W17436 A PATHWAY FOR SCOTIABANK’S INNOVATION LE

W17436
A PATHWAY FOR SCOTIABANK’S INNOVATION:
LEVERAGING
FINTECH PARTNERSHIPS
Ying-Ying Hsieh wrote this case under the supervision of
Professors Jean-Philippe Vergne and Mary Weil solely to
provide material
for class discussion. The authors do not intend to illustrate
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Version: 2019-04-23
Financial services [are] in an era of unprecedented innovation.
We are seeing fintechs taking
advantage of many transformational technologies such as
applied data analytics and blockchain.
Scotiabank is seeking out partnerships in the global innovation
ecosystem in order to create
world-class customer-driven solutions.
Jeff Marshall, head of Digital Banking Canada, December 20,
2016
In February 2017, Kevin Stewart, Scotiabank’s vice-president,
digital enablement, was sitting in his office
at Scotiabank’s Digital Factory in downtown Toronto. Stewart
was reflecting on his recent introduction to
the financial technology (fintech) company Kabbage Inc.
(Kabbage), and on how successfully the
partnership was progressing. Stewart was considering what
opportunities the bank should pursue next,
specifically in the area of blockchain.
According to Jeremy Pallant, Scotiabank’s vice-president, retail
and small business products, “the

Kabbage partnership has helped us address gaps in both Canada
and Mexico by digitizing small business
lending to convert it to be more cost effective with a superior
customer experience.” It also provided a
very valuable learning experience for the digital banking
leadership to use as a model.
The Scotiabank–Kabbage partnership provided a valuable
guideline for future partnerships. At the
partnership’s launch, James O’Sullivan, group head of Canadian
banking at Scotiabank, said that the
partnership with Kabbage set “an example of how banks and
fintechs are working together to provide
customers with a better banking experience.” Scotiabank’s top
management certainly aspired to replicate
this success story in other sectors and geographic markets.
SMALL BUSINESS CUSTOMERS: FINTECH
OPPORTUNITIES
Opportunities for Innovation in Small Business Lending
Historically, small business lending was challenging for banks
worldwide. Banks developed robust

deposit and cash-management value propositions for small
businesses but were not lending to them as
For the exclusive use of d. cheeti, 2020.
This document is authorized for use only by divya cheeti in
BLCN 533 Finance and Blockchain-2 taught by Dana Leland,
University of the Cumberlands from Mar 2020 to Sep 2020.
mailto:[email protected]
http://www.iveycases.com/
Page 2 9B17M109
frequently.1 For example, in Canada, small businesses
employed more than 8.2 million Canadians and
represented 97.9 per cent of employers; however, borrowing had
been falling continuously since the first
quarter of 2016.2 It was estimated that more than 80 per cent of
Canadians financed their businesses using
personal financing because of their lack of credit history or
collateral to secure a loan.3
The situation was comparable in other countries such as
Mexico, where Scotiabank had established a
strong presence. In Mexico, small businesses accounted for 40
per cent of the country’s gross domestic

product in 2014, but over 90 per cent of the five million
enterprises were small businesses, according to
the National Institute of Statistics and Geography.4 Only 12 per
cent of the small businesses in that
country were granted loans from financial institutions, and only
8 per cent of medium-sized businesses
received loans. Mexico’s figures were much lower than Brazil’s
(43 per cent of small businesses and 68
per cent of medium-sized businesses) and Chile’s (65 per cent
of small businesses and 62 per cent of
medium-sized businesses).5
Traditionally, when Scotiabank issued loans to small
businesses, the bank relied on paper-based manual
adjudications and often took a week to process the loan. The
bank also tended to target larger loans.
However, in Mexico, this excluded a large number of
applications, according to Stewart.
In addition, although the country had a credit bureau, “it did not
contain a lot of information on small
businesses,” Stewart noted. Assessing credit risk in developing
countries such as Mexico was difficult,
causing information asymmetry that could hinder a bank’s

ability to lend.6 These challenges made small
business an attractive market for fintech companies, especially
those businesses leveraging transformative
technology.
Scotiabank and Kabbage
Scotiabank had 120,000 small business customers in Mexico.
Stewart noted that “these customers have
CA$2 billion7 in deposits with us but limited loans—there was
so much opportunity to help them grow
their businesses.” Stewart felt that the bank was ready to scale
this business and find creative ways to
meet the challenge. Therefore, he decided to look at fintech
firms. In May 2015, Stewart held the position
of vice-president of international small business. Together with
Pallant, Stewart travelled to Atlanta,
Georgia, to visit Kabbage, a fintech company that had been
successful at providing small business loans
to U.S. customers.
According to Stewart, Scotiabank had previously dealt mainly
with large institutions. The 185-year-old

bank, the third largest in Canada, had 90,000 employees and 23
million customers and operated in
approximately 50 countries.8 For a major financial institution of
that calibre, the prospect of partnering
with a recently established, 200-person operation seemed
unlikely. Stewart was unsure how this
adventure would unfold.
Stewart and his colleagues met with Kabbage’s chief executive
officer, Robert Frohwein, and the
company’s chief financial officer, Kevin Phillips, as well as
several risk officers. They toured the
Kabbage operation and listened to a persuasive presentation that
explained how the product and business
model worked. Stewart and his colleagues were impressed. They
decided that this was the type of firm
Scotiabank needed to work with.
Page 3 9B17M109

Their efforts came to fruition in June 2016, when Scotiabank
announced a technology licensing
partnership with Kabbage in Canada and Mexico. The Kabbage
partnership created a new approach to
small business lending, as Pallant explained:
Kabbage’s agile test-and-learn approach and use of non-
traditional data and advanced analytics
has proven to us that fully digitized lending is realizable for
small business, in an economical
way, which creates huge value for the client (in terms of
turnaround times and convenience) and
the bank (in terms of lower cost process and wider market
presence).
The potential for great returns, as well as the promising early
signs of growth, were encouraging.
However, the initiative was still in its early days. According to
Kabbage, the goal was to scale the
platform over three years.
Beyond the business benefits, the learning experience had
already proven valuable. Jeff Marshall, head of

Digital Banking Canada, identified several major benefits
arising from the partnership. Scotiabank gained
the opportunity to learn how to work with a fintech partner. The
bank was also able to test and learn an
innovative way to lend money to small businesses and to
catalyze broader customer experience
improvements.
Future Opportunities
Scotiabank was eager to explore new partnership opportunities.
Fintech partnerships could help resolve
some the everyday issues small businesses encountered by
“offering a holistic package of accounting,
marketing, and bookkeeping services,” explained Haijin Lee,
director of innovation at the Digital Factory.
Small businesses routinely suffered working capital and
production constraints when buying and selling
goods. Multiple parties were involved, including shippers,
government entities, and insurance companies.
As well, information and processes were fragmented, making
the movement of goods inefficient and

cumbersome.
To address these issues, fintech companies began exploring the
blockchain digital database system as a
means to provide all parties visibility into a common ledger and
shared information. This process could
significantly remove friction, improve operations, and increase
transparency. Fintech companies also built
ancillary financing capabilities and combined other
technologies such as geo-tracking via the Internet of
things to further enhance the value proposition.
THE FINTECH DISRUPTION
Fintech firms used new technologies such as blockchain,
applied analytics, and machine learning
algorithms to enhance the efficiency and performance of
financial services. According to the Goldman
Sachs Group investment firm, “over US$4.7 trillion of revenue
at the traditional financial services
companies [were] at risk for disruption by the new, technology-
enabled entrants. Assuming a 10 per cent
profit margin implies a US$470 billion total profit pool at risk
[globally].” More specifically, fintech

