nineteenth century - selections from the course packet

I. discussion groups:

You will be assigned to small groups (3-4 members each) that will be utilized during class times to foster discussion about various class topics based on reading assignments in Tomlinson. You also might find them helpful in preparing for the tests and in the completion of your project or term paper. The members of each group will take turns acting as the group's spokesperson in class discussions. When it is your turn to act as the group spokesperson, use the guidelines below to prepare for the discussion.

GUIDELINES FOR DISCUSSION LEADERS

1. Read the text carefully„underlining key words, defining those words you might not understand, marking important sentences and paragraphs, and jotting down main points.

2. Prepare questions as follows:

a. OPENING question that everyone can answer in succession. This question should interest you and the members of the group. It can be about something the reading made you think of.

b. A few* CLOSED (or CONVERGENT) questions that require recall from the text and hold participants accountable for the reading.

c. Several** OPEN (or DIVERGENT) questions for which there will be no right answers.

d. At least one CORE question that focuses on the central message of the piece.

3. Lead the discussion with the following tasks in mind:

a. State the questions and listen carefully.

b. Ask students to refer to the text to support their responses.

c. Ask students to relate their observations to the topic of discussion„keep the group on task.

d. You are NOT the expert who has all the right answers, but you are a moderator or guide who helps the whole group come to some answers.

*A few technically means three, I think, but do as many as you can without killing yourself.

**I always take several to mean more than three, but again, the more you write, the more you'll have to choose from if the discussion drops off.

Special Note: Avoid "yes" or "no" questions...they kill discussion!!! Use verbs like identify, choose, restate, explain, try, examine, compare, construct, formulate, judge, classify, appraise.....etc.!

II. questions to guide reading of eisenman

pp. 7-13 (Introduction)

1. What is the historical context for this period of Art History? (Boil it down to 1-2 descriptive sentences.)

2. How does Eisenman explain artists' reactions to history and social issues? (Give an example here)

3. What kind of art does Eisenman call critical?

4. Discuss the term ideology as it applies to the construction of Eisenman's textbook. What is the relationship of art to society, to history?

5. Describe the contributions of Marx, Ruskin and Baudelaire to "Art History."

6. How does Eisenman characterize the purpose of this text? 7. What determines (according to Eisenman) the choice of artists and/or specific works that will be studied in this text?

Questions for Thomas Crow, chapter 1 of Eisenman text pp. 14-50.

1. What is the change that occurred in the "idea" of classicism in the late Eighteenth-century?

2. Describe the academic training that artists received up to this time, including the "Salon" system and the "Rome Prize."

3. How did David's practice as a teacher differ from the instruction he received?

4. What characteristics of David's art would have pleased Wincklemann? (what are the characteristics of Neoclassicism?--consider stylistic traits and subject matter)

5. What was the role of women artists during this period?

6. Comment on the role that heroes play in neoclassical paintings and the roles that they play for the artists themselves... i.e. how do the artists begin to identify personally with the subjects of their paintings?

7. With the revolution of 1789 came a crisis both in the public or political sphere and in the private/artistic sphere. What, specifically, were individuals rebelling against in each case? How did this revolutionary spirit manifest itself both socially and artistically?

8. What was the role that the audience played in the works discussed in this chapter?

9. Crow introduces the work of several artists not usually discussed in "traditional" surveys of Art History (Hennequin, Drouais, Harriet). What is the significance of including these "outsiders," as Crow calls them?

10. How are the characteristics of "neoclassicism" surpassed or even subverted in some of the works in this chapter?

11. What was Crow's argument in this chapter? Do you feel he supported it adequately? Could you detect his opinion or point of view on this period of Art History? (Cite passages that support your designation)

Questions for Thomas Crow, chapter two in Eisenman, pp. 51-77.

1. What is Romanticism? What characteristics are common in works of art designated with this stylistic term?

2. How do the subject matter and the way the works appear differ from your understanding of Neoclassicism as a style? Do they have some things in common?

