You will choose any art or architecture feature in the city of Jeddah, and connect it to any feature we looked at in class. Format: A4 poster with colored images.
RUBRIC
ARTS.1203 ‘Reflection Poster’
(Assignment question: students required to choose an art work of their own choice from the city of Jeddah and their surrounding artistic and architectural environment and apply to course content and material)
Criteria
Above Average
Average
Below Average
Grade
Content
Summarising/paraphrasing of topic is concise, Explains topic critically,
Explains relationships between topic elements,
Displays explanatory models clearly (structures, time lines etc.)
(1 point)
Summarising/paraphrasing of topic is somewhat concise,
Explains topic (average) critically,
Erroneous explanation of relationships between topic elements,
Acceptable display of explanatory models (structures, time lines etc.)
(.5 point)
Summarising/paraphrasing of topic is not concise, Fails to explain topic critically,
Weak explanation of relationships between topic elements,
Lack of displays, weak explanatory models unclear (structures, time lines etc.)
(.25 point)
Presentation
Poster design logical,
Illustrations used effectively,
Poster is aesthetically pleasing,
Understanding of project demonstrated through discussion and conclusion
(1 point)
Poster design somewhat logical,
Illustration use minimally effective,
Poster is aesthetically standard/acceptable,
Understanding of project demonstrated through discussion and conclusion is average
(.5 point)
Poster design is illogical,
Illustrations used uneffectively,
Poster is aesthetically weak/unacceptable,
Understanding of project demonstrated through discussion and conclusion is poor
(.25 point)
WEEK 1 NOTES
Discussion: What is Art
Art is persistent
Viewers valid responses to art works:
1. React to what they see
2. Interpret art work in light of their own experience
3. Judge art work as a success or a failure
Why create art work?
Artists create paintings, sculptures, objects for specific patrons and settings for a specific purpose
Questions to ask
1. How old is it?
Chronology
2. What is its style?
a. Period style
b. Regional style
c. Personal style
3. What is its subject?
a. Abstract paintings: no subject
b. Religion
c. History
d. Mythology
e. Genre (daily life)
f. Portraiture
g. Landscape (place)
h. Still life (arrangement of objects)
4. Who made it?
Signing/dating artworks is common but not universal
5. Who paid for it?
Patrons and patronage
Words to use (refer to Terms and Definitions sheet)
Different Ways of Seeing
FACT: no one can be truly objective.
WEEK 2 NOTES
Ancient Mesopotamia PGS 14-15, 22-30
(Sumer, Akkad, Babylon, Assyria, Neo-Babylonia)
Intro.
Mesopotamia: Greek word, “the land between 2 rivers”
The world’s first great civilization
SUMER:
Greatest Sumerian invention: the city state
WHITE TEMPLE/ZIGGURAT, URUK
5000 years old
Material: mud brick, wh.
You will choose any art or architecture feature in the city of J.docx
1. You will choose any art or architecture feature in the city of
Jeddah, and connect it to any feature we looked at in class.
Format: A4 poster with colored images.
RUBRIC
ARTS.1203 ‘Reflection Poster’
(Assignment question: students required to choose an art work
of their own choice from the city of Jeddah and their
surrounding artistic and architectural environment and apply to
course content and material)
Criteria
Above Average
Average
Below Average
Grade
Content
Summarising/paraphrasing of topic is concise, Explains topic
critically,
Explains relationships between topic elements,
Displays explanatory models clearly (structures, time lines etc.)
2. (1 point)
Summarising/paraphrasing of topic is somewhat concise,
Explains topic (average) critically,
Erroneous explanation of relationships between topic elements,
Acceptable display of explanatory models (structures, time
lines etc.)
(.5 point)
Summarising/paraphrasing of topic is not concise, Fails to
explain topic critically,
Weak explanation of relationships between topic elements,
Lack of displays, weak explanatory models unclear (structures,
time lines etc.)