companies were looking for opportunities in a wide range of
sectors including crowdfunding, wealth
management, payments, and lending.9 It was estimated that
more than 20 per cent of financial services
businesses were at risk for disruption by fintech competitors.10
Page 4 9B17M109
As outlined in a World Economic Forum report on small
business lending, marketplace lenders provided
a good example of the disruptive nature of fintech companies.
Marketplace lending entailed “lending
money to borrowers without going through a traditional
financial intermediary such as a bank.”11 There
were several reasons for the disruptive advantages that
marketplace lenders enjoyed. First, marketplace
lenders mostly operated based on unsecured lending that
required no collateral. Second, they generally

had a greater risk appetite involving various sources of
investors. Third, they used proprietary data
analytics technology for innovative credit scoring models. Data
could come from all sources, such as
social media or satellite data, which was not typically used by
traditional banks. Fourth, marketplace
lenders operated with lower operational costs, such as overhead
and fixed costs. Finally, they were not
subject to the same level of regulatory compliance requirements
as banks. Therefore, they were better
able to enjoy cost and speed-to-market advantages.12 Overall, a
successful marketplace lending model
relied on the environment (i.e., regulations, data, and
infrastructure), actors (i.e., borrowers, investors, and
platforms), and a process facilitator (e.g., intermediating
parties, third-party service providers, or
corporate partnerships) that played a supporting role to connect
all parties together (see Exhibit 1).13
Fintech as a Global Phenomenon
The rise of the fintech industry was a global phenomenon.14
The industry had doubled in size between

2014 and 2015 and represented more than 1,000 start-ups with
US$105 billion in funding and
US$867 billion in value.15 Innovations were found across many
product and customer segments (see
Exhibit 2). Fintech hub countries, such as the United States,
Canada, the United Kingdom, China,
Singapore, Switzerland, and Australia, had the highest fintech
investment and customer adoption rates.16
Fintech companies were finding success in countries where
regulations were less restrictive and more
welcoming to innovations. For example, the United Kingdom
and Singapore had friendlier regulatory
environments than other countries. The United States and
Switzerland were also planning to issue
national charters, or special banking licences, to allow fintech
companies to offer banking services.17
Latin America was an emerging market of opportunities for
fintech companies, which could import
proven global business models and customize them for each
region.
Blockchain and Distributed Ledgers
Blockchain technology, with its distributed ledgers, was a big

area of focus for fintech companies and the
financial services industry in general. In simple terms, a
blockchain was a distributed database
“comprised of unchangeable, digitally recorded data in packages
called blocks.”18 Each block contained a
timestamp and a link to the previous block. The records “are
saved by each node in the network, which is
owned, maintained, and updated by each node. It’s a peer-to-
peer system. No central authority manages
the transaction flow.”19 Blockchain was first used in 2009 as
the underlying technology for bitcoin.
Although the terms “blockchain” and “distributed ledger” were
sometimes used interchangeably,
blockchains actually formed a subset of the broader category of
distributed ledgers.
Open or closed, distributed ledgers could “record transactions
between two parties efficiently and in a
verifiable and permanent way,”20 and could be programmed to
execute transactions automatically. A set
of protocols enabled the participants to collectively form a
consensus on changes to the ledger, without
the need for a central party. As a result, distributed ledgers
(including blockchains) enabled a shift from

centralized models (see Exhibit 3) with intermediaries, to
decentralized models for the secure recording
and value transfer of digital assets (e.g., loans, bonds, equity).
Page 5 9B17M109
Blockchain and distributed ledgers were rapidly emerging
technologies with the potential to transform
financial markets. Sukrit Handa, a software developer at
Scotiabank’s Digital Factory, explained that
“maybe the industry thought cross-border payments would be
the first use case to leverage blockchain,
but they’re starting to actually see broader opportunities
including capital markets.” For example, another
exciting opportunity was trade finance, a segment with a huge
potential for efficiency improvements.
“The biggest challenge for trade finance was that there were a
lot of parties involved: there’s the shipping,

the port, there’s customs, there’s insurance,” stated Handa.
Financial institutions, central banks, and
financial market infrastructure firms globally were all actively
researching and applying the technology to
understand how it could be leveraged to change business
models. Investments were growing significantly,
with estimates ranging from $1 billion to $1.5 billion in 2016.
SCOTIABANK’S DIGITAL FOOTPRINT
Scotiabank had acted early to take advantage of digital banking.
In 2012, Scotiabank acquired ING Bank
of Canada—later known as Tangerine—a leading provider of
online banking in Canada. In 2014,
Tangerine was the first Canadian bank to launch biometric
authentication through the trademarked
technology Voice Banking and Touch ID.21 In 2015, Scotiabank
launched the first of its Rapid Labs to
digitally transform products and services through lean and agile
methodologies.22 In the same year,
Scotiabank launched the Digital Factory, a technology centre
where innovation was used to redesign the
customer experience.

Marshall believed that fintech start-ups were not intended to
exist in conflict with banks, but rather “share
the common goal of providing a better banking experience.”23
These new teams, based on communities of
practice, were composed of software designers, programmers,
and product designers who worked
together with research and development teams. The Digital
Factory could play an incubating role in the
development of external partnerships. Similar facilities were
launched in Mexico, Peru, Chile, and
Colombia. Within the Digital Factory, there was a dedicated
team focused on research and development
on blockchain and on distributed ledgers in general. The team
was struck to identify and conduct proofs
of concept and to better understand the business model benefits
for this emerging technology.
FUTURE POSSIBILITIES: PARTNERSHIP MODELS FOR
BANKS AND FINTECH COMPANIES
Increasingly, large banks were joining forces with fintech
companies to address emerging needs from
existing customers. However, all partnerships were not created
equally, and various partnership models

emerged for licensing contracts (e.g., technology licensing,
referral agreements), capital investment, non-
equity alliances, joint ventures, and acquisition.
Licensing Contracts
As the Scotiabank–Kabbage partnership showed, fintech firms
often licensed technologies to financial
institutions. Under the technology licensing model, there could
be variations in arrangements for market
presence. For example, Scotiabank was the brand facing the
customers, with Kabbage’s logo displayed
only as a technology provider operating in the background.
Other banks worked with fintech companies
under referral agreements that divided the responsibility for
small business lending applications between
the bank and the fintech company. In some cases, branding
became more common, where customers
would be referred to and serviced directly by the fintech firm’s
website to apply for the loan.