3. What role does Crow assign to artists who demonstrate originality? What about artists who lack originality?

4. The text is arranged in a different way than most "survey texts" of the nineteenth century. From the two chapters you've read, what do you feel is the organizational structure? What are the strengths and weaknesses of this method of presentation?

Questions for Eisenman chapter 3, pp. 78-97:

1. Describe the political situation in Spain while Goya is working; especially the role of France.

2. Describe the specific attributes of society (both the aristocracy and the "people") that Goya concentrates on in many of his prints.

3. How does Goya's progressive illness seem to affect a change in his art?

4. Primary qualities of Goya' version of Romanticism are subjectivity and ambiguity. Describe, using examples, what these characteristics mean pictorially.

5. Discuss the puzzling relationship between Realism and Romanticism as found in Goya's art.

Questions for Brian Lukacher, chapter 4 in Eisenman, pp. 98-114:

1. After reading this chapter, what (if anything) do Goya and Blake have in common? How are they different? (This can include their personalities, the qualities of their art, etc.)

2. How is Blake's symbolism constructed? e.g. What is it based on and what connections does he make between the subjects in his art, himself and society at large? What is he particularly anguished about?

3. Look closely at the two works by James Barry on p. 108. How is the style of these works similar/different to Neoclassicism? How is the style similar/different to Romanticism as we've defined it for France and Spain?

Questions for Brian Lukacher, chapter 5 in Eisenman, pp. 115-143:

1. What is the significance of the term "picturesque"? To what, most specifically, does it apply?

2. Based on this chapter, what does the purpose of landscape painting seem to be? Why is it important, according to this author?

3. Compare the use of ruins in English landscape painting to the use of architectural elements in Neoclassical painting. How is the use modified here?

4. Whether English, German or American in origin, the landscape during this period tends to be associated with an idea of "God in Nature." Explain how that concept works, and how can it fit into our developing list of traits for Romanticism?

Questions for Frances Pohl, chapters 6 & 7 in Eisenman, pp. 144-187

1. In this course we are considering primarily "western" art of the nineteenth century. What are your thoughts about the division of western and non-western art in college courses? What would be the benefits of an integrated course on nineteenth-century art? What might be the problems?

2. We've talked a certain amount about the "Academy" that directed art production in France. England had its "Royal Academy" and America eventually developed a similar structure. How can the ideas discussed in these two chapters with regars to "otherness" be seen as a similar construction of "us" versus "them" within the Academic artistic body? In nineteenth-century France, for instance, who were the "others?"

3. Chapters 6 & 7 discuss the perception of "non-westerners" in America. Discuss the perception of this art as "primitive" or of "inferior quality". Evaluate both the art in these chapters considering both the author's statements and your own beliefs.

4. Although women's art is not specifically discussed in this chapter, how could the arguments about cultural differences be applied to women? How is the production of quilts, needlepoint, candlemaking and other "traditionally female" items viewed in society (based on Eisenman)? Has the societal view changed substantially in your estimation?

Questions for Eisenman chapter 8, pp. 188-205:

1. Comment on the role of landscape painting as described here. What were the various strategies that artists took during this period? How could the variety of approaches cause confusion for students of Art History?

2. Give a thumbnail definition of the French phrase "juste milieu"--how does the term describe politics and history? How does the term describe art?

Questions for Eisenman chapter 9, pp. 206-224:

1. Give a thumbnail definition of realism, considering both subject matter and stylistic characteristics.

2. How was the "realism" of Courbet different from the "realism" of other painters described in this chapter? (Think politically and stylistically)

3. What was the Pre-Raphaelite Brotherhood (the PRB)? What does the art of the PRB look like? (Think subject matter and style)

4. Describe the theoretical philosophy cultivated by members of the PRB.

Questions for Eisenman chapter 10, pp. 225-237:

1. Note the style and subject matter of painting in both Germany and Italy following the 1855 Universal Exposition.

2. Give a thumbnail definition of Naturalism (as opposed to Realism). What is the relationship of the French Salon to this particular phenomenon?

