1-2) Globalization. Define globalization. What forms of globalizat.docx

1-2) Globalization. Define globalization. What forms of
globalization
are of greater interest to the business person? What forms are of
greater interest to the general person? Explain differences in the
two
lists.
1-6) Impact of Technology. “Technology and innovation
inevitably
lead to globalization.” Support this statement by providing at
least two
recent examples.
1-9) Trade Theory. Most theories of trade do not explain why a
country
might simultaneously export and import the same product. For
instance, the US is simultaneously an exporter and importer of
airplanes. What theory explains this phenomenon?
1-11) Location Theory. Using theories of industry
agglomeration
explain (a) the location of business process (human resources,
accounting, etc.) outsourcing firms in Bangalore, India and (b)
the
location of financial services firms in NY City.

1-13) MNC Risks. “MNCs face greater risks than purely
domestic
firms.” What are some of the arguments supporting and
disproving this
statement?
1-15) Centralization vs. Decentralization. Are most MNCs
centralized or decentralized? What are some pros and cons of
choosing one organizational form over another?
Extension 1) Bilateral Trade between Developed Nations
In 2005, U.S. exports to Ireland were valued at $9 billion, while
Irish exports to the U.S. totaled $28 billion. The range of U.S.
exports includes electrical components and equipment,
computers and peripherals, drugs and pharmaceuticals, and
livestock feed. Irish exports to the United States represent
approximately 20% of all Irish exports, and have roughly the
same value as Irish exports to the UK . Exports to the United
States include alcoholic beverages, chemicals and related
products, electronic data processing equipment, electrical
machinery, textiles and clothing, and glassware. Irish exports to
the United States from January to September 2006 rose by 7%
compared to the same period in 2005, while Irish imports from
the United States from January to September 2006 fell by 14%

compared to the same period in 2005.
Use theories of international trade to explain this bilateral
trade relationship. In your opinion is this a large volume of
trade?
Extension 2) Bilateral Trade and Entities.
Mexico is among the world's most open economies,
but it is dependent on trade with the U.S., which
bought about 82% of its exports in 2007. Top U.S.
exports to Mexico include electronic equipment, motor
vehicle parts, and chemicals. Top Mexican exports to
the U.S. include petroleum, cars, and electronic
equipment.
Does this list provide clues about the types of
entities conducting cross-border trade between
the US and Mexico? Explain.

Extension 3) Bilateral Trade between Developed and
Developing
Nation.
Peru registered a trade surplus of $8.8 billion in 2006.
Exports reached $23.7 billion, partially as a result of high
mineral prices.
Peru's major trading partners are the U.S., China, EU,
Chile and Japan. In 2006, 23.0% of exports went to the
U.S. ($5.9 billion) and 16.0% of imports came from the
U.S. ($2.9 billion).
Exports include gold, copper, fishmeal, petroleum, zinc,
textiles, apparel, asparagus and coffee. Imports include
machinery, vehicles, processed food, petroleum and steel.
Peru belongs to the Andean Community, the Asia-Pacific
Economic Cooperation (APEC) forum, and the World
Trade Organization (WTO).
Uses theories of trade to explain this data.
Form + Theme + Context… FTC Palette for Decoding and
Encoding Visual Art

ART = FORM + THEME +
CONTEXT
How the work “is” What the work is about When, where,
by/for whom and
WHY the work was created/valued
How does a balance of formal, thematic, and contextual
qualities reveal layers of meaning?
FORMAL +
THEMATIC +
CONTEXTUAL
Actual Composition:
Art Elements:
Design Principles:
2D&3D Qualities:

Size/Scale:
Media/ Materials:
Processes/Methods:
Skills:
Style:
Other:
Broad Subject/BIG IDEA:
Subject Matter:
“Viewpoint”/ Perspective:
Visual Sources:
Art Historical References:

Literary Sources:
Other Arts Connections:
Music:
Theater :
Dance :
Film :
Other Subjects:
Math:
Language Arts:
Science:
Social Studies:

Ph
ysical Education:
Vocational Education:
WHEN :
WHERE:
BY/FOR WHOM:
WHY: Intention/Purpose(s)
Significance/Relevance:
Personal:
Social:
Cultural:

Historical:
Artistic:
Educational:
Political:
Spiritual:
Other:
Notes on connectons and thesis development:
Form + Theme + Context… FTC Palette for Decoding and
Encoding Visual Art
ART = FORM + THEME +
CONTEXT
How the work “is” What the work is about When, where,
by/for whom and

WHY the work was created/valued
The Great Wave Off Kanagawa, From the Series: "Thirty-six
Views of Mount Fuji”
How does a balance of formal, thematic, and contextual
qualities reveal layers of meaning?
FORMAL + THEMATIC +
CONTEXTUAL
Actual Composition:
Asymmetrical, horizontal
organization
Art Elements: Lines (curves,
dots), textures, values, warm/cool
colors
Design Principles: Dominance,
asymmetry, repetition, contrast,
patterns, rhythm, +/- space, unity,
variety, scale
2D&3D Qualities: 2D, break-up
of boats/waves, depth created by

distant mountain –white caps on
waves & mountain
Size/Scale: Approximately 12 x
15 inches
Media/ Materials: Color wood
block print
Processes/Methods: Relief
printing, multiple layers of color,
registration, collaborative approach
Skills: Drawing, wood engraving,
design
Style: Ukiyo-e “Pictures of the
Floating World”
Other: Part of series: “36 Views of Mt.
Fuji”; Created 15+ volumes/ thousands
of “random sketches,” called Manga in
Japanese
Broad Subject/BIG IDEA:
High Drama, Human Struggle/ Turbulence,
Man’s Power vs. Nature, Earth vs. Sea
Subject Matter:
Seascape (landscape)
“Viewpoint”/ Perspective:
dramatic scale: tiny humans vs. sea
Visual Sources:

Ocean, boats, mountains
Art Historical References:
Japanese woodblock prints,, U-kiyoe,
Gericault, Turner, Copley, Homer,
Kandinsky, Bartlett, Sugimoto, Maya Lin
Literary Sources:
Bible (Noah’s Ark, Jonah), Moby Dick, The
Odyssey, Old Man and the Sea…
Other Arts Connections:
Music: La Mer, Scheherezade, Handel’s
Water Music
Theater: Kabuki, Noh, Metamorphoses,
The Tempest
Dance: Cirque du Soleil “O”
Film: 20,000 Leagues under the Sea,
Poseidon Adventure, Jaws, Perfect Storm,
Endless Summer, Fantasia, Inconvenient
Truth
Other Subjects:
Math: balance
Language Arts: epic stories/ legends
Science: oceanography, global warming,
weather patterns
Social Studies: battles at sea,
collaboration against odds
Physical Education: endurance,
physical strength, surfing

Vocational Education: collaboration
WHEN: 1826-33
WHERE: Japan, a set of islands
BY/FOR WHOM:
Hokusai, painter and wood engraver who
at 83 wanted to be known as 'The Old
Man Mad About Drawing”
WHY: Intention/Purpose(s)
Series for in-depth artistic exploration of
everyday life—multiple viewpoints
Significance/Relevance:
• Personal: turbulence in life, passion
for sustained problem solving, multiple
viewpoints
• Social: environmental disasters and
human survival: 12/04 Tsunami, 8/06
Hurricanes Katrina & Rita, Haiti earthquake,
Chile miners rescue
• Cultural: Japanese authority, values
and rituals reflected in its artforms
• Historical: Japonism--Japanese prints
imported to Paris, influence on Impressionism
• Artistic: intense study/series,
printmaking, contour lines, limited color,
Manga--comic narratives

• Educational: multicultural
understanding, Manga
• Political: global warming, overwhelm,
facelessness=powerlessness, political crises
• Spiritual: hope /stability (in the distance),
letting go, dealing with reality, “facing it”
• Other: icon in visual culture?
http://naea.digication.com/FTC/Home//
FTC Insights, Assessments and Questions:
2/1/18, 1:35 PMModule 1 Commentary
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Module_1/S3-Commentary.html
Module 1: Introduction to Art Analysis in Art History
Topics