Page 6 9B17M109
Licensing had been a prevalent partnership model in small
business lending and other sectors. In 2015,
JPMorgan Chase & Co. worked with OnDeck Capital in the
United States to serve its 4 million small
business customers.24 The product carried the JPMorgan Chase
& Co. brand and aimed to provide faster
loan approvals based on non-traditional data for credit
assessment.25 Working differently from Kabbage,
OnDeck did not put up any capital, but sold off loans to
investors.26 Ripple, a fintech start-up, developed a
protocol facilitating transactions across distributed ledgers and
licensed its software to various banks (e.g.,
Banco Santander SA, UniCredit SpA, and UBS). Ripple later
added new banking partners including
Standard Chartered PLC and Shanghai Huarui Bank Co. Ltd.27
Fintech partnerships were not limited to large banks and small
start-ups. For example, Microsoft licensed

its Azure cloud platform to Bank of America Corporation in
support of a trade finance application. ICICI
Bank, India’s largest private sector lender, also partnered with
Emirates NBD, a banking giant in the
Middle East, to test a cloud-based distributed ledger.
Licensing partnerships for blockchain and distributed ledger
technology were mostly at the proof-of-
concept stage—scenarios were tested and validated before a full
adoption. Large-scale commercialization
had not yet taken place in this sector, perhaps because there was
more ambiguity in the regulatory
environment, especially when it came to the use of bitcoin and
cryptocurrencies.28
Capital Investments
Traditional banks also funded fintech start-ups directly to gain a
foothold in the space. According to a
report by KPMG and CB Insights, the banks’ corporate venture
capital arms had been leading the game in
fintech investment. Corporate venture capitals consisted of 25
to 33 per cent of the investments in the
second and third quarters of 2016.29

Goldman Sachs, Citigroup, and Banco Santander were among
the most active fintech investors.30
Goldman Sachs’s fintech investments covered a diverse range of
sectors and geographic markets,
including the Asian financial product comparison platform
CompareAsia, the payment software Circle
Internet Financial, and a Canadian point-of-sale start-up called
Financeit.31 For Citigroup, Citi Ventures
invested in the Canada-based invoice funding start-up Blue
Vine, a U.S.-based multinational working
capital marketplace firm called C2FO, the permissioned ledger
infrastructure firm Chain Inc., and various
big data analytics start-ups.32
According to Alex Manson, global head of transaction banking
at Standard Chartered, the British
financial institution made a strategic investment in Ripple,
aiming to “co-develop commercially viable
applications to support the evolving needs of our clients and
their ecosystems.”33 The bank also invested
in Socure, a biometrics firm that developed technologies for
identity verification, and in SigFig, which
offered guidance and best practices for wealth management.34

Investments served as great avenues to understand fintech.
When the markets, technology, and regulatory
levels faced high uncertainty, investing in fintech companies
broadened the scope of future opportunities
for banks.
Non-Equity Alliances
Non-equity alliances emphasized mutual benefits resulting from
two parties bringing in complementary
competencies and resources. At the time, most fintech alliances
were concentrated in the business-to-
Page 7 9B17M109
consumer market. Two examples were the partnership between
the start-up Simple and the Spanish bank

Banco Bilbao Vizcaya Argentaria SA, and the partnership
between Earthport and Bank of America.
Fewer alliances were formed in the business-to-business
market.35 Standardized regulatory environments
fostered a welcoming environment for alliances.36
Often, alliances were forged to establish relevance in a global
ecosystem. For example, the Scotiabank and
QED Investors partnership focused on those Latin American
countries where Scotiabank was planning to
grow its business (i.e., Mexico, Chile, Colombia, and Peru). The
alliance was also designed to leverage both
parties’ expertise. “QED Investors brought a wealth of industry
experience to the table, including a deep
understanding of the digital selling-space, cards, digital
marketing, and lending,” explained Lee. The joint
investment would create a venture capital platform that
identified partnership opportunities.
Joint Ventures
A joint venture (JV) entailed “a business arrangement in which
two or more parties agree to pool their
resources for the purpose of accomplishing a specific task.”37

JVs between banks and fintech companies
were less common than JVs between multiple banks or multiple
start-ups. In some cases, JVs were
formed between governmental agencies. For example,
Singapore’s Monetary Authority of Singapore
formed a blockchain JV to explore opportunities in digital
payments with an Indian region, represented by
the Government of Andhra Pradesh.38
Other JV examples included the alliance between the Spanish
bank Banco Santander and the British
fintech company Monitise, which specialized in mobile money.
They formed a 50:50 JV, managed by
Santander and chaired by Monitise founder Alastair Lukies.
This London-based JV would explore
investment opportunities in Europe and Latin America.
Interestingly, a licensing agreement was attached
to the JV, granting Monitise a multi-million pound licence fee.
Santander would have access to
Monitise’s cloud-based platform that connected the bank with
customers’ digital innovations.39 Overall,
JVs, which normally entailed very specific goals, had not been a
common practice between banks and
fintech companies.

Joint partnerships in the form of consortia had also been formed
among banks. The most well-known
large-scale joint project in fintech was R3 Limited (R3), “a
consortium partnership with over 75 of the
world’s leading financial institutions, [working] together to
design and deliver advanced distributed
ledger technologies to the global financial markets.” Formed in
September 2015, R3 developed the Corda
platform, designed to record, manage, and automate agreements
between businesses.40 Scotiabank was a
member of R3 and contributed to the Corda code base.
Acquisitions
Ideally, an acquisition could give banks full control over the
technological solution. However,
acquisitions had not become as common as licensing or
investment due to the greater uncertainty and risk
they entailed. More fintech acquisitions were expected once
start-ups passed the “testing stage.”41
The Spanish bank Banco Bilbao Vizcaya Argentaria, one of the
first banks to acquire fintech companies,42

bought Openpay, a Mexican online payment start-up;43 Holvi
Payment Services Ltd., a Finnish start-up;
Spring Studio, a San Francisco-based UX design firm; Madiva
Soluciones, a large data start-up; and
Simple, a U.S. wealth management start-up.44 Among other
acquisitions, Standard Bank acquired Firepay
in 2016;45 PayPal acquired Xoom Corporation, an international
money transfer services firm, in July
Page 8 9B17M109
2015;46 MasterCard acquired Pinpoint.GS in April 2014 and
APT Systems, Inc. in May 2015; Visa
bought TrialPay Inc. in Feb 2015; and TD Ameritrade acquired
thinkorswim in April 2009.47
Determining Factors for Partnership Models

Determining how a bank should partner with a fintech company
depended on various factors—both
internal (between partners) and external (outside of the
partnership). Internally, the overall compatibilities
between the two firms in terms of technology, structure, culture,
and brand all played an important role.48
In the Scotiabank–Kabbage partnership, executive-level
sponsorship was crucial to ensure that culture
and vision were aligned between the two companies. According
to one of the Kabbage executives, “You
have to have that executive-level sponsorship. A lot of times,
these things are very challenging for an
organization of the bank’s size, so they have to be willing to
challenge the status quo.” A lack of
compatibility would increase costs of coordination and
communication.
Externally, there was a question of whether customers knew or
trusted the fintech brand. Ensuring
accountability to the customer was critical to success. Different
countries and regions varied in their
regulatory frameworks, market demands, and institutional
configurations. More validated success stories
were seen in some fintech sectors such as lending, whereas
technological uncertainty was still high in

others such as blockchain.
DECISION
As Stewart reflected on Scotiabank’s early partnership with
Kabbage, he knew that some of the learning
outcomes from that partnership would benefit the bank’s
approach for other fintech partnerships—
especially in the all-important area of blockchain and
distributed ledgers. Stewart wondered if Scotiabank
should replicate the Kabbage partnership model and enter into
exclusive arrangements in the blockchain
sector. He also wondered if the bank should instead limit its
efforts to activities within the R3 consortium
or look for other consortia. How much investment should the
bank make directly through the Digital
Factory team, he wondered. Stewart knew that blockchain and
distributed ledgers could be a game
changer, and his experience with Kabbage made him an obvious
choice to lead the bank’s efforts. But
how should he proceed from there? The next steps would be
essential to supporting the bank’s strategic
agenda (see Exhibit 4) and digital vision (see Exhibit 5).