Questions for Eisenman chapter 11, pp. 238-254:

1. Make sure you are aware of cultural and political issues that shaped (a) The Impressionists view of Parisian society (b) The public's view of the Impressionists

2. Make sure you can describe "Impressionism" in terms of (a) style (b) subject matter

3. Consider those issues or ideas that bind the painters called "impressionists" to those who are not labeled a part of that group.

4. Don't forget that the artists in this group are individuals, and even though we can isolate some "common ground" among them, there are great differences due to their personal styles and working habits.

Questions for Nochlin, chapter 12 in Eisenman, pp. 255-273:

1. What are the main points in Nochlin's argument?

2. Does her argument "hold water" for you? Why or why not? If you were writing this chapter, would you have done something differently? Addressed different issues?

Questions for Eisenman chapter 13, pp. 274-287:

1. Describe Seurat's painting in terms of (a) style and (b) subject matter.

2. How is his work similar to; different from the Impressionists?

Questions for Eisenman chapter 14, pp. 288-303:

1. Outline your understanding of Van Gogh's life as explained in this chapter (including his illness, which by the way is a source of unending controversy both in Art Historical and Medical circles) and the evolution of his art. Consider the themes in his art in conjunction with his religious and charitable nature.

2. How did the themes and treatment change due to Impressionism and Japanese prints? How did his works created in solitude vary from those developed while in the company of his friends? In what sense are his paintings "realistic," "symbolist," "traditional," and "modern" all at the same time?

Questions for Eisenman chapter 15, pp. 304-336:

1. Summarize Gauguin's artistic (and personal) goals, paying particular attention to the concepts of "symbolism" and "synthetism."

2. How is "populism" different (and similar) to "symbolism"?

3. Who are "the Nabis"? and "les Vingt"?

4. How is the development of symbolism (and its offshoots) linked to social/cultural phenomena towards the turn of the century? How do the themes and styles of symbolic painting tie into societal "angst"?

5. Symbolism can be considered a form of artistic escape. How do the artists painting in this style escape? How can the themes and styles of symbolic painting be connected to the idea of escape?

Questions for Eisenman chapter 16, pp. 337-350.

1. How does Cezanne respond in his art to the challenge issued by the Impressionists?

2. On what stylistic and theoretical principles does Cezanne's work depend on? What in his art is completely new?

3. How does Cezanne truly represent the end of one century and the beginning of the next? In what ways does his ups and downs as an artist really symbolize the whole of the nineteenth century?

III. reading reports

ARTICLE/CHAPTER SUMMARY TEMPLATE

NAME:

Score:

Title of Article/Chapter:

1. Identify major themes and key concepts. This is best done by a point-by-point outline. Avoid evaluation here. 5 3 1 0 2.

List and define key terms and concepts 5 3 1 0 3.

Summarize the author's general point in 3 or 4 sentences. State points directly. Don't use "he says," "she says," or "it's about". Don't evaluate here. You are simply reporting the facts. 5 3 1 0 4.

What did you think about this work? How important does this article/chapter seem to you? Can you relate it to other course themes, materials or experiences? 5 3 1 0

GRADING CRITERIA FOR THE READING RESPONSES

LEARNER OUTCOME TO BE ASSESSED: Demonstrate critical thinking, evaluative skills and an understanding of major issues identified in each reading assignment.

TASK: Summarize and evaluate a reading assignment, tapping into higher-order thinking skills (critical thinking). -identification of major themes and key concepts -definition of key terms and concepts -summarization of the author's main ideas -evaluation of work -placement of the work within a larger context

CRITERIA: The following criteria apply to this work: -completion of the reading response with all parts (listed above) present -demonstration of active engagement with ideas -quality of write-up -mechanics (complete sentences; spelling etc.)

