ARTH 112 - Penn State Altoona

Art H 112: Renaissance to Modern Art 

Spring 2005 Section 1 MW 4:00:-5:15 117 Science 

Section 2 MW 5:30-6:45 117 Science 

Instructor: Dr. Jennifer Streb 

Office/Voice Mail: 140 Hawthorne, 949-5300, x. 6092 

Office Hours: Monday and Wednesday 3:15-3:45 and by appointment 

Mailbox: 107 Science 

Home Phone: 861-0615 (to be used only in the case of extreme emergencies!) 

Email: jls250@psu.edu (this is the best way to reach me) 

Course Overview 

In this course we will examine the history of painting, sculpture and architecture from the Late 

Medieval/Early Renaissance period to the beginning of the 21 st century. This course is intended as a 

companion course to Art History 111, which covers Prehistoric to Gothic art. However, each class is 

designed to stand alone. Rather than being an inclusive survey of the entire history of art during this 

period, the class will focus on a selection of topics representative of major developments. We will attempt 

to locate works of art within their historical context. In other words, we will think about the works of art 

in terms of contemporary social and political events. We will also attempt to discover who made them and 

for what purposes. The objective of the course is to teach students how to think critically about images 

and historical information, the foundations upon which the class is built. 

Textbook and Course Web Site 

Laurie Schneider Adams, Art Across Time: The Fourteenth Century to the Present, Volume 2, 2 nd ed. 

The class web site, which can be accessed via www.angel.psu.edu, or www.cms.psu.edu, will be used 

primarily as a resource for supplemental images that do not appear in the required textbook and for 

contacting the students via email. It is the responsibility of the student to access the site on a regular basis 

and to study the images reproduced there. The course syllabus and outlines, study guide, and useful links 

to relevant topics are also included. Additionally, as mentioned, the Angel Course Management System 

will be used regularly throughout the semester to contact the class via email regarding information about 

the exams, quizzes, lecture material etc. It is your responsibility to either check the angel site regularly for 

your messages and/or to set up the system so that your messages are forwarded to whatever email account 

you use on a daily basis. 

The CD-ROM that accompanies the textbook and the student online learning center that is part of the 

text’s website (www.mhhe.com/artacrosstime) may also prove useful for students. Although specific 

individual assignments probably will not come from either of these sources, students are strongly 

encouraged to use both as supplements to the course readings. There are practice multiple choice 

questions, essay questions, summaries and outlines on both and many of the web links are quite 

interesting and helpful. Additionally, many of the images from the book can be found on the text’s 

website by going to the Student Learning Center link, clicking on the particular chapter and then clicking 

on “web links.” Many students in the past have used these links and printed out images to study for 

quizzes and exams. 

ArtH112, Sp.05--1

Course Grade 

Your final course grade will be computed in the following manner: 

Attendance 10% 

3 Slide Quizzes 30% (10% each) 

Exam 1 15% 

Exam 2 20% 

Final Exam 25% 

Breakdown of material to be covered: 

1 st third of the course: Proto Renaissance to Northern Baroque 

2 nd third of the course: French Baroque to Realism or Impressionism 

last third of the course: Impressionism to Pluralism 

Course Calendar 

Quiz 1 Wednesday, February 9 

Exam 1 Monday, February 14 

Quiz 2 Wednesday, March 23 

Exam 2 Monday, March 28 

Quiz 3 Wednesday, April 27 

Final Exam Monday, May 2, 6:00-7:50, 117 Science 

Add Drop Deadline—Wednesday January 19 

Agreement form handed in no later than Monday January 4 

Spring Break (no class)—Monday, March 7 & Wednesday, March 9 

Conflict Filing Period—March 21 – April 8 

Late Drop Deadline—Friday, April 8 

Withdrawal Deadline—Friday, April 29 

Attendance 

The correlation between poor attendance and poor grades has been demonstrated time and time again. To 

encourage attendance, it will count for a percentage of your grade. Each day after the add/drop deadline 

(Jan. 19), a sheet with the names of all individuals enrolled in the course will be passed around the room. 

Be certain that you sign your name, as this will be evidence of coming to class. It is important that when 

you come to class you pay attention to the lectures; your attendance will not be counted if you come to 

class just to fall asleep. You will be granted two absences regardless of reason before points are deducted 

from your attendance grade. 

