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ART 5: ART HISTORY of the WESTERN WORLD RENAISSANCE to CONTEMPORARY
Tuesday & Thursday 3:30-5:00 Chaffey College, VSS-108
Instructor: John Machado Email: [email protected]: VSS 81 (ground level under front stairs)
Course DescriptionArt 5 is a one-semester survey of Western art and architecture from the Renaissance in Europe to the late-twentieth century in the United States. This course is divided into six sequential units—1400-1600, 1600-1750, 1750-1850, 1850-1900, 1900-1945, and 1945 to the present—but, within each of these, the organization is not strictly chronological. Rather, each unit consists of six recurring topics: a period characterization; place; style or movement; individual artist; individual work of art; and a subject matter. These topics will not follow the same order in each unit, so you should not regard them hierarchically. This structure will introduce you to different ways of approaching works of art—relative to an individual maker, to a broader movement, to a particular location, and so on—without privileging any one approach. In practice, historians must consider all of these factors and others in studying works of art.
Beyond the choice to study an individual artist, work, place, style, etc., scholars adhere to differing interpretive strategies (whether they acknowledge these or not) and proceed from varying concerns, of which some of the more obvious are class, gender, and race. No one can have a completely “objective” or “neutral” position relative to history. Each of you has also developed shaping perspectives. Working to recognize these and how they affect your reading/looking will make you a more effective student of history and will expand your capacity for understanding. In this class, the perspectives of different art historians will be brought to the fore and examined. A good historian marshals compelling evidence and argues persuasively. You will have the opportunity to read, and test, the arguments of a number of writers on a range of subjects.
By the end of the term, you will have been exposed to many of the major works, artists, movements, and media of Western art history of the period, and you will have learned some of the rudiments of looking at works of art. You will know that the appearance of an artwork depends on when, where, why, how, and by whom it was made. You will also know that the interpretation of a work depends on the interpreter, and that you, too, are necessarily an interpreter. This is not to say that all interpretations are equally valid. Interpretations can be ill- or well-informed, responsible or irresponsible, etc. Opinion is not interpretation.
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ReadingsStokstad, Marilyn. Art History: A View of the West, Volume 2 (third edition).
We will not be adhering directly to the chronology outlined in the survey text, Stokstad’s Art History. Although the survey text is required reading, do not think of it as a template for the course. The survey text will provide background reading, to give you a sense of the broad sweep of Western art, and to expose you to many more artists than we will discuss in class. Material in Stokstad directly pertaining to a given lecture will often be scattered, so it is not practical to assign particular pages. Instead, I have indicated the generally relevant section at the beginning of each unit. It will be to your advantage to read the sections in Stokstad as early as possible in each unit, a practice that will enhance what you hear in class. But do not focus on matching pages to lectures; it is not a productive way to read. The Stokstad text (hardback version that includes both volumes 1 and 2) is also on reserve in the library.
Supplemental readings are listed on the course schedule. These readings will be discussed during the class lecture and student involvement will be encouraged. Information from
the readings may also be used on the exams. They can be accessed on Blackboard under Course Documents.
I also recommend that you read Sylvan Barnet's A Short Guide to Writing About Art; any edition. This book is not limited in usefulness to the writing of papers, but offers tips for organizing your thoughts about art in ways generally appropriate to all of your work in this class.
ImagesLectures will be illustrated by images of works of art. Many, but not all, of these are pictured and discussed in Stokstad. Please be advised that some images may contain nudity or violent content. Images are also available for review from an online image reserve linked through Blackboard or directly at http://homepage.mac.com/jlmachado2/ART5/Menu33.html
Blackboard Additional information, announcements, online quizzes, class handouts and a listing of your assignment grades will be made available on the website for this course through Blackboard, http://blackboard.chaffey.edu/. Your username is your first initial, last initial (both in lowercase) and your 7-digit student ID number. Your password is your six-digit date of birth in the mmddyy format. Your Blackboard password is not connected to your ChaffeyView password. I will often send out notices and answer questions pertaining to the course through this website. Some of the documents posted on the website will need to be downloaded to
your computer. The downloaded files will be in a format known as PDF. In order to view and print these files you must have the program Adobe Acrobat Reader on your computer. The program is free and can be downloaded at http://www.adobe.com/.
Examinations There will be three in-class exams. They will not be cumulative. The exams will focus on evaluating your comprehension and analytical understanding of art historical information and cultural concepts. This will be done through a series of multiple-choice, fill-in, identification, and short response type questions. See the class schedule for dates. A study guide will be available on Blackboard a week before each exam. Bring a blue or black pen to class on the day of exam.
Make-up exams will only be available in extreme cases and to those students excused by me in advance. Those with unexcused absences do not have this option. An unexcused absence will result in a zero grade.
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In-Class AssignmentsThere will be several small in-class assignments spread over the term. They will consist of short questions on the topic at hand that you will discuss and respond to in writing. To earn these points you must be present during class lectures. There will be no make-ups for these assignments. Each in-class assignment is worth 10 points.
Online QuizzesThere will be short multiple-choice quizzes given online through Blackboard. These quizzes will contain questions on the assigned textbook readings. The quizzes will be available on Blackboard until midnight on its due date. From the time you first access (look at) each quiz you will have one hour to complete that quiz. Since the quiz will be available for many days before it is due, there will be no make-up quizzes provided. The due dates of the online quizzes are listed on the class schedule. It is your responsibility to keep track of when each quiz is due. I recommend not waiting until the last minute to complete the quizzes. Each quiz is worth 10 points.
