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I. ART
FUNDAMENTALS*
20%
A.
Elements of Art*
1. Line*
2. Shape/form*
3. Space*
4. Color*
5. Texture*
B. Principles of Composition*
1. Rhythm/movement/pattern*
2. Balance*
3. Contrast/emphasis/variety*
4. Proportion*
5. Unity*
C. Processes and Techniques*
1. Drawing*
a) Traditional and contemporary purposes*
b) Media, tools, and surfaces used*
c) Techniques used in drawing*
2. Painting*
a) Traditional and contemporary purposes*
b) Media, tools, and surfaces used*
c) How changing technology has changed painting*
3. Printmaking*
a) Traditional and contemporary purposes*
b) Media, tools, and surfaces used*
c) Types of relief printing*
d) Intaglio processes*
e) Lithographic processes*
f) Screen printing processes*
4. Sculpture*
a) Traditional and contemporary purposes*
b) Media, tools, and surfaces used*
c) Techniques used in sculpting*
5. Textiles*
a) Uses*
b) Range of materials and processes*
c) Impact of geography/environment on materials and
uses*
6. Photography*
a) Traditional and contemporary techniques*
b) Effect on painting*
7. Architecture*
a) Techniques*
b) Materials*
c) Purposes*
8. Environmental Art*
a) Purposes*
b) Departures from traditional art forms*
II. TRADITIONS
AND INNOVATIONS IN PAINTING 20%
A. Overview
of Traditions and Innovations in Painting
1. Artistic education in nineteenth-century America
a) Art academies
b) Travel and artistic training
c) Informal training
2. Genres: influences and innovations
a) History painting
b) Portraiture
c) Landscape
d) Genre scenes
B. Selected Works
1. Selected Artwork:
John Singleton Copley,
Watson and the Shark, 1778 (NGA)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
2. Selected Artwork:
George Caleb Bingham,
Mississippi Boatman, 1850 (NGA)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
3. Selected Artwork:
George Inness,
The Lackawanna Valley, c. 1856 (NGA)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
4. Selected Artwork:
Winslow Homer,
A Visit from the Old Mistress, 1876 (SAAM)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
5. Selected Artwork:
Mary Cassatt,
The Boating Party, 1893/94 (NGA)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
III.
MEMORIALIZING THE CIVIL WAR
10%
A. Overview of Memorials to the Civil War
1. Memorials and
monuments: historical traditions
a) Ancient Roman monuments
b) European monuments
c) American monuments
2. Functions of memorials
a) Glorification
b) Remembrance
c) Mourning and healing
3. Memorials and the Civil War
a) Monuments to important individuals
b) Monuments to important events
c) Battlefields
B. Selected Works
1. Selected Artwork:
Augustus Saint-Gaudens,
Shaw Memorial, 1897/1900 (image on loan to NGA)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
2. Selected Artwork:
Henry Bacon (architect) and Daniel Chester French (sculptor),
Abraham Lincoln at the Lincoln Memorial, 1914–1922 (NOTE: The
photo of the statue of Lincoln at the Lincoln Memorial that appears in
USAD's Art Reproductions Booklet and on the Art Images CD
is not available online. The link provided here is to a different photo
of the same statue.)
a) Artists' biographies
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
3. Selected Artwork:
Gutzon Borglum, Augustus Lukeman, Walker Hancock, and Ray Faulkner,
Stone Mountain Memorial to the Confederacy, 1916–1970 (NOTE: The
photo of the Stone Mountain Memorial to the Confederacy that
appears in USAD's Art Reproductions Booklet and on the Art
Images CD is not available online. The link provided here is to a
different photo of the same memorial.)
