ARTH-3573 FALL 18 GUIDELINES FOR MIDTERM

Transcription

1 ARTH-3573 FALL 18 GUIDELINES FOR MIDTERM Midterm will be on Wednesday, October 3rd in HSS 1047 from 2-3:50pm. The midterm could cover anything in the course thus far, which means Early Writing Systems through (and including) Art Nouveau. Sources include any textbook readings, lectures, or required online links. MIDTERM PART 1 30 minutes: 50 Multiple Choice Questions: 50 multiple-choice questions that will be pulled from quizzes. Please read question carefully as a question might be slightly reworded. No books or notes allowed. These answers will be collected. Then we will proceed to the next part of the midterm. For the following two sections, ONE flat double-sided normal (8.5in x 11in) piece of paper of your own notes is allowed. It must be tangible. You may tape images on to the sheet, but nothing can be written underneath the images. You may not layer any attachments to increase real estate. No magnifying instruments or electronic devices allowed. If I see any phones, tablets, laptops, etc., I will collect your test and fail you for the entire midterm. I will collect your notes sheet at the end of the midterm, so be sure your name is on it. MIDTERM PART 2A 30 minutes: Image Identification and Essay #1 MIDTERM PART 2B 30 minutes: Image Identification and Essay #2 For each of the above, one image will be displayed on the screen. Numbered questions will be listed to help you to create a comprehensive essay (see example on following page). Individual images will cover something in regards to at least one the following. How they relate to each other requires application of your critical thinking skills. The evolution (how any why) of writing systems from pictographic symbols to one of phonetic symbols. The construction, purpose, and regional styles of illuminated manuscripts in Europe during the medieval era. The invention of the printing press and its independent, movable, reusable type: specifically its effect on civilization. The Arts and Crafts Movement in reaction to the Industrial Revolution and its affects on both product and artist. Description of Art Nouveau s style and ideology, plus why and how it became an expression of La Belle Époque. See the following pages to see exactly what will be provided for this. Five additional blank pages follow for student to write answers. Student should attempt to fill all pages with information. Another set of these exact pages would follow for Part 2B of the midterm. Black or blue pen is preferred vs. pencil. Because all sheets of test will be doublesided, student use a blue or black pen that does not bleed through paper to the other side. Pencils are allowed only if marks made are dark. If writing is too light, I will count it as incorrect due to illegibility.

2 ARTH-3573 FALL 18 MIDTERM Part 2A Name For each of the following: Answer all of the questions thoroughly. To signify which question you are answering, simply write the number next to your answer to relates to the question you are answering. Please write legibly. If I cannot read your writing, I will count it as an incorrect answer. 1. Identify the image, per what is listed on the Image Study Guide. The title of the piece. Artist(s) name(s) if available. Year(s) or time period the piece was created. Material of presented form. 2. When was this artwork created? Supply any information about how this affected the creation of the piece or how this influenced others at this time or in the future. 3. Where was this artwork created? Supply any information about how this affected the creation of the piece or how this influenced others in the area. 4. If known, who created this artwork and why did they create it? Did the artist(s) create other work that influenced or was influenced by this piece? Did this person s occupation and/or religious or political beliefs affect the artwork s creation? 5. Are there any more points you would like to make that were not stated above that further explain why this piece is important to study in the history of graphic design? 1. (<< Write that number clearly.) List the image information. You can use the bullet points as shown or write it in one line separated by commas. 2. (<< Write that number clearly.)write about the number 2 question. There is no maximum amount of space, but probably at least one full page of information would be ideal. 3. (<< Write that number clearly.) Write about the number 3 question. There is no maximum amount of space, but at least one full page of information would be ideal. 4. (<< Write that number clearly.) Write about the number 4 question. There is no maximum amount of space, but at least one full page of information would be ideal. 5. (<< Write that number clearly.) Depending on how clearly you explained everything in the previous questions, you may only need a sentence or two here OR you may need another full page. It might be that there is important information about the piece, like influential artists or movements not fully explained above, that isn t quite answered in questions 2-4.