(.25 point)
Presentation
Poster design logical,
Illustrations used effectively,
Poster is aesthetically pleasing,
Understanding of project demonstrated through discussion and
conclusion
3. (1 point)
Poster design somewhat logical,
Illustration use minimally effective,
Poster is aesthetically standard/acceptable,
Understanding of project demonstrated through discussion and
conclusion is average
(.5 point)
Poster design is illogical,
Illustrations used uneffectively,
Poster is aesthetically weak/unacceptable,
Understanding of project demonstrated through discussion and
conclusion is poor
(.25 point)
WEEK 1 NOTES
Discussion: What is Art
Art is persistent
Viewers valid responses to art works:
1. React to what they see
2. Interpret art work in light of their own experience
3. Judge art work as a success or a failure
4. Why create art work?
Artists create paintings, sculptures, objects for specific patrons
and settings for a specific purpose
Questions to ask
1. How old is it?
Chronology
2. What is its style?
a. Period style
b. Regional style
c. Personal style
3. What is its subject?
a. Abstract paintings: no subject
b. Religion
c. History
d. Mythology
e. Genre (daily life)
f. Portraiture
g. Landscape (place)
h. Still life (arrangement of objects)
4. Who made it?
Signing/dating artworks is common but not universal
5. Who paid for it?
Patrons and patronage
Words to use (refer to Terms and Definitions sheet)
Different Ways of Seeing
FACT: no one can be truly objective.
5. WEEK 2 NOTES
Ancient Mesopotamia PGS 14-15, 22-30
(Sumer, Akkad, Babylon, Assyria, Neo-Babylonia)
Intro.
Mesopotamia: Greek word, “the land between 2 rivers”
The world’s first great civilization
SUMER:
Greatest Sumerian invention: the city state
WHITE TEMPLE/ZIGGURAT, URUK
5000 years old
Material: mud brick, white washed walls
Aim: provide a grand setting for gods worship
ZIGGURAT, UR
Feature: well preserved
Comparison to Uruk Ziggurat: built a millennium later, grander
scale
Material: mud baked brick
Aim: a tower to heaven?
ESHNUNNA STATUETTES
Material: gypsum with shell and limestone
Aim: representing mortals (humans) rather than gods
Elements of human beauty
Proportion: oversized eyes and tiny hands
STANDARD OF UR
Material: shell, lapis lazuli, limestone
Format: 2 sloping sides: 1. The war side 2. The peace side
Divided into ‘registers’
Feature: Ruler’s central place in the composition ‘hierarchical
scale’
AKKAD:
6. Famous city near Babylon
Founder: Sargon
AKKADIAN PORTRAIT
Material: copper
Aim: absolute monarchy
Feature: balance between naturalistic and abstract + textures of
flesh and hair
NARAM SIN STELE
Aim: commemorate Naram Sin’s defeat of enemy
Feature: ruler stands alone, taller than his men ‘Hierarchical
Scale’
BABYLON:
HAMMURABI STELE
Most powerful king
Material: black basalt
Feature: 3500 lines of cuneiform (shapes as words) + creativity
ASSYRIA: overtook Mesopotamia, named after Assur
LAMASSU, DUR SHARRUKIN
Royal citadel and palace
‘Lamassu’: huge monsters/winged man-headed bulls
Material: limestone
Feature: combining frontal still view and side view in motion
NEO-BABYLONIA: Overtook Assyria, famous hanging gardens
ISHTAR GATE
Plan: gate (arch shaped) with towers,
Material: glazed bricks in sequence
Feature: real/imaginary animals
7. WEEK 3 NOTES
Egypt under the Pharaohs PGS 32-45
(Pre-dynastic, Early dynastic, Old Kingdom, New Kingdom)
PREDYNASTIC & EARLY DYNASTIC
Sophisticated culture on Nile banks
Divided into upper (South) and lower (North)
Beginning of history: Unification of 2 lands
PALETTE OF KING NARMER
Palette ‘stone slab’
Feature: Pharaoh is isolated and largest figure ‘divine ruler’
OLD KINGDOM
GREAT PYRAMIDS
Location: Giza
Aim: testify to importance and wealth of pharaohs; Khufu,
Khafre, Menkaure
Importance: symbols of the sun, a giant stairway
Oldest and largest: Khufu’s pyramid, 2.3 million stone blocks,
each weighs 2.5 tons
GREAT SPHINX
Location: Giza
Format: Colossal with Pharaoh head
Aim: importance of sun god, lion with human head
NEW KINGDOM
8. TEMPLE OF RAMSES II, ABU SIMBEL
Patron: Ramses greatest pharaoh of New Kingdom
Format: four 65-foot tall portrait seated statues, carved as
pillars, huge façade
AKHENATON
Role: abandoned worship of former gods, moved capital,
religious revolution and upheaval
Style: revolutionary, misshapen form
NEFERTITI
Material: painted limestone
Format: bust statue
Importance: high standard of beauty
WEEK 4 NOTES
Ancient Greece PGS 46-49, 56-84
(The Greeks and their gods, geometry and Archaic Art,
Greek Doric and Ionic Temples,
Early and High Classical Art, Late Classical Art, Hellenistic
Art)
Intro.