Punctual attendance for class is expected: students arriving late or leaving early are disruptive not only for 

the instructor but for the rest of the students in the class as well. Class will begin at 4:00 and 5:30 

respectively. Three late arrivals to class will count as one absence, thereby having an adverse affect on 

your attendance grade. If you have a legitimate reason for coming in a few minutes late, please let me 

know as soon as possible so points will not be deducted from your grade. Conversely, the classes will end 

at 5:15 and 6:45 respectively. It’s rare that I will ever need to hold the class beyond the allotted 75 minute 

period. Therefore, please do not begin packing up your bags and putting on your coats (and thus 

disturbing those sitting around you) until the class period is over. This too could have an adverse affect on 

your attendance grade. 

Slide Quizzes 


The slide quizzes will be for the first ten minutes of class on the dates listed above. You will be shown 10 

images (for approximately one minute each) and will have to identify the following four characteristics of 

each image: 

• Artist/Architect’s Name—or “anonymous” if unknown 

• Title of the work (if the monument is a building you must also include location (city 

and country)!) 

• Date (within 10 years on either side of the date or dates provided to you) 

• Style (The style is either indicated either by the section headings on the outlines or 

within the brackets after the title and date of the work where applicable.) 

A study guide with useful study tips can be found on the Angel site. It is your responsibility to download 

and read this study guide well in advance of the first quiz; we will not go over the specifics in class, but it 

will be to your benefit to read over the guide. The images for these quizzes will be drawn from the class 

outlines, and will be the paintings, sculptures and architectural monuments covered in class. 

Exams 

All three exams will consist of 30 multiple choice questions. Information for these questions will come 

from the textbook, outlines, videos, and class lecture material. 

THERE WILL BE NO MAKE UP EXAMS OR QUIZZES GIVEN unless circumstances are deemed to 

be appropriate by the instructor and an excuse has been provided prior to the exam/quiz. Should a true 

emergency arise on the day of an exam/quiz, you must contact the instructor (either by email or by phone) 

no later than the class period following the exam/quiz and an official written excuse for your absence will 

be required. Any makeup exams given will follow a completely different format from the in class exam 

and will most likely be essay exams. The exact format will be discussed upon scheduling. 

Class Cancellation Policy 

On occasion class may have to be cancelled due to illness or weather. Since our classes meet late in the 

day, if it is snowing early in the morning, a decision will not be made by the instructor until early 

afternoon (unless, of course, the University decides to shut down). Should class be cancelled, an email 

will be sent to all students via Angel and the cancellation will be posted on the Penn State Altoona 

webpage. In the event that campus closes or class is cancelled on the day of an exam or quiz, the quiz 

and/or exam will be pushed back by one class period. For example, if we don’t have class on a 

Wednesday quiz day, the quiz will be the following Monday and the exam will be on the Wednesday of 

that same week. If campus is closed on a Monday exam day, the exam will be the next class period 

(Wednesday). 

Outlines, Reading Assignments and Images 

Attached you will find outlines listing the works of art and architecture and terms to be covered in class. 

As you will notice, not everything covered in the text will be discussed in class. In addition, it is possible 

that we will either add monuments/terms or that some of the objects (and/or terms) on the outlines will 

not be covered—we will adjust them accordingly depending on time constraints. Nonetheless, the outlines 

are meant to serve as a general guide for you as you prepare for each class and will provide you with the 

proper spellings of names, monuments and terms during lectures; in other words, be sure to bring your 

outlines to class with you each day. 


The works of art for which you will be responsible on the exams are listed on the outlines. The images 

found in Art Across Time are noted with the figure number (as in 23.15, meaning chapter 23 image 

number 15). In addition, as previously mentioned, we will be using the Angel web site for supplemental 

images not reproduced in the text and those are indicated with a W (meaning Web) on the outline. 

It is essential that you study the assigned images (and terms) frequently. Waiting until the night before the 

quiz or exam to start studying is not recommended. Studying for an hour or two each week will be much 

more beneficial in the long run than trying to cram during the 8 hours prior to an exam. 

The reading assignments for the course will come from your required text and will follow the outlines. 

The corresponding page numbers in the text are provided for you on the outlines. Students are expected to 

read all portions of the required text specified on the outlines, and should complete the readings prior to 

coming to class each day as a means of acquiring important background for understanding the lectures. 