• 1. Identify major themes and key concepts. This is best done by a point-by-point outline. Avoid evaluation here. 5 3 1 0
• 5 = Most of the major themes and key concepts are identified, presented clearly and totally correct.
• 3 = Some of major themes are identified, presented fairly clearly and are mostly correct.
• 1 = Only a few of the major themes are identified or the ideas are not presented clearly or are only partially correct.
• 0 = no attempt

2. List and define key terms and concepts 5 3 1 0

• 5 = Most key terms and concepts are defined clearly and are totally correct.
• 3 = Some key terms and concepts are defined fairly clearly and are mostly correct.
• 1 = Only a few key terms and concepts are listed or are not presented clearly or are only partially correct.
• 0 = no attempt

3. Summarize the author's general point in 3 or 4 sentences. State points directly. Don't use "he says," "she says," or "it's about". Don't evaluate here. You are simply reporting the facts. 5 3 1 0

• 5 = Most of authors general points are presented clearly and totally correct.
• 3 = Some of authors general points are presented fairly clearly and are mostly correct.
• 1 = Only a few of the author's general points are identified or the ideas are not presented clearly or are only partially correct.
• 0 = no attempt

4. What did you think about this work? How important does this article/chapter seem to you? Can you relate it to other course themes, materials or experiences? 5 3 1 0

• 5= Your evaluation is presented concisely and clearly. You have placed the ideas present in this reading within a larger context by comparing or contrasting the ideas with those presented in class or in other readings.
• 3 = Your evaluation is present, but is not very concise or organized or you have not placed the ideas into a larger context effectively.
• 1 = Your evaluation is missing key components of the assignment, such as an active assessment or the placement of ideas into a larger context.
• 0 = no attempt

TOTAL SCORE POSSIBLE = 20 POINTS

IV. grading criteria for course projects

(1) Standard research-type art history paper expected length = 5 pages (10 for grads.) plus footnotes and bibliography of no less than 5 sources. The topic may be a theme, an art historical methodology (i.e. feminism, social history) or the work of a specific artist. The topic must be drawn from the nineteenth-century.

LEARNER OUTCOME TO BE ASSESSED

• Apply critical thinking and evaluative skills in the assessment of resources pertaining to the chosen topic.
• Demonstrate competency in the formulation of an argument and the defense of that argument based on data obtained through research.

TASK: Organize and fully develop a research paper of 5 pages (10 for grads) plus footnotes and bibliography of no less than 5 sources (10 for grads). The paper should contain:

• identification of a major argument or hypothesis (thesis)
• organized presentation of information to support thesis
• evaluation of chosen research materials
• conclusion that demonstrates that your ideas have been placed within a larger context

CRITERIA: The following criteria apply to this work:

• completion of the the paper of the required length with all parts (listed above) present
  demonstration of active engagement with ideas and issues pertinent to the thesis
• quality of write-up
• mechanics (complete sentences; spelling etc.)

SCORING SYSTEM

1. Completion of the paper of the required length with all parts present.

a. identification of a major argument or hypothesis (thesis) 10 8 5 0

b. organized presentation of information to support thesis 20 16 12 0

c. evaluation of chosen research materials 10 8 5 0

d. conclusion that demonstrates that your ideas have been placed within a larger context 10 8 5 0

• 10 (or 20)= Your thesis is very clear and intelligently expressed; the material is organized in a logical manner; you have carefully and completely evaluated your sources; your conclusion is strong.
• 8 (or 16) = Your thesis is fairly clear; the material is fairly well organized; the evaluation of chosen research materials is present but could be developed more in depth; your conclusion is present but weak.
• 5 (or 12) = Your thesis is not at all clear; the material is not organized effectively; the evaluation of chosen research materials is incomplete or missing; there is no conclusion. You have padded the paper with disconnected miscellaneous information in order to reach the required length.
• 0 = no attempt