Greeks borrowed and developed ideas from Mesopotamia and
Egypt
Importance: foundation of Western heritage
Geometric and Archaic Art
Geometric Krater
Design: scenes with abstract and geometric patterns
Feature: key pattern
The art of storytelling in pictures
9. Kouros
Importance: earliest example of life size free-standing statue
Material: Marble
“Kouros”: Youth
Greek Temples
Basic plan:
Order, compactness, symmetry
=
Proportion, efforts to achieve ideal forms, numerical
relationships and geometric rules
Example: Parthenon on Acropolis in Athens, Greatest temple
with perfect (numerical mathematical) proportions
Early and High Classical Art
Riace Warrior
Material: bronze
Feature: weight shift, natural motion
Myron, Diskobolos (Discus Thrower)
Issue: problem of representing a figure in vigorous action
Features: extended arms, twisted body, off the ground heel,
motion like a clock
Acropolis
Architects: Iktinos and Kallikrates
Feature: harmonious design and mathematical precision
Parthenon Pediments
3 goddesses
Feature: surface appearance of human anatomy and mechanics
of muscles and bones
Feature: rendition of clothed forms
10. Format: variety in surface and play of light and shade
Late Classical Art
Change: Greek thought and art focuses more on individual and
real world
Battle of Issus/Alexander Mosaic
Theme: Battle between Alexander the Great and Persian King
Darius
Feature: shading, use of light, impressive details
Importance: psychological intensity, dramatic
Hellenistic Art
Importance: International culture with Greek language (Latin)
Nike of Samothrace
Feature:
Beating wings and wind swept drapery = theatrical effect,
living, breathing, intense emotion
Old Market Woman
Purpose: interest in exploring ‘realism’, opposite of classical
periods ‘idealism’
‘Social realism’: Exploring men and women from lowest classes
Format: old bent over woman with basket to sell at market
WEEK 5 NOTES
The Roman Empire PGS 86-87, 93-121
Roman Art: the Republic, Pompeii and Vesuvius (Forum,
Amphitheater House), Painting ‘Pompeian Styles’
The Early Empire, the High Empire, the Late Empire
Intro.
11. Importance: 1st time in history a single government rules an
empire
Use of art effectively as a political tool
The Republic
Influence: Greek
Verism
Portraits of older men with power
Veristic (super realistic) portrait: detailed recording of each rise
and fall
Portrayal of personality
Pompeii and Vesuvius
A. Forum (public square)
Center of civic life
B. Amphitheater (double theater)
Greek theatres were on natural hillsides, but to support
continuous seating required building an artificial mountain.
Concrete used first by Romans.
C. House (domestic architecture)
Only wealthy owned large private houses. Masses lived in
multistory apartment houses’
Features: atrium, garden
The Early Empire
Large number of public projects and art works. Purpose: for
public opinion
Influence: Greek
Emperor/General Augustus
Material: Marble
12. Celebrating victory
Livia
Emperors wife and important position
Influence: images of Greek goddesses
Pont-du-Gard
Aim: Aqueduct Bridge provides gallons of water for cities
Format: water channels with a gradual decline from the source
to the city
Unique: harmony in proportion of arches
Colosseum
Aim: Largest arena holding 50,000 people
Material: Concrete and marble
The High Empire
Column of Trajan
Trajan: first non-Italian to rule
Central message: expanding on and winning campaigns
Pantheon (Temple of all gods)
Material: concrete
Format: a huge hemispherical dome
Interior: unified coffered dome - coffers: sunken decorative
panels, with light through oculus that moves
Mummy Portraits
Painted portraits replaced masks
The Late Empire
Roman power declining
Economic decline, religious decline (Christianity appeared)
The Severans
13. Unique portrait of emperor and his family
Ludovisi Battle Sarcophagus
Material: marble
Format: large, chaotic scenes of battles of Romans
Feature: emotional
Constantine and Christianity
Arch of Constantine
Format: triple passageway
Location: next to Colosseum
Importance: largest arch in Rome
Sculptural decorations taken from earlier monuments of Trajan,
etc
Feature: era’s main monument
WEEK 6 AND 7 NOTES
Art of the Islamic World PGS 146-159, 481-483
(The rise and spread of Islam), Islamic Architecture, Luxury
Arts, Mughal Empire, Safavid/Ottoman Empires
The Rise and Spread of Islam
Important: swiftness of Islam’s spread.