The text book provides useful information, some of which will not be presented in class, and as such, a 

complete understanding of the lecture is aided by a familiarity with the reading assignments. Having 

already read about the material to be covered each day will also facilitate discussions and will make your 

note-taking during class a bit easier. 

We may also devote portions of certain class days to watching videos—either entire programs or clips 

devoted to a specific monument we’re looking at that day. I recommend taking notes during these videos 

because, as stated earlier, exam questions could well come from that material. 

Academic Integrity 

Cheating will not be tolerated under any circumstances and will result in a zero for the test, quiz or 

assignment and could result in failure of the course. 

According to the Altoona College Academic Integrity Policy: 

Academic integrity is the pursuit of scholarly activity in an open, honest and responsible manner. 

Academic integrity is a basic guiding principle for all academic activity at The Pennsylvania State 

University, and all members of the University community are expected to act in accordance with this 

principle. Consistent with this expectation, the University's Code of Conduct states that all students 

should act with personal integrity, respect other students' dignity, rights and property, and help create and 

maintain an environment in which all can succeed through the fruits of their efforts. 

Academic integrity includes a commitment not to engage in or tolerate acts of falsification, 

misrepresentation or deception. Such acts of dishonesty violate the fundamental ethical principles of the 

University community and compromise the worth of work completed by others. 

Student Responsibilities 

As stated above, regular class attendance is expected and necessary for a proper understanding of the 

course material. Because much of the material for which you are responsible will be covered only in 

lectures, it is imperative that you attend class regularly and keep up with the lecture notes and the images 

in your book and on the web. Between lectures, the text, videos and the website, you have all the 

resources/information you need to do well in here. The rest is up to you, and a large part of doing well in 

this course comes down to a certain amount of personal responsibility. We will cover a large amount of 

material each day in lecture, and should you miss class for any reason, you are responsible for getting the 

notes from a colleague in the class. After receiving those notes, feel free to contact me with any questions 

about the material, and I’ll be happy to meet with you. 


Additionally, you are responsible for making sure that you are receiving all of the emails regarding the 

class that will be sent out via the Angel system. Much of the information sent out via email will not be 

discussed in class, so you need to be sure that you are getting the information. 

Because the exams/quizzes will be different for each section, you must take all exams/quizzes with the 

section in which you are registered. If you take an exam or quiz with the other section (without prior 

approval from the instructor at least one class period before the exam) your grade will not be counted and 

you will receive a zero. There will be no exceptions for this. 

Courtesy and civility are expected of all students. Talking to your neighbors and disrupting class with any 

kind of obscene, sarcastic and/or disrespectful speech often has a negative impact on the learning 

environment within the classroom. If you have a question about the lecture or missed something that was 

said by the instructor, please raise your hand. Questions are always encouraged in this class. If a student 

continues to be disruptive or disrespectful to the instructor and/or other students, however, he/she will be 

asked to leave and will risk failing the course. 

You are also required to read over this syllabus outside of class within the first several days of the 

semester. After doing so, you need to sign the agreement form that appears on the last page of this packet 

and return it to the instructor no later than Monday January 24. 

If you have any special needs or know of any circumstances that may affect your performance in the 

class, please talk to the instructor as soon as possible. 

Reserve Reading List 

The following books can be found on reserve in the library for your consultation: 

Adams, Laurie Schneider, Art Across Time, volumes 1 and 2, N5300.A3 1999 

Gardner, ed., Art Through the Ages, 10 th edition, N5300.G25 1996 

Janson, H.W., History of Art, volumes 1 and 2, N5300.J3 1995b 

Stoksdad, Marilyn, Art History, volumes 1 and 2, N5300.S923.1999 


AH 112 Outline 1 Spring 2005 

Begin by reading the Introduction to your text 

Proto-Renaissance (pages 465-479) 

Nicola Pisano: Nativity, 1259-60 12.2 

Cimabue: Madonna Enthroned, 1280-90 12.3 

Giotto: Madonna Enthroned, c. 1310 12.4 

Giotto: Arena Chapel (Padua, Italy), 1303-1305 

Lamentation W 

Last Judgment 12.9 

TERMS: Humanism, relief, continuous narrative, tempera, Vasari, fresco secco, buon fresco, giornata, 

chiaroscuro, grisailles 

The Early Renaissance and the Art of Perspective (pages 498-546) 

