Art History Tours in Italy this Spring!

Hello! In 2011 I taught my first overseas art history course in Italy (ART HIST 3V03: Studies in Venetian Art & Theory). That was followed by a second version of the course in 2012 and then, in 2013, a new course on Baroque art and architecture in Rome (ART HIST 3VV3).

Now, I am introducing my own tours to Italy for the general public with Istoria Art Tours. This May and June I will be offering two tours (8 nights each) in both Tuscany and Rome. For more details please have a look at the Istoria Art Tours website at:

Istoria Art Tours

Or... 'like' us on facebook at: https://www.facebook.com/istoriaarttours

For further details contact me directly at: gdavies3@cogeco.ca

ART HIST 1A03; Remaining Papers

I still have some unclaimed papers (assignments and test). Remaining papers will be available for pick-up at the SOTA office (TSH 114) beginning Thursday December 11.

GD

ART HIST 1A03: Final Exam Format (Recap)

As noted during the final class, I am posting the format for the exam (see below). There were many opportunities for discussion in the tutorials and the final class review on Dec. 3, so I will NOT be posting further sample questions or extra comments on study strategies here.

FORMAT (SUMMARY):  

The exam will be two hours in length. There will be three parts. Each part will have one question (so, three exam questions in total). The total allotted time for the first two parts will be sixty minutes (thirty minutes for each part). Students will need to answer the questions using full sentences. Part three will have an allotted time of sixty minutes as the question will require a longer response than parts one and two.

The value of each part will be set as follows:

PART 1: (one question) 30%
PART 2: (one question) 30%
PART 3: (one question) 40%

For each question students will be required to use examples of work from the lectures, readings and / or tutorials to illustrate their comments. For parts one and two there will be a MINIMUM requirement of two examples that must be used in each response. For part three students will need to reference a MINIMUM of three examples. ALL EXAMPLES USED IN RESPONSES MUST INCLUDE TITLE, DATE(S), ARTIST or ARCHITECT (if known) and LOCATION (place of origin).

Good luck to everyone!

GD

ART HIST 1A03: Art of the Americas

Due to the weather conditions on Wednesday, Nov. 19, our lecture was cancelled. As noted in my blog post of yesterday, I am providing a short video to highlight key works and questions from the lecture. Here is the link for the video:

ART HIST 1A03: Art of the Americas (video)

I will be adding a few extra questions here (later today) to expand upon those in the video.

GD

ART HIST 1A03: Lecture Cancelled for Tonight

The weather down this way (Niagara) has caused highway closures and accidents. There is an OPP advisory to stay off the roads in the region. I have decided to cancel tonight's lecture as a result. However, I will be posting a short video later this evening to provide some notes on the material we would have covered in class.

GD

Info on ART HIST 1AA3 (Term II): Online Course

McMaster's Faculty of Humanities has posted a video to introduce the ART HIST 1AA3 (World Art & Cultural Heritage II) online course beginning next term. here is the link:

ART HIST 1AA3: World Art & Cultural Heritage II

ART HIST 1A03: Tutorials (10, 11, 12)

Last week I spent some time discussing the now-famous 'botched' restoration of the 'Ecce Homo' ('Behold the Man') fresco in Borja, Spain above). Here is a New York Times report from 2012 (when the story broke and went viral):

Despite Good Intentions, a Fresco in Spain is Ruined

As noted in lecture, the critical response to the restoration was fixated in the technical inadequacies of the work carried out by Cecilia Giménez. The value of the restoration as an act of love and devotion was thus marginalized. The Borja incident reminds us of the limits imposed upon our understanding of works when we judge them solely on the basis of aesthetics and technical execution. Accordingly, it remind us of the terms upon which we negotiate our relationship to works of art. The context we set up for understanding a given work ultimately involves a negotiation of power in which we, as viewers, are privileged.

Consider the following sculpture (Recovery, c. 1950) for instance. Look at the image for a few moments before reading the text beneath.