Caliphates of Damascus (Umayyads) and Baghdad (Abbasids)
Features: builders on a grand scale
Policy: adopt and adapt
Absence of figural representation in religious monuments,
exceptions in secular
Dome of the Rock
Importance: first great Islamic monument
Patron: Caliph Abd al-Malik b. Marwan
Location: Jerusalem
14. Influence: Roman-Byzantine
Decoration: Umayyad mosaic and later Ottoman tiles,
calligraphy
Motifs: natural, abstract, geometric
Jami Kairouan
Plan: Hypostyle
Importance: oldest preserved mosque
Influence: Arcaded forecourt (Roman), atrium (Christian)
Abbasid Jami Samarra
Patron: Caliph al-Mutawakkil
Importance: largest in the world
Minaret: ‘al-malwiyya’ spiral
Andalusia: Jami Cordoba
Patron: abd al-Rahman I
Importance: center of European and world culture
Plan: Hypostyle, double-tiered horse-shoe shaped and lobed
arches
Feature: light, airy, rhythm
Islamic experimentation: Dome: over mihrab, on octagonal base
with ribs
Andalusia: Al-Hambra Palace (Red Palace)
Patrons: Nasrid dynasty
Function: royal residence and tower
Court of the Lions: fountain with 12 marble lions
Decoration: carved stucco, calligraphy, abstract motifs
Jami Isfahan
Patrons: Abbasids, later Seljuks
Plan: hypostyle (qibla iwan is largest)
Importance: 1st 4-iwan plan, later becomes standard Persian
mosque plan
15. Safavid Madrasa Imami Mihrab
16th-17th c. Iran and Turkey: golden age of Islamic tile work
and ceramic
Tile and ceramic function: as a veneer over bricks to cover
entire buildings
Feature: Union between abstract and calligraphy
Motifs: geometric, abstract, floral
Luxury Arts
Abbasid 9-10th c Quran
Importance: masterpieces of Islamic calligraphy
Format: loose sheets in boxes or bound into books
Popular script: Kufic
Mamluk Mosque Lamp
Material: decorated fragile glass with enamel paint and
calligraphy
Patron: Mamluk Sultan al-Nasir Muhammad
Format: hung from chains, conical neck, 6 handles, inside a
small glass container with oil and wick
Timurid ‘Bustan’ Manuscript
Patron: Timur in Central Asia
Theme: secular
Format: full page narration, figures, vivid colours, decorative
details, balanced perspective
Safavid Ardabil Carpet
Carpet production was a national industry
Feature: 25 million knots!
Mughal Akbarnama (History of Akbar)
Patron: Emperor Akbar
Format: full page miniatures (small-sized paintings), bold
composition, diagonal lines
16. Material: watercolour on paper
Purpose: book illustrations or loose pages in albums
Mughal Portrait of Emperor Jahangir
Importance: evidence of courts connection with international
ambassadors, kings, and Europe
Influence: European art
Mughal Taj Mahal
Patron: Shah Jahan
Purpose: Mausoleum to his wife
Ottoman Suleymaniyya Complex
Patron: Sultan Suleyman
Plan: jami, 2 mausoleums, 4 general madrasas, 2 specialised
madrasas, Quran school, hospital, hostel, public kitchen,
caravanserai, hammam, small shops
Feature: mass of domes with 4 slender minarets
WEEK 8 AND 10 NOTES
The Early Renaissance in Europe (Medici Patronage and
Classical Learning),
The early Renaissance: Burgundy, Flanders and Italy Pgs. 220-
227, 234-246
Medici Patronage and Classical Learning
Patrons of art and architecture: Medici Family
The Early Renaissance in Europe
Burgundy and Flanders (Northern Europe)
17. Ghent Altarpiece
Artist: Van Eyck
Format: free standing, large, interior and exterior decorated
wings
Material: oil paint
Feature: all details specified
Italy
Important study: Humanism
Florence
Gates of Paradise
Artist: Ghiberti
Function: doors of Baptistery
Format: panels in relief of biblical scenes
Material: gilded bronze
Features: linear perspective, rhythmic lines, classical poses and
motifs, realism in characterisation, movement and surface detail
Influence: classical
Saint Mark
Artist: Donatello
Material: marble
Importance: contrapposto
Feature: body and clothing move together
Holy Trinity
Artist: Masaccio
Material: painted fresco (wall painting)
Feature: mathematical depiction of space
Portraits of patrons in painting
Importance: innovation in illusion painting
18. Birth of Venus
Artist: Botticelli
Material: tempera paint
The High Renaissance in Europe: Italy
(Leonardo, Raphael, Michelangelo, Architecture) PGS. 258-271
Intro.
