CHAPTER ONE - Living with Art

What Do Artists Do?

·      Record and commemorate (document a historical event: Guernica, Executions of the Third of May, Murder in the Rue Transnonain)

·      Give tangible form to the unknown (Shiva Nataraja, or other sacred/spiritual works of art)

·      Give tangible form to feelings (Van Gogh's Starry Night)

·      Enable us to experience a way of seeing different than our own (Dali, etc.)


CHAPTER TWO ­ What is Art?

Art and the Artist

·      Degas, Dancer Looking at the Sole of her Foot (originally not intended for public display)

·      Rembrandt, Polish Rider (attribution disputes)

Art and Appearances (Understand the difference between representational, abstract and nonrepresentational art)

·      Picasso, Portrait of the Artist's Father (Representational: has a recognizable subject)

·      Picasso, Three Women at the Spring (Representational)

·      Picasso, Three Musicians (Abstract: has a subject but it has been changed or altered somehow)

·      Klee, Monument in Fertile Country or Jackson Pollock's Autumn Rhythm and other works (Non-Representational: does not have a subject. Artist is interested in formal aspects such as color, texture, composition. Often has a personal, expressive value to artist as well)

Art and Meaning - Iconography:

·      Van Eyck¹s  Arnolfini Double Portrait

·      Buddha Images (nonwestern iconography)


CHAPTER THREE ­ The Themes and Purposes of Art (What are the purposes of art?)

Arts of Daily Life

·      Feathered Basket, a kimono, etc.

The Sacred Realm

·      Ste. Chapelle

·      Great Mosque, Cordoba

Social Order

·      The Great Pyramids

·      Daumier, Murder in the Rue Transnonain (criticism of the social order)

·      Picasso, Guernica (again, criticism of government/social order)

·      Maya Lin, Vietnam Memorial

Storytelling (heroes, legends, saints)

·      Sassetta, St. Francis Giving his Mantle to a Poor Man

The Here and Now (everyday experiences)

·      Seurat, Bathers at Asnières

The Human Experience

·      Rembrandt, Self-Portrait

·      Rodin, The Kiss

·      Vermeer, Woman Holding a Balance

Invention and Fantasy

·      Skoglund, Radioactive Cats, Escher, etc.

Art and Nature

·      Cole, The Oxbow

·      Smithson, Spiral Jetty

Art and Art (conceptual art)

·      Sol LeWitt, Untitled Cube


CHAPTER FOUR ­ The Visual Elements


·      Eakins, The Biglin Brothers Racing

·      Géricault, The Raft of the Medusa

Shape and Mass

·      Matisse, The Beasts of the Sea (shape)

·      Mayan Figurine or any three-dimensional sculpture (mass)

Light and Value (Sfumato, Chiaroscuro)

·      Leonardo, Virgin and Saint Anne

·      Wright, A Philosopher Giving a Lecture on the Orrery


·      Optical Effects of Color (Seurat, Sunday on La Grande Jatte)

·      Emotional Effects of Color (Munch, The Scream, or any Van Gogh work)

Texture and Pattern

·      Actual Texture (Brancusi, Bird in Space)

·      Visual Texture (Dufy, Regatta at Cowes)


·      "Real" or Three Dimensional Space (space that is real, such as the space in architecture or sculpture)

·      Implied Space (Space is not actually real, but is implied: Suggesting the illusion of three-dimensional space on a two-dimensional surface):

·      Linear Perspective (Leonardo, Last Supper)

·      Foreshortening (Grien, The Groom and the Witch)

·      Atmospheric Perspective (Bierstadt, The Rocky Mountains)

Time and Motion

·      Monet, Haystack at Sunset (series of paintings)

·      Monet, Waterlilies at Dusk (panoramic views of waterlilies)


CHAPTER FIVE ­ Principles of Design

·      Unity and Variety (Matisse, The Red Studio)

·      Balance: Symmetry (O'Keeffe, Deer's Skull; Kahlo, The Two Fridas)

·      Balance: Asymmetry (Klimt, Death and Life; Manet, Bar at the Folies Bergére)

·      Emphasis and Subordination/Focal Point (Goya, Executions of the Third of May)

·      Scale and Proportion (Oldenburg)

·      Rhythm (Hopper, Early Sunday Morning)

·      Elements and Principles: A Summary (Picasso's Girl Before a Mirror)



·      Encaustic (Fayum Mummy Paintings)

·      Fresco (Raphael, School of Athens, Michelangelo's  Sistine Chapel, etc.)