Now consider the following information about the work (as provided on the National Endowment for the Arts website):

Carved from the trunk of an apple tree, Recovery was sculpted by the hands of an unknown British mental patient. It has been attributed as a self-portrait as the patient's own concave chest (the result of tuberculosis) is replicated in the wooden figure. Edward Adamson, a thought-leader in art therapy for mental patients, encouraged the individual's work on the tree trunk. After a month of whittling, Recovery was born. The piece is the only identified work of the unknown creator.    

How does our relationship to this work change with this information? To what extent might our inclination to value the work aesthetically (or technically) limit our understanding of the work? If we identify it as a work of art do we, in turn, impose a set of values upon the object which do not necessarily apply? What might those values be? If this is the case does it raise ethical concerns about our treatment of the work?

In our course lectures we have looked at a variety of works from different periods and cultures and each of these have been presented in a book titled, Art History. Each work has thus been treated in the text as a work of art. Does this raise any issues for you? Are there any examples of work that seem to be poorly served by the title 'art' alone? Which ones? Why might it be problematic to designate them as works of art? 

Be prepared to share your thoughts in tutorial.

ART HIST 1A03: Handing in Late Assignments

Please note that late assignments should be taken to the SOTA office (TSH 414) to be signed and dated by the office secretary and placed in my mailbox. Papers that are not signed and dated by office staff will NOT be accepted. Late papers are deducted by 5% per day. It is your responsibility to confirm (by email) that I have received the paper after delivery.

The SOTA office closes at 4 pm each working day.

GD

ART HIST 1A03: Byzantine Icons

During this evening's lecture I paused to take a closer look at Byzantine icons, their history, production and reception. When looking at such icons it is important to understand that they transcend time and, therefore, should not be bound within the limits of style or chronology. Byzantine icons are still made today following techniques that go back through the ages. The materials and methods of production follow tradition for a reason as faithfulness to earlier models is of the utmost importance.

We must also remember that these are not works of art bound by aesthetic concerns. They are considered to be living images endowed with miraculous powers. Here, for instance, is a recent story of a miraculous icon in Hawaii:

Miraculous Icon in Hawaii (News Report)

ART HIST 1A03: Office Hours Today

Hello everyone. Please note that I am unable to schedule my usual office hours today. My apologies for any inconvenience.

GD

ART HIST 1A03 Tutorials (Nov. 3, 4, 5): Painting Techniques

This week you will be looking at two traditional methods of painting. The first is tempera on panel and the second is 'buon' ('good') fresco. The TAs will be discussing these two traditional techniques and working with you to explore their benefits and limitations. As with the sculptural techniques discussed in the previous set of tutorials you will want to arrive at some conclusions as to why artists might favour one method of painting over the other.

To help you grasp a better understanding of the techniques I am providing the following video links:

Tempera Painting on Panel: Process Part 1   This video covers the initial part of the process of preparing a wood panel for tempera painting. Here the artist demonstrates how to size the panel and the applied layer of linen. (note: low volume)

Tempera Painting on Panel Process: Part 2   The second part of the previous video. Here the artist demonstrates a method of applying gesso. (note: low volume)

Gilding a Panel (applying gold leaf)   A good video demonstrating the application of gold leaf on a prepared panel.

Application of Final Colours (Time Lapse Video)I   The application of final, coloured layers of tempera paint using time-lapse video.

Buon Fresco Technique  A useful video demonstrating the steps involved in 'buon' fresco painting. Note that the techniques, here, represent those adopted by Michelangelo and thus mark some slight modifications of the traditional methods employed before the High Renaissance. See if they can be spotted during tutorial.

ART HIST 1A03: Reminder about Assignment Title Page

Just a reminder... please remember to indicate the name of your TA (or, if the name happens to escape) the number of your tutorial on the title page of your assignment.

Thanks,

GD

ART HIST 1A03: Mosaics of Ravenna

In our last lecture we had started to discuss the early Christian mosaics at the Mausoleum of Galla Placidia and San Vitale in Ravenna. Here is a short video in which the interiors and mosaics are highlighted to give you a better sense of their splendor.