2. Demonstration of active engagement with ideas and issues pertinent to the thesis 20 16 13 0

• 20 = You have developed a "voice" in your paper that indicates your interest in the topic. You have explored issues pertinent to the thesis in a complete and intelligent manner.
• 16 = You have become engaged with the material, but to a lesser extent. You have not developed a "voice" or "opinion". You have explored issues pertinent to the thesis in a cursory or superficial level.
• 13 = You've completed the "basics" of the paper, but it seems as though you're "going through the motions." You have not demonstrated critical thinking or engagement with the topic and/or you have overlooked important issues pertinent to the thesis. You have padded the paper with irrelevant information in order to reach the required length.
• 0 = no attempt

3. Quality of write-up 20 16 13 0

• 20 = The paper has a "style" that goes along with the "voice" developed above. The paper is persuasive. The points are clear and well-articulated.
• 16 = The paper is o.k., but lacks a definite "oomph" in presentation. The paper is not really persuasive, rather lays out information without active engagement with the ideas by the writer. The points are not very clear and/or not well-articulated.
• 13 = There are serious problems in the presentation of ideas that actually serve to obscure your points, rather than to illuminate them. The paper lacks a coherent focus. The paper is not persuasive and is not effective at simply a presentation of the ideas. The paper is not articulated well. The paper is padded with irrelevant ideas in order to reach the required length.
• 0 = no attempt

4. Mechanics (complete sentences; spelling etc.) 10 8 6 0

• 10= Camera-ready copy that has obviously been proofread, maybe more than once! No typos, grammatical or spelling errors.
• 8= You have a few "problem areas" or spelling mistakes or typos, but not so many that your ideas are being obscured.
• 6 = You have quite a few "problem areas" or spelling mistakes or typos, to a degree that your ideas are being obscured.
• 0 = no attempt (the paper is riddled with grammatical and spelling errors).

TOTAL SCORE POSSIBLE = 100 points.

(2) Extended reading response paper, expected length = 5 pages (10 for grads). This must be a development on (not the same information recopied!) the reading responses to no less than 3 of the assigned readings from Tomlinson. This paper must include information of at least 2 "new" readings (ones that you did not turn in for credit previously). The readings must be compared and contrasted and actively evaluated (demonstrating critical thinking).

LEARNER OUTCOME TO BE ASSESSED: Apply critical thinking and evaluative skills in the assessment of the chosen essays. Demonstrate competency in the formulation of a critique of the readings and the defense of that critique using specific examples from the chosen essays.

TASK: Organize and fully develop an extended reading response paper of 5 pages (10 for grads).

• identification of a major argument for the critique (identify what you are examining and why).
• organized presentation of information to support the critique drawn from the chosen readings.
• Evaluation of chosen readings in light of each other (comparing and contrasting effectiveness, etc.)
• conclusion that demonstrates that your critique has been placed into a larger context.

CRITERIA: The following criteria apply to this work:

• completion of the the paper of the required length with all parts (listed above) present
• demonstration of active engagement with ideas and issues pertinent to the thesis
• quality of write-up
• mechanics (complete sentences; spelling etc.)

SCORING SYSTEM

1. Completion of the paper of the required length with all parts present. a. identification of a major argument for the critique (identify what you are examining and why). 10 8 5 0

b. organized presentation of information to support the critique drawn from the chosen readings. 20 16 12 0

c. evaluation of chosen readings in light of each other (comparing and contrasting effectiveness, etc.) 10 8 5 0

d. conclusion that demonstrates that your critique has been placed into a larger context. 10 8 5 0

• 10 (or 20)= Your major argument (or intended goal) is very clear and intelligently expressed; the material is organized in a logical manner; you have carefully and completely evaluated the readings; your conclusion is strong.
• 8 (or 16) = Your intent is fairly clear; the material is fairly well organized; the evaluation of chosen readings is present but could be developed more in depth; your conclusion is present but weak.
• 5 (or 12) = Your intent is not at all clear; the material is not organized effectively; the evaluation of chosen readings is incomplete or missing; there is no conclusion. You have not followed the directions, and have re-used reading responses that were previously graded.
• 0 = no attempt

