Type:
Solution Manual
Resource:
Art History
Edition:
5th Edition
Author(s):
Marilyn Stokstad Michael W. Cothren
Instructor’s Manual by Sarah Archino, Ph.D., Millsaps College Suzanne Owens, Ph.D., Lorain County Community College
For
Art History FIFTH EDITION
Marilyn Stokstad Michael Cothren
Table of Contents Introduction Volume 1 Sample Syllabus – Western Emphasis Volume 2 Sample Syllabus – Western Emphasis Volume 1 Sample Syllabus – Global Emphasis Volume 2 Sample Syllabus – Global Emphasis Chapter One Prehistoric Art in Europe Chapter Two Art of the Ancient Near East Chapter Three Art of Ancient Egypt Chapter Four Art of the Ancient Aegean Chapter Five Art of Ancient Greece Chapter Six Etruscan and Roman Art Chapter Seven Jewish and Early Christian Art Chapter Eight Byzantine Art Chapter Nine Islamic Art Chapter Ten Art of South and Southeast Asia Before 1200 Chapter Eleven Chinese and Korean Art Before 1279 Chapter Twelve Japanese Art Before 1392 Chapter Thirteen Art of the Americas Before 1300 Chapter Fourteen Early African Art Chapter Fifteen Early Medieval Art in Europe Chapter Sixteen Romanesque Art Chapter Seventeen Gothic Art of the Twelfth and Thirteenth Centuries Chapter Eighteen Fourtheenth-Century Art in Europe Chapter Nineteen Fifteenth-Century Art in Northern Europe Chapter Twenty Renaissance Art in Fifteenth-Century Italy Chapter Twenty-One Sixteenth-Century Art in Italy Chapter Twenty-Two Sixteenth-Century Art in Northern Europe and the Iberian Peninsula Chapter Twenty- Three Seventeenth-Century Art in Europe Chapter Twenty- Four Art of South and Southeast Asia after 1200 Chapter Twenty- Five Chinese and Korean Art after 1279 Chapter Twenty-Six Japanese Art after 1333 Chapter Twenty-Seven Art of the Americas after 1300 Chapter Twenty-Eight Art of Pacific Cultures Chapter Twenty-Nine Art of Africa in the Modern Era Chapter Thirty Eighteenth- and Early Nineteenth-Century Art in Europe and North America Chapter Thirty-One Mid- to Late Nineteenth-Century Art in Europe and the United States Chapter Thirty-Two Modern Art in Europe and the Americas, 1900-1950 Chapter Thirty-Three The International Scene since 1950
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Stokstad / Cothren Art History, 5th ed., Vol. 1: Instructor’s Manual Introduction E. Suzanne Owens, Ph.D., Professor of Arts & Humanities Lorain County Community College, Ohio The 5th edition of Art History, by Michael Cothren and Marilyn Stokstad, represents an evolution of the traditional survey course. From a rethinking of chapter splits for Volume 1, to revised presentations of key content and expanded images, to new emphases on critical thinking and "crosscurrents" of art history, this updated version of a classic work enriches the possibilities for robust teaching and learning. Paired with Pearson's newest version of MyArtsLab multimedia platform of resources, study tools and assessments, Art History orchestrates a vivid "surround sound" experience of western and world art history. Instructors of traditional campus-based courses, as well as those creating "virtual" classrooms for online courses can explore Volume 1 through multiple features of the accompanying Manual. Each chapter is summarized at-a-glance in a topic outline, Learning Objectives and Key Terms chart. The Transition Guide lists images removed or added between the 4th and 5th editions, a quick aid for veteran instructors adapting previous course plans. Discussion Topics and Critical Thinking Questions offer starting points for helping students review core content and check reading comprehension, but can also be used as springboards to more interactive Activities and Exercises. Designed to work in tandem with MyArtsLab, these teaching and learning tools offer great flexibility for surveying chapters broadly or pursuing them in more depth to match curriculum goals. As I prepared this edition of the Instructor's Manual, as with the 4th edition, the expanded resources of MyArtsLab continued to impress. Closer Looks and Architectural Simulations provide detailed examinations of works far beyond the possibilities of static illustrations or text descriptions, while Panoramas create remarkable 360-degree experiences of sites most world travelers would envy. Thanks to superior camera technology, these views exceed in detail, clarity and perspective what might be possible to see in person. Video/Podcasts and Studio Technique demonstrations are invaluable for moving students beyond the confines of their textbooks. While classroom lectures can always be enhanced with dynamic use of such resources projected from MyArtsLab, I