Instructor’s Manual
by
Sarah
Archino, Ph.D., Millsaps
College
Suzanne
Owens, Ph.D., Lorain County Community College
For
Art
History
FIFTH EDITION
Marilyn Stokstad
Michael Cothren
ISBN:
02-0-596173-8
Copyright © 2014 Pearson Education, Inc.
Table of Contents
Introduction 3
Volume 1 Sample Syllabus – Western Emphasis 5
Volume 2 Sample Syllabus – Western Emphasis 15
Volume 1 Sample Syllabus – Global Emphasis 25
Volume 2 Sample Syllabus – Global Emphasis 36
Chapter One Prehistoric Art in Europe 46
Chapter Two Art of the Ancient Near East 50
Chapter Three
Art of Ancient Egypt
Chapter Four Art
of the Ancient Aegean 60
Chapter Five Art
of Ancient Greece
Chapter Six Etruscan and Roman Art 70
Chapter Seven Jewish and Early Christian Art 76
Chapter Eight Byzantine Art 80
Chapter Nine Islamic
Art 86
Chapter Ten Art
of South and Southeast Asia Before 1200 91
Chapter Eleven Chinese and Korean Art Before 1279 97
Chapter Twelve Japanese Art Before 1392 102
Chapter Thirteen Art of
the Americas
Chapter Fourteen Early
African Art 111
Chapter Fifteen Early Medieval Art in Europe 116
Chapter Sixteen Romanesque Art 121
Chapter Seventeen Gothic
Art of the Twelfth and Thirteenth Centuries 127
Chapter
Eighteen Fourtheenth-Century Art in Europe 131
Chapter Nineteen Fifteenth-Century
Art in Northern Europe 134
Chapter Twenty Renaissance Art in Fifteenth-Century Italy
Chapter Twenty-One Sixteenth-Century
Art in Italy
Chapter
Twenty-Two Sixteenth-Century Art in Northern Europe 145
and the Iberian Peninsula
Chapter Twenty-
Three Seventeenth-Century Art in Europe 149
Chapter Twenty-
Four Art
of South and Southeast Asia after 1200 154
Chapter Twenty-
Five Chinese and Korean Art after 1279 157
Chapter Twenty-Six Japanese
Art after 1333 160
Chapter Twenty-Seven Art of
the Americas
Chapter Twenty-Eight Art of
Pacific Cultures 166
Chapter Twenty-Nine Art of
Africa in the Modern Era 169
Chapter Thirty Eighteenth- and Early Nineteenth-Century Art 172
in Europe and North America
Chapter Thirty-One Mid-
to Late Nineteenth-Century Art in Europe 177
and the United States
Chapter Thirty-Two Modern
Art in Europe and the Americas
Chapter
Thirty-Three The International Scene since 1950 188
Stokstad / Cothren Art History, 5th ed., Vol. 1: Instructor’s Manual Introduction
E.
Suzanne Owens, Ph.D., Professor of Arts & Humanities
The 5th edition of Art History, by Michael Cothren and
Marilyn Stokstad, represents an evolution of the traditional survey
course. From a rethinking of chapter
splits for Volume 1, to revised presentations of key content and expanded
images, to new emphases on critical thinking and "crosscurrents" of
art history, this updated version of a classic work enriches the possibilities
for robust teaching and learning. Paired
with Pearson's newest version of MyArtsLab multimedia platform of resources,
study tools and assessments, Art History orchestrates
a vivid "surround sound" experience of western and world art history.
Instructors of traditional
campus-based courses, as well as those creating "virtual" classrooms
for online courses can explore Volume 1 through multiple features of the
accompanying Manual. Each chapter is
summarized at-a-glance in a topic
outline, Learning Objectives and Key
Terms chart. The Transition Guide lists images removed or
added between the 4th and 5th editions, a quick aid for veteran instructors
adapting previous course plans. Discussion Topics and Critical Thinking
Questions offer starting points for helping students review core content
and check reading comprehension, but can also be used as springboards to more
interactive Activities and Exercises. Designed to work in tandem with MyArtsLab,
these teaching and learning tools offer great flexibility for surveying
chapters broadly or pursuing them in more depth to match curriculum goals.
As I prepared this edition of the
Instructor's Manual, as with the 4th edition, the expanded resources of
MyArtsLab continued to impress. Closer
Looks and Architectural Simulations provide detailed examinations of works far
beyond the possibilities of static illustrations or text descriptions, while
Panoramas create remarkable 360-degree experiences of sites most world
travelers would envy. Thanks to superior
camera technology, these views exceed in detail, clarity and perspective what
might be possible to see in person.
Video/Podcasts and Studio Technique
demonstrations are invaluable for moving students beyond the confines of
their textbooks. While classroom
lectures can always be enhanced with dynamic use of such resources projected
from MyArtsLab, I rely upon all of
these tools to create vivid online experiences for my distance learning
students, many of whom report sharing their Lab activities with family members
as interest in art history spreads. Needless
to say, for students studying online and living far from museum collections or
major architectural sites, MyArtsLab experiences
can be transformative. And online
students without the benefit of hearing textbook content reinforced by their
instructor's voice can compensate by listening to the chapter being read aloud
on the Lab.