Filippo Brunelleschi: Dome of Florence Cathedral (Florence, Italy), 1420-36 13.4, 13.6 

Leon Battista Alberti: Palazzo Rucellai (Florence, Italy), 1450s 13.32 

Masaccio: The Holy Trinity, 1425 13.21 

The Tribute Money, late 1420s 13.24 

Brunelleschi: Sacrifice of Isaac, 1401-02 13.2 

Ghiberti: Sacrifice of Isaac, 1401-02 13.2 

Lorenzo Ghiberti: The Meeting of Solomon and Sheba, 1424-52 13.16 

Fra Angelico: Annunciation, c. 1440 13.48 

Donatello: St. Mark, 1411-15 13.29 

David, 1430-40 13.30 

Andrea Mantegna: Ceiling Tondo of the Camera degli Sposi, 1474 13.56 

Dead Christ, 1500 13.15 

Botticelli: The Birth of Venus, 1482 13.59 

TERMS: Della Pittura, Vitruvius, one point perspective, orthogonals, vanishing point, transversals, 

diminution, aerial/atmospheric perspective, typology, contrapposto, foreshortening, relief, Venus Pudica 

Northern Renaissance (pages 491-494, 549-557, 628-629 and 638-644) 

Limbourg Brothers: Trés Riches Heures du Duc de Berry, January, 1413-16 12.27 

Robert Campin: The Merode Altarpiece, 1425-30 13.62 

Jan van Eyck: The Arnolfini Wedding Portrait, 1434 13.69 

Albrecht Dürer: The Four Horsemen of the Apocalpyse, 1497-98 16.13 

Matthias Grünewald: Isenheim Altarpiece, 1510-15 16.16, 16.17, 16.18 

TERMS: Book of Hours, triptych, intuitive perspective, disguised symbolism, oil, iconography, woodcut, 

polyptych 

The High Renaissance in Italy (pages 565-593 and 599-605 ) 

Donato Bramante: Tempietto, S. Pietro in Montorio (Rome, Italy), 1502-03 14.3, 14.4 

Leonardo da Vinci: The Last Supper, 1495-98 14.14 

Michelangelo: David, 1501-04 14.19 

Sistine Ceiling 14.21, 14.22 

Creation of Adam, 1508-12 14.25 

Raphael: The School of Athens, 1509-11 14.36, 14.37, 14.39 

Giorgione: Sleeping Venus, 1509 [Venetian Renaissance] 14.49 

Titian: Venus of Urbino, 1538 [Venetian Renaissance] 14.53 

TERMS: Julius II, Martyrium, centralized plan, pyramidal composition, sfumato, Neoplatonism, putti, 

ignudi, naked vs. nude 



Mannerism and the Late 16 th Century (pages 585-587, 607-613 and 616-624) 

Michelangelo: The Last Judgment, 1534-41 [Mannerism] 14.28 

Parmigianino: Madonna and Child with Angels (Madonna of the Long Neck), 1535 [Mannerism] 15.3 

Agnolo Bronzino: Allegory: Venus, Cupid, Folly, and Time, 1545 [Mannerism] 15.4 

Giulio Romano: Palazzo del Tè (Mantua, Italy), 1525-35 [Mannerism] 15.13, 15.14, 15.15 

El Greco: The Burial of Count Orgaz, 1586 [16 th Century] W 

Sofonisba Anguissola: The Artist’s Sister Minerva, c. 1559 [16 th Century] 15.11 

Palladio: Villa Rotunda (Vicenza, Italy), 1567-69 [16 th Century] 15.19, 15.20 

TERMS: Maniera, Martin Luther, Reformation, figura serpentinata 

Italian and Spanish Baroque (pages 650-659, 666-679, and 698-701) 

Gian Lorenzo Bernini: David, 1623 17.19 

Ecstasy of St. Teresa, 1645-52 17.20, 17.21 

Francesco Borromini: Façade of San Carlo alle Quattro Fontane (Rome, Italy), 1665-57 17.4, 17.5 

Annibale Carracci: Grand Gallery of the Farnese Palace (Rome, Italy), 1597-1601 17.22 

