1. Indigenous America: Stokstad chapter 12: Art of the Americas Before 1300 and Stokstad chapter 23 Art of the Americas After 1300;
2. Africa: Stokstad chapter 13 Art of Ancient Africa and Stokstad chapter 25 Art of Africa in the Modern Area and
3. Pacific: finally, Stokstad chapter 24 Art of the Pacific Cultures.

1. Africa: Stokstad chapter 12: Art of the Americas Before 1300 and Stokstad chapter 23 Art of the Americas After 1300;
2. Indigenous America: Stokstad chapter 13 Art of Ancient Africa and Stokstad chapter 25 Art of Africa in the Modern Area and
3. Pacific: finally, Stokstad chapter 24 Art of the Pacific Cultures.

• review Rococo
• review your notes about “Academies and Academy Exhibitions”
• make sure that you read carefully about Neo Classicism and the Classical revival in Architecture and Landscape (Stokstad pages 952-957, 961-964, 966-976).

1. Richard Boyle
2. Andrea Palladio
3. Benjamin West
4. Marie-Louise-Elisabeth Vigee-Lebrun
5. Jacques-Louis David
6. John Trumbull
7. Thomas Jefferson
8. John Singleton Copley

• read page 944 “Academies and Academy Exhibitions” carefully,
• you understand the chracteristics of Rococo Style
• and are well-versed in these artists:

1. Jean Antoine Watteau

2. Francois Boucher

3. Jean-Honore Fragonard

4. Jean-Simeon Chardin

5. Antonio Canova

 

See attached for notes and slides.

1. how baroque architecture (interior and exterior) looks different from Alberti or Palladio because????
2. what distinguishes a Caravaggio
3. how to know if it is Bernini
4. how to connect Velasqeuz to Hals through the use of brushwork
5. why calling a womman "Rubenseque" is an insult 
6. how Rembrandt's use of light is similar to Caravaggio's but completely different
7. and why Vermeer should make us all stand still in our shoes and weep because we are so overcome by the beauty of his work--and then weep again when your innocence is crushed and you find out that Vermeer--yes Vermeer--cheated -- camera obscura...all will be explained in class.

For Monday’s class, review and memorize the slides and artists that were presented on Tuesday and Thursday of the past week. See below for the slides.
 

Please complete all twenty-eight questions in the notes that were handed out. You should be able to easily answer all these questions. If not, start reading Stokstad. See below for an electronic copy of these notes. All these questions are “fair game” starting on Monday.
 

No quiz on Wednesday--I PROMISE.
I will look at your notes to make sure that you finished them.....remember, do all the questions on the two separate Cornell notes handouts about Gothic Architecture: one is three pages and one is double-sided (see below if you feel stumped). I don't care if you split up the notes and assign people different bits--just make sure you understand the answers or you will be hating life when I ask you a really, really interesting essay question.

I am sick and can't stop coughing.
I am worn out--so you are the beneficiaries of the fact that I am a wimp, and do not have the energy to dream up any really interesting quiz for Wednesday.

Tomorrow, we will probably watch a movie on Cathedrals so I can save my voice and we will look at some slides about Chartres.

We will take a look at panel painting and frescos on Friday.
So start reading in that direction if you have time.

• See the slides below.
• Plan on a retest of Romanesque architecture terms on Thursday with a great deal of extra credit from Tuesday's (today's) slides.
• We will be looking at the Bayeux Tapestry on Thursday, so expect a quiz on the Bayeux Tapestry on Monday, 12 September. 
  Be able to answer these questions:

• Start reading the next chapter: Gothic Art (chapter 16) this coming weekend.

1. Nova: Building the Great Cathedrals
2. Cathedral
3. Castle

• monks and orders (see the notes on Reliquaries and Pilgrimages as well as the notes on Monks and Monasteries)
• relics and reliquaries (see the notes on Reliquaries and Pilgrimages)
• pilgrimage routes and places--as well as their relationship to relics and financial prosperity (see page 518--read it again)
• terms for Romanesque architecture--be able to match the part with the word
  I made you a fairly extensive visual study guide--see below

• If the information is beside the slide image, you must remember it.
• The extra information in the "notes" section is for you to help you make sense of the slide or to simply have the complete information.
• The titles of many of these slides is the same as the story the slide tells.
• If a slide has no image but is FULL OF A QUESTION, then assume I require you to know the answer.
  
  Pretty straightforward. Remember--if you study in bits and pieces all year, you will not have to cram for forty-eight straight hours before the AP test--and who can do that anyways....oh, I do know someone in the class that can do that...but I can't.....so you shouldn't.

• Be able to identify the artist and title (not the date).
• Be able to answer the question that accompanies each slide.

• Who is the artist?
• What is the date of this work?
• What artist or art has influenced this artist as he/she created this piece of art?
• Can we situate this piece of art in a larger movement? Which one? Why?
• What medium has the artist used to create this work of art?
• What do we notice about the form (the line, the color, the texture, the spatial attributes, the composition)?
• What do we notice about the content?
• What do we notice about the style?