Importance: origin of ‘fine arts’ and ‘artist genius’
Artists become celebrities
Leonardo da Vinci
Importance: ‘Renaissance Man’
Great understanding of light, colour and perspective
Mona Lisa
Importance: world’s most famous portrait
Material: oil paint
Features: chiaroscuro, sfumato and perspective
Raphael
Importance: individual style
School of Athens (Philosophy Mural)
Patron: Pope Julius II
Material: fresco (wall painting)
Setting: congregation of great philosophers and scientists of the
ancient world
Hall’s influence: classical
Central figures: Plato and Aristotle
Features: dignity, calm, reason, balance
Michelangelo
Considered sculpture superior to painting
David ‘the Giant’
19. Material: Marble block
Importance: symbol of liberty
Features: energy, anatomy, large hands, heroic physique
Influence: Greco-Roman classical
Sistine Chapel
Material: Fresco
Difficulties in painting: ceiling dimensions, perspective
problems
Narrative panels: very detailed
Architecture
Inspiration: buildings of ancient Rome
Saint Peter’s
Location: Vatican City, Rome
Architects: Bramante and Michelangelo
Bramante’s plan: equal length cross, huge scale
Michelangelo’s plan: building should follow human body’s form
Format: unified whole from base to summit
WEEK 11 NOTES
Baroque Europe (Europe in the 17th century, Baroque Art and
Architecture:
Italy, Spain, Flanders, the Dutch Republic, France, England)
PGS. 292-320
Europe in the 17th century
Background: religious and political tension
Colonialism: creation of a worldwide market
Bank of Amsterdam
Effect on European lifestyle and diet
Result: newly wealthy spend more money on art
Conclusion: larger market for artworks
20. Baroque Art and Architecture:
‘Barroco’: irregular shaped pearl
Style: complex and dramatic, theatrical, elaborate
ornamentation, grand scale
Italy
Main patron: the Catholic Church
Façade of Saint Peters
Location: Vatican city, Rome
Purpose: symbol of Catholicism
Architect: Maderno
Feature: different to Bramante and Michelangelo’s plans
Format: to add three bays to earlier plan
Ecstasy of St. Teresa, Cornaro Chapel
Artist: Bernini
Format: combination of architecture, sculpture, painting
Patrons: relief portraits on side balconies
Purpose: recreating spiritual experiences
Effect: inventiveness, technical skill, energy
Conversion of St. Paul
Artist: Caravaggio (naturalism in painting)
Material: oil on canvas
Feature: dramatic (spot)light, including viewer
Format: natural
Unique: contrast between light and dark
Spain
Main patron: Hapsburg kings
Las Meninas
Artist: Velazquez
21. Material: Oil on canvas
Feature: visual and narrative complexity, contrasts between
reality, mirror and picture space
Tricks: king and queen representation
Legacy: tonal gradating and effects, later discovered in
photography
Flanders
Main patron: Hapsburg dynasty
Elevation of the Cross
Artist: Rubens
Influence: international
Material: oil on canvas
Features: tension, bright light and deep shadow
Dutch Republic
Amsterdam: financial center of Europe
Patrons of art: merchants and manufacturers
Subjects: landscapes, genre scenes, portraits of middle-class,
still-life
Self Portrait
Artist: Rembrandt
Importance: ‘psychology of Light’
Format: artists face in soft light, lower body in shadow
Features: dignity and strength, circles in background
Allegory of the Art of Painting
Artist: Vermeer
Influence: master of lighting
Tools: mirrors and camera obscura (dark room, passing light
through a dark hole)
France
Main patron: Louis XIV
22. Et in Arcadia Ego (Even in Arcadia, I)
Artist: Poussin
Subject: ‘grand manner’
Format: balanced figures, classical
Versailles
Architect: Le Brun with an army of architects, decorators,
sculptors, painters, landscape artists
Greatest architectural project at the time