·      Tempera (Wyeth, Braids)

·      Oil (Van Eyck, Man in Red Turban, Arnolfini Double Portrait, any Van Gogh)

·      Watercolor (Homer, Shore and Surf, Nassau)

·      Gouache (Klee, Landscape with Yellow Birds)

·      Acrylic (Frankenthaler, The Bay, Chuck Close)



Relief (Raised surface)

·      Woodcut (Dürer, Horsemen of the Apocalypse; Hokusai, The Great Wave)

·      Linocut (Picasso, Portrait of a Young Girl)

Intaglio (Incised surface, ink below the surface)

·      Engraving  (Durer)

·      Etching (Rembrandt, Christ Preaching)

Lithography (drawing on stone)

·      Daumier, Kollwitz, Toulouse-Lautrec, Rauschenberg)

Screenprinting (Warhol)


CHAPTER NINE ­ The Camera Arts


·      The Still Camera and Its Beginnings (Daguerre)

·      Photography and Art (Stieglitz, Strand, Sherman, etc.)

·      Censorship: Robert Mapplethorpe



            Four Methods:

·      Modeling (Female Figure from Cyprus)

·      Casting (Bodhisattva)

·      Carving (Olowe of Ise, Olmec Head, Michelangelo)

·      Assembling (David Smith)

Relief (raised surface) and Sculpture-in-the Round (fully three-dimensional)

·      Low Relief (Maya Sarcophagus Lid)

·      High Relief (Parthenon Sculptures)

·      Sculpture in-the-round (The Burghers of Calais by Rodin)

Public Art (Richard Serra: The Tilted Arc, the Serpent Mound, Christo and Jeanne-Claude)



·      Load-Bearing (pyramids)

·      Post-and-Lintel (Greek temples such as the Parthenon)

·      Round Arch and Vault (Aqueducts, Colosseum)

·      Dome (Pantheon, Hagia Sophia, Taj Mahal)

·      Corbelled Arch and Dome (Lion Gate - I showed this slide but it is not in the book)

·      Cast-Iron (Eiffel Tower)

·      Steel-Frame Construction (Wainwright Building)

·      Suspension (Golden Gate Bridge)

·      Reinforced Concrete (Sydney Opera House)

·      Geodesic Domes (Bucky Fuller's Geodesic Dome at Expo 67)

·      Frank Lloyd Wright - "father of modern architecture"



·      Palette of Narmer, Egyptian, c. 3100 BCE

·      Akhenaten and His Family, Egyptian, c. 1345 BCE (page 344)

·      Parthenon, Greek, 447-432 BCE (page 351)

·      Doryphorus, Roman copy of Greek original, by Polykleitos, c. 450 BCE (p. 353)

·      Colosseum, Roman, c. 72 BCE (page 358)


CHAPTER FIFTEEN - Early Christian

·      Chartres Cathedral (Gothic), 12th-13th century (page 372)



            Italian Renaissance:

·      Last Supper by Leonardo, c. 1495-97 (p. 109)

·      Sistine Chapel by Michelangelo, 1508-12 (pp. 390-391)

·      David by Michelangelo, 1501-1504 (p. 388)

Northern Renaissance:

·      Merode Altarpiece (Annunciation) by Campin, c. 1426 (p. 398)

·      Arnolfini Double Portrait by Van Eyck, 1434 (p. 40)


CHAPTER SEVENTEEN - 17th and 18th Centuries

            Baroque Art:

·      St. Teresa in Ecstasy by Bernini, 1645-52 (p. 407)

·      The Night Watch by Rembrandt, 1642 (page 417)

·      Woman Holding a Balance by Vermeer, c. 1664 (page 66)

David and Neo-Classicism:

·      The Oath of the Horatii by David, 1784-85 (page 422)


CHAPTERS EIGHTEEN  through TWENTY - Nonwestern Art

You are not responsible for the entire content of these chapters.  However, be familiar with the following images:

·      Court of the Lions, Alhambra, mid-14th century, Islamic (page 432)

·      Nkondi Figure, Africa, before 1878 (page 440)

·      Great Stupa, India, 3rd century BCE - 1st century CE (page 444)

·      Terra-Cotta Army of First Emperor of China, c. 210 BCE (page 454)