Mosaics of Ravenna

ART HIST 1A03: Tutorials (Oct. 27, 28, 29)

The tutorials for this week (Oct. 27, 28, 29) will explore reductive and additive sculptural techniques. Your TAs will be assisting you to look comparatively at stone carving (reductive) and 'lost wax' bronze casting (additive). The following two videos will give you some insight into each sculptural method. Watch them and consider the differences between each technique. What are the advantages of one over the other? How might the materials and process be meaningful to the finished work in each instance?

Reductive Technique in Marble

Lost Wax Method

ART HIST 1A03: Roman Art and Architecture (Oct. 15)

This afternoon we resume our discussion with a lecture on Roman art and architecture. We'll focus on a variety of Roman building and structure types and consider some of the treatments of art in the ancient empire.

The tests will be returned in tutorial next week. Prior to the lecture this afternoon, I will go over some details regarding the assignment.

ART HIST 1A03: Assignment Guidelines

School of the Arts        McMaster University

WORLD ART AND CULTURAL HERITAGE I

ART HIST 1A03, Fall 2014

Instructor: Greg Davies

WRITTEN ASSIGNMENT: DUE NOV. 3, 2014 (Course Value:  35% of Final Grade)

Note that written assignments must be submitted in class (in hardcopy only) to the instructor NO LATER THAN November 3, 2014. Late papers will be deducted at the rate of 5% per day. Papers submitted by email or any format other than hard copy will not be accepted. Late papers resulting from illness must be accompanied by a doctor’s note. Please also note that papers may be subject to submission for textual similarity review to Turnitin.com for the detection of plagiarism. All submitted papers will be included as source documents in the Turnitin.com reference database solely for the purpose of detecting plagiarism of such papers.

INSTRUCTIONS: 

            For this assignment you must select an original work of art or artifact (eg., ancient coin or vase) from the McMaster Museum of Art. Study the work closely and take note of its formal properties (its dimensions, the materials used, handling of colour, space, line, etc.). As you look at the work ask yourself questions about its appearance and the technique used by the artist. Is the work figurative or abstract? Does it appear as if the technique was challenging or not? Are the materials expensive (luxurious) or not? In other words ask yourself basic questions (similar to those we have used in lecture and tutorial) to generate a better understanding of the overall design of the work. After you have made your elemental observations you should then develop a structure for your essay. Your objective is to present a paper that clearly demonstrates, to the reader, how the technique and the materials contribute to the final appearance and the cultural significance of the work.

            Please note that both the content of your essay and the quality of your writing will be considered in the evaluation of your finished paper. Take the time to review and edit your rough draft before submitting your finished copy. You may need to make several revisions in order to meet the requirements of this assignment.

            NOTE: This is an exercise in visual analysis and NOT a research paper. You may certainly consult the gallery information provided adjacent to the work as this will clarify information on the materials, date(s), etc. However, you are encouraged to minimize consultation of sources on the artist, work or artifact as this may ultimately distract from your visual analysis.

FORMAT:

            Your paper will be 4- 5 written pages in length (1000 - 1250 words) with an accompanying title page (noting the title of your essay, your name and student number, due date, instructor’s name and course name and number). Note that the title page is NOT to be counted as one of the 4-5 written pages. You may include an image of the work discussed. If you use an image you should present it on a separate page, with identification of the artist’s name (if applicable), title, date and medium (or media), immediately after the body of the essay. This should be followed by endnotes (if you do consult any sources) and, finally, a bibliography (only if applicable). Your pages should be printed using 12-point type, double-spaced with the first line of each paragraph indented. Quotes should be avoided. For citations and bibliographic format you must follow the Chicago Style guidelines.

ART HIST 1A03: TONIGHT'S CLASS CANCELLED (OCT. 8)

Hello everyone. I have been experiencing some chronic back pain this morning and I will have to cancel this evening's lecture. Since I had expected to go over the course assignment with you I will instead post information here on the blog this evening.