2. Demonstration of active engagement with ideas and issues pertinent to the thesis 20 16 13 0

• 20 = You have developed a "voice" in your paper that indicates your interest in the topic. You have explored issues pertinent to the critique in a complete and intelligent manner.
• 16 = You have become engaged with the material, but to a lesser extent. You have not developed a "voice" or "opinion". You have explored issues pertinent to the critique in a cursory or superficial level.
• 13 = You've completed the "basics" of the paper, but it seems as though you're "going through the motions." You have not demonstrated critical thinking or engagement with the topic and/or you have overlooked important issues pertinent to the critique. You have not followed directions and have discussed each reading separately, instead of comparing and contrasting them.
• 0 = no attempt

3. Quality of write-up 20 16 13 0

• 20 = The paper has a "style" that goes along with the "voice" developed above. The paper is persuasive. The points are clear and well-articulated.
• 16 = The paper is o.k., but lacks a definite "oomph" in presentation. The paper is not really persuasive, rather lays out information without active engagement with the ideas by the writer. The points are not very clear and/or not well-articulated.
• 13 = There are serious problems in the presentation of ideas that actually serve to obscure your points, rather than to illuminate them. The paper lacks a coherent focus. The paper is not persuasive and is not effective at simply a presentation of the ideas. The paper is not articulated well.
• 0 = no attempt

4. Mechanics (complete sentences; spelling etc.) 10 8 6 0

• 10= Camera-ready copy that has obviously been proofread, maybe more than once! No typos, grammatical or spelling errors.
• 8= You have a few "problem areas" or spelling mistakes or typos, but not so many that your ideas are being obscured.
• 6 = You have quite a few "problem areas" or spelling mistakes or typos, to a degree that your ideas are being obscured.
• 0 = no attempt (the paper is riddled with grammatical and spelling errors).
• TOTAL SCORE POSSIBLE = 100 points.

(3) Analysis of a work of art (from the nineteenth century!) at the Minneapolis Institute of Arts. An upclose and personal examination of stylistic qualities and their significance in terms of the ideas studied in class. Expected length = 5 pages (10 for grads). Outside research (other than the course text and course notes) is not necessary, but if such outside material is consulted, footnotes and bibliography must be appended to the paper. ***You must choose a work that has not/will not be discussed in class... for that reason, consult with me for a suitable topic***

LEARNER OUTCOME TO BE ASSESSED: Apply critical thinking and visual analysis skills in the assessment of the chosen work of art. Demonstrate competency in the formulation of an argument and the defense of that argument based on data obtained by examination of the work (and other sources, such as an artist biography, etc. if you choose.) If you want to pursue this paper, and are not familiar with the techniques of visual analysis, please see me for a handout that will explain the process.

TASK: Organize and fully develop a visual analysis paper of 5 pages (10 for grads) plus footnotes and bibliography (if deemed necessary). -identification of a major argument or hypothesis (thesis) -organized presentation of information to support thesis -evaluation of chosen work of art and identification and evaluation of important compositional/formal/thematic (etc.) elements of the work. -conclusion that demonstrates that your ideas have been placed within the larger context of the stylistic movement or thematic category to which the work belongs.

CRITERIA: The following criteria apply to this work: -completion of the the paper of the required length with all parts (listed above) present -demonstration of active engagement with ideas and issues pertinent to the thesis -quality of write-up -mechanics (complete sentences; spelling etc.)

SCORING SYSTEM

1. Completion of the paper of the required length with all parts present.

a. identification of a major argument or hypothesis (thesis) 10 8 6 0

b. organized presentation of information to support thesis 10 8 6 0

c. evaluation of chosen work of art and identification and evaluation of important compositional/formal/thematic (etc.) elements of the work. 20 16 12 0

d. conclusion that demonstrates that your ideas have been placed within the larger context of the stylistic movement or thematic category to which the work belongs. 10 8 6 0