Introduction
Traditional Subjects of Western Art
What to Consider When Looking at and Analyzing Art
Visual/Formal Elements of Art
Introduction
Until the late-twentieth century, the study of art concentrated on
Western art, with the exception of
art from ancient Egypt and Mesopotamia. Scholars of Western
pictorial traditions took a linear view
of art history, holding that art has undergone a steady process of
progression and advancement. In
this view, Western artists moved from perfecting the realistic
depiction of the natural world, as
demonstrated by the High Renaissance artists of the sixteenth
century, to expanding upon and
experimenting with new techniques and philosophical ideas, as
demonstrated by the modernists of
the twentieth century. This approach to art history focused on
painting, sculpture, and architecture,
and the artists studied were largely male.
Art history is now veering away from this linear model and
expanding to include non-Western art,
such as Asian art; other categories of art, such as design; and
the creative production of women.
The process of inclusion is a slow and pedagogically disputed
one. Art historians wrestle with how to
incorporate neglected art into the canon. Most art history
surveys still devote the majority of their
discussions to Western art while respecting other traditions. As
we proceed in this course, we must
keep in mind that many cultures, artists, and art forms are still
not adequately covered.

In this module, we will go over the main subjects of traditional
Western art (these subjects can also
be found in non-Western art, as you will see). We will then
discuss the basic tools and techniques
with which to analyze Western pictorial depictions, and how to
apply them.
In the world of art, you will find representations of every aspect
of life and even of some aspects
that lie outside the earthly realm (for example, in Antonio
Allegri da Correggio's Assumption of the
Virgin [1526–1530]). This diversity of subject matter has
caused art historians to establish some
basic categories with which to classify artworks. These
categories are by no means absolute or
perfect, but they nonetheless give us a systematic and organized
way in which to discuss the
plethora of subjects found in art.
It is important to note that, starting from the beginning of the
twentieth century, these subject
categories have become less and less relevant. This is due in
part to the fact that the subject in art
is now often entirely eliminated, as in the case of
nonrepresentational art. As we are studying art
from the Paleolithic period to the fourteenth century, the
majority of the works we will look at fall
into the categories listed in table 1.1. Some of the works shown
in the example pop-ups are non-
Western; we want to give you a feel for different cultures even
as we focus on Western art
categories.
Table 1.1

Subject
Category
Description Example
Work of Art
Religious The subject is a person or scene from
a sacred tradition, text, or story. In
the West, religious subjects are
generally taken from the Bible.
Unknown
Aztec artist,
sculpture of
the goddess
Coatlicue
(1487–1520)
Mythological The subject is taken from a
mythological story (such as a Greek or
Roman myth).
Antonio
Pollaiuolo,
Apollo and

Daphne
(1470–1480)
Historical The subject is an event in history,
from either the past or the present.
Unknown
French
artist, The
Coronation
of
Charlemagne
(fourteenth
century C.E.)
Portrait The subject is an actual person.
Historically, subjects of portraits had
to be wealthy or socially important to
have their likenesses reproduced.
Most of the time, the sitter (subject of
the portrait) was alive; however,
portraits were also executed
posthumously.
Unknown
Egyptian
artist, Queen
Nefertari
(thirteenth
century
B.C.E.)
Genre The subject is a scene of people
engaged in everyday life.
Marc

Chagall, The
Smolensk
Newspaper
(1914)
Landscape The subject is a natural or contrived
scene of the outdoor environment.
Figures may be included, but if so,
they are small in scale compared with
the setting.
Ando
Hiroshige,
Plum Estate,
Kameido
(1857)
Still life The subject is an object or
arrangement of objects such as fruits.
Unknown
Roman
artist, Fish
and
Vegetables
in a
Cupboard

(second
century
B.C.E.)
Spotlight on Subject: Religious Art
Here, we will focus on one subject category. Look at this
Christian sculpture:
Annunciation and Visitation
Source: Unknown French artist, ca. 1230–1255; Reims
Cathedral, France
This relief depicts four figures in two pairs. The pair on the left
shows the scene
known as the Annunciation, in which the angel Gabriel tells
Mary that she will give
birth to the son of God; and the pair on the right depicts the
scene known as the
Visitation, in which Mary goes to visit her cousin Elizabeth,
who will give birth to John
the Baptist.
Both events are part of the Christian Biblical narrative: These
four figures decorate
the doorway of one of the great Gothic cathedrals of Europe.
Art questions: Would you have figured out the subject of this
sculptural grouping
without the title? Do you think the subject was recognizable to
worshipers entering
the cathedral at its time of completion? Could the viewers have
mistaken this group
as representing another type of subject, for example, genre?