Please know that there will be no class on Monday Oct. 13 due to the holiday. I will go over the assignment to clarify questions when we next meet on Wednesday  Oct. 15. At that time we will also begin our examination of Roman art and architecture.

GD

ART HIST 1A03: Tutorials (Oct. 6 - 8)

In anticipation of the course assignment (which I will address in class on Wednesday Oct. 6), I have asked the TAs to lead a discussion on visual analysis. The images presented below will be used in the tutorials to open questions on the formal properties of objects and images. The task, here, is not to finalize discussion by researching each object. Rather, we are aiming to open up useful questions and develop ideas from preliminary, group observations. Studies in art history and cultural heritage generally begin with the object or image and, most importantly, with the process of looking. Consider the following object for instance:

Gold belt buckle from the Sutton Hoo ship burial, Anglo-Saxon (early 7th century AD), Sutton Hoo, Suffolk, England

This is the belt buckle from the Sutton Hoo burial site in England. Even without prior knowledge of Anglo-Saxon art we can make important observations about the object by simply looking and asking relevant questions. Consider the following for instance:

What size is the object?

Does the scale of the object influence the design?

What are the materials used?

Is colour important?

Is it richly decorated or not?

Is the decoration abstract or figurative?

What are the motifs used and can we determine anything meaningful from them?

By considering such questions and weighing up our answers against the basic information provided by the identification, we can begin to explore more complex questions. If the material is gold, would it be safe to assume that the object was less functional than symbolic, ceremonial, etc.? The design appears intricate and, although it consists largely of geometric patterns and shapes, it includes subtle references to animal forms (eyes and mouths for instance). Why should animal references be made in what are, otherwise, abstract decorations? The interwoven lines that create the complex patterns seem to have a logical flow (try tracing them with your eyes!). Is this significant? Could this have some bearing upon the nature / animal references made in the abstract patterns?

These are but a few questions but, as you can see, they open up possibilities for interpretation. For instance, the abstract patterns with animal references reveal a logical orderliness which, in turn, is born of human imagination. These patterns signify an artful orderliness imposed upon the forms of nature. This, in turn, may be quite significant if we consider that such a seemingly luxurious object reflects a very high level of craft (also underscored by the luxurious material and the fact that it was found at a burial site). Add these observations together and we begin to form a potentially useful picture of the object in its time and place. 

Even specialists must begin with such questions. Consider, now, the following works. Which questions would you ask and how would you respond? Give this some thought and be prepared to come to your tutorial with your observations.  

Calligraphic composition on a leaf, (19th century AD), chestnut leaf with gold and wax, Turkey

Dean Gle Mask, (late 19th - early 20th century), wood and pigment, Liberia, Africa

Maritime subjects, mosaic fragment from a pool (late 2nd - early 1st century BCE), 

stone and glass inlay, Rome

ART HIST 1A03: Re., Etext

If there is anyone who has still been unable to purchase the access codes for the etext, please contact me by email. I was informed by the bookstore that they are available at the main cash. If anyone has found this to not be the case please let me know.

GD

ART HIST 1A03: Course Text Upate

I have just received an email from the course materials buyer at the Mac bookstore. The etext codes should be available for purchase at the main store cash. The access codes are passed on to the bookstore from the publisher via a card which is retained at the register. If you are visiting the store again tomorrow please check at the main store cash. If there are continuing problems please let me know by email.

I also see that Amazon.ca has copies of the 5th edition (vol. 1) available, apparently with free two-day shipping for students:

Stokstad at Amazon.ca

As noted in class, if copies are still unavailable a last resort would be to consult a similar survey text by Gardiner, Janson, Honour & Fleming or Schneider-Adams. Survey texts of art history have been produced by each of the authors and they will cover most of the key works we have looked at. However, the treatmenty may vary some works will be omitted so they will not be fully consistent. Thus, they should only be used as a last resort.

GD