Term ProjectEach student is to complete ONLY ONE of the following projects. Projects are due at the beginning of class on the given due date listed in the schedule in this syllabus, no exceptions. See attached assessment rubric for writing guidelines and standards. Students are strongly urged to seek assistance as needed at the Student Success Centers.
Chaffey College has created Student Success Centers, which offer free tutorials, workshops, study groups, directed learning activities, and computer access to assist students in their academic development and success. Four of the centers located on the Rancho Cucamonga campus are designed to address specific subject needs:
Math Success Center Room PS-12 (909) 652-6452 Language Success Center BEB (909) 652-6907 Writing Success Center Library (909) 652-6820 Reading Success Center BEB (909) 652-6932
Option One In colored pencil, pen, crayon, or paint do two small-scale self-portraits, one in the Impressionist style and the other in a Cubist style. These should be small enough so that you can present them side by side on a single 8 1/2 x 11 inch board or sheet of paper. In addition, write a two-page paper explaining specifically how your self-portraits portray the important characteristics of these styles and relate to the history of these styles. The paper should be in your own words and clearly show your understanding of how you have used these styles. The final text of the paper is to be two pages, double-spaced in a twelve-point font. Include proper citations for any sources used.
Option TwoFind a magazine advertisement influenced by an artistic movement we have studied. Write a four-page paper that identifies the style, discusses what aspects or characteristics of the movement’s style the advertising designer has borrowed, what attitude or feeling the ad attempts to convey, and how effective it is in doing so. The paper should be in your own words and clearly show your understanding of the art movement. The final text of the paper is to be four pages, double-spaced in a twelve-point font. Include proper citations for any sources used. Attach advertisement to back of paper.
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Option ThreeFor this paper you will visit the Norton Simon Museum in Pasadena (www.nortonsimon.org) in order to view original artworks in person. You will write a paper on the topic described below. The final text of the paper is to be four pages, double-spaced in a twelve-point font. Include proper citations for any sources used. The paper should be in your own words and clearly reflect your own observations. Attach an admission ticket or receipt as proof of the date of your visit.
Assignment: Compare and contrast three still life paintings from three periods covered in this course. Discuss the composition, use of color and line, and the paint application technique used by each artist. Look very closely at the works and discuss specific aspects in your paper. Be sure to incorporate knowledge and vocabulary learned in your art history course.
Select your three paintings from the following pieces located in the museum. One painting must come from each century listed below, 17th, 18th and 19th.
17th Century• Sebastian Stoskopff, Sti% Life with Empty Glasses, 1644• Isaak Soreau, Sti% Life with Fruits and Flowers, c.1635• Ambrosius Bosschaert, the Elder, Flowers in a Glass Beaker, c.1620• Francisco de Zurbaran, Sti% life with Lemons, Oranges and a Rose, 1633• Pieter Claesz, Sti% Life with Rummer, 1645• Jan Davidzoon de Heem, Vase of Flowers, 1654• Louise Moillon, Sti% Life with Cherries, Strawberries and Gooseberries, 1630
18th Century• Jean Baptiste Simeon Chardin, Sti% Life with Fowl, c.1728-30• Jean Baptiste Simeon Chardin, Sti% Life with Cooking Utensils, c.1728-30• Henri-Horace Roland de la Porte, Sti% Life, c.1765• Thomas-Germain-Joseph Duvivier, An Architect’s Table, 1772
19th Century• Paul Cezanne, Vase of Flowers, c.1879-82• Paul Cezanne, Tulips in a Vase, c.1890-92• Vincent van Gogh, Sti% Life, 1884-85• Pierre Auguste Renoir, Bouquet of Lilacs, 1875• Gustave Courbet, Vase of Lilacs, Roses and Tulips, 1863• Gustave Courbet, Apples, Pears and Primroses on a Table, 1871-72
Attendance and Class ConductRegular attendance and punctuality at all class meetings are expected. If you do not attend regularly, you will find your performance on examinations impaired. The examinations are based on both the readings and the material covered in class.
I cannot compel you to pay attention, but I expect you to conduct yourself in a manner that does not prevent anyone else from doing so. That means you should not talk, read the newspaper, noisily put away your notebooks or leave before the class is officially over, or cause other distractions. Please turn off your mobile telephones. For further information please see the student conduct regulations and student compliance.
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Services for Students with DisabilitiesChaffey College provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the office of Disability Programs & Services (DPS) located in CCW-21A, ex. 2380.
Office HoursPlease take advantage of my office hours. I will be happy to answer any questions about course materials or art history in general. In a survey class it is not always possible for an instructor to make a meaningful academic connection with each individual student. It is your responsibility to decide if you need additional time with me outside of class in order to do well.
Academic DishonestyAcademic dishonesty is defined as an intentional act of deception in which a student seeks to claim credit for the work or effort of another person or uses unauthorized materials or fabricated information in any academic work. It includes "cheating” (intentional use or attempted use of unauthorized materials, information, or study aid), "fabrication” (intentional falsification or invention of any information), "assisting in dishonesty” (intentionally or knowingly helping or attempting to help another commit an act of dishonesty), "tampering” (altering or interfering with evaluation instruments and documents), and "plagiarism” (intentionally or knowingly representing the words or ideas of another person as one's own).