Pietro da Cortona: Glorification and Reign of Urban VIII, 1633-39 17.24 

Caravaggio: The Calling of St. Matthew, 1599-1600 17.28 

Artemisia Gentileschi: Judith Slaying Holofernes, 1614-20 17.30 

Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes, c. 1625 17.31 

Diego Velázquez: Las Meninas/The Maids of Honor, 1656 [Spanish Baroque] 17.54 

TERMS: Counter Reformation, Wölfflin, linear/painterly, planar/recession, closed/open, absolute/relative 

clarity, multiplicity/unity, quadro riportato, tenebrism 

Northern Baroque (pages 664-665, 680-694) 

Peter Paul Rubens: The Elevation of the Cross, 1610 17.34 

Anthony van Dyck: Charles I on Horseback, 1638 17.35 

Clara Peeters, Still Life with a Vase of Flowers, Goblets and Shells, 1612 W 

Franz Hals, The Laughing Cavalier, 1624 17.44 

Judith Leyster: Self Portrait at the Easel, c. 1635 W 

Rembrandt van Rijn: Self-Portrait Leaning on a Sill (aged thirty-four), 1640 17.39 

The Militia Company of Captain Frans Banning Cocq/The Night Watch, 1642 17.38 

Jan Vermeer: Woman Holding a Balance, 1664 W 

View of Delft, 1660-61 17.47 

TERMS: Impasto 

French Baroque (pages 660-663 and 702-704) 

Georges de la Tour: Joseph the Carpenter, 1645 W 

Palace of Versailles (Versailles, France): 17.12 

Jules Hardouin-Mansart and Charles LeBrun, Hall of Mirrors, (Versailles, France)1680 17.14 

Andre le Notre, Gardens and Park, 1661-68 W 

Nicholas Poussin: The Ashes of Phocion,, 1648 17.56 

TERMS: Jean Colbert, Charles le Brun, Royal Academy of Painting and Sculpture, stoic philosophy 



Rococo and the 18 th Century (pages 706-723) 

Germain Boffrand: Hotel de Soubise, Salon de la Princesse (Paris, France), 1737-40 [Rococo] 18.2 

Antoine Watteau: Pilgrimage to Cythera, 1717 [Rococo] 18.4 

Jean-Honoré Fragonard: The Swing, 1766 [Rococo] 18.7 

Hyacinthe Rigaud: Louis XIV, 1701 [18 th C] 18.8 

Rosalba Carriera: Louis XV, 1721 [Rococo] 18.9 

Élisabeth Vigée-Lebrun: Marie Antoinette with her Children, 1788 [18 th C] 18.10 

Thomas Gainsborough: Mrs. Richard Brinsely Sheridan, 1785-87 [British Rococo] 18.11 

William Hogarth: Breakfast Scene from Marriage à la Mode, 1745 [British Rococo] 18.12 

TERMS: Rocaille, Rubeniste, Poussiniste, fête galante, pastel, Joshua Reynolds, 15 Discourses, Royal 

Academy of Art 

Neoclassicism in Europe and America (pages 724-725, 734-744, 728-730 and 745-752) 

Richard Boyle, Earl of Burlington: Chiswick House (near London, England), 1725 18.20 

Angelica Kauffmann: Cornelia Pointing to Her Children as Her Treasure, 1785 W 

Jacques-Louis David: The Oath of the Horatii, 1784-85 19.3 

The Death of Marat, 1793 19.5 

Napoleon Crossing Saint Bernard Pass, 1800 19.6 

Jean-Auguste-Dominique Ingres: Napoleon Enthroned, 1806 19.12 

Grande Odalisque, 1814 19.14 

Pierre Vignon: La Madeleine (Paris, France), 1807-36 W 

Jean-Francois-Thérèse Chalgrin et al.: Arc de Triomphe (Paris, France), 1806-36 19.7 

Rude: Departure of the Volunteers of 1792, 1833-36 20.4 

John Singleton Copley: Paul Revere, 1768-70 18.27 

Benjamin West: Death of General Wolfe, 1770 18.28 

Thomas Jefferson: Virginia State Capitol (Richmond, VA), 1785-89 19.17 

Monticello (Charlottesville, VA), 1769-84 19.16, 19.18 

Rotunda of the University of Virginia (Charlottesville, VA), 1817-26 19.20 

Horatio Greenough: George Washington, 1832-41 19.22 

Edmonia Lewis: Forever Free, 1867 W 

TERMS: Locke, Winkelmann, Exemplum virtutis, Prix de Rome, Jacobins, oda, odalisque, Federal Style, 