BLCN 533 Finance and …
Topic Choices for ART100 Research Paper
(Choose one of the following topics for your paper):
Topic 1: Contexts and Influences of 20th Century Art
Historical Movements
Select one of the following movements in 20th century art:
Futurism, Dada, Pop Art, Surrealism, and Abstract
Expressionism. Situate the movement within its political,
cultural and historical context to illustrate how historical
context influenced the techniques, content, style, and ideology
of the movement. Support your argument with examples of
artists and their work.
Recommended resources for Topic 1:
Futurism
· Willette, J. (2016). Cubism, Futurism and the Great War, Part
One. Art History Unstuffed. Retrieved from
http://arthistoryunstuffed.com/cubism-futurism-and-the-great-
war/
· Willette, J. (2016). Cubism, Futurism and the Great War, Part
Two. Art History Unstuffed. Retrieved from
http://arthistoryunstuffed.com/cubism-futurism-and-the-great-
war-part-two/
Dada
·
Maftei, S. (2010). Between "critique" and propaganda: The
critical self-understanding of art in the historical avant-garde.

The case of Dada. Journal for the Study of Religions and
Ideologies,9(27), 219-245.
Pop Art
· Curley, J. (2013). A Conspiracy of Images: Andy Warhol,
Gerhard Richter, and the art of the Cold War. Retrieved from
http://americainclass.org/wp-content/uploads/2014/03/Curley-
Reading.pdf
Surrealism
· Willette, J. (2011). Surrealism in Context. Art History
Unstuffed. Retrieved from
http://arthistoryunstuffed.com/surrealism-in-context/
Abstract Expressionism
· Paul, S. (2004). Abstract Expressionism. Heilbrunn Timeline
of Art History, Metropolitan Museum of Art. Retrieved from
https://www.metmuseum.org/toah/hd/abex/hd_abex.htm
Topic 2: Art as Communication
Discuss the ways that artists can use art to communicate a
political or social message. Identify two artists from two
different countries or centuries that have used their art to
comment on a social or political issue. Evaluate whether the
message was effectively communicated through their art by
researching the historical context of the artist and the issue they
were commenting on.
· Articles with examples of artwork with a social and/or
political message (you may not use these examples in your
paper):
· Laborie, S (2018) Raft of the Medusa. Louvre. Retrieved
from https://www.louvre.fr/en/oeuvre-notices/raft-medusa
· Dorbani, M.B. (2018) July 28: Liberty Leading the People.
Louvre. https://www.louvre.fr/en/oeuvre-notices/july-28-
liberty-leading-people

Topic 3: Non-Western Influences on Modern Art
Discuss the influence of African or Asian art on Western art
from the 19th century through the present, citing specific works,
artists, styles, or movements that have been influential.
· Recommended resources to get you started:
· Murrell, D. (2008). African Influences on Modern Art.
Heilbrunn Timeline of Art History, Metropolitan Museum of
Art. Retrieved from
https://www.metmuseum.org/toah/hd/aima/hd_aima.htm.
· Michael, C. (2010). Henri de Toulouse-Lautrec. Heilbrunn
Timeline of Art History, Metropolitan Museum of Art.
Retrieved from
https://www.metmuseum.org/toah/hd/laut/hd_laut.htm
· Ives, C. (2004). Japonisme. Heilbrunn Timeline of Art
History, Metropolitan Museum of Art. Retrieved from
https://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm
Topic 4: Developments and Influences of Italian Renaissance.
Analyze the historical, political, religious and cultural context
for the Italian Renaissance (1400-1600 C.E.). Discuss the
developments in art and architecture made in the Renaissance
period, explain economic changes in Europe that may have
made the Renaissance possible and address the role of patronage
in art creation. Be sure to discuss specific artists and artworks
to support your arguments.
· Recommended resources to get you started:
· Routt, D. (n.d.) The Economic Impact of the Black Death.
Economic History Association. Retrieved from
https://eh.net/encyclopedia/the-economic-impact-of-the-black-
death/
· Artists and Patrons (2018). Italian Renaissance Learning
Resources. Oxford University Press. Retrieved from
http://www.italianrenaissanceresources.com/units/unit-
8/essays/introduction/ (See all 12 pages)
· Norris, M. (2007). The Papacy During the Renaissance.
Heilbrunn Timeline of Art History, Metropolitan Museum of

Art. Retrieved from
https://www.metmuseum.org/toah/hd/pape/hd_pape.htm
· Bamback, C. (2002). Anatomy in the Renaissance. Heilbrunn
Retrieved from
https://www.metmuseum.org/toah/hd/anat/hd_anat.htm
Topic 5: Photography’s Influence on Art
Discuss the influence of photography on the art of the late 19th
and 20th centuries, citing specific uses of photography. Discuss
the shifting and sharing of the functions and purposes of art by
painting, drawing, and photography. Include the impact of
photography on painting.
· Recommended resources:
· Early Documentary Photography (2004). Heilbrunn Timeline
of Art History, Metropolitan Museum of Art. Retrieved from
https://www.metmuseum.org/toah/hd/edph/hd_edph.htm
· Hostetler, L. (2004). The New Documentary Tradition in
Photography. Heilbrunn Timeline of Art History, Metropolitan
Museum of Art. Retrieved from
https://www.metmuseum.org/toah/hd/ndoc/hd_ndoc.htm
· Photography and the Civil War (2004). Heilbrunn Timeline of
Art History, Metropolitan Museum of Art. Retrieved from
https://www.metmuseum.org/toah/hd/phcw/hd_phcw.htm
· Eklund, D. (2004). Conceptual art and photography. Heilbrunn
Retrieved from
https://www.metmuseum.org/toah/hd/cncp/hd_cncp.htm
· Rooseboom, H., & Rudge, J. (2006). Myths and
Misconceptions: Photography and Painting in the Nineteenth
Century. Simiolus: Netherlands Quarterly for the History of
Art,32(4), 291-313. Retrieved from
http://www.jstor.org.nuls.idm.oclc.org/stable/20355339