I have zero tolerance for academic dishonesty and will fail any student engaging in such acts.
Extra CreditMaximum of 40 points total (due by last class lecture)
A survey designed to evaluate the learning experience of the student at the mid-semester point will be posted on Blackboard. Five points will be awarded for completing this survey. To receive an extra 10 points write a review of a minimum of two pages (as if you were writing for a newspaper) of an art exhibit at an art museum (other than one already assigned for this class). Inform your readers about the guiding idea of the show. Describe the range of objects and works of art (in terms of media, use, style, and so on) and describe a few in some detail. Comment about what you think is most and least interesting in the exhibit. Most importantly, discuss how the art relates to the history of art. Attach an admission ticket or receipt as proof of the date of your visit.Become a contributor to the blog, Tesserae. Students of this class, as well as others that are or have taken a class from me will be participating in expanding this online community. Post your thoughtful and critical art historical interpretations and insights for others to consider and respond to. The complete guidelines can be viewed at http://tesserae.blogspot.com. When ready send me an email and I will send you an invite to become a contributor. A maximum of 25 extra credit points are possible, 5 points for each substantive and original posting. To qualify you must submit your first post before the first in-class examination. You can post often, but only one post per week will be awarded extra credit points. In addition, you will receive 1 point for leaving a substantive response to posts by other people.
GradingExaminations: 300 points Term Project: 100 pointsOnline Quizzes: 120 points In-class Assignments: 70 pointsInfo & Learning styles: 10 pointsTOTAL: 600 points
ART 5 ART HISTORY of the WESTERN WORLD: RENAISSANCE TO CONTEMPORARY Chaffey College John Machado To enable you to grasp the structure of the course, the six units and six recurring topics—along with their subjects within each unit—are given in the tables below. A separate section lists dates, readings and assignments for each class meeting.
TOPICS/ UNITS
1400-1600 1600-1750 1750-1850 1850-1900 1900-1945 1945-Present
period characterization
Renaissance Baroque Romanticism
Modernism
Post-Modernism
place
15th century Florence
17th century Rome
mid-19th century Paris
New York in the 20th century
style or movement
Mannerism Dutch realism Realism Impressionism Futurism Pop art
individual artist
Michelangelo Artemesia Gentileschi
Goya
Auguste Rodin Picasso Jackson Pollock
individual work of art
Jan Van Eyck, The Arnolfini Wedding
Bernini, Cornaro Chapel
Manet, Bar at the Folies-Bergère
Frank Lloyd Wright, Fallingwater
Christo and Jeanne-Claude, Running Fence
subjects
prints fête gallante landscape photography
the subconscious (Surrealism)
public art: Serra’s Tilted Arc; Lin’s Vietnam Veterans Memorial
FIRST EXAM
SECOND EXAM
THIRD EXAM
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ART 5 ART HISTORY of the WESTERN WORLD: RENAISSANCE TO CONTEMPORARY Chaffey College COURSE SCHEDULE AND ASSIGNMENTS (T/TH) Material in Stokstad directly pertaining to a given lecture will often be scattered, so rather I have indicated the generally relevant pages for each unit. Supplemental readings for discussion are listed with their corresponding lectures and can be found on Blackboard in Course Documents.
DATE SUBJECT READINGS/ASSIGNMENTS 1/13
• Welcome • Course introduction
Stokstad, Introduction Review Chapter 12
1400-1600 1/15 • 15th century Florence 1/20 • The Renaissance Online Quiz 1: Chapter 13 due 1/22 • Jan Van Eyck, The Arnolfini
Wedding
1/27 • Renaissance prints Online Quiz 2: Chapter 14 due David Landau and Peter Parshall, The Renaissance Print, 1470-1550. New Haven: Yale University Press, 1994. 1-6, 33-38, 78-90.
1/29 • Michelangelo 2/03 • Mannerism Online Quiz 3: Chapter 15 due 1600-1750 2/05 • 17th century Rome, Baroque 2/10 • Bernini, Cornaro Chapel Online Quiz 4: Chapter 16 due 2/12 • Artemesia Gentileschi Garrard, Mary D. Artemisia and Susanna. Feminism and Art
History: Questioning the Litany. Eds. Norma Broude and Mary D. Garrard. New York: Harper & Row, 1982. 146-71.
2/17 • Dutch realism Online Quiz 5: Chapter 17 due 2/19 • fête gallante The fête gallante is covered in first section of Chapter 18. 2/24 Examination 1
1750-1850 2/26
• Romanticism Online Quiz 6: Chapter 18 due
3/03 • Goya • landscape
Barbara Novak, “Sound and Silence: Changing Concepts of the Sublime,” in Novak, Nature and Culture: American Landscape and Painting (New York, 1980), 34-44.
3/05 • landscape • Realism
Online Quiz 7: Chapter 19 up to page that starts "Impressionism" due
1850-1900 3/10 • mid-19th century Paris 3/12 • Modernism 3/17 & 3/19 Spring Break – No Classes
3/24 • photography
Susan Sontag, “In Plato’s Cave,” from On Photography (1977; Harmondsworth, Engl.: Penguin, 1979), 3-24.