Age of Enlightenment 

Romanticism in Europe and America (pages 725-26, 753-776) 

Horace Walpole: Strawberry Hill (Twickenham, England), 1749-77 18.23 

Charles Barry and A.W.N. Pugin: Houses of Parliament (London, England), 1836-70 20.1 

Théodore Géricault, The Raft of the Medusa, 1819 20.8 

Eugène Delacroix: Death of Sardanapalus, 1826 20.11 

Liberty Leading the People, 1830 20.12 

Francisco de Goya: The Executions of the Third of May 1808, 1814 20.18 

Caspar David Friedrich: Abbey in an Oak Forest, 1809-10 W 

John Constable: The Haywain, 1821 W 

J.M.W. Turner: The Burning of the Houses of Lords and Commons, October 16, 1834, 1835 20.22 

Thomas Cole: View from Mount Holyoke, Northampton, MA, after a Thunderstorm 

(The Oxbow), 1836 20.23 

TERMS: J. Rousseau, I. Kant, E. Burke, sublime, Salon, July Revolution, Hudson River School 



Early Photography (pages 786-791) 

Joseph Nicéphore Niépce: View from His Window at Le Gras, 1826 21.10 

Louis Jacques Daguerre: The Artist’s Studio, 1837 W 

Boulevard du Temple, Paris, 1838 W 

William Henry Fox Talbot: Lace, 1844 W 

The Open Doory, 1843 W 

Oscar Rejlander: The Two Ways of Life, 1857 W 

Nadar: Sarah Bernhardt, c. 1864 22.12 

Julia Margaret Cameron: Mrs. Herbert Duckworth, 1867 21.14 

TERMS: Positivism, camera obscura, Johann Schulze, bitumen of Judea, heliograph, latent image, 

daguerreotype, photogenic drawing, calotype, Pencil of Nature, composite printing, Baudelaire, Ruskin, 

positivism, composite printing 

Nineteenth-Century Realism in Europe and America (pages 777-785 and 794-798) 

Rosa Bonheur: Plowing in the Nivernais/The Dressing of the Vines, 1849 W 

Gustave Courbet: The Stonebreakers, 1849 21.3 

Honoré Daumier: Third-Class Carriage, c. 1862 21.5 

Édouard Manet: Le Déjeuner sur l’Herbe, 1863 21.23 

Olympia, 1863 21.24 

Thomas Eakins: The Gross Clinic, 1875-76 21.20 

Henry O. Tanner: The Banjo Lesson, 1893 W 

TERMS: Bourgeoisie, Darwin, avant garde, Marx, Engels, Communist Manifesto, Salon des Refusées, 

Baudelaire, lithography 

French Impressionism (pages 805-831) 

Édouard Manet: A Bar at the Folies-Bergère, 1881-82 22.7 

Claude Monet: Impression Sunrise, 1872 W 

Rouen Cathedral, 1894 22.19, 22.20 

Waterlilly Pond, 1904 22.18 

Edgar Degas: L’Absinthe, 1876 22.9 

The Dancing Lesson, 1883-85 22.11 

Auguste Renoir: Le Moulin de la Galette, 1876 22.8 

Mary Cassatt: The Boating Party, 1893-4 22.14 

Berthe Morisot: The Cradle, 1873 22.16 

TERMS: Chevreul, plein air, optical mixing, Société Anonyme, Japonisme 

Post Impressionism (pages 838-857) 

Paul Cézanne: Still Life with Apples, 1875-7 23.5 

Georges Seurat: Sunday Afternoon on the Island of La Grande Jatte, 1884-86 23.8 

Vincent van Gogh: The Night Café, 1888 W 

Paul Gaugin: Where do we come from? What are we? Where are we going?, 1897 W 

The Vision After the Sermon (Jacob Wrestling with the Angel), 1888 W 

Edvard Munch: The Scream, 1893 23.27 

TERMS: Divisionism/Pointillism, synthetism, cloisonnism, arbitrary/non-local color 



Matisse and Picasso (pages 868-875, 881-882, 887-895) 