Importance: symbol of power and ambition on a huge scale
Plan: large palace and park with a satellite city for court
officials
Feature: Hall of Mirrors
Park: designed by Le Notre, gardens, formal to natural
England
St. Paul’s Cathedral
Architect: Wren
Plan: to restore the old church destroyed in Great Fire
Influence: France and Italy
Format: sky line positioning, two towers and dome (tallest in
London)
WEEK 12 NOTES
Rococo to Neoclassicism PGS 322-326, 332-336
(The 18th century, Rococo- Watteau and Fragonard,
Neoclassicism)
The 18th century
1800: revolutions overthrown monarchy in France
The Industrial Revolution
Result: major transformation in art
23. Rococo
From French ‘Rocaille’: pebbles, small stones, shells
A style of interior design
Paris: social capital of Europe
Pilgrimage to Cythera
Artist: Watteau
Feature: outdoor amusement of French high society
Material: oil on canvas
Subtle graceful motion, elegant and sweet
The Swing
Artist: Fragonard
Material: oil on canvas
Feature: pastel colours, soft light
Neoclassicism
Importance: a renewed interest in classical world
Main models: Greece and Rome
Oath of the Horatii
Artist: David
Material: oil on canvas
Feature: celebrating Roman heroism
Death of Marat
Artist: David
Material: oil on canvas
Feature: assassination of propaganda minister in French
revolution
Art as a political tool
Format: presenting Marat as a tragic hero
WEEK 13 NOTES
24. Impressionism (Monet, Renoir, Degas) PGS 369-371
Intro.
Art movement born in industrial urban Paris as a reaction
Impressionism
Sunrise
Artist: Monet
Material: oil on canvas
Feature: sensations (artist’s personal responses to nature)
Outdoor work
Importance of light and colour due to: scientific studies of light
and introduction of synthetic paints (new colours)
Format: using variety of colours, short brushstrokes, light
quality
Le Moulin de la Galette
Artist: Renoir
Material: oil on canvas
Feature: lively atmosphere you can hear, floating sunlight,
space continuity
The Rehearsal
Artist: Degas
Features: Patterns of motion, figures are random not central,
illusion of a continuous floor, blurry images
Post-Impressionism PGS 373-380
(Toulouse-Lautrec, Seurat, Van Gogh, Gaugin, Cezanne)
Post-Impressionism
25. Aim: younger artists more interested in the properties and
qualities of line, pattern, form, colour
At the Moulin Rouge
Artist: Tolouse-Lautrec
Format: caricature of Paris night life
A Sunday on La Grand Jatte
Artist: Seurat
Feature: focus on colour analysis
Format: deep rectangular space
‘Pointillism’: Calculated arrangement based on colour theory
(colours on canvas in tiny dots, images only comprehensible
from a distance)
Starry Night
Artist: Van Gogh
Aim: colours and forms to express emotions
Format: abstract, expressive, exploding stars over the earth
Vision after the Sermon
Artist: Gaugin
Format: expressive colours, use of red, rigid, abstract
Feature: women visualizing sermon at church
Basket of Apples
Artist: Cezanne
Genre: still life
Aim: arranging selected objects in order
Feature: analytical painting, abstract
26. WEEK 14 NOTES
Modernism PGS 386-395, 399-400, 405-407, 415-416
(Global War, Anarchy and DADA, Global Upheaval and Artistic
Revolution ‘Avant Garde’: Fauvism, German Expressionism,
Primitivism and Cubism, DADA, Surrealism)
Global War, Anarchy and DADA
World War I ‘The Great War’: 9 million+ died
DADA: art movement belief that reason and logic caused war
Global Upheaval and Artistic Revolution ‘Avant Garde’
A time of radical change
Painters and sculptors challenged basics of art’s purposes and
forms
“Avant-Garde”: front-guard, French military term, arts are more
about exploration
Fauvism
Fauves: wild beasts, liberating colour
Woman with the Hat
Artist: Matisse
Aim: role of colour in meanings