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DATE SUBJECT READINGS/ASSIGNMENTS 3/26 • Manet, Bar at Folies-Bergère Online Quiz 8: Remainder of Chapter 19 due 3/31 • Impressionism 4/02 • Auguste Rodin 4/07
Examination 2
1900-Present 4/09 • Picasso
Online Quiz 9: Chapter 20 up to section that starts "Early Modern Art in the Americas" due
4/14 • Futurism • the subconscious (Surrealism)
4/16 • the subconscious (Surrealism) • F.L. Wright, Fallingwater
Term project option #1 due Online Quiz 10: Remainder of Chapter 20 due
4/21
Faculty Lecture – No Class
4/23 • New York and American Modernism
4/28 • New York and American Modernism
• Post-Modernism
Term project option #2 due Online Quiz 11: Chapter 21 up to section that starts “The Final Assault on Convention” due Rosalind Krauss, “Sculpture in the Expanded Field,” October (Spring 1979), 8: 30-44.
4/30
• Post-Modernism
5/05 • Pop Art Term project option #3 due Online Quiz 12: Remainder of Chapter 21 due
5/07 • Christo and Jeanne-Claude, Running Fence
5/12 • public art: Serra, Tilted Arc; Lin, Vietnam Veterans Memorial
Judith Balfe and Margaret Wyszomirski, “The Commissioning of a Work of Public Sculpture,” from Public Art/Public Controversy: The Tilted Arc on Trial, ed. Sherrill Jordan (New York: ACA Books, 1987) Nicholas Capasso, “Vietnam Veterans Memorial,” from Tod A. Marder, The Critical Edge: Controversy in Recent American Architecture (Massachusetts Institute of Technology Press, 1985)
5/14 2:15 pm
Examination 3
John Machado Art History Spring 2009
Monday Tuesday Wednesday Thursday Friday 8
8
8
8
8
9:30-11:00 Art 5 VSS-108
9:30-11:00 Art 3 VSS-108
9:30-11:00 Art 5 VSS-108
9:30-11:00 Art 3 VSS-108
11:00-12:00 Office Hour VSS-81
11:00-12:00 Office Hour VSS-81
11:00-12:30 Art 7 VSS-108
11:00-12:30 Art 7 VSS-108
12:30-2:00 ASCC Meeting
12:30-2:00 Faculty Senate
12:30-2:00 College Hour
12:30-2:00
2:00-3:30
2:30-3:30 Office Hour VSS-81
2:00-3:30
2:30-3:30 Office Hour VSS-81
3:30-5:00 Art 3 VSS-108
3:30-5:00 Art 5 VSS-108
3:30-5:00 Art 3 VSS-108
3:30-5:00 Art 5 VSS-108
5 5:30 5:30
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7
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10 10 10 10 [email protected] 909.652.6110
Fall Semester 2008 August 25 – December 2187 service days
Class Schedule Available . . . . . . . . . . . . . . . . . . . . . . . . . . April 7 (on the web)Application Period
CCCApply (online) . . . . . . . . . . . . . . . . . . . . . . . . . . . March 3 – August 25Mailed-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 3 – August 8In Person . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 3 to last day to add
Registration Letters for Continuing Students . . . . . . . . . . . . . . April 18Registration Period
Priority Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . May 5Continuing Students . . . . . . . . . . . . . . . . . . . . . . . . . . May 6 – 29New & Returning Students . . . . . . . . . . . . . . . . . . . . . . June 2 – August 13NO REGISTRATION AVAILABLE . . . . . . . . . . . . . . . . . . . . August 14, 15, and until noon on August 22WALK-IN REGISTRATION AND WAITLISTS . . . . . . . . . . . . . August 18 – 21
Payment DeadlineFor students registered between May 5 and August 13 . . . . . . . August 13
Institutional Flex Days. No classes held . . . . . . . . . . . . . . . . . August 20 – 22INSTRUCTION BEGINS . . . . . . . . . . . . . . . . . . . . . . . . . . . August 25Late Registration
Instructor signature or ADD CODE required for CLOSED classes August 25 – 29Labor Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . September 1
Instructor signature or ADD CODE required for ALL classes . . . September 2 – 12Refund Deadline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . September 8Deadline to ADD full-term classes (4:30 p.m.) . . . . . . . . . . . . . . September 12
See Schedule of Classes for deadline to add all other classesCensus Date for full term classes . . . . . . . . . . . . . . . . . . . . . September 15Deadline to DROP full-term classes without a“W”(4:30 p.m.) . . . . . September 19Veterans Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . November 11Deadline to DROP full-term classes (7:00 p.m.) . . . . . . . . . . . . . November 26
See Schedule of Classes for deadline to drop all other classesDeadline to apply for credit by exam, graduation, certificates . . . . . November 26Deadline to ADD open-entry/exit classes (7:00 p.m.) . . . . . . . . . . November 26Thanksgiving Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . November 27 – 30FINAL EXAMINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . December 15 – 21INSTRUCTION ENDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . December 21Winter Recess, College Closed . . . . . . . . . . . . . . . . . . . . . . . December 24 – January 1Grades available online . . . . . . . . . . . . . . . . . . . . . . . . . . . January 7Transcripts available upon request . . . . . . . . . . . . . . . . . . . . January 20
Spring Semester 2009 January 12 – May 2089 service days
Class Schedule Available . . . . . . . . . . . . . . . . . . . . . . . . . . October 27 (on the web)Application Period
CCCApply (online) . . . . . . . . . . . . . . . . . . . . . . . . . . . October 20 – January 12Mailed-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . October 20 to December 19In Person . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . October 20 until the last day to add
Registration Letters for Continuing Students . . . . . . . . . . . . . . November 7Closed for Thanksgiving Holiday . . . . . . . . . . . . . . . . . . . . . November 27 – 30Registration Period