What to Consider When Looking at and Analyzing Art
When we view an artwork, we naturally respond first to the
subject. The subject provides the most
obvious visual clue as to the meaning of the artwork; however,
other aspects of the work can give
us a fuller understanding of what it represents.
The analysis of any given piece of art involves the
consideration of many factors, some of which will
be clearly evident, and others of which will require careful
observation and research. Not all the
factors we list here will be relevant for every piece of art;
however, our aim is to equip you with the
basic tools art historians use to examine, study, and analyze art.
In considering a work of art, pay attention to
subject
symbolism
style
visual/formal elements
size
media
patronage
location
context

We will explore these terms in greater detail:
Subject refers to what the artwork actually shows (see table 1.1
above).
Symbolism refers to the underlying meaning of the artwork and
its elements. In Robert
Campin's Merode Altarpiece (1425), we see the biblical scene
of the Annunciation in the
center panel. Many objects in the scene carry symbolic
meaning. For example, the white lily
placed on the table symbolizes the purity of the Virgin, and the
urn in the background
symbolizes her womb.
Style refers to the individual stamp of the artist or of the art
movement in which the artist
participated. Pablo Picasso had a distinct authorship that
distinguishes his style from that of
other artists, as did Rembrandt van Rijn. Look at any two works
by these artists and you will
see differences in subject matter, application of paint, color,
brushstrokes, and overall
composition and treatment. Discerning the key characteristics of
an artist's style requires
careful scrutiny, and may take years to perfect.
Identifying the period during which an artwork was produced or
the painter's or sculptor's
school of art may come more easily. For example, Abstract
Expressionism, which arose during
the 1940s, has traits that distinguish it from other artistic
movements, such as the High
Renaissance of the 1500s. Abstract Expressionism has no clear
subject matter and few
recognizable objects or forms, in contrast with the High

Renaissance, with its religious
subjects and clearly recognizable forms.
Visual/formal elements refers to the purely visual aspects of the
artwork. These elements
include composition, space, line, light and dark, color, and
texture. For sculpted works, visual
or formal aspects include form, mass, volume, and the way in
which light interacts with the
carved images. The term formal refers to the forms in or the
structure of the artwork and
does not indicate anything pertaining to propriety or function
(see table 1.2 for a more
detailed discussion of visual/formal elements).
Size refers to the size of the artwork. The reproductions of
artworks that you see in books or
online are often highly misleading in terms of size. Look at the
dimensions provided in the
caption of an artwork, and you will probably be surprised by
how large or how small the
artwork actually is.
Media refers to the materials the artist used to create the
artwork. Media include oil paint on
canvas, marble, ink on paper, and bronze. The term also refers
to the techniques that artists
employ. For example, carving in sculpture indicates the removal

of a material such as marble,
usually with a chisel and hammer; whereas modeling in
sculpture indicates the addition of a
material, such as clay.
Patronage refers to the individual or institution that ordered or
commissioned the artwork.
Knowing the patron of an artwork will help you determine the
intent of the artist and to
interpret the work itself. Did you know that, up until the mid-
nineteenth century, most
Western works of art were commissioned? Michelangelo
Buonarroti would never have painted
the Sistine Chapel ceiling (1508–1512) had it not been for the
patronage of Pope Julius II.
Consider this: all architecture requires patronage and/or a
commission, except in those rare
cases where the architect builds his or her own home with his or
her own finances.
Location refers to the spot where the artwork is placed. As you
will notice, many artworks
are now in museums; however, it is important for us to consider
where an artwork originally
stood (in situ), as this will help us to fully understand the
intentions of the artist and the
meaning and relevance of the work. The Merode Altarpiece
(linked above), currently on
display at The Cloisters of the Metropolitan Museum of Art in
New York, was originally created
for a fifteenth-century Flemish household to adorn an intimate
and private space of worship.
Context refers to the time and place at which the artwork was
created. What was happening
during that time in the artist's life and in society? How might