Henri Matisse: Madame Matisse (The Green Line), 1905 [Fauvism] 24.3 

Harmony in Red, 1908-9 [Post-Fauvism] 24.12 

Pablo Picasso: Les Desmoiselles d’Avignon, 1907 [Analytic Cubism] 25.2 

Three Musicians, 1921 [Synthetic Cubism] 25.10 

TERMS: Fauvism, Salon d’Automne, Analytic Cubism, Synthetic Cubism, Collage, Simultaneity, 

Abstract vs. non-objective 

Expressionism and Abstraction (pages 876-880, 901-902, 898) 

Vassily Kandinsky: Painting Number 201, 1914 [Expressionism, The Blue Rider] 24.8 

Franz Marc: The Large Blue Horses, 1911 [Expressionism, The Blue Rider] 24.10 

Ernst Ludwig Kirchner: Five Women in the Street, 1913 [Expressionism, The Bridge] 24.5 

Kasimir Malevich: Suprematist Composition: White on White, 1918 [Suprematism] W 

Piet Mondrian: Composition in Blue, Yellow and Black, 1936 [de Stijl] W 

TERMS: Concerning the Spiritual in Art, Der Blaue Reiter, Die Brücke, Worringer, Suprematism, de Stijl 

Art for Art’s Sake and American Abstraction (pages 833-36, 899-900, 937-941) 

J.A.M. Whistler: Nocturne in Black and Gold: The Falling Rocket, 1875 22.31 

Marcel Duchamp: Nude Descending a Staircase, No. 2, 1912 [Cubo-Futurism] 25.18 

Arthur Dove: Nature Symbolized, 1911-14 [American Abstraction] W 

Georgia O’Keeffe: Black Iris, 1926 [Early Modernism] W 

TERMS: Armory Show, cubo-futurism, extractions 

Dada and Surrealism (pages 914-924) 

Marcel Duchamp: Fountain, 1917 [Dada] 26.2 

L.H.O.O.Q., 1919 [Dada] 26.1 

Morton Schamberg: God, 1919 [Dada] W 

Joan Miró: Dog Barking at the Moon, 1926 [Surrealism] 26.11 

Salvador Dali: The Persistence of Memory, 1931[Surrealism] 26.10 

TERMS: Caberet Voltaire, conceptual art, readymades, readymade-aided, André Breton, dream imagery, 

psychic automatism 

America in the 1930s (pages 900-901, 931-934, ) 

Charles Sheeler: American Landscape, 1930 [Precisionism] W 

Aaron Douglas: From Slavery Through Reconstruction, Aspects of Negro Life, 1934 

[Harlem Renaissance] 25.21 

James Van Der Zee: Couple in Raccoon Coats, 1932 [Harlem Renaissance] W 

Grant Wood: American Gothic, 1930 [Regionalism] 26.22 

Edward Hopper: The Night Café, 1942 [American Scene] W 

Jacob Lawrence: Harriet Tubman Series, No. 7, 1939-40 [Social Realism] 26.23 

Dorthea Lange: Migratory Cotton Picker, Eloy, Arizona, 1940 [Social Realism] 26.28 

Isabel Bishop: At the Noon Hour, 1935 [14 th Street School] W 

Minna Citron: Hope Springs Eternal/Bargain Basement, 1930s [Social Realism] W 

TERMS: Precisionism, Harlem Renaissance, Alain Locke, Regionalism, American Scene, FSA 



Abstract Expressionism: The New York School (pages 944-956, 962 ) 

Jackson Pollock: Black and White, 1948 W 

Willem de Kooning: Woman and Bicycle, 1952-53 27.12 

Lee Krasner: Little Image Paintings, 1948 W 

Mark Rothko: Green on Blue, 1956 W 

Barnett Newman: Vir Heroicus Sublimis, 1950-51 W 

David Smith: Cubi XVIII and Cubi XVII, 1963-64 27.26 

TERMS: Greenberg, Rosenberg, Action Painting, color field painting 

The 1960s and 1970s: Pop, Op, and Minimalism (pages 965-977) 

Richard Hamilton: Just What is it that makes today’s homes so different, so appealing?, 1956 [Pop]28.1 