Priority Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . November 17Continuing Students . . . . . . . . . . . . . . . . . . . . . . . . . . November 18 – December 3New & Returning Students . . . . . . . . . . . . . . . . . . . . . . December 4 – 19Closed for Winter Recess . . . . . . . . . . . . . . . . . . . . . . . December 24 – January 1No registration available . . . . . . . . . . . . . . . . . . . . . December 22, 23, January 2, and until
noonon January 9Walk-in registration and waitlists . . . . . . . . . . . . . . . January 5 – 8
Payment DeadlinesFor students registered between November 17 and December 17 December 19
Institutional Flex Days. No classes held . . . . . . . . . . . . . . . . . January 8, 9INSTRUCTION BEGINS . . . . . . . . . . . . . . . . . . . . . . . . . . . January 12Late Registration
Instructor signature or ADD CODE required for CLOSED classes January 12 – 16Instructor signature or ADD CODE required for ALL classes . . . January 20 – 30
Martin Luther King, Jr. Holiday . . . . . . . . . . . . . . . . . . . . . . . January 19Refund Deadline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . January 26Deadline to ADD full-term classes (4:30 p.m.) . . . . . . . . . . . . . . January 30
See Schedule of Classes for deadline to add all other classesCensus Date for full term classes. . . . . . . . . . . . . . . . . . . . . . February 2Lincoln’s Birthday Holiday . . . . . . . . . . . . . . . . . . . . . . . . . February 6Deadline to DROP full-term classes without a“W”(7:00 p.m.) . . . . . February 9Washington’s Birthday Holiday . . . . . . . . . . . . . . . . . . . . . . February 16Deadline to apply for graduation and certificates
for ceremony participants . . . . . . . . . . . . . . . . . . . . . . . March 6Spring Break . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . March 16 – 22Easter Weekend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . April 11, 12Deadline to DROP full-term classes (4:30 p.m.) . . . . . . . . . . . . . April 17
See Schedule of Classes for deadline to drop all other classesDeadline to apply for credit by exam, graduation and certificate
for non-ceremony participants . . . . . . . . . . . . . . . . . . . . April 17Deadline to ADD open-entry/exit classes (4:30 p.m.) . . . . . . . . . . April 17Faculty Lecture (no classes held; contract/regular faculty service day) April 21FINAL EXAMINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . May 14 – 20INSTRUCTION ENDS . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 20Commencement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 21Memorial Day Holiday . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 25Grades available online . . . . . . . . . . . . . . . . . . . . . . . . . . . May 28Transcripts available upon request . . . . . . . . . . . . . . . . . . . . June 15
Chaffey College 2008–2009 Academic Calendar
Revised 2-4-08
2008 2009M T W T F S S M T W T F S S
NOTE: Starting dates are all different, please refer to Computing Service’sreport in roll sheet packet regarding Daily Census, Short-Term, or
Positive Attendance Classes.
Weekend classes meet following Friday holidays and before Monday holidays unlessspecifically designated as a holiday on this calendar.
WEEK
Decem
ber
November
October
September
Augu
st
WEEK
May
April
March
February
January
#
= Instruction Begins
= Holiday
= Final Examinations
= Faculty Lecture of the Year
= Spring Break
= Institutional/Flex Days. No classes held.
= Commencement
LEGEND
#
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1 2 1 2 3 4 5 11
11 3 4 5 6 7 8 9 6 7 8 9 10 11 12 12
12 10 11 12 13 14 15 16 13 14 15 16 17 18 19 13
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ART 5 - Course Grades
Assignments Points Possible Points Earned
Info & Learning Styles
Online Quiz 1
Online Quiz 2
Online Quiz 3
Online Quiz 4
Online Quiz 5
Online Quiz 6
Online Quiz 7
Online Quiz 8
Online Quiz 9
Online Quiz 10
Online Quiz 11
Online Quiz 12
In-Class Assignment 1
In-Class Assignment 2
In-Class Assignment 3
In-Class Assignment 4
In-Class Assignment 5
In-Class Assignment 6
In-Class Assignment 7
Examination 1
Examination 2
Examination 3
Term Project
Extra Credit
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
10
100
100
100
100
(max 40)
TOTAL 600
600
To calculate your course grade divide the total points that you earned by the total points possible.
For example, if you earned 510 points, divide 510 by 600. The result being .85 or 85% of the points possible for the course, which would be a course grade of B.
Points Earned
÷
=
Percentage
ART HISTORY John Machado The practice of Art History is dedicated to exploring the historical significance of art, architecture, and design. Students of art history are offered opportunities to survey and appreciate the richness and the diversity of visual arts from the past to present. Addressing artworks from all places and periods, art historians deal with form, technique, iconography and historical function. In addition, art history is an inherently interdisciplinary field, requiring that students investigate the areas of philosophical aesthetics, artists' biographies, current and historical art institutions, as well as traditions and cultures. Art history enables students to develop keen visual sensibilities in addition to the skills of critical thinking, speaking, and writing. Art history is the study of cultural history through visual means and of visual culture by historical means.
