toward art, and even political or social agendas often assume as much importance as style itself. Still easily recognized in terms of style are Neoclassi- cism, Impressionism, Pointillism, Expres- sionism, Cubism, Surrealism, Abstract Expressionism, Op Art, and Minimalism. More difficult are the groupings that exhibit considerable stylistic diversity and require some examination of the sorts of perspec- tives mentioned above: these include Romanticism, Realism, Post-Impression- ism, Fauvism, Dada, Constructivism, American Regionalism, 20th-century

    10 Art Education/March 1993

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  • Mexican Art, Pop Art, and Postmodernism. Today, art history examines more than

    simply the visual elements of style: stu- dents are encouraged to report on events within the world that may have influenced artists at that time. A worksheet like Figure 1 makes investigation of the art style more efficient.

    In addition, style forms the basis for more creative activities. Students might each make an art project that illustrates several characteristics of a given style. One reporting on Rococo art might create an ornate and gilded object like a mirror frame or a jewelry box; another reporting on Pointillism would use the dot method of color mixing in a painting. After preparing and presenting the material, students may investigate and discuss the relationship between a style and the style (or events) that immediately preceded it. Was there a cause-and-effect relationship? Was the acceptance of the Rococo style related to other events within the culture, such as the desire of aristocrats to desert court life at Versailles in favor of a less restrictive existence in their newly-redecorated town homes? Or was Pointillism an effect of increased interest in scientific color theory during the late nineteenth century? How much innovation actually took place in the new art style? How strongly was innovation desired (that is, was the society basically traditional or did it value the idea of innova- tive progress)? This approach early in the course establishes a knowledge base that supports later activities; students will produce more sophisticated answers when they learn research techniques.

    Linking art history material to studio activity allows students to demonstrate their understanding of the concepts in a concrete way, and they begin to see their art making as part of a larger tradition of artistic activity through the ages. To reinforce the latter, challenge students to explain exactly how they determined which elements to include in their works: the answer will probably emphasize looking as well as reading about the styles. Do features other than style mark the products of a given period: subject matter, for example?

    Finally, ask students to determine which of the period styles are similar in the use of basic characteristics. Rather than positing

    a life of forms as did W0lfflin, art historians often examine art carefully for borrowings that help to account for similarities, since artists often scrutinize art of other periods. The tradition of artists looking at art can focus on periods in which such borrowing was rampant: Greek and Roman, Renais- sance and Baroque, and Neoclassicist. Such study emphasizes the fact that artists have been involved with their own history and evolution, even though they are more concerned with visual elements than with names and dates.

    Tradition and Your Artwork As Albert Levi and Ralph Smith (1991) noted, art historians engage in a variety of activities that may not be feasible in a school classroom. Normally, students cannot crawl through ruins or examine primary source documents to authenticate a work of art. However, students can experience directly some results of art historical practice; most adaptable to a primarily studio-based curriculum is the recognition of tradition in art making. Each student might present one of his or her artworks with an explanation in terms of at least four masterworks that are influences on the student (actually seen prior to the act of creation) or that establish a tradition of artistic activity that is part of the student's project. One portion of the assignment focuses on the physical and stylistic tradition, requiring works in the same medium that exhibit similar elements of style, here expanded to the use of color and types of brushstrokes and to devices like the use of perspective or spatial illusion. The units on stylistic terminology and period style provide the basis for success here. Another assignment focuses not on style but on concepts and subject matter, requiring works that address similar political concerns, religious beliefs, per- sonal agendas, and artistic issues, and those that share similar subjects or ap- proaches to symbolism. Students are asked to distinguish between symbols that carry personal meaning and those that are widely recognized. In group discussion, students might compare attitudes toward the world revealed in their work (art to shock, art to please, art to sell, art to inspire) with the attitudes of master artists. This activity can help make the history of art more relevant to student concerns.