In so many ways, what was once
merely "art in the dark" has become an exciting, interactive,
globe-trotting journey limited only by an instructor's ingenuity in responding
to Michael Cothren's most recent itinerary. And, once again, I hope you’ll find
this Manual to be a helpful starting point as those adventures begin.
Stokstad / Cothren Art History, Vol. 2: Instructor’s Manual “Introduction”
Sarah Archino,
Ph.D., Teaching Fellow in Art History
At
a time of increasing pressures to justify liberal arts and humanities
departments, it has become increasingly critical that we demonstrate the
relevancy and importance of a field such as art history. Now, more than ever, we need to ensure that
our survey courses are not simply about rote memorization, but about showing
students how meaning is made. In truth – isn’t it this awesome power of
visual images that makes us excited
about our field and that motivates us through all the preparation for lectures
and long hours of grading? It is my hope
that the discussion questions and exercises in this instructor’s manual will
not only demonstrate to students the importance of studying art, but will also
help develop critical thinking and writing skills that will serve them
throughout their studies. In writing the
instructor’s manual for this new edition of Stokstad’s Art History, I have tried to bring together images and ideas that
will inspire close examination and deeper analysis.
The
art history survey course is an opportunity to connect with a wide range of
students and to impart an interest which can last long after graduation. Although many of our students will ultimately
specialize in other fields, through art we can teach them critical skills of
analysis, interpretation, and provide a historical context which will form the
foundation for a more sophisticated approach to understanding our world.
When
I teach the art history survey, I like to emphasize the contemporary social
structures surrounding the images – questions of function, patronage, and
politics. I have found that this
approach helps students to understand that art is not created in a vacuum, but
holds rich insight into communities that might otherwise remain
unapproachable. In creating this deeper
understanding, the resources of MyArtsLab are invaluable. I am very excited about the increased access
to primary source documents, which provide a concrete point of entry for
students unfamiliar with iconography or formal analysis. Similarly, the study of architecture is
vastly helped by the Closer Look features and videos which help to recreate
aspects difficult to conjure from a two-dimensional image. Using a Students On Site to study St. Peter’s
Basilica gives a much truer sense of scale (and a better understanding of the
absolute power of the Papacy during the Baroque period) than any lecture ever
could and helps them to see these monuments through the eyes of a peer.
As
instructors, we are often reluctant to give time for in-class writing
assignments, fearful that they will distract from our already-ambitious
syllabi. As you look through this
instructor’s manual, I encourage you to explore alternatives to the strict lecture
format. Even incorporating a five-minute
exercise into a class will help your students become engaged with the material
and begin to make connections for themselves.
Writing doesn’t need to be a cumbersome burden on your students or
yourself – many of these assignments are designed for little or no
grading. Because they support the Learn
About It points and major emphases of each chapters, these assignments are
rewarded through the mastery of test material and do not require extensive
grading and feedback. We want our
students to work and master this material through their efforts. In my experience, this has led to better
classroom discussions and more thoughtful test answers and papers. I hope these suggestions will be useful to
you and your teaching.
SAMPLE SYLLABUS: “Art History
I” (Western European emphasis)
Stokstad/Cothren,
5th ed., Volume 1
|
Week
|
Chapters for
Lecture
|
|
1
|
Introduction
Learn-About-Its:
I.1 Explore
the methods and objectives of visual analysis.
I.2 Assess
the way art historians identify conventional subject matter and symbols in
the process called iconography.
I.3 Survey
the methods used by art historians to analyze works of art and interpret
their meaning within their original cultural contexts.
I.4 Trace the
process of art-historical interpretation in a case study
MyArtsLab Resources:
Architectural Panorama: Notre-Dame-du-Haut
Closer Look: Iconography,
Visual Elements of Pictorial Expression, Fra
Angelico, Crucifixion (Van der
Weyden), Quince (Zhu Da), Still Life with Fruit and Flowers (Peeters),
Mme. Charpentier and her Child (Renoir),
Madonna of the Goldfinch (Raphael),
Humay and Humayun Junayd, Doni Tondo (Michelangelo),
Education of the Virgin (De la
Tour), Carpet Page from Lindisfarne
Gospels, Notre-Dame-du-Haut
Video and Podcasts: Student on Site: Sarcophagi of Constantine and Helena
|
|
2
|
Chapter 1. Prehistoric Art
Learn-About-Its:
1.1 Explore the variety of styles,
techniques, and traditions represented by what remains of prehistoric art and
architecture, and probe its technical, formal, and expressive character.
1.2 Survey the principal themes,
subjects, and symbols in prehistoric painting, sculpture, and objects.