rely upon all of these tools to create vivid online experiences for my distance learning students, many of whom report sharing their Lab activities with family members as interest in art history spreads. Needless to say, for students studying online and living far from museum collections or major architectural sites, MyArtsLab experiences can be transformative. And online students without the benefit of hearing textbook content reinforced by their instructor's voice can compensate by listening to the chapter being read aloud on the Lab. In so many ways, what was once merely "art in the dark" has become an exciting, interactive, globe-trotting journey limited only by an instructor's ingenuity in responding to Michael Cothren's most recent itinerary. And, once again, I hope you’ll find this Manual to be a helpful starting point as those adventures begin.
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Stokstad / Cothren Art History, Vol. 2: Instructor’s Manual “Introduction” Sarah Archino, Ph.D., Teaching Fellow in Art History Millsaps College, Mississippi At a time of increasing pressures to justify liberal arts and humanities departments, it has become increasingly critical that we demonstrate the relevancy and importance of a field such as art history. Now, more than ever, we need to ensure that our survey courses are not simply about rote memorization, but about showing students how meaning is made. In truth – isn’t it this awesome power of visual images that makes us excited about our field and that motivates us through all the preparation for lectures and long hours of grading? It is my hope that the discussion questions and exercises in this instructor’s manual will not only demonstrate to students the importance of studying art, but will also help develop critical thinking and writing skills that will serve them throughout their studies. In writing the instructor’s manual for this new edition of Stokstad’s Art History, I have tried to bring together images and ideas that will inspire close examination and deeper analysis. The art history survey course is an opportunity to connect with a wide range of students and to impart an interest which can last long after graduation. Although many of our students will ultimately specialize in other fields, through art we can teach them critical skills of analysis, interpretation, and provide a historical context which will form the foundation for a more sophisticated approach to understanding our world. When I teach the art history survey, I like to emphasize the contemporary social structures surrounding the images – questions of function, patronage, and politics. I have found that this approach helps students to understand that art is not created in a vacuum, but holds rich insight into communities that might otherwise remain unapproachable. In creating this deeper understanding, the resources of MyArtsLab are invaluable. I am very excited about the increased access to primary source documents, which provide a concrete point of entry for students unfamiliar with iconography or formal analysis. Similarly, the study of architecture is vastly helped by the Closer Look features and videos which help to recreate aspects difficult to conjure from a two-dimensional image. Using a Students On Site to study St. Peter’s Basilica gives a much truer sense of scale (and a better understanding of the absolute power of the Papacy during the Baroque period) than any lecture ever could and helps them to see these monuments through the eyes of a peer. As instructors, we are often reluctant to give time for in-class writing assignments, fearful that they will distract from our already-ambitious syllabi. As you look through this instructor’s manual, I encourage you to explore alternatives to the strict lecture format. Even incorporating a five-minute exercise into a class will help your students become engaged with the material and begin to make connections for themselves. Writing doesn’t need to be a cumbersome burden on your students or yourself – many of these assignments are designed for little or no grading. Because they support the Learn About It points and major emphases of each chapters, these assignments are rewarded through the mastery of test material and do not require extensive grading and feedback. We want our students to work and master this material through their efforts. In my experience, this has led to better classroom discussions and more thoughtful test answers and papers. I hope these suggestions will be useful to you and your teaching.
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