those events have borne on the
artwork, and how do they change the way in which we see and
interpret it?
For example, in James Whistler's The Peacock Room (1876–
1877), a detail of two peacocks in
a combative posture symbolizes a struggle over money that took
place between Whistler and
his patron. The peacocks are mostly rendered in gold leaf, but
Whistler used silver to highlight
telling details—we can detect the patron based on coins at the
dominant peacock's feet and
silver feathers indicating a ruffled shirt, and we can detect the
impoverished artist based on a
silver feather on the other peacock's head suspiciously similar
to a lock of Whistler's hair.
Knowing the context in which Whistler painted the room helps
us to interpret key scenes and
enhances our experience as a viewer.
Spotlight on Style: Discerning Style
Here, we will focus on style indicators. Consider how the
artworks below differ in
terms of style.
Lohans Giving Alms to
Beggars
Carpet Page, Lindisfarne Gospels

Source: Zhou Jichang, ca. 1178;
Museum of Fine Arts, Boston
Source: Eadfrith, Bishop of Lindisfarne, ca. 698–721;
The British Library, London
The twelfth-century Chinese painting on the left is an attempt at
Realism, rendered
on a hanging silk scroll. Note how the artist tries to show
proper proportions and
naturalistic stances and movements in the figures at the top of
the scroll.
The medieval British illuminated manuscript page on the right,
on the other hand,
does not depict an everyday scene or objects as they appear in
the real world; it
features a flat, elaborately embellished Cross filled in and
surrounded by linear
patterns that include the abstract shapes of animals.
Art questions: How do these artworks differ from one another in
terms of media?
Line? Detail? Color? Texture? Form? Purpose? If you saw these
works in a museum,
would you be able to tell which artistic movement or time
period each is from? How?

As stated above, the visual or formal elements of art are the
purely visual aspects of an artwork.
When we first look at an artwork, we often overlook important
visual characteristics that can help
us to understand the intentions of the artist and the skills
involved in executing the artwork. The
table below can help us to more fully appreciate and carefully
examine art.
Table 1.2
Element Description Questions to Ask
Yourself
When Looking at an
Artwork
Composition This refers to how the forms
(figures and objects) and the
visual elements are placed in
the overall space of the
artwork.
Why did the
artist place
certain objects
on the right

side of the
painting, and
certain objects
on the left?
Did the artist
leave areas
where there are
no forms
whatsoever? If
so, why?
Is the artwork
balanced
(symmetrical)
or off-balance
(asymmetrical)?
Space This refers to the area the
forms occupy. Is the viewer
looking at the
composition
directly
forward, at an
angle, at a
distance, from
below, or from
a bird's eye
view?
Line This delineates shape (for
flat, two-dimensional
objects) and mass (for solid
forms that occupy a three-
dimensional space). Lines

Do the lines in
the figures or
form move your
eye in a
define an object and can be
expressive (loose and free)
or classical (mathematically
controlled and organized).
Lines can also create the
illusion of depth.
particular
direction?
Do the objects
shown or
modeled convey
a sense of bulk,
or are they flat?
Light and
dark
The contrast between light
and dark can create the
illusion of depth, such as

when the artist uses
shading (the gradual
transition from light to dark,
also known as chiaroscuro).
Light and dark can also
denote expressive
characteristics. For example,
a figure in darkness may
indicate evil, contrasted with
a figure in luminous light that
may express goodness or
purity.
Why is an
object or figure
in the light, or
given more light
than other
objects or
figures?
Why is an
object or figure
in darkness?
Color Colors can balance a
composition, create tension,
or focus the viewer's
attention on a certain form or
feature. Adding white to a
color creates a tint; adding
black to a color creates a
shade. Some colors
complement each other,
others blend with each other,
and others create

dissonance.
Did the artist
employ a wide
color palette,
limit the use of
color, or reduce
the color to one
main hue
(monotone)?
Texture This refers to the tactile
quality of a surface. How was the
paint or
medium
applied?
Was it applied
smoothly and
evenly, or
thickly?
Can the viewer
see the
brushwork or
toolwork?

Spotlight on Visual/Formal Elements: Light and Dark
Here, we will focus on light and dark. Look at the use of
chiaroscuro in this fresco:
Portrait of Husband and Wife
Source: Unknown Pompeiian artist, ca. 70–79 C.E.; Museo
Archeologico Nazionale Napoli, Italy
The painter of this wall fresco found at Pompeii was a master of
chiaroscuro. You can
see here how he uses light and dark to model the faces and
clothing of his subjects,
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transitioning from areas of light to areas of shadow to create the
illusion of
dimension.
Art questions: How does chiaroscuro convey a sense of depth?
Why would an artist
use chiaroscuro instead of broad strokes and color? How might
chiaroscuro help
highlight important elements of an artwork? Study the faces in
the fresco above.
What does the artist do to emphasize their contours? How does
he let us know where
the light source is?

Image Credits
Chagall, Marc. 1914. The Smolensk newspaper (painting).
Philadelphia Museum of Art. In the public
domain. Accessed February 9, 2009.
http://www.abcgallery.com/C/chagall/chagall82.html.
Eadfrith, Bishop of Lindisfarne. ca. 698–721. Carpet page,
Lindesfarne Gospels (illuminated
manuscript page). The British Library, London. In the public
domain. Accessed February 16,
2009. http://www.episcopalcafe.com/daily/2007/08/.
Hiroshige, Ando. 1857. Plum estate, Kameido (print). Brooklyn
Museum. In the public domain.
Accessed February 27, 2009.
http://en.wikipedia.org/wiki/File:30_-
_Plum_Estate,_Kameido.jpg.
Pollaiuolo, Antonio. 1470–1480. Apollo and Daphne (painting).
The National Gallery, London. In the
public domain. Accessed February 9, 2009.
http://en.wikipedia.org/wiki/File:Apollo_and_Daphne.jpg.
Unknown Aztec artist. 1487–1520. The goddess Coatlicue
(sculpture). National Museum of
Anthropology, Mexico City. In the public domain. Accessed
February 1, 2009.
http://en.wikipedia.org/wiki/File:Coatlicue.jpg.
Unknown Egyptian artist. Thirteenth century B.C.E. Queen
Nefertari (painting). Valley of the
Queens, Egypt. In the public domain. Accessed February 10,
2009.
http://en.wikipedia.org/wiki/File:Maler_der_Grabkammer_der_

Nefertari_004.jpg.
Unknown French artist. ca. 1230–1255. Annunciation and
visitation (sculpture). Reims Cathedral,
France. In the public domain. Accessed February 20, 2009.
http://en.wikipedia.org/wiki/Poor_Man%27s_Bible.
Unknown French artist. Fourteenth century C.E. The coronation
of Charlemagne (painting). Grandes
Chroniques de France. In the public domain. Accessed February
17, 2009.
http://en.wikipedia.org/wiki/File:Karl_den_store_krons_av_leo_
III.jpg.
Unknown Pompeiian artist. ca. 70–79 C.E. Portrait of husband
and wife (fresco). Pompeii. Museo
Archeologico Nazionale Napoli, Italy. In the public domain.
Accessed February 4, 2009.
http://en.wikipedia.org/wiki/File:Pompeii-couple.jpg.
Unknown Roman artist. Second century C.E. Fish and
vegetables in a cupboard (mosaic). Tor
Marancia, Italy. In the public domain. Accessed February 9,
2009.
http://commons.wikimedia.org/wiki/File:Still_life_Tor_Maranci
a_Vatican.jpg.
Zhou, Jichang. ca. 1178. Lohans giving alms to beggars
(painting). Museum of Fine Arts, Boston. In
the public domain. Accessed February 12, 2009.
http://www.mfa.org/collections/object/lohans-
bestowing-alms-on-suffering-human-beings-24137.

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