    Art Education/March 1993 11

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  • Discovery Activity Inductive learning promotes students' involvement and thought, rather than simple memorization of concepts, subject matter, and terminology. One type of learning is characterized by a "concept attainment model, ... the process of defin- ing concepts by attending to those at- tributes that are absolutely essential to the meaning and disregarding those that are not; it also involves learning to discriminate between what is and is not an example of the concept" (Gunter, Estes, & Schwab, 1990, p. 90). A concept attainment activity designed to stimulate interest and partici- pation is to select a series of slides or reproductions of artworks that illustrate a particular concept about art: same subject matter, same style, same principle of art, same color scheme, same technique, and the like. Then find some other slides of artwork that are different from the slides in the first set. Tell your students they are going to infer a concept just by looking at

    the raw data. Show them a slide and tell them this is a "yes" (it illustrates the concept). Then show them another that also illustrates the concept. Then show them one that is not the concept. Ask if anyone has figured out the concept. Professor Marvin Platten of Texas Tech University's College of Education takes a "survey" of his class, shows a slide. and then asks students to raise one finger for yes, two for no, and three for "I don't know." Accept a couple of guesses without acknowledging their accuracy and then show more examples that are "yes" and "no." Continue until someone has clearly expressed the concept. Then call on others to show why each of the pictures you showed is an illustration of the concept and why the "nos" are not. You could teach them the idea by showing first an easy series, like examples of either two-dimen- sional or three-dimensional art. Then move onto more difficult ones. Try to find ex- amples that are "red herrings" that will lead

    Setting Up Your Art Auction Game

    1. Select 20-28 good art reproductions to use for the "auction." Avoid too famous works like the Mona Lisa.

    2. Make enough "Art Bucks" copy machine money to give each buying team 7 $50,000 ($350,000), 12 $25,000 ($300,000), 10 $10,000 ($100,000), and 10 $5,000 ($50,000) bills.

    3. Select 5-7 stronger students to be "art dealers" (sellers) and put the rest of the class into teams of 3 to be buyers for their "galleries" or "museums."

    4. Assign a dollar value (around $250,000) to each piece but different for each piece. Tell only the dealer the value of the piece.

    5. Art Dealers must research a sales pitch for the three pieces they will sell. They should prepare to tell about the work, the artist, the importance to art history, etc.

    6. Give the buyer teams a list of all the pieces that are up for auction (without prices) and have them select pieces (by research) they will bid on. Buyers will select a name for the museum they are buying for, plan bidding strategy, and make a number to hold up to bid with.

    7. Before the auction, each "Dealer" will present (one art piece at a time) their pieces with an entire sales pitch.

    8. Give buyers time to reorder their buying priorities after hearing the presentations. 9. The Auction: The teacher is the auctioneer. Get a gavel, develop a sing-song pattern say "going once,

    going twice, gonel" and bang the gavel for the final bid. Record the exact sales price, have students hand over the money and take the art reproduction right there to keep accounting straight (you may want to appoint a student treasurer).

    10. Scoring: Best Seller = best total dollars in sales. Best buyer = best total dollar value of art purchased. 11. Variation: Have sales presentation take place at the time each piece is auctioned. 12.. Evaluation: Besides the usual fact quiz you might want to give on the art pieces, try essay testing on

    these kinds of questions: What are the reasons art museums buy expensive artwork? What are things about art work that makes it valuable to museums? Describe three of the most memorable artworks you became familiar with during the auction game. What determines the sale price of artworks? Why are some outrageously expensive? What did you learn about auction strategy? Do auctions result in fair market value for items?

    Figure 2. Art Auction Game Instructions

    12 Art Education/March 1993

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  • students away from the concept to keep the suspense up and to create a challeng- ing puzzle.

    This type of activity introduces concepts in the manner of an interactive game, providing variety while instructing effec- tively. Many variables exist in works of art, so be prepared to applaud the discovery of concepts other than the one you had in mind. Questionable responses provide an opportunity for re-examination of the series and class discussion of the concept in relation to each image. This activity rein- forces Mittler's phenomenological art critical method, and the concepts and terms enlarge students' vocabulary of art to provide the foundation for success in discussing tradition and their own artwork.

    Auction Game Auction games are useful when interest is lagging. The "engine" that drives a suc- cessful learning game is some sort of competition that can be quantified so that winners can be determined. In this case, successful business management that results in successful sales or in highest value purchased becomes the motivation to win. Figure 2 describes how to set up the auction game. All the artworks in question must be researched and de- scribed persuasively to the "buyers."