• 10 (or 20)= Your thesis is very clear and intelligently expressed; the material is organized in a logical manner; you have carefully and completely evaluated the work of art and examined key compositional, formal, thematic elements; your conclusion is strong.
• 8 (or 16) = Your thesis is fairly clear; the material is fairly well organized; the evaluation of work of art and compositional, formal, thematic elements is present but could be developed more in depth; your conclusion is present but weak.
• 6 (or 12) = Your thesis is not at all clear; the material is not organized effectively; the evaluation of the work of art is incomplete or missing; there is no conclusion. You have not followed directions, and have not "analyzed" the work, but written more of an emotional response paper to it.
• 0 = no attempt

2. Demonstration of active engagement with ideas and issues pertinent to the thesis 20 16 13 0

• 20 = You have developed a "voice" in your paper that indicates your interest in the topic. You have explored issues pertinent to the thesis in a complete and intelligent manner.
• 16 = You have become engaged with the material, but to a lesser extent. You have not developed a "voice" or "opinion". You have explored issues pertinent to the thesis in a cursory or superficial level.
• 13 = You've completed the "basics" of the paper, but it seems as though you're "going through the motions." You have not demonstrated critical thinking or engagement with the topic and/or you have overlooked important issues pertinent to the thesis.
• 0 = no attempt

3. Quality of write-up 20 16 13 0

• 20 = The paper has a "style" that goes along with the "voice" developed above. The paper is persuasive. The points are clear and well-articulated.
• 16 = The paper is o.k., but lacks a definite "oomph" in presentation. The paper is not really persuasive, rather lays out information without active engagement with the ideas by the writer. The points are not very clear and/or not well-articulated.
• 13 = There are serious problems in the presentation of ideas that actually serve to obscure your points, rather than to illuminate them. The paper lacks a coherent focus. The paper is not persuasive and is not effective at simply a presentation of the ideas. The paper is not articulated well.
• 0 = no attempt
• 4. Mechanics (complete sentences; spelling etc.) 10 8 6 0
• 10= Camera-ready copy that has obviously been proofread, maybe more than once! No typos, grammatical or spelling errors.
• 8= You have a few "problem areas" or spelling mistakes or typos, but not so many that your ideas are being obscured.
• 6 = You have quite a few "problem areas" or spelling mistakes or typos, to a degree that your ideas are being obscured.
• 0 = no attempt (the paper is riddled with grammatical and spelling errors).

TOTAL SCORE POSSIBLE = 100 points.

(4) Creative project that involves a writing component. Expected length of written part = 5 pages (10 for grads). While the creative project may be literary or visual, the writing component must be completed in order for credit to be obtained. You may choose one of the options described below or design a project yourself, but in any event, see me before you start.

Ideas:

A. Design a monument to a nineteenth-century artist. In the written component, explain how the monument illustrates elements of the artists personality and/or style by comparing your design to works by the artist in question. Grads will want to complete some outside research in the completion of this project, and will need to append a bibliography of no less than five sources and add footnotes.

B. Examine the issue of censorship in the arts by creating a work of art that you feel would be controversial (show how it would be controversial by comparing it in the written portion to other established controversial works); include in the written portion an analysis of the supposed reception by various groups within society. Is it controversial on political, religious, civic or other grounds? What would be your defense of the work of art? Grads will want to complete some outside research in the completion of this project, and will need to append a bibliography of no less than five sources and add footnotes.

C. Examine the issue of the use of art in advertisements by creating a few advertisements utilizing works of art from the nineteenth-century. In the written component explain how the thematic and stylistic qualities of each work (and its corresponding style period) support the advertisement of a product. You might also want to examine instances where nineteenth-century works of art appear in advertisements in printed or video formats. You might want to address the controversy inherent in this type of exercise and wrestle with the question of if art should be used in advertising at all. Grads will want to complete some outside research in the completion of this project, and will need to append a bibliography of no less than five sources and add footnotes.

D. Design your own assignment, using a creative component and a written, evaluative or explanatory component. See me for approval of your idea before you begin!

LEARNER OUTCOME TO BE ASSESSED: Apply creative and critical thinking skills in the creation and explanation or assessment of a work of art (or "creative enterprise". Demonstrate competency in the formulation of an written component that supplements the creative component.

