The goal of this unit is to introduce students to the basic elements of art (color, line, shape, form, and texture) and to show students how artists use these elements in different ways in their work. In the unit, students will answer questions as they look carefully at paintings and sculpture to identify the elements and analyze how they are used by different artists.

" This course will study the question of Global Architecture from the point of view of producing a set of lectures on that subject. The course will be run in the form of a writing seminar, except that students will be asked to prepare for the final class an hour-long lecture for an undergraduate survey course. During the semester, students will study the debates about where to locate "the global" and do some comparative analysis of various textbooks. The topic of the final lecture will be worked on during the semester. For that lecture, students will be asked to identify the themes of the survey course, and hand in the bibliography and reading list for their lecture."

This book contains all of Smarthistory’s content for the Ancient Aegean, including Cycladic, Minoan, and Mycenaean art.

Table of Contents
Part I. Cycladic

1. Male Harp Player from Keros
2. Frescoes from Akrotiri, Thera
Part II. Minoan

3. The Palace at Knossos (Crete)
4. Kamares Ware Jug - a classic example
5. Snake Goddess from the palace at Knossos
6. Bull's Head Rhyton from the palace at Knossos
7. Harvester Vase from Hagia Triada
8. Octopus Vase from Palaikastro
9. Statuette of a Male Figure (The Palaikastro Kouros)
10. Hagia Triada sarcophagus
11. Bull-leaping fresco from the palace of Knossos
12. Minoan woman or goddess from the palace of Knossos ("La Parisienne")
Part III. Mycenean Art

13. The "Palace" and Grave Circle A
14. Mask of Agamemnon
15. The Treasury of Atreus
16. Lion Gate, Mycenae

This book contains all of Smarthistory’s content for the Ancient Etruscan art.

Table of Contents
Part I. Etruscan art

1. The Etruscans, an introduction
2. Bucchero, a black, burnished ceramic ware
3. Temple of Minerva and the sculpture of Apollo (Veii)
4. Apulu (Apollo of Veii)
5. Sarcophagus of the Spouses (Louvre)
6. Sarcophagus of the Spouses (Rome)
7. Sarcophagus of the Spouses (Rome)
8. Tomb of the Triclinium, Tarquinia
9. The Francois Tomb, Vulci
10. Tomb of the Reliefs, Cerveteri
11. The Chimera of Arezzo
12. Bronze Mars of Todi
13. Aule Metele (Arringatore)

This book contains all of Smarthistory’s content for Ancient Greek art.

Table of Contents
Part I. A beginner's guide
Part II. Pottery
Part III. Daedalic and Archaic
Part IV. Early Classical
Part V. Classical
Part VI. Late Classical
Part VII. Hellenistic

This book contains all of Smarthistory’s content for Sumerian, Akkadian, Neo-Sumerian / Ur III, Babylonian, Assyrian and Persian art.

Table of Contents
Part I. Sumerian

1. Sumer, an introduction
2. White Temple and ziggurat, Uruk
3. Archaeological reconstructions
4. A precious artifact from Sumer, the Warka Vase
5. Standing Male Worshipper (Tell Asmar)
6. Perforated Relief of Ur-Nanshe
7. Signing with a cylinder seal
8. War, peace, and the Standard of Ur
Part II. Akkadian

9. Akkad, an introduction
10. Victory Stele of Naram-Sin
Part III. Neo-Sumerian/Ur III

11. Seated Gudea holding temple plan
12. King Ur-Nammu's Ziggurat of Ur
Part IV. Babylonian

13. Visiting Babylon today
14. Law Code Stele of King Hammurabi
15. Law Code Stele of King Hammurabi
16. The Ishtar Gate and Neo-Babylonian art
17. Ishtar Gate and Neo-Babylonian art
18. Kassite art: Unfinished Kudurru
Part V. Assyrian

19. Assyria, an introduction
20. Lamassu from the citadel of Sargon II
21. Ashurbanipal Hunting Lions
Part VI. Persian

22. Ancient Persia, an introduction
23. Capital of a column from the audience hall of the palace of Darius I, Susa
24. Persepolis: The Audience Hall of Darius and Xerxes

The “Beginner’s guide” introduces foundational concepts, such as the chronology of Byzantine history, sacred imagery, and wearable objects. Subsequent sections are arranged chronologically, covering the Early Byzantine period (c. 330–700), the Iconoclastic Controversy (c. 700s–843), the Middle Byzantine period (843–1204), the Latin Empire (c. 1204–1261), and the Late Byzantine period (c. 1261–1453) and beyond.

These sections include thematic essays on Byzantine art and architecture, essays that focus on key works (subtitled artworks in focus or architecture in focus), and essays that explore Byzantium’s relationships with other cultures (subtitled cross-cultural perspectives). Finally, we have included questions for study or discussion to encourage teachers, students, and other readers to engage with videos and other content on the Smarthistory website which could not be included in this book format but which we believe richly compliments what is presented here.

About the Book
The “Beginner’s guide” introduces foundational concepts, such as the chronology of Byzantine history, sacred imagery, and wearable objects. Subsequent sections are arranged chronologically, covering the Early Byzantine period (c. 330–700), the Iconoclastic Controversy (c. 700s–843), the Middle Byzantine period (843–1204), the Latin Empire (c. 1204–1261), and the Late Byzantine period (c. 1261–1453) and beyond.

These sections include thematic essays on Byzantine art and architecture, essays that focus on key works (subtitled artworks in focus or architecture in focus), and essays that explore Byzantium’s relationships with other cultures (subtitled cross-cultural perspectives). Finally, we have included questions for study or discussion to encourage teachers, students, and other readers to engage with videos and other content on the Smarthistory website which could not be included in this book format but which we believe richly compliments what is presented here.

Table of Contents
I. A beginner's guide
II