Rooseboom.pdf
Myths and Misconceptions: Photography and Painting in the
Nineteenth Century
Author(s): Hans Rooseboom and John Rudge
Source: Simiolus: Netherlands Quarterly for the History of Art,
Vol. 32, No. 4 (2006), pp.
291-313
Published by: Stichting Nederlandse Kunsthistorische
Publicaties
Stable URL: http://www.jstor.org/stable/20355339
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291
Myths and misconceptions: photography and painting
in the nineteenth century*
Hans Rooseboom
Since the history of Dutch photography in the nine
teenth century became the subject of academic research
about 35 years ago, attention has concentrated on indi
vidual photographers and their work. Little has been
published on more general topics such as their financial
position, the status of the profession, the organization of
the studios, the clients, prices and the number of pho
tographers. Indeed, these aspects have received scant
scrutiny. As a result there is no shortage of clich?s and
lazy assumptions in the literature on the history of pho
tography. One example is the supposedly deadly effect
on painting of competition from photography. Modern
art-historical literature clings to this notion too. There
is also more to be said than is generally acknowledged
about photography's lack of artistic status in the nine
teenth century. This article takes a critical look at two
id?es fixes to see whether there are contemporary sources
that confirm, undermine or qualify them.
THE MYTH OF THE SUFFERING ARTIST: THE SUPPOSED
competition from photography In the nine
teenth century, just as in earlier times, artists were

sometimes forced to resort to one or more sidelines to
make a living (fig. i). This was especially true of those
not in the first rank. According to the prevailing view, it
was photography that prevented many an artist from
obtaining enough income from the sale of his work. This
supposedly objectionable role did little to improve the
status of the profession. It is so established that it also
crops up in the kind of popular literature that likes
to keep matters uncomplicated. Karin Braamhorst, for
example, wrote: "When photography had just been
invented, many artists saw it as a threat to their crafts
manship. This new medium was so exact in its
representation of reality that established artists were
afraid of being made redundant."1 No further explana
i Leonard de Koningh, Self-portrait as a painter,
1864-73, carte-de-visite, albumen print. Amster
dam, Rijksmuseum, Rijksprentenkabinet
* This article, which was translated from the Dutch by John
Rudge, is
based on two chapters in my 2006 dissertation, De schaduw van
defo
tograaf, positie en status van een nieuw beroep: fotograf?e in
Nederland,
i8jg-i88g, which was published in a trade edition in 2008.
1 K. Braamhorst, Nederland in de negentiende eeuw. Lexicon,
Arn
hem 2006, p. 96: "Toen de fotograf?e net was uitgevonden,
zagen veel
kunstenaars dat als een bedreiging voor hun vakmanschap. Dit
nieuwe

medium was zo precies in de weergave van de werkelijkheid
dat geves
tigde kunstenaars bang waren overbodig te worden."
2018 22:00:40 UTC
2?2 HANS ROOSEBOOM
tion or qualification was deemed necessary. This notion
has also long been widespread in the serious literature
?both Dutch and foreign?on the history of photo
graphy and art. Painters of portrait miniatures, in par
ticular, are said to have suffered severely and often to
have been forced to seek work coloring photographs.2
In the literature on portrait miniatures, photography
is regularly cited as the cause of the decline of the minia
ture in the course of the nineteenth century. A 1910 ex
hibition catalogue stated that: "The great majority of
the miniatures submitted date from the second half of
the eighteenth and first half of the nineteenth century.
After that, Daguerre's invention gave a formidable blow
to the painting of miniatures from which it has not yet
recovered. It seems to us, however, that in other ways,
too, photography is an obstacle to a healthy revival of
art."3 This last remark was not further explained.
The early history of the portrait miniature?thus

from the sixteenth century?is generally treated at
length in the literature, whereas the nineteenth century
must make do with considerably less attention. The in
famous role supposedly played by photography in the
nineteenth century is usually dealt with in a single pas
sage, sometimes in just a single sentence: there is evi
dently no room for doubt.4 Such brevity makes it easy
for a clich? to persist.
Remarks can certainly be found in nineteenth-centu
ry Dutch periodicals pointing out that painters faced
competition from photography. So the views discussed
above were not completely baseless (and while the por
trait miniature did not disappear entirely, it was undeni
ably relegated to the sidelines). In the spring of 1839,
when the first reports about photography were pub
lished, although hardly anyone knew exactly what they
implied, the Algemeene Konst- en Letterbode published a
letter from a certain C. referring to "an invention...
which could cause some alarm to our Dutch painters. A
method has been found whereby sunlight itself is elevat
ed to the rank of drawing master, and faithful depictions
of nature are made the work of a few minutes."5 But this
was only a prediction, not an observation of a fact. The
same applies to a poem of 1840 by J.F. Bosdijk, and to
three reports in the Algemene Konst- en Letterbode, Het
Leeskabinet (both in 1839) and the Kunstkronijk of 1844
45.6 While this evidence all comes from the early days of
photography, one comment is known from a later phase,
1874, in which the recently deceased painter and pho
tographer C.H. van Amerom is mourned by Alexander
Ver Huell: "The man had a good living as a portrait

painter, but two things brought him to the edge of
poverty: his marriage, blessed (?) with a pack of chil
dren, and secondly photography."7 In i860, when he
had just taken up photography, van Amerom himself
complained about his financial position in a letter. The
new profession offered little consolation and even took
him from bad to worse because he was left with hardly
any time in which to earn something by painting?
but he did not make photography the scapegoat.8 Ver
HuelPs comment may perhaps be seen as an early exam
ple of an assumption that has since become a persistent
clich?.
Perhaps there are other, similar contemporary state
2 See, for example, A. Staring, "Het portretminiatuur in Neder
land," Oude Kunst: een Maandschrift voor Verzamelaars en
Kunstzinni
gen 4 (1918-19), pp. 204, 225; L.R. Schidlof, The miniature in
Europe in
the 16th, 17th, 18th and igth centuries, 4 vols., Graz 1964, vol.
1, pp. 3-4;
A. Scharf, Art and photography, Harmondsworth 1986, pp. 42-
43, 45
46; M. Thijssen, "De Maatschappij Arti et Amicitiae 1839-
1870: over
het ontstaan en de betekenis van een kunstenaarsvereniging in
de ne
gentiende eeuw," Kunst en Be leid in Nederland 2 (1986), pp.
65-66; K.
Henninger-Tavcar, Miniatur Portr?ts: die pers?nlichsten
Zeugen der
Kunstgeschichte, Karlsruhe 1995, p. 24; H. Wierts,
Photographie?n &

dynastie?n: beroepsfotografie in Groningen 1842-^40,
Groningen &
Bedum20oo, p. 12.
3 Exhib. cat. Catalogus der tentoonstelling
vanportretminiaturen, Rot
terdam 1910, p. iv: "De overgroote meerderheid der ingezonden
miniaturen behoort in de tweede helft der achttiende en in de
eerste
helft der negentiende eeuw. Daarna heeft Daguerre's uitvinding
de
beoefening der miniatuur-schilderkunst een gevoeligen knak
gegeven,
die zij nog niet te boven is gekomen. Het komt ons echter voor,
dat de
photograf?e ook op andere wijze een gezonde herleving dier
kunst in
den weg Staat."
4 See note 2.
5 Algemeene Konst- en Letterbode voor hetjaar i8jg, vol. i, p.
138:
"...eene Uitvinding..., die onzen Nederlandschen Schilders eene
soort
van schrik zou kunnen aanjagen. Men heeft er het middel
gevonden,
om het Zonlicht zelf tot den rang van Teekenmeester te
verheffen, en
de getrouwe afbeeldingen der Natuur tot het werk van weinige
minuten te maken."
6 J.F. Bosdijk, De Spiegel der natuur of de Daguerrotype,