GRADING STANDARDS: Machado High Level Performance: Grade of A (90-100%): High level performance implies excellence in thinking and performance within the domain of art history, along with the development of a range of knowledge acquired through the exercise of thinking skills and abilities. A-level work is, on the whole, not only clear, precise, and well-reasoned, but insightful as well. Basic terms and distinctions are learned at a level that implies insight into basic concepts and principles. The A-level student has internalized the basic intellectual standards appropriate to the assessment of his/her own work in a subject and demonstrates insight into self-evaluation. The A-level student often raises important questions and issues, analyzes key questions and problems clearly and precisely, recognizes key questionable assumptions, clarifies key concepts effectively, uses language in keeping with educated usage, frequently identifies relevant competing points of view, and demonstrates a commitment to reason carefully from clearly stated premises in the subject, as well as marked sensitivity to important implications and consequences. A-level work displays excellent reasoning and problem-solving skills and works consistently at a high level of intellectual excellence. The Grade of B (80-89%): The grade of B implies sound thinking and performance within the domain of art history, along with the development of a range of knowledge acquired through the exercise of thinking skills and abilities. B level work is, on the whole, clear, precise, and well-reasoned, but does not have depth of insight. Basic terms and distinctions are learned at a level that implies comprehension of basic concepts and principles. The B-level student has internalized some of the basic intellectual standards appropriate to the assessment of his/her own work in a subject and demonstrates competence in self-evaluation. The B-level student often raises questions and issues, analyzes questions and problems clearly and precisely, recognizes some questionable assumptions, clarifies key concepts competently, typically uses language in keeping with educated usage, sometimes identifies relevant competing points of view, and demonstrates the beginnings of a commitment to reason carefully from clearly stated premises in a subject, as well as some sensitivity to important implications and consequences. B-level work displays sound reasoning and problem-solving skills and works consistently at a competent level of intellectual performance. The Grade of C (70-79%): The grade of C implies mixed thinking and performance within the domain of art history, along with some development of a range of knowledge acquired through the exercise of thinking skills and abilities. C level work is inconsistently clear, precise, and well-reasoned; moreover, it does not display depth of insight or even consistent competence. Basic terms and distinctions are learned at a level that implies the beginnings of, but inconsistent comprehension of, basic concepts and principles. The C-level student has internalized a few of the basic intellectual standards appropriate to the assessment of his/her own work in a subject, but demonstrates inconsistency in self-evaluation. The C-level student sometimes raises questions and issues, sometimes analyzes questions and problems clearly and precisely, recognizes some questionable assumptions, clarifies some concepts competently, inconsistently uses language in keeping with educated usage, sometimes identifies relevant competing points of view, but does not demonstrate a clear commitment to reason carefully from clearly stated premises in a subject, nor consistent sensitivity to important implications and consequences. C-level work displays inconsistent reasoning and problem-solving skills and works, at best, at a competent level of intellectual performance.
The Grade of D (60-69%): The grade of D implies poor thinking and performance within the domain of art history. On the whole, the student tries to get through the course by means of rote recall, attempting to acquire knowledge by memorization rather than through comprehension and understanding. The student is not developing critical thinking skills and understandings as requisite to understanding course content. D-level work represents thinking that is typically unclear, imprecise, and poorly reasoned. The student is achieving competence only on the lowest order of performance. Basic terms and distinctions are often incorrectly used and reflect a superficial or mistaken comprehension of, basic concepts and principles. The D-level student has not internalized the basic intellectual standards appropriate to the assessment of his/her own work in a subject and does poorly in self-evaluation. The D-level student rarely raises questions and issues, superficially analyzes questions and problems, does not recognize his/her assumptions, only partially clarifies concepts, rarely uses language in keeping with educated usage, rarely identifies relevant competing points of view, and shows no understanding of the importance of a commitment to reason carefully from clearly stated premises in a subject. The D-level student is insensitive to important implications and consequences. D-level work displays poor reasoning and problem-solving skills and works, at best, at a low level of intellectual performance. The Grade of F (59% or less): The student tries to get through the course by means of rote recall, attempting to acquire knowledge by memorization rather than through comprehension and understanding. The student is not developing critical thinking skills and understandings as requisite to understanding course content. F-level work represents thinking that is regularly unclear, imprecise, and poorly reasoned. The student is not achieving competence in his/her academic work. Basic terms and distinctions are regularly incorrectly used and reflect a mistaken comprehension of, basic concepts and principles. The F-level student has not internalized the basic intellectual standards appropriate to the assessment of his/her own work in a subject and regularly mis-evaluates his/her own work. The F-level student does not raise questions or issues, does not analyze questions and problems, does not recognize his/her assumptions, does not clarify concepts, does not use language in keeping with educated usage, confuses his/her point of view with the truth, and shows no understanding of the importance of a commitment to reason carefully from clearly stated premises in a subject. The F-level student is oblivious to important implications and consequences. F-level work displays incompetent reasoning and problem-solving skills and consistently poor intellectual performance.
ASS
ESSM
ENT
RU
BR
IC: W
ritin
g As
sign
men
ts
Inst
ruct
or: J
ohn
Mac
hado
St
uden
t:
Ass
ignm
ent:
D
ate:
Exce
eds
Expe
ctat
ions
M
eets
Exp
ecta
tion
App
roac
hing
Exp
ecta
tions
D
oes
Not
Mee
t Exp
ecta
tions
CONTENT (40 Points)
Com
plie
s w
ith a
ll pa
rts o
f the
as
sign
men
t.
R
efle
cts
the
writ
er’s
crit
ical
un
ders
tand
ing
of v
iew
s di
ffere
nt fr
om th
e w
riter
’s
own
by c
aref
ully
and
fully
ad
dres
sing
var
ying
poi
nts
of
view
.