·      The Burning of Sanjo Palace, Kamakura Period (Japan), 13th century (page 466)

·      Stone Figures from Easter Island, beginning 900 CE (page 472)

·      Machu Picchu, Inca, 15th - 16th centuries (page 481)


CHAPTER TWENTY-ONE - The Modern World: 1800-1945

            Manet and a Break from the Past:

            Luncheon on the Grass (Le Déjeuner sur l'herbe) by Manet, 1863 (page 492)

            Bar at the Folies Bergere by Manet, 1881-82

            Monet and Impressionism

            Haystacks by Monet, 1891 (page 115)


            The Starry Night by Van Gogh, 1889 (page 10)

            Sunday Afternoon on the Grande Jatte by Seurat, 1885 (page 98)

            Picasso, Cubism and Modern Art

            Les Demoiselles d'Avignon by Picasso, 1907 (page 507)

            Guernica by Picasso, 1937 (page 55)

            Duchamp, Dada & Conceptual Art:

Fountain by Duchamp, 1917 original (This is not in your book, but I thought you could remember it!)



            The New York School (Number 1, 1949 by Pollock, 1949, page 521)

            Pop Art (Warhol)

Art Since the Eighties: Postmodern Architecture: Pompidou Center of Art and Culture by Piano and Rodgers, 1977, p. 535; Guggenheim Bilbao by Frank Gehry, 1997, page 320



1.              Van Gogh, Starry Night, 1889 (page 10) (Post-Impressionism)

2.              Van Eyck, Arnolfini Double Portrait, 1434 (page 41) (Northern Renaissance)

3.              Daumier, Murder in the Rue Transnonain, 1834 (page 53) (lithograph)

4.              Picasso, Guernica, 1937 (page 55)

5.              Maya Lin, Vietnam Memorial, 1982 (page 56)

6.              Vermeer, Woman Holding a Balance, c. 1664 (page 66)

7.              Smithson, Spiral Jetty, 1970 (page 73)

8.              Leonardo, The Last Supper, c. 1495-97 (page 109) (Italian Renaissance)

9.              Monet, Haystack, c. 1891 (page 115) (Impressionism)

10.           Kahlo, The Two Fridas, 1939 (page 127)

11.           Manet, A Bar at the Folies-Bergére, 1881-82 (page 130)

12.           Picasso, Girl Before a Mirror, 1932 (page 142)

13.           Dürer, Four Horsemen of the Apocalypse, c. 1497-98 (page 181) (Woodcut)

14.           Stieglitz, The Steerage, 1907 (page 217) (Early Photography - Photography as Art)

15.           Serra, Tilted Arc, page 274 (Public Sculpture)

16.           Gehry, Guggenheim Bilbao, 1997 (page 320) (Postmodern Architecture - Architecture as Sculpture)

17.           Wright, Fallingwater, 1936 (page 325)

18.           Palette of Narmer, Egyptian, c. 3100 BCE (page 341)

19.           Parthenon, Classical Greek, 447-432 BCE (page 351)

20.           Colosseum, Roman, c. 80 CE (page 358)

21.           Chartres Cathedral, French Gothic, 12th-13th centuries (page 372)

22.           Michelangelo, David, 1501-04 (page 388) (Italian Renaissance)

23.           Bernini, St. Teresa in Ecstasy,1645-52 (page 407) (Baroque)

24.           Rembrandt, The Night Watch, 1642 (page 417) (Baroque)

25.           David, The Oath of the Horatii,1784-85 (page 422) (Neoclassicism)

26.           Great Stupa, India, begun 3rd century BCE (page 444) (Early Buddhist structure)

27.           Stone Figures, Easter Island, begun c. 900 CE (page 472)

28.           Machu Picchu, Peru, 15th-16th centuries (page 481) (Inca)

29.           Manet, Luncheon on the Grass, 1863 (page 492)

30.           Pollock, Number 1, 1949 (page 521)


Final Exam Format:

Eight Slide IDS @ 5 points each, 40 points possible

One Compare/Contrast, 20 points possible

Four Essays @ 10 points each, 40 points possible

100 points Total


For Slide Identifications you are responsible for the following:

·      Title (2 points)

·      Artist (or Civilization) (2 points)

·      Date within 100 years (1 point)

Five points total per Slide ID



Haystack, Monet, 1891

Parthenon, Greek, c. 445 BCE

Machu Picchu, Inca, 15th-16th centuries