Jasper Johns: Three Flags, 1958 [Pop] 28.2 

Robert Rauschenberg: Retroactive I, 1964 [Pop] 28.4 

Robert Rauschenberg: Oracle W 

Andy Warhol: Campbell Soup Can, 1962 [Pop] 28.5 

Gold Marilyn, 1962 [Pop] W 

Roy Lichtenstein: Little Big Picture, 1965 [Pop] 28.8 

Claes Oldenberg, Clothespin, 1976 [Pop] 28.14 

Bridget Riley: Aubade (Dawn), 1975 [Op] 28.19 

Donald Judd: Untitled, 1988 [Minimalism] 28.20 

Dan Flavin: Untitled (in Honor of Harold Joachim), 1977 [Minimalism] 28.21 

TERMS: post modernism, Alloway, encaustic, benday dots 

Post-Painterly Abstraction (pages 954-) 

Helen Frankenthaler: Interior Landscape, 1964 W 

Morris Louis: Where, 1960 W 

Frank Stella: Die Fahne Hoch, 1959 W 

Feminist Art (pages 1008, 1017) 

Judy Chicago: The Dinner Party, 1973-79 29.32 

Miriam Schapiro: Mary Cassatt and Me, 1976 W 

Faith Ringgold: Harlem Renaissance Party Quilt, 1988 W 

Barbara Kruger: Untitled (It’s a small world but not if you have to clean it), 1990 W 

Cindy Sherman: Untitled film still #35, 1979 W 

Guerilla Girls: Do women have to be naked to get into the Met. Museum, 1989 W 

TERMS: feminism 

Other Trends—Pluralism (pages 990-991, 1002, 1014, 985-987, 1007, 1016) 

Bruce Nauman: Self Portrait as Fountain, 1966-67 [Performance] W 

Vito Acconci: Seedbed, 1972 [Performance] W 

Chris Burden: Trans-fixed, 1974 [Performance] W 

Richard Estes: The Solomon R. Guggenheim Museum, 1979 [Super Realism] 29.8 

Duane Hanson: Artist With Ladder, 1972 [Super Realism] W 

Robert Smithson: Spiral Jetty (Great Salt Lake, Utah), 1970 [Earth Art] 29.23 

Maya Lin: Vietnam Veteran’s Memorial (Washington, DC), 1981-83 [Earth Art] 29.40 

Robert Mapplethorpe: Nude, 1981 [Photography] W 

Andres Serrano: Piss Christ, 1987 [Photography] W 

Jean-Michel Basquiat: Carbon/oxygen, 1984 [Graffitti] 29.31 

Jeff Koons: New Hoover Convertibles, Green Blue; New Hoover Convertibles, Green 

Blue; Double-decker, 1981-87 29.42 

TERMS: super realism, NEA 



Nineteenth-Century Architecture (pages 798-804 and 858-859 ) 

Joseph Paxton: The Crystal Palace (London, England), 1850-51 [Steel] 21.26 

John and Washington Roebling: Brooklyn Bridge (New York, NY), 1869-83 [Steel] 21.27 

Gustave Eiffel: Eiffel Tower (Paris, France), 1887-80 [Wrought Iron] 21.30 

Denkmar Adler/Louis Sullivan: Wainwright Building (St. Louis, MO), 1890-91 [Chicago School] 21.31 

Victor Horta: Tassel House (Brussels, Belgium), 1893 [Art Nouveau] 23.30 

Early Twentieth-Century Architecture (pages 906-912) 

Frank Lloyd Wright: Robie House (Chicago, IL), 1906-1909 [Prairie School] 

Fallingwater (Bear Run, PA), 1936 [Organic Architecture] 

Gerrit Rietveld: Shroeder House (Utrecht, Netherlands), 1923-24 [De Stijl] 

Le Corbusier: Villa Savoye (Poissy-sur-Seine, France), 1928-30 [International Style] 

William van Alen: Chrysler Building (New York, NY), 1928-30 [Art Deco] 

Mies van der Rohe/Philip Johnson: Seagram Building (New York, NY), 1956-58 [International Style] 

Post Modern Architecture (pages 995-1001) 

Robert Venturi, Denise Scott Brown: Vanna Venturi House (Chestnut Hill, Pa), 1962 

Charles W. Moore and William Hersey, Piazza d’Italia (New Orleans, LA), 1978-79 

Michael Graves: Portland Public Services Building (Portland, OR), 1980-82 

Richard Rogers: Lloyd’s Building (London, England), 1986 

Frank Gehry: Solomon R. Guggenheim Museum Bilbao (Bilbao, Spain), 1993-97 


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