Utrecht
1840; Algemeene Konst- en Letterbode voor hetjaar 18j?, vol.
1, p. 360;
Het Leeskabinet 1839, vol. 2, p. 93; Kunstkronijk 5 (1844-45),
p. 28.
7 A. van Heijningen-de Zoete, Het memorie-boek van C.H. van
Amerom, unpublished thesis, Leiden 1987, p. 31: "De man had
als
portretschilder goed zijn bestaan?maar twee zaken, bragten
hem tot
op de grens van armoede?zijn huwelijk, gezegend (?) met een
troep
kinderen en 2e de photographic"
8 Ibid., p. 29.
2018 22:00:40 UTC
Myths and misconceptions: photography and painting in the
nineteenth century 293
ments, but I do not know of any. In the recent studies of
Dutch painters in the first and second half of the nine
teenth century by Annemieke Hoogenboom and Chris
Stolwijk respectively, in which ample attention is paid
to their economic situation, there is no reference at all to
photography as a competitor.9 Nor is photography cited
in A.B. Loosjes-Terpstra's Moderne kunst in Nederland,

igoo-igi4.
Concrete evidence that photography presented the
existing arts with serious competition is evidently sparse
and not easily tracked down. There are also other voices
signaling the opposite, and they are more numerous.
One of the most telling views, especially in the light of
the above, was expressed by Dr D. (probably H.M. Du
parc) in an article published in the journal Onze Tijd in
1855: "As is the case with all inventions, people have
quickly got used to the wonders of photography. In
deed, after the initial enthusiasm passed, it was even
said that this remarkable discovery would be the death
of art; but experience shows that it marks the breaking
of a new dawn for art by producing a different, unex
pected outcome each day."10 The Algemeene Konst- en
Letterbode, from which we have already taken two quo
tations pointing to the possibility of photography com
peting with painting, sometimes maintained the oppo
site view. In the 1856 volume, for instance, we read:
"...yet as long as painting and copying continue to be
distinct from each other, art need not fear her proud ri
val."11
Nor do artists' letters provide much support for the
notion that the arts suffered economically because of
photography. In 1858, JJ.G. van Wicheren wrote to
Christiaan Kramm, author of a biographical dictionary
of artists, that after the death of his father in 1839?tne
year in which photography was introduced?he had
stayed in Leeuwarden and "had the privilege of always
having work in my occupation as a portrait painter be
cause there were enough commissions."12 In 1865, when
there seems to have been a "boom" in portrait photogra
phy, Lou wrens Hanedoes wrote to the artist J.D.

Kruseman: "As for my work I can say little more than
that I am always very busy, sales are slack, the feeling for
art in this country is stifled firstly by the government
and principally by the insane luxury people have these
days. Things look dismal, and the number of artists
shrinks by the day, many become photographers, draw
ing teachers, and so on, while a few move to America or
France."13 Interestingly, Hanedoes blames other fac
tors, not photography, for the slack market. Photogra
phy was at best a refuge, a much needed source of extra
income for those who could not live from their art, and
might therefore be equated with giving drawing lessons.
There are letters from before 1839, when the inven
tion of photography was announced, in which artists be
wail their lot. In 1835 Marinus Jacobus Stucki, who had
just been appointed town draftsman in Alkmaar, wrote
to his former teacher Kramm that he was doing quite
well, but only earning just enough: "There's no one
here prepared to pay a guilder for a lesson, at most 8 or
10 stuivers, and that is often still too much, which is
why I decided to establish a private school at home,
which is presently used by 12 pupils." The love of art in
Alkmaar was "feeble," Stucki also observed: people pre
ferred dancing and singing. Well-off burghers did not
have their children take drawing lessons, and patrician
families, who were more inclined to do that, were few
9 A. Hoogenboom, De stand des kunstenaars: de positie van
kunst
schilders in Nederland in de eerste helft van de negentiende
eeuw, Leiden
1993, and C. Stolwijk, Uit de schilderswereld: Nederlandse

kunstschilders
in de tweede helft van de negentiende eeuw, Leiden 1998.
10 Onze Tijd 15 (1855), p. 41: "Gelijk bij alle uitvindingen het
geval
is, zoo heeft men zieh 00k spoedig aan de wonderen der
photographie
gewend. Ja, nadat het eerste oogenblik van geestdrift voorbij
was, heeft
men zelfs beweerd, dat deze bewonderenswaardige ontdekking
voor de
kunst noodlottig zoude zijn; de ondervinding bewijst
daarentegen, dat
zij voor haar een nieuwen dageraad doet aanbreken, door
iederen dag
eene andere on ver wachte uitkomst op te leveren."
11 Algemeene Konst- en Letterbode 68 (1856), p. 31: "...zoo
lang
echter schilderen en nabootsen nog van elkander onderscheiden
blij
ven, behoeft de kunst hare fiere mededingster niet te vreezen."
12 Rijksprentenkabinet, Rijksmuseum, Amsterdam, collection
of
artists' letters, letter from J.J.G. van Wicheren to Christiaan
Kramm,
16 May 1858: "...het voorregt [had], om in mijne betrekking als
Portretschilder altijd werkzaam te kunnen zijn, door
genoegz?me aan
vragen."
13 The Hague City Archives, collection of artists' letters, ov 2,
let
ter from L. Hanedoes to J.D. Kruseman, October 1865: "Over
mijn

werk kan ik weinig meer mededeelen, dan dat ik altijd druk
bezig ben,
het verkoopen gaat slap, de kunstzin hier te lande wordt
gesmoord
eerstens door het Gouvernement en voornamelijk door de
dwaze luxe
die de menschen tegenwoordig hebben. Het ziet er treurig uit,
daarbij
krimt het getal artisten dagelijks in, velen worden photograaf,
teken
meester, enz. terwijl enkele naar Amerika en Frankrijk
trekken." See
also Stolwijk, op. cit. (note 9), p. 228.
2018 22:00:40 UTC
294 HANS ROOSEBOOM
2 Cornelis Kruseman,
The entombment, 1830.
Amsterdam, Rijksmuseum
and far between. He gave lessons but did not earn much
that way.14
In the obituaries of several artists who painted many
portraits?Jan Willem Pieneman (d. 1853), Cornelis
Kruseman (d. 1859), Nicolaas Pieneman (d. i860), Jan
Adam Kruseman (d. 1862), J.L. Jonxis (d. 1867), Jacob
Spoel (d. 1868), H.A. de Bloeme (d. 1870) and J.G.
Schwartze (d. 1874)?not a word is said about the ad

verse effects of photography on their careers.15 They
were not minor figures in their profession, so it may
have been that they were particularly well placed to
avoid any such effects. That could even be seen as proof
of their stature.
Meanwhile the silence on the subject of photography
14 Rijksprentenkabinet, Rijksmuseum, Amsterdam, collection
of
artists' letters, letter from M.J. Stucki to Christiaan Kramm, 8
Decem
ber 1835: "...hier zijn geen menschen welke een gulden voor de
les
willen geven, integendeel 8 en 10 stuivers, en dat is dikwijls
nog te veel.
waarom ik dan 00k besloten heb, een privaatcolege aan huis
opterigten,
waarvan er tegenwoordig 12 gebruik maken."
15 J. van Lennep, "Hulde aan de nagedachtenis van Jan Willem
Pieneman, uitgesproken in de Maatschappij Arti et Amicitiae,
den 21
April 1853," in Verslag en naamlijst der leden van de
maatschappij: uArti
et Amicitiae," gevestigd te Amsterdam, Amsterdam 1853;
Kunstkronijk 20
(1859), pp. 9-16,18-22 (on Cornelis Kruseman); Kunstkronijk
[Nieuwe
Serie] 2 (1861), p. 95, and Kunstkronijk [Nieuwe Serie] 3
(1862), pp. 1
5 (on Nicolaas Pieneman); Kunstkronijk [Nieuwe Serie] 4
(1863), pp.
47-48 (on J.A. Kruseman); Kunstkronijk [Nieuwe Serie] 8
(1867), p. 32