In
clud
es o
bser
vatio
ns,
eval
uatio
ns, c
oncl
usio
ns,
dem
onst
ratio
ns, a
nd/o
r ap
plic
atio
ns th
at g
o be
yond
m
ere
desc
riptio
n an
d in
dica
te
a hi
gh le
vel o
f per
sona
l in
volv
emen
t and
inno
vativ
e th
inki
ng.
Exhi
bits
logi
cal r
easo
ning
in
orde
r to
shed
new
ligh
t on
topi
cs in
clud
ed.
Mak
es c
lear
an
over
all
purp
ose.
In
clud
es ri
ch a
nd re
leva
nt
deta
ils.
Use
s so
urce
s w
ith
soph
istic
atio
n an
d in
a
varie
ty o
f way
s.
Com
plie
s w
ith m
ost p
arts
of
the
assi
gnm
ent.
Ref
lect
s th
e w
riter
’s
unde
rsta
ndin
g of
vie
ws
diffe
rent
from
the
writ
er’s
ow
n by
add
ress
ing
vary
ing
poin
ts o
f vie
w.
Incl
udes
obs
erva
tions
, ev
alua
tions
, con
clus
ions
, de
mon
stra
tions
, and
/or
appl
icat
ions
that
go
beyo
nd
mer
e de
scrip
tion
and
indi
cate
pe
rson
al in
volv
emen
t.
Ex
hibi
ts lo
gica
l rea
soni
ng.
Stro
ngly
sug
gest
s an
ove
rall
purp
ose.
In
clud
es re
leva
nt a
nd
inte
rest
ing
deta
ils.
Inte
grat
es s
ourc
es e
thic
ally
an
d ef
fect
ivel
y.
Com
plie
s w
ith th
e m
ain
parts
of
the
assi
gnm
ent.
Find
s si
gnifi
canc
e in
the
topi
c be
yond
the
writ
er’s
indi
vidu
al
resp
onse
to it
.
D
oes
not m
erel
y de
scrib
e or
pr
ovid
e ba
sic
info
rmat
ion
on
the
topi
c.
Exhi
bits
logi
cal r
easo
ning
for
the
mos
t par
t, bu
t may
co
ntai
n on
e or
two
exam
ples
of
faul
ty re
ason
ing.
In
dica
tes
an o
vera
ll pu
rpos
e,
thou
gh to
a le
ss e
xten
t tha
n is
exp
ecte
d.
May
incl
ude
seve
ral
inst
ance
s of
ext
rane
ous
deta
il, b
ut a
ttem
pts
to
pres
ent r
elev
ant d
etai
ls.
Inte
grat
es s
ourc
es e
thic
ally
.
Doe
s no
t com
ply
with
the
mai
n pa
rts o
f the
ass
ignm
ent.
Doe
s no
t por
tray
sign
ifica
nce
in th
e to
pic
beyo
nd th
e w
riter
’s
indi
vidu
al re
spon
se to
it.
Mer
ely
desc
ribes
or p
rovi
des
basi
c in
form
atio
n on
the
topi
c.
Doe
s no
t exh
ibit
evid
ence
of
logi
cal t
hink
ing.
Av
oids
pla
giar
ism
, tho
ugh
sour
ce u
se m
ay b
e pr
oble
mat
ic (i
.e.,
sour
ces
not
used
in th
e sp
irit o
f the
ir in
tent
, sou
rces
cho
sen
do n
ot
seem
app
ropr
iate
or c
redi
ble,
ov
er-r
elia
nce
on s
ourc
es is
ap
pare
nt, e
tc.).
STYLE (20 Points)
Dem
onst
rate
s a
crea
tive
appr
oach
to w
ritin
g.
Use
s a
varie
ty o
f sen
tenc
e le
ngth
s, o
pene
rs, a
nd
patte
rns
to a
void
mon
oton
y.
Dis
play
s ac
cura
te a
nd v
ivid
w
ord
choi
ces.
In
clud
es a
n in
tere
stin
g,
rele
vant
, and
eng
agin
g tit
le.
Em
ploy
s te
chni
ques
of
sent
ence
var
iety
.
D
ispl
ays
accu
rate
wor
d ch
oice
s.
Incl
udes
a re
leva
nt ti
tle.
Prov
ides
som
e va
riety
in
sent
ence
ope
ners
and
se
nten
ce ty
pes
to a
void
m
onot
ony.
In
clud
es a
title
, tho
ugh
the
title
may
see
m la
cklu
ster
or
inap
prop
riate
.
Prov
ides
som
e va
riety
in
sent
ence
type
s, b
ut m
ay
seem
mon
oton
ous.
D
oes
not i
nclu
de a
title
.
ORGANIZATION (30 Points)
Has
a re
cogn
izab
le th
esis
, cl
early
sta
ted
or s
trong
ly
impl
ied.
H
as w
ell-c
onst
ruct
ed
para
grap
hs th
at a
re
orga
nize
d ar
ound
re
cogn
izab
le to
pics
.
Al
l par
agra
phs
wor
k to
geth
er
to b
uild
a lo
gica
l, in
tent
iona
l pr
ogre
ssio
n.
All p
arag
raph
s m
ove
seam
less
ly fr
om o
ne to
the
next
.
H
as a
n ef
fect
ive
and
enga
ging
intro
duct
ion.