    Conclusion Art educators can use art criticism and student-action projects to begin integrating art history instruction into a studio-based curriculum. Initially, the instructor guides student pursuit of art-historical skills related to the concept of period and individual styles. Since these are primarily visual and descriptive, the instructor need not immedi- ately feel burdened by the need to re- search factual aspects of art history. The projects are suited to varied activities such as class discussion, small-group activity, out-of-class assignments, and individual reports; simple modifications adjust projects to students' developmental levels. Several projects use studio activity to explore and master basic concepts, providing a natural bridge between making and knowing. Conversely, studio projects could reduce the reliance on lecture formats were they integrated into an art history curriculum. Worksheets, far from being "cookbooks" for teaching, structure

    initial forays into research activity so that the instructor guides students while re- freshing their memory of content. Teach- ers do need to prepare for more intimidat- ing activities such as presentations and written assignments; however, by not feeling constrained to lecture extensively, teachers can implement art history immedi- ately.

    John A. Stinespring and Brian D. Steele are faculty members in the Department of Art, Texas Tech University, Lubbock.

    References

    Broude, N., & Garrard, M.D.; Gouma-Peterson T. & Mathews, P. (1989). An exchange on the feminist critique of art history. Art Bulletin, 71 (1), 124-127.

    De la Croix, H. Tansey, R.G., & Kirkpatrick, D. (Eds.). (1991). Gardner's art through the ages (9th ed.). San Diego, CA: Harcourt, Brace, Jovanovich.

    Gage, J. (1990), Color in western art: An issue? Art Bulletin, 72 (4), 518-541.

    Gouma-Peterson, T., & Mathews, P. (1987). The feminist critique of art history. Art Bulletin, 69 (3), 326-357.

    Gunter, M.A., Estes, T.H., & Schwab, J.H. (1990). Instruction: A models approach. Boston, MA: Allyn and Bacon.

    Hall, J. (1979). Dictionary of subjects and symbols in art (rev. ed.). New York, NY: Harper & Row.

    Hartt, F. (1989). Art: A history of painting, sculpture, and architecture (3rd ed.). 2 vols. New York, NY: H.N. Abrams.

    Janson, H.W. (1991). History of art (4th ed.). New York, NY: H.N. Abrams.

    Kessler, H.L. (1988). On the state of medieval art history. Art Bulletin, 70(2), 166-187.

    Larousse encyclopedia of prehistoric and ancient art, Larousse encyclopedia of byzantine and medieval art, Larousse encyclopedia of renaissance and baroque art, Larousse encyclopedia of modern art. (1981). New York, NY: Excalibur Books.

    Levi, A.W., & Smith, R.A. (1991). Art education: A critical necessity. Urbana, IL: University of Illinois Press.

    Meyers, B.S. (Ed.). (1969). McGraw-Hill dictionary of art. 5 vols. New York, NY: McGraw-Hill.

    Mittler, G.A. (1986). Art in focus. Peoria, IL: Bennett & McKnight Publishing.

    Osbomrne, H. (Ed.). (1970). Oxford companion to art. Oxford, UK: Clarendon Press.

    Sandier, L.F., & Kessler, H.L. (1989). An exchange on the state of medieval art history. Art Bulletin, 71 (3), 506-507.

    Spector, J. (1988). The state of psychoanalytic research in art history. Art Bulletin, 70 (1), 49-76.

    Vinson, J. (Ed.). (1990). Intemational dictionary of art and artists. 2 vols. Chicago, IL: St. James Press.

    Wolfflin, H. (1966). Renaissance and baroque. K. Simon, trans. Ithaca, NY: Cornell University Press.

    Wolfflin, H. (1950). Principles of art history. M.D. Hottinger, trans. New York, NY: Dover Publica- tions.

    Art Education/March 1993 13

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    Article Contentsp.7p.8p.9p.10p.11p.12p.13

    Issue Table of ContentsArt Education, Vol. 46, No. 2, Art History (Mar., 1993), pp. 1-54Front Matter [pp.1-3]EditorialAchieving Critical Mass [pp.4-5]

    Letter to the Editor [p.6]Teaching Art History: Getting Started [pp.7-13]The Bipolar Approach: A Model for Interdisciplinary Art History Courses [pp.14-18]A Learning Cycle Approach to Art History in the Classroom [pp.19-24]Instructional Resources: The Amon Carter Museum: Paintings That Tell a Story [pp.25-33]Picture Books as Portable Art Galleries [pp.34-40]Renaissance Art, Education, and History: An Art Historian's Perspective [pp.41-47]And Now, on Another MatterPhysical, Aesthetic, Symbolic Education: An Analog [pp.48-52]

    Back Matter [pp.53-54]