3 ARTH-3573 FALL 18 IMAGE STUDY GUIDE Cuneiform Tablet from Umma, c BCE; Clay Stele Bearing the Code of Hammurabi, BCE; Basalt Volcanic Rock Hittite Stamp-Cylinder Seal, The Tyszkiewicz seal, BCE; Hematite handle on cylinder of intaglio gem Detail from the Papyrus of Hunefer, c BCE; Papyrus Four-Handled Vessel with Chinwen Inscription, 11th century BCE; Bronze Etruscan Bucchero Vase, 7th or 6th century BCE; Terracotta The Pyrgi Lamellae: Phoenician & Etruscan Panels, c. 500 BCE; Gold The Persians, Timotheus, 4th century BCE; Papyrus The Rosetta Stone, c BCE; Granite Carved Inscription from Base of Trajan s Column, c. 114 CE; Marble The Vatican Vergil, The Death of Laocoön, early 5th century; Parchment The Book of Durrow, Gospel of St. Matthew, Page in Opening Spread, 680 CE; Parchment The Lindisfarne Gospels, Carpet Page Facing the Opening of St. Matthew, 698; Parchment The Book of Kells, Chi Rho Page, ; Parchment The Book of Kells, Text Page with Ornamental Initials, c ; Parchment The Book of Kells, Symbols for Authors of the Four Gospels, c ; Parchment Coronation Gospels, Gospel of St. Mark, Opening Pages, c. 800; Parchment Douce Apocalypse, 1265; Parchment January and February Pages from Les Tres Riches Heures du Duc de Berry, The Limbourg Brothers, ; Parchment Woodblock Print of St. Christopher, 1423; Wood The Gutenberg Bible, Johann Gutenberg, (page spreads shown in book or lecture); Most Ink on, some printed with Ink on Parchment Illustration from Der Ackerman aus Bohmen (Death and the Ploughman), 2nd Edition, Albrecht Pfister (Printer), c. 1463; Ink on Pages from The Canterbury Tales, William Caxton, 1477; Ink on Page from Calendarium by Regiomontanus, Erhard Ratdolt, Peter Loeslein, and Bernhard Maler, 1476; Ink on Anton Koberger, pages from Nuremberg Chronicle, 1493; Ink on 1

4 The Four Horsemen of the Apocalypse, Albrecht Dürer, 1498; Ink (from woodcut) on Illustrated Spread from Hypnerotomachia Poliphili, Aldus Manutius, 1499; Ink on Pages from Underweisung der Messung, Albrecht Dürer, 1525 (page with his monogram); Ink on Pages from Champ Fleury, constructions of the letters Q, V, and R, Geoffrey Tory, 1529; Ink on Page from De Humani Corporis Fabrica, Johann Oporinus (printer), 1543; Ink on Master Alphabets for Romain du Roi, Louis Simonneu, 1695; Ink on Portrait of a Courtesan, Kitagawa Utamaro, late 1700s; Ink (from woodcut) on Title Spread for Manuel Typographique, Pierre Simon Fournier le Jeune, 1768; Ink on Chart No. 1 A Letter On Our Agricultural Distresses, William Playfair,1822; Ink on Photo Etching of an Engraving of Cardinal Georges D Amboise, Joseph Niépce, c. 1827; Photoetching of an Engraving Paris Boulevard Daguerrotype, Louis Jacques Daguerre, 1839; Daguerrotype Sarah Bernhardt, Photograph, F.T. Nader, 1859; Photograph Freedmen on the Canal Bank at Richmond, Photograph attributed to Mathew Brady, 1865; Photograph Freedmen on the Canal Bank at Richmond, Wood Engraving by John Macdonald, After 1865: Wood Engraving (Ink on ) Hoe Printing Press Poster, Forst, Averell & Co, 1870; Ink on Cirque d Hiver Poster, Morris Père et Fils (Letterpress Printers) and Emile Levy (Lithographer), 1872; Ink on Orphée aux Enfers Orpheus in Hades Poster, Jules Chéret, 1879; Ink on Title Page for Wren s City Churches, Arthur H. Mackmurdo, 1883; Ink on Trademark for the Century Guild, Arthur H. Mackmurdo, 1884; Ink on Century Guild Hobby Horse Title Page, Selwyn Image, 1884; Ink on La Goulue au Moulin Rouge Poster, Henri de Toulouse-Lautrec, 1891; Ink on Kelmscott Press Trademark, William Morris, 1892; Ink on First Cover for The Studio, Aubrey Beardsley,1893; Ink on Sarah Bernhardt as Joan of Arc Poster, Eugene Grasset, 1894; Ink on

5 Gismonda poster, Alphonse Mucha, 1894; Ink on The Chap Book Cover, Will Bradley, 1895; Ink on The Works of Geoffrey Chaucer Title Page Spread, William Morris, 1896; Ink on Jugend Cover, Otto Eckmann, 1896; Ink on Tournée du Chat Noir de Rodolphe Salis Poster, Théophile Alexandre Steinlen, 1896; Ink on Job Cigarettes Poster, Alphonse Mucha, 1898; Ink on Tropon Food Concentrate Poster, Henri van de Velde, 1899; Ink on Pages from Doves Press Bible, T.J. Cobden-Sanderson and Emery Walker, 1903; Ink on Lucien and Esther Pissarro, pages from Ishtar s Descent to the Nether World, 1903; Ink on