a) Artists' biographies
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
IV. PHOTOGRAPHY
AND DOCUMENTATION 20%
A. Overview
of Photography in the Nineteenth-Century
1. Development
of photographic techniques
a) Daguerreotypes and tintypes
(1) Overview
(2) Materials and techniques
(3) Advantages and challenges
b) Glass plate photography
(1) Overview
(2) Materials and techniques
(3) Advantages and challenges
2. Impact of photography
a) Portraiture
b) Documentation of the Civil War
c) Documentation of the landscape (post-Civil War
era)
B. Selected Works
1. Selected Artwork:
Unidentified artist, Frederick Douglass, 1856 (NPG)†
a) Biography of the sitter (photographer unknown)
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
2. Selected Artwork:
Studio of Mathew Brady,
The Sick Soldier, c. 1863 (SAAM)
a) Biography of Mathew Brady and overview of his
studio
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
3. Selected Artwork:
Timothy H. O'Sullivan,
Cañon de Chelle, Walls of the Grand Cañon about 1200 Feet in Height
(Wheeler Survey), 1873 (SAAM)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
C. Independent Research
Topic: Winslow Homer's Documentation of the Civil War in the
Popular Press*
D. Independent Research
Topic: Art and the Abolitionist Movement*
V.
AFRICAN-AMERICAN
ART
15%
A. Overview
of African-American Art in the Nineteenth Century
1. Historical
context of African-American art production
a) Art production and the institution of slavery
b) Informal training
c) Academic training
2. The African presence in African-American Art
a) Ironwork
b) Pottery
c) Basket weaving
d) Quilting and other textile traditions
e) Other examples of survivals and retentions
B. Selected Works
1.
Selected Artwork: Joshua
Johnson,
The Westwood Children, c. 1807 (NGA)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
2.
Selected Artwork: David
Drake,
Alkaline Glazed Stoneware Jar, 1862 (NMAH) (NOTE: The photo of
the Alkaline Glazed Stoneware Jar that appears in USAD's Art
Reproductions Booklet and on the Art Images CD is not
available online. The link provided here is to a different photo of the
same jar.)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
3. Selected Artwork:
Harriet Powers,
Bible Quilt, c. 1886 (NMAH)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
4. Selected Artwork:
Henry Ossawa Tanner,
The Seine, c. 1902 (NGA)
a) Artist biography
b) Visual analysis
c) Materials and techniques
d) Historical context
e) Significance
VI.
ARCHITECTURE
15%
A. Overview
of Architecture in the Nineteenth Century
1. Traditions
and innovations
a) Classical influences
b) Gothic influences
c) Eclectic influences
2. Building types
a) Civic architecture
b) Ecclesiastical architecture
c) Domestic architecture
B. Selected Works (Domestic Architecture)
1.
Selected Artwork:
Oak Alley Plantation, Louisiana, 1837–39
a) Patron biography
b) Architect (believed to be Gilbert Joseph Pilié)
biography
c) Visual analysis
d) Materials and techniques
e) Historical context
f) Significance
2.
Selected Artwork: Alexander
Jackson Davis (architect),
Lyndhurst for George Merritt, Tarrytown, New York (west [rear] elevation
and plan), 1865 (MMA)
a) Patron biography
b) Architect biography
c) Materials and techniques
d) Historical context
e) Significance
3. Selected Artwork:
Shotgun House, New Orleans, nineteenth century
a) Visual analysis
b) Materials and techniques
c) Historical context
d) Significance
* Topics with an asterisk are
topics that students will need to research independently. Information on
these research topics can be found in most general art history
textbooks, in USAD's Art Basic
Guide, in encyclopedias, and on the Internet.
†Unfortunately, USAD is unable to provide a direct hyperlink to
the portrait of Frederick Douglass. Students can access an online image
of this work via the “Advanced
NPG Portrait Search” feature on the National Portrait Gallery’s
website. The most direct way to access the Douglas portrait is to type
in the reference number for the work—NPG.74.75—in the last box listed,
and click the “search” button.
NOTE: For many of the selected
artworks, the museum where the work is located has been indicated in
parentheses. NGA = National Gallery of Art; SAAM = Smithsonian American
Art Museum; NPG = National Portrait Gallery; NMAH = National Museum of
American History; MMA = Metropolitan Museum of Art. The memorials and
works of architecture are located in situ. However, an image of the Shaw
Memorial is currently on loan to the NGA.
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