H
as a
con
clus
ion
that
brin
gs
the
issu
e fu
ll ci
rcle
, illu
min
ates
the
over
all
sign
ifica
nce,
and
pro
vide
s a
sens
e of
clo
sure
.
Is o
rgan
ized
from
a
cont
rolli
ng id
ea.
Has
par
agra
phs
that
are
or
gani
zed
arou
nd
reco
gniz
able
topi
cs.
All p
arag
raph
s re
late
logi
cally
to
the
thes
is.
Has
tran
sitio
ns b
etw
een
mos
t par
agra
phs.
H
as a
n ap
prop
riate
in
trodu
ctio
n.
Has
an
appr
opria
te
conc
lusi
on.
Atte
mpt
s to
adh
ere
to a
co
ntro
lling
idea
.
Pa
ragr
aphs
are
som
ewha
t or
gani
zed
arou
nd
reco
gniz
able
topi
cs, t
houg
h co
ntro
lling
idea
may
be
diffi
cult
to d
isce
rn.
All p
arag
raph
s re
late
logi
cally
to
the
thes
is, t
houg
h th
e re
latio
nshi
p m
ay b
e di
fficu
lt to
dis
cern
in s
ome
inst
ance
s.
Has
tran
sitio
ns b
etw
een
som
e pa
ragr
aphs
.
H
as a
n in
trodu
ctio
n an
d co
nclu
sion
, tho
ugh
one
or
both
may
nee
d to
be
stre
ngth
ened
.
Lack
s ev
iden
ce o
f an
atte
mpt
to
adh
ere
to a
con
trollin
g id
ea.
Is b
roke
n in
to p
arag
raph
s,
thou
gh p
arag
raph
bre
aks
may
se
em u
ninf
orm
ed.
Man
y or
all
para
grap
hs d
o no
t se
em to
rela
te to
the
thes
is.
Fails
to in
clud
e an
in
trodu
ctio
n, a
con
clus
ion,
or
both
.
GRAMMAR (10 Points)
Has
no
serio
us e
rror
s in
gr
amm
ar, p
unct
uatio
n,
mec
hani
cs, o
r spe
lling
.
Has
no
mor
e th
an tw
o se
rious
err
ors
in g
ram
mar
, pu
nctu
atio
n, m
echa
nics
, or
spel
ling.
Has
no
mor
e th
an th
ree
serio
us e
rror
s in
gra
mm
ar,
punc
tuat
ion,
mec
hani
cs, o
r sp
ellin
g.
Has
four
or m
ore
serio
us
erro
rs in
gra
mm
ar,
punc
tuat
ion,
mec
hani
cs, o
r sp
ellin
g.
PO
INTS
FO
R T
HIS
PR
OJE
CT
Po
ints
Pos
sibl
e Po
ints
Ear
ned
A
B
C
D
C
ON
TEN
T 40
40
-36
35-3
2 31
-28
27-2
4
STYL
E 20
20
-18
17-1
6 15
-14
13-1
2
OR
GA
NIZ
ATI
ON
30
30
-27
26-2
4 23
-21
20-1
8
GR
AM
MA
R
10
10-9
8
7 6
TO
TAL
100
Machado Learning Styles Homework Go to the web site: http://www.metamath.com//lsweb/dvclearn.htm THEN: 1. Read the provided information on Learning Styles.
2. Click on Learning Styles Survey at bottom of page and take survey.
http://www.metamath.com/multiple/multiple_choice_questions.html 3. Print out two copies of your results, one for you and one to turn in. A sample copy
of Professor Machado’s results is on the back of this page. • Be sure your name and your class name/day/time are written at the top. • If your results say you are equally all four styles, read back through the
Learning Styles and decide which one most accurately describes you.
4. Write: • A paragraph or two about whether or not you think this is an accurate
description of how you seem to learn best. • Also include whether or not you think this information is useful to you.
Why or why not? 5. Staple one copy of your survey results and your written paragraph to the back of your
completed Student Information form (the last page of this syllabus) and return to your professor.
------------------------------------------------------------------------------------------------------------ Learning Styles: • Visual/Verbal Learning Style: written material • Visual/Non Verbal Learning Style: pictures • Auditory Learning Style: hearing/speaking • Tactile/Kinesthetic Learning Style: movement/touch
Getting to Know You: Student Information Complete and return to the professor. This form will be used for recording the class enrollment. You must complete, sign and return this form in order to retain your enrollment in the course.
Name: Level:
FR SOPH Other:________ (circle one)
Program/major
Are you currently employed?
Please attach photo of
yourself here. (A photocopy is fine.)
What important things are currently going on in your life that you would like the professor to be aware of (that you’re comfortable sharing)? What do you hope to gain from taking this class?
What other art history classes have you taken?
Student Agreement My signature below confirms that I understand and agree to the following:
⇒ I have read the syllabus provided by my professor for this course. ⇒ I understand and agree to abide by the requirements set forth for this course. ⇒ I will attend classes regularly and participate in class discussions and activities. ⇒ I will complete all reading and writing assignments on time. ⇒ I will be enthusiastic and have a positive attitude about my learning. ⇒ If I am having any problems fulfilling the requirements of this course, I will seek out
my professor for further assistance. ⇒ I will follow all academic rules and laws pertaining to academic honesty. ⇒ I will take full responsibility for my learning and conduct in this course. _______________________________________ ______________ _______________ student signature date course name/time