1. By 9/9/09: Pick a work (first come, first served)
I have placed images of different works of art in a folder entitled "Images for project" in the ARTH 231 folder on ARTstor. I am asking you to pick one of these works as the focus of your semester-long project. You should let me know by email, and also tell me the initials of your ARTstor folder. This is first come, first served: once you pick a work, I will move it to your "student folder," and it will be unavailable for other students to choose.2. By 10/9/09: Constructing visual contexts
After you pick your work, you should examine it closely a number of times, and also read about your artist and related artists in your textbook or elsewhere. Based on this visual and textual research, you should then pick a minimum of 6 comparative works (at least two by your artist, and at least two by other artists), and place them in your ARTstor folder. These choices must include:
- at least one work by the same artist that you believe shows strong stylistic similarities to your work
- at least one work by the same artist that you believe shows significant stylistic differences
- at least two works by other artist(s) who you believe to be related in some fashion to your artist ((i.e., artists who worked at around the same time and place as your artist, who may have had some influence on your artist, or who may have been influenced by your artist)
- at least two works that feature striking similarities in subject matter to your work
The nature of the comparative works you choose will depend entirely on your work, but they should all be from the late 14th through the mid 16th centuries. I expect, as well, that all or most of these comparative works will be from north of the Alps. You should choose works that you believe will, by their similarities or differences to the work you are studying, help the viewer to understand (1) how it is related visually to other works by the same artist, or works by related artists; and (2) the nature of the work's subject matter, and the kind of meaning it conveys.
Once you have placed the comparative works in your folder, I will take a look at them, make suggestions, and perhaps even add a work or two for your consideration.
3. By 11/13/09: Analyzing visual contexts
After having a chance to digest my feedback and, if necessary, adjust your choices for comparative works, you should hand in the following:a. Write your own list of what you believe to be the most important stylistic features (i.e., the most important features of the work's appearance or technique) and iconographical features (i.e., subject matter and symbolism) of your work. List at least 4 features in each one of these categories. You should describe and explain each one of these features as specifically as possible.
b. For each one of the comparative works you have chosen, write an brief explanation of why you chose this work, and what it can tell us about the art-historical context for your work. For example, what does this comparison appear to say about the place of your work's style and iconography within the context of the artist's other works? related artists' works? the regional production from which your artist stems?
4. By 12/11/09: Cultural and Biographical contexts
Throughout the semester we will be building a visual understanding of the works we will be studying in class, and also relating them to contemporary social, political, and economic developments (social history), as well as important events or actions in the lives of the work's artist or patron (if known) (biography). This part of the project is intended to give you a chance to gather the kinds of information that one might use to build a similar understanding of your work. You should hand in the following:a. a list of what you believe to be the most important social, economic, religious, and political developments that occurred around the time your work was created. In choosing what to put on your list, you should consider which of these developments might have had a direct impact on what you can see in the work. The list need not be long (no more than one page), but for each item on the list, but you should cite the sources of your information.
b. a list of those events in the lives of the artist or patron (if known) that might have had a direct impact on the work's existence or appearance. Again, the list need not be long (no more than one page, but for each item on the list, but you should cite the sources of your information.
c. a brief narrative (one to two pages) that explains your view of how your work might have been related to, or affected by, the events you have listed above.
d. a brief bibliography of at least five sources (no more than two of them web-based sources) that you have consulted during your work on the project.