1.3 Investigate how art historians
and anthropologists have speculated on the cultural meanings of works for
which there is no written record to provide historical context.
1.4 Grasp the concepts and vocabulary
used to describe and characterize prehistoric art and architecture.
MyArtsLab
Resources:
Architectural Simulations: Post and Lintel Construction, Corbel
Construction
Closer Look: The Design and Making of Stonehenge, Male
and Female Figures from Cernavoda, Lascaux, Spotted Horses and Human
Hands Studio Technique
Video: Ceramics Video/Podcasts: Prehistoric Sites and
Decorated Caves of the Vezere Valley, Stonehenge
Decoded, Student on Site: Stonehenge Web
Resource: The Cave of
Chauvet – Pont - D’Arc, Panorama: Stone-henge,
Panorama: Skara Brae, Orkneyjar
Assessment:
|
|
3
|
TEST ITEM FILE
Amy Millicent Morris
ART HISTORY
5th EDITION
Marilyn Stokstad
Judith Harris Murphy Distinguished Professor of Art History
Emerita
The University
of Kansas
Michael Cothren
Scheuer Family Professor of Humanities
Department of Art, Swarthmore College
© 2014, 2011, 2008, 2005 by
Pearson Education, Inc.
All rights reserved. No
part of this publication may be reproduced, stored in a retrieval system, or
transmitted, in any form or by any means, electronic, mechanical, photocopying,
recording, or otherwise, without the prior written permission of the publisher.
Printed in the United States
of America
10 9 8 7 6 5 4 3 2 1
ISBN 10: 0-205-96173-8
ISBN 13: 978-0-205-96173-3
Table of Contents
Chapter
One Prehistoric Art in Europe 4
Chapter
Two Art of the Ancient Near East 20
Chapter
Three Art of Ancient Egypt
Chapter
Four Art of the Ancient Aegean 50
Chapter
Five Art of Ancient Greece
Chapter
Six Etruscan and Roman Art 81
Chapter
Seven Jewish and Early Christian Art 97
Chapter
Eight Byzantine Art 106
Chapter
Nine Islamic Art 116
Chapter
Ten Art of South and Southeast Asia Before
1200 130
Chapter
Eleven Chinese and Korean Art Before 1279 142
Chapter
Twelve Japanese Art Before 1392 155
Chapter
Thirteen Art of the Americas
Chapter
Fourteen Early African Art 173
Chapter
Fifteen Early Medieval Art in Europe 183
Chapter
Sixteen Romanesque Art 193
Chapter
Seventeen Gothic Art of the Twelfth and Thirteenth Centuries 207
Chapter
Eighteen Fourtheenth-Century Art in Europe 219
Chapter
Nineteen Fifteenth-Century Art in Northern Europe 233
Chapter
Twenty Renaissance Art in Fifteenth-Century Italy
Chapter
Twenty-One Sixteenth-Century Art in Italy
Chapter
Twenty-Two Sixteenth-Century Art in Northern Europe 280
and the Iberian Peninsula
Chapter
Twenty- Three Seventeenth-Century Art in Europe 295
Chapter
Twenty- Four Art of South and Southeast Asia after
1200 310
Chapter
Twenty- Five Chinese and Korean Art after 1279 325
Chapter
Twenty-Six Japanese Art after 1333 339
Chapter
Twenty-Seven Art of the Americas
Chapter
Twenty-Eight Art of Pacific Cultures 368
Chapter
Twenty-Nine Art of Africa in the Modern Era 383
Chapter
Thirty Eighteenth- and Early Nineteenth-Century Art 397
in Europe and North America
Chapter
Thirty-One Mid- to Late Nineteenth-Century Art in Europe 412
and the United
States
Chapter
Thirty-Two Modern Art in Europe and the Americas
Chapter
Thirty-Three The International Scene since 1950 442
CHAPTER ONE
PREHISTORIC ART IN EUROPE
1
Multiple Choice
1.
Chauvet Cave
- northern
- southeastern
- coastal
Answer:
C
Page
reference: 9
2.
Homo sapiens appeared on the earth __________ years ago.
- 300,000
- 400,000
- 100,000
- 50,000
Answer:
B
Page
reference: 2
3.
The word “Neolithic” means __________.
- new stone
- symbolic writing
- writing in stone
- new history
Answer:
A
Page
reference: 2
4.
Archaeologists link the emergence of image making to the arrival of __________.
- Homo
sapiens
- Paleo
sapiens
- Homo
sapiens sapiens
- Neo
sapiens
Answer:
C
Page
reference: 2
5.
Representational images began appearing in Australia ,
Africa, and Europe beginning approximately
__________ years ago.
- 100,000
- 40,000
- 25,000
- 10,000
Answer:
B
Page
reference: 2
6. _________ evidence shows that modern
humans moved from Africa, across Asia, into Europe, and finally to Australia and the Americas
A. Geological
B. Architectural
C. Archeological
D. Written
Answer: C
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