Feature: composition is conventional but colours startling
German Expressionism
Improvisation 28
Artist: Kandinsky
Format: aggressive, spontaneous, expressive
27. Features: feelings with colour, intersecting lines, spatial
relationships
Primitivism and Cubism
Les Demoiselles des Avignon
Artist: Picasso
Importance: radical new method of representing form in space
Feature: space intertwined with bodies
Influence: Iberian and African sculptures
DADA
Reactionary movement to insanity of war
An attitude, not a single identifiable style
Fountain
Artist: Duchamp
Material: porcelain
Feature: “readymade” sculpture (mass produced common
objects selected by artists)
Aim: see objects in new light
Surrealism
Influence: Dada, Freud and Jung (Psychologists)
Aim: engaging fantasy and activating the unconscious
The Persistence of Memory
Artist: Dali
Format: empty space where time has ended, details with precise
control
WEEK 15 NOTES
Post-Modernism Pgs 423-427, 433-435
28. (Art and Consumer Culture, Aftermath of WWII, Painting,
Sculpture and Photography: Post-war Expressionism in Europe,
Abstract Expressionism, Pop Art)
Art and Consumer Culture
Post-World War II: interest in abstraction
Art more accessible to average person
Aftermath of WWII
Conflict and tension
Painting, Sculpture and Photography
Sense of despair and disillusion
“The war to end all wars”: 35 million died
Post-war Expressionism in Europe
Man Pointing
Artist: Giacometti
Material: bronze
Aim: existentialist’s humanity
Format: rough surfaces, sense of isolation (lost in the world)
Abstract Expressionism
Western art shifted from Paris to NY
Lavender Mist
Artist: Pollock
‘Action painting’: emphasis on creative process of drips,
splatters, paint dribbles, spider web
Tools: sticks and brushes
Pop Art
29. Origin: England
Success: USA (because of richer consumer culture)
Short for: “popular art”, mass culture and imagery of
contemporary urban environment
Hopeless
Artist: Lichtenstein
Material: oil and synthetic polymer paint
Feature: melodramatic scenes with balloons
Technique: printing ‘dots’ and mass production of image
Green Coca-Cola Bottles
Artist: Warhol
Material: Oil on canvas
Feature: advertising and mass media
Technique: printing images endlessly but each bottle slightly
different
Aim: repetition
(Pick one piece of art from those topics/paintings)
Art of the Islamic World PGS 146-159, 481-483
(The rise and spread of Islam), Islamic Architecture, Luxury
Arts, Mughal Empire, Safavid/Ottoman Empires
The Rise and Spread of Islam
Important: swiftness of Islam’s spread.
Caliphates of Damascus (Umayyads) and Baghdad (Abbasids)
Features: builders on a grand scale
Policy: adopt and adapt
Absence of figural representation in religious monuments,
30. exceptions in secular
Dome of the Rock
Importance: first great Islamic monument
Patron: Caliph Abd al-Malik b. Marwan
Location: Jerusalem
Influence: Roman-Byzantine
Decoration: Umayyad mosaic and later Ottoman tiles,
calligraphy
Motifs: natural, abstract, geometric
Jami Kairouan
Plan: Hypostyle
Importance: oldest preserved mosque
Influence: Arcaded forecourt (Roman), atrium (Christian)
Abbasid Jami Samarra
Patron: Caliph al-Mutawakkil
Importance: largest in the world
Minaret: ‘al-malwiyya’ spiral
Andalusia: Jami Cordoba
Patron: abd al-Rahman I
Importance: center of European and world culture
Plan: Hypostyle, double-tiered horse-shoe shaped and lobed
arches
Feature: light, airy, rhythm
Islamic experimentation: Dome: over mihrab, on octagonal base
with ribs
Andalusia: Al-Hambra Palace (Red Palace)
Patrons: Nasrid dynasty
Function: royal residence and tower
Court of the Lions: fountain with 12 marble lions
Decoration: carved stucco, calligraphy, abstract motifs
31. Jami Isfahan
Patrons: Abbasids, later Seljuks
Plan: hypostyle (qibla iwan is largest)