TASK: Create a work (or small body of work) accompanied by an explanatory written component. Plus footnotes and bibliography (if needed). The written component should include:

• identification of a major argument or hypothesis (thesis)
• organized presentation of information to support thesis
• evaluation of chosen visual materials (and/or research materials)
• conclusion that demonstrates that your ideas have been placed within a larger context

CRITERIA: The following criteria apply to this work:

• completion of a work of art or "creative component"
• completion of the the paper of the required length with all parts (listed above) present
• demonstration of active engagement with ideas and issues pertinent to the work of art.
• quality of write-up / quality of "creative component"
• mechanics (complete sentences; spelling etc.)

SCORING SYSTEM

1. Completion of the creative component. 25 20 13 0

• 25 = the creative component is complete, demonstrates thoughtfulness and is of high quality.
• 20 = the creative component is complete, but seems to not have been thought out carefully. The quality is o.k., but is not aesthetically superior. (Aesthetics here is defined as the matching of the appearance to the stated goals of the project; it does not mean the work must be intrinsically "beautiful")
• 13 = the creative component is unfinished at the due date; or is completed but seems to have been a last minute "rush job". The quality is poor and/or does not match the written goals or purpose.
• 0 = missing/incomplete

2. Completion of a paper of the required length with all parts present.

a. identification of a major argument or hypothesis (thesis) 5 3 1 0

b. organized presentation of information to support thesis 10 8 5 0

c. evaluation of chosen research materials 5 3 1 0

d. conclusion that demonstrates that your ideas have been placed within a larger context 5 3 1 0

• 5 (or 10)= Your thesis is very clear and intelligently expressed; the material is organized in a logical manner; you have carefully and completely evaluated your sources; your conclusion is strong.
• 3 (or 8) = Your thesis is fairly clear; the material is fairly well organized; the evaluation of chosen visual or research materials is present but could be developed more in depth; your conclusion is present but weak.
• 1 (or 5) = Your thesis is not at all clear; the material is not organized effectively; the evaluation of chosen visual or research materials is incomplete or missing; there is no conclusion.
• 0 = no attempt

3. Demonstration of active engagement with ideas and issues pertinent to the thesis 20 16 13 0

• 20 = You have developed a "voice" in your paper (and in your work of art) that indicates your interest in the topic. You have explored issues pertinent to the thesis in a complete and intelligent manner.
• 16 = You have become engaged with the material, but to a lesser extent. You have not developed a "voice" or "opinion". You have explored issues pertinent to the thesis (and/or work of art) in a cursory or superficial level.
• 13 = You've completed the "basics" of the paper, but it seems as though you're "going through the motions." You have not demonstrated critical thinking or engagement with the topic and/or you have overlooked important issues pertinent to the thesis (and/or work of art).
• 0 = no attempt

4. Quality of write-up 20 16 13 0

• 20 = The paper has a "style" that goes along with the "voice" developed above. The paper is persuasive. The points are clear and well-articulated.
• 16 = The paper is o.k., but lacks a definite "oomph" in presentation. The paper is not really persuasive, rather lays out information without active engagement with the ideas by the writer. The points are not very clear and/or not well-articulated.
• 13 = There are serious problems in the presentation of ideas that actually serve to obscure your points, rather than to illuminate them. The paper lacks a coherent focus. The paper is not persuasive and is not effective at simply a presentation of the ideas. The paper is not articulated well.
• 0 = no attempt

5. Mechanics (complete sentences; spelling etc.)10 8 6 0

• 10= Camera-ready copy that has obviously been proofread, maybe more than once! No typos, grammatical or spelling errors.
• 8= You have a few "problem areas" or spelling mistakes or typos, but not so many that your ideas are being obscured.
• 6 = You have quite a few "problem areas" or spelling mistakes or typos, to a degree that your ideas are being obscured.
• 0 = no attempt (the paper is riddled with grammatical and spelling errors).