Art Past, Art Present (with MyArtKit Student Access Code Card), 6E BY David Wilkins
Email: Richard@qwconsultancy.com
TABLE OF CONTENTS INSTRUCTOR’S MANUAL
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Introduction Some Teaching Strategies A List of the Works by “Issue” Useful Comparisons Sample Multiple Choice Questions Answers to Multiple Choice Questions
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TEST ITEM FILE
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Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14
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Experiencing Art Prehistoric Art Ancient Art Later Ancient Art Art from 200 to 1000 Art from 1000 to 1400 Fifteenth-Century Art Sixteenth-Century Art Seventeenth-Century Art Eighteenth-Century Art Nineteenth-Century Art Art from 1900 to 1949 Art from 1950 to 1999 Art in the New Millennium
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INTRODUCTION Each instructor has his or her own manner of teaching, leading discussion, and evaluating student performance. This is especially true in the area of art, which allows for a wide variety of different approaches. The purpose of this manual is to provide some suggestions that might be useful in using Art Past/Art Present as a textbook in a one or two semester Art History or Art Appreciation class. One of the book’s strengths is its incorporation of material outside of the western tradition within a chronological framework, making possible a global understanding of developments in art.
Art Past/Art Present Art Past/Art Present begins with introductory essays that discuss experiencing and studying art, the analysis of works of art, and the role of the artist. After this introductory material, the book is strictly chronological and is divided into sections that follow the usual historical divisions (Prehistoric, Ancient, Art from 200-1400, and the Fifteenth, Sixteenth, Seventeenth, Eighteenth, Nineteenth, and Twentieth Centuries). Within each of these larger sections there is an introduction devoted to the historical context (including the role of the artist) that is followed by self-contained two- and fourpage “spreads” that discuss the most important works of art; each spread also has timeline information. Technique sections are introduced at the point in the historical chronology when that technique becomes important in the history of art. The manner in which the material in Art Past/Art Present is divided into two- and four-page sections allows you to emphasize those works you wish to discuss. It also means that the students (or you in lecture) must work to make the connection between the works of art discussed in the sections and the historical context of the introductions. Our shrinking world and the greater consciousness of other cultures that is being demanded of today’s global citizen suggest that a worldwide view of art should replace the usual European and American oriented survey course in art history or art appreciation. We have tried to encompass the art of many world cultures within the limited scope of Art Past/Art Present, and we urge you to incorporate Chinese, Japanese, Indian, African, Islamic, and other traditions into your course.
How to Use Art Past/Art Present for a One Semester Course Art Past/Art Present was developed for a one semester course. Your course can easily be personalized through your choice of particular periods and works to be emphasized.
How You Might Use Art Past/Art Present for a Two Semester Course Art Past/Art Present was developed for a one semester course, but the expanded sixth edition is more complete and could easily, with supplementary readings, be used for a two semester course. You might wish to give your course a special emphasis by assigning a second book on a particular topic that you could follow throughout the course. For example, if you are interested in women artists, you might assign Whitney Chadwick’s Women, Art, and Society; if you wish a more theoretical and feminist
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approach, you could use Norma Broude and Mary Garrard (eds.), The Expanding Discourse: Feminism and Art History or Linda Nochlin’s Women, Art, and Power and Other Essays. For an emphasis on documentation from the period, you might consider using some of the volumes by Elizabeth Holt or examples from the Sources and Documents series that are now back in print, or Robert Goldwater and Marco Treves, Artists on Art. For art historical theory you could use Norman Bryson, Michael Ann Holly, and Keith Moxey (eds.), Visual Theory: Painting and Interpretation, or Michael Podro’s The Critical Historians of Art. Another possibility is Brucia Witthoft’s Art History: Selected Readings.
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SOME TEACHING STRATEGIES Orienting Your Course Around a Series of Issues Given the extensive material available in Art Past/Art Present, you might consider giving your course additional focus by emphasizing issues that you would follow, when pertinent, throughout the course. Such issues can become the foci for class discussion, for example, and specific essay questions can be developed around each issue that would help to focus students’ attention; examples might include “Discuss the representation of the nude in ancient Greek and Renaissance art,” “Compare the representation of the nude in the Doryphorus with Michelangelo’s David,” or “Compare the Ancient Egyptian Old Kingdom Pharaoh Khafre with the ancient Roman Emperor Augustus (of Prima Porta) as examples of political art.” Such an approach can give students an understanding of the issues raised by some of the most common kinds of art and can help provide tools for understanding paintings, sculptures, and architecture that they will encounter after the end of the course. There is some overlap between the issues listed below, as is indicated in the list of suggested questions for each issue and, of course, it must be remembered that not every work in Art Past/Art Present is encompassed within one of the categories listed here.
Some Suggested Issues: 1. Political Art and Architecture 2. Domestic Architecture: Home and Palace 3. The Urban Environment: The City 4. The Techniques of Art, including Construction Techniques in Architecture 5. Religious Architecture and Its Decoration 6. Representations of Deities, Religious Figures, Religious Scenes 7. History 8. The Portrait and Self-Portrait 9. Humanity’s Relationship to Nature: Landscape, Seascape, and Still Life 10. Genre (subjects drawn from everyday life, represented naturalistically) 11. The Role of the Patron 12. Representations of the Nude Human Body, Male and Female 13. Gender Issues, including the manner in which men and women are represented, and the role of women artists 14. The Artist’s Changing Relationship to Society, including Self-Portraiture 15. Abstraction
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