Importance: 1st 4-iwan plan, later becomes standard Persian
mosque plan
Safavid Madrasa Imami Mihrab
16th-17th c. Iran and Turkey: golden age of Islamic tile work
and ceramic
Tile and ceramic function: as a veneer over bricks to cover
entire buildings
Feature: Union between abstract and calligraphy
Motifs: geometric, abstract, floral
Luxury Arts
Abbasid 9-10th c Quran
Importance: masterpieces of Islamic calligraphy
Format: loose sheets in boxes or bound into books
Popular script: Kufic
Mamluk Mosque Lamp
Material: decorated fragile glass with enamel paint and
calligraphy
Patron: Mamluk Sultan al-Nasir Muhammad
Format: hung from chains, conical neck, 6 handles, inside a
small glass container with oil and wick
Timurid ‘Bustan’ Manuscript
Patron: Timur in Central Asia
Theme: secular
Format: full page narration, figures, vivid colours, decorative
details, balanced perspective
Safavid Ardabil Carpet
Carpet production was a national industry
32. Feature: 25 million knots!
Mughal Akbarnama (History of Akbar)
Patron: Emperor Akbar
Format: full page miniatures (small-sized paintings), bold
composition, diagonal lines
Material: watercolour on paper
Purpose: book illustrations or loose pages in albums
Mughal Portrait of Emperor Jahangir
Importance: evidence of courts connection with international
ambassadors, kings, and Europe
Influence: European art
Mughal Taj Mahal
Patron: Shah Jahan
Purpose: Mausoleum to his wife
Ottoman Suleymaniyya Complex
Patron: Sultan Suleyman
Plan: jami, 2 mausoleums, 4 general madrasas, 2 specialised
madrasas, Quran school, hospital, hostel, public kitchen,
caravanserai, hammam, small shops
Feature: mass of domes with 4 slender minarets
Topic: Islamic art or architecture.
Please choose an Islamic art or architecture feature from the
city of Jeddah and link it to an Islamic art/architecture example
33. studied in class.
-The Art Analysis assignment is a total of 4 pages.
-The first page is the cover page with your 2 chosen images in
colour.
-The remaining 3 pages will be an in-depth written analysis of
your choices.
-Essay Format:Times New Roman, font #12
-The assignment should be printed using the BACK AND
FRONT of paper in respect of the environment and
sustainability.
RUBRIC:
ARTS.1203 Art Analysis Assignment: 20 points
Written, 4 pages essay-style in total, including art coloured
picture
Criteria
Above Average
Average
Below Average
Grade
Choice of art to be critiqued
Suitable choice with relative elements to assignment
(2 points)
Suitable choice with some relative elements to assignment (1
point)
Unsuitable and irrelevant
(.5 point)
Grammar and mechanics
34. Correct usage of font, spacing, margins, indentations, neat
assembly, spelling, punctuation, avoiding fragments and run on
sentences
(2 points)
Mostly correct usage of font, spacing, margins, indentations,
neat assembly, spelling, punctuation, avoiding fragments and
run on sentences
(1 point)
Incorrect usage of font, spacing, margins, indentations, untidy
assembly, spelling, punctuation, avoiding fragments and run on
sentences
(.5 point)
Introduction
Personal opinions and assessments of choice clearly planned
and introduced, background given clearly
(2 points)
Personal opinions and assessments of choice fairly planned and
introduced, background given unclearly
(1 point)
Personal opinions and assessments of choice weakly planned
and introduced,
background given poorly
(.5 point)
Content development
35. References to terms learnt in class, discusses influences and
materials used, connections made between world art and
Jeddah’s art
(6 points)
Some references to terms learnt in class little discussion of
influences and materials used
(4 points)
Little or no references to terms learnt in class, insufficient
discussion of influences and materials used
(2 points)
Organisation
Personal opinion throughout, highlighted by examples that
support student’s writing, with attention to logic and clarity of
points, solid critical thinking and explanatory analysis of ideas
(5 points)
Some personal opinion throughout, highlighted by examples that
support student’s writing, with adequate attention to logic and
clarity of points, average critical thinking and analysis of ideas
(3 points)
Irregular personal opinion throughout, highlighted by examples
that do not support student’s writing, with little attention to
logic and clarity of points, erroneous critical thinking and
analysis of ideas
(1 point)
Conclusion
Clear and well thought out regarding papers main ideas
(3 points)
Elementary regarding papers main ideas