(on J.L. Jonxis); Kunstkronijk [Nieuwe Serie] 11 (1870), pp.
33-36 (on
Spoel), Kunstkronijk [Nieuwe Serie] 10 (1869), pp. 59-62 (on
H.A. de
Bloeme); Kunstkronijk [Nieuwe Serie] 17 (1875-76), p. 43 (on
Schwartze).
2018 22:00:40 UTC
Myths and misconceptions: photography and painting in the
nineteenth century 295
as the spoilsport deepens. A few in memoriams even
give an entirely different impression, namely that por
trait painting was flourishing at this time. Admittedly,
this growth was observed against the background of a
decline around 1800, and consequently may have been
overestimated, but that does not alter the general pic
ture. L.R. Beijnen wrote in his "Memoir of a deceased
friend and artist," Cornelis Kruseman, who died in
1859: "The second and third decades [of the nineteenth
century] were peaceful and calm for the fatherland.
Gradual development could be detected in all paths of
life, and art too had begun to give some signs of awaken
ing" (fig. 2).16 Similar remarks may be found in the in
memoriams by Tobias van Westrheene devoted to the
same Cornelis Kruseman, and by JJ.L. ten Kate to
Nicolaas Pieneman.17
The idea that art was in fact 'arising' again was also to
be found in other kinds of publication. Looking back at

the nineteenth century (which had almost ended),
Abraham Bredius wrote that its first half "had been a
time of deep decline for our art." Portrait painting had
perhaps suffered the least, but "all things considered, it
looked as if Dutch painting would sink into a lamentable
eclecticism. Then came the turning point."18 This point
coincided with the rise of photography, which had
needed a few years after its introduction in 1839 to get a
firm foothold and overcome teething troubles. Appar
ently, this did not stand in the way of a resurgence of
painting.
Sometimes consideration was given to what factors
were obstructing the growth (economic and otherwise)
of painting. Jan Adam Kruseman was seen by contem
poraries as one of the artists who had brought about the
revival of Dutch painting. In 1846 he gave a speech in
which he remarked that throughout Europe, "after a
long period of languishing," art was extending and lift
ing itself up; after a phase of degeneration "it had awak
ened with renewed life and again made great advances,"
and the visual arts were "flourishing in our land too."
Among possible inhibiting factors he included the taste
of the public, art criticism and fashion.19 He did not
mention photography. Elsewhere we find comments on
the adverse effect of amateur artists and the growing
number of artists, which led to greater competition and
lower incomes.20
Clearest of all is Tobias van Westrheene in his 1854
pamphlet Een woord over kunst en kunstbescherming in
Nederland, in which he cites 13 areas where "the short
comings in the position of art in our country" are re

vealed. These include a lack of protection and support
for art, the excessive number of exhibitions, the limited
role played by collectors, too much competition be
tween artists, the inadequacies of art education, "the
poor or incorrect understanding of the nature and
essence of art," and the fact that art tended to be seen as
a "luxury article" rather than as something that is "in
dispensable for the moral [and] material welfare of the
nation."21 Photography was not blamed. It was men
tioned only once, when van Westrheene observed that
the mediocre and bad artists "paint prolifically and
cheaply, which has a crucially adverse effect on the ma
terial interests of the good artists." He considered it de
sirable that these "parasites" should not be involved
with the "higher realms of art," but should return "to
the field where they could still do a great deal of good
and which is now generally worked by even less quali
i6 Kunstkronijk 20 (1859), p. 19: "Herinnering aan een
ontslapen
vriend en kunstenaar.... R?stig en stil was het tweede en derde
tiental
[van de negentiende eeuw] voor het vaderland. Eene langzame
ontwik
keling bespeurde men op alle levenswegen en 00k de kunst had
aangevangen eenige teekenen van ontwaken te ge ven." Cf. Van
Lennep, op. cit. (note 15), pp. 50-53, 57-58, and Hoogenboom,
op. cit.
(note 9), p. 46.
17 Kunstkronijk 20 (1859), pp. 9-16; Kunstkronijk [Nieuwe
Serie] 3
(1862), pp. 1-5.
18 A. Bredius, "De schilderkunst," in P.H. Ritter (ed.), Eene

halve
eeuw 1848-18?8: Nederland onder de regeering van Koning
Willem den
Derde en het regentenschap van Koningin Emma, door
Nederlanders
beschreven, 2 vols., Amsterdam 1898, vol. 2, pp. 163-86, esp.
p. 164:
"...alles wel beschouwd, zag het er uit alsof de Hollandsche
schilderkunst zou ondergaan in een bedroevend eclecticisme.
Toen
kwam de kentering."
19 Het instituut, of Verslagen en MededeeUngen, uitgegeven
door de
Vier Klassen van het Koninklijk Nederlandsch Instituut van
Wetenschap
pen, Letteren en Schoone K?nsten over den jare 1846,
Amsterdam 1846,
pp. 122-43, esP- PP- I25: "na eene langdurige kwijning... met
een
vernieuwd leven is ontwaakt en wederom de grootste
vorderingen heeft
gemaakt,... de Beeidende K?nsten 00k in ons vaderland
bloeijende
zijn," 130,134,135. Cf. Hoogenboom, op. cit. (note 9), pp. 30,
32,40
46.
20 For example in Stolwijk, op. cit. (note 9), p. 227.
21 T. van Westrheene Wz, Een woord over kunst en
kunstbescherming
in Nederland, The Hague 1854, pp. 6: "...het onvoldoende van
den toe

stand der kunst ten onzent," 20-22: "Het weinige of onjuiste
begrip van
den aart en het wezen der kunst... artikel van weelde...
onmisbaar voor
de zedelijke [en] stoffelijke welvaart van het volk."
2018 22:00:40 UTC
296 HANS ROOSEBOOM
fied hands." By this he meant "so-called industrial art:
that branch of industry which either translates products
of art for a wider audience (through lithography, pho
tography and similar applications of industry to art), or
can incorporate the art element in its products by apply
ing and …
· DIS 1
Trace the evolution and development of art through the periods
of the Early Renaissance to the High Renaissance.
· Explain what primarily distinguishes Renaissance art in
general from the prior period.
· Compare and contrast the work of an Italian Renaissance artist
with a work done by a northern European Renaissance artist,
considering style, content, and form.
· Include a discussion of the different concerns and heritages of
the Italian and Northern Renaissance artists and how these
resulted in different characteristics in the art work of each
region. Be sure to use the new art vocabulary you are learning
as you describe the artworks.

· DIS 2
Compare and contrast two works of art done in two different
eras/styles. Select one of the following pairs of eras/styles:
Medieval and Renaissance, Baroque and Rococo, or Rococo and
Neoclassical. Give a detailed overview of the period and style
and situate your comparison within the stylistic characteristics
of each style.
Include:
· an overview of what primarily distinguishes the art work of
each era, and then indicate specific formal or thematic aspects
of each work that typify its era
· a discussion of the role of changing cultural and political
climates in influencing the shift from on style to the next.
· a comparative analysis of the form, style and content of an
artwork from each era (each artwork should be of the same
medium and genre, for example two portraits or two figural
sculptures).
Be sure to use the terminology regarding elements of art and
principles of design that we studied in Week I as you proceed in
your discussion. Be sure to make a true comparison of the works
- don't just discuss each one on its own.
Week Three Assignment: Research Paper Part I
Overview of the Research Paper Assignment
Your assignment is to write a 1250-1800 words paper on one of
the following topics. You are expected to cite at least five
reputable, scholarly sources (outside of the course text) in
supporting your thesis on your chosen topic.
Please follow these Guidelines:
1. Use MLA format for your documentation and paper
formatting. (You may use APA, if that is what you are more
familiar with in your discipline. Note which format you are
using at top of paper.)
2. Cite, quote and paraphrase ethically and correctly. No more

than 5% of your paper may be made up of quoted material.
3. Include examples of art works to support your analysis. If
you would like to include images in your paper, they must be
properly captioned and cited.
4. Use the art elements and design principles vocabulary in your
writing.
5. Submit your paper as an attachment in MS Word format.
· Choose a topic for your paperChoose a topic for your paper -
Alternative Formats - Word Document (4.76 MB)
Resources for specific research paper topics
· MafteiMaftei - Alternative Formats - PDF Document (251.8
KB)
· RooseboomRooseboom - Alternative Formats - PDF
Document (4.9 MB)
Instructions for Research Paper Part 1
Part 1 of the Final Research paper consists of the following
THREE items, which are required for satisfactory completion of
this assignment:
1. Introduction Paragraph: Begin with a "hook," then introduce
your topic in 3-4 sentences, and include your thesis statement as
the last sentence in the introduction. As a reminder, the thesis
statement provides a strong central argument for the paper, not
a statement of your paper’s topic.
2. A list of five or more scholarly, college-level research
sources. Two or more of the research sources should be journal
articles from the online library. All sources should be cited in
MLA or APA format.
3. A 300+ word outline of your paper. This should indicate how
you will break down your topic and how you intend to support
your thesis. The outline should be in outline format that clearly
shows your paper’s organization and hierarchy of ideas. You are
expected to submit at least one full written page of specific
researched detail for your paper, not an outline with
placeholders for future information.
This assignment is due by the end of the third week of class.
See due-date schedule in the course syllabus for the exact date.

JUST RESPONSES
Discussion 1
Distinguish between the Paleolithic and Neolithic Periods in
terms of time and cultural developments. Compare and contrast
specific examples of artifacts, practices, and systems of belief.
Discuss why art survives or does not.
Include the four reasons Getlein cites for how art survives,
giving an example of art work from both the Paleolithic and
Neolithic Periods that meet one of these requirements. What
types of art work or materials would not likely survive? How
might this affect our opinion of a culture?
RESPOND TO EBBA: 2-4 Sentences
The Paleolithic age ended long before the start of the Neolithic
age. The Neolithic age lasted for a much shorter duration in
comparison to the Paleolithic age. The Paleolithic man moved in
search of food. The Neolithic man moved in search of fertile
land and water sources. The Paleolithic man was a hunter and
gatherer whereas the Neolithic man cultivated crops. The
Paleolithic society had a primitive type of government
composed of families ruled by men. In the Neolithic era the
society had complex governance which had a chief who ruled
the council. The Neolithic era developed a barter system of
trade. Trade was absent in the Paleolithic era. People of the
Paleolithic age made use of tools made up of stone and bones
whereas in the Neolithic era, people started using tools made up
of metals as copper and bronze. The Neolithic era saw the
innovation of pottery, wheel, weapons, farming, banking, and
trade. And this innovation is still improving and growing today.
All this was absent in the Paleolithic era.
RESPOND TO MILLS: 2-4 Sentences
During the Paleolithic period, which started 2.6 million year
ago and is also known as the Old stone age, discoveries such as

fire and stone tools where utilized to help create artwork.
People who lived in the Paleolithic age used fire and stone tools
to create the paintings that were found in the Chauvet cave,
which is in France. Around ten thousand B.C the Neolithic era
began, and new discoveries where created and found, such as
pottery and the use of animals to help with crop irrigation. The
main difference between the two eras is that the Neolithic era
was more advanced and did not rely solely on the cave paintings
to produce artwork. In my opinion, what determines if art
survives or dies is its value and meaning to the people of that
era. Art that is more valued tends to be taken care of better.
According to Getlein, art survives due to the following reasons:
the art must be of durable material, second the local
environment should not be destructive, third the culture is
highly organized, fourth the culture had traditions of keeping its
artwork with limited accessibility. Getlein’s reasons for the
survival of art focuses on the physical preservation of the
artwork which is crucial for artwork to withstand hundreds of
years of wear and tear.
Discussion 2
This is a two-part discussion. Both parts should be submitted
together in the same initial post.
First, describe the shift in the Roman Empire that created
Byzantium in the East and what would eventually become
Europe in the West and explain the impact of this political,
religious, and social split on the art produced in these regions in
this era. Provide specific examples of particular works of art or
architecture to illustrate your points.
Second, trace the subsequent development of art in the East and
the West from the Early through the High and Late Middle Ages
by citing specific works of art or architecture and describing
characteristic features these works exemplify. Be sure to
include the each of the following terms in your discussion:

· animal style
· Carolingian
· Romanesque
· Gothic
Teachers Response to Me: Need Response back/ (2) Sentences
Christian art developed many symbols for art in the Period of
Persecution (33-313 CE) and those symbols continued to be
incorporated into art in the Period of Recognition that
followed. Did you see any examples of symbolism in the art in
the chapters this week?
Respond to Norfleet: 2-4 Sentences
The shift in the Roman Empire created lots of change
throughout, and made huge impacts politically, religiously, and
socially. During this time the rise of Christianity took place,
changing the cultural dynamic of everything and everyone
drastically, it even attracted more wealthy and influential
people. Politically during this time there were many different
political enemies and visions on how things should be within
Christianity. Within the social split of art Constantine wanted to
make a lot of changes in order for people to accept Christianity.
An artwork that shows this kind of change would be the
sculpture of his Triumphal Arch (15.1 Pg. 356).
Respond to Matthews:
The shift in the Roman Empire that gave way to Byzantium
started in the year 313. This led to church's being built in a
uniform style called balisca. In 324 Constantine decided to
transform Byzantium into a new capital called Constantinople.
In attempt to strengthen his empire and rule it more securely.
As power shifted to the east, the art spread with it. Byzantium
art was mostly religious. Byzantium architecture was based on
Roman architecture. Later, a more Greek style was adopted. The
Greatrt Masterpiece (13.17) is an example of early Byzantium
architecture. The interior focal point is the dome due to its
height. At the western entrance and eastern liturgical sider are
arched openings, extended by half domes of identical diameter

to the center dome and carries on smaller semi domed exedras'.
Roman architecture concentrated more on the exterior features.
Domes were also not prominent features in Roman architecture.
Abbey Church of Sainte-foy (15.24) (13.10) is an example of
early Roman architecture.
Animal style is the first known style of art. Found in
northwestern Europe. (15.11) This piece consists of entire
animal bodies, stretched into ribbons to form symmetrical
shapes. Carolingian art came after animal style of art. It is
featured in manuscripts, sculpture, architecture, and religious
artifacts. (15.13) An example of Carolingian. Showing
similarities of Roman architecture. Romanesque and Gothic
architecture are very close in resemblance. Romanesque has
barrel vaulted ceilings (13.10) and Gothic architecture was
strengthened from the Romanesque base. The Cathedral of Notre
Dame (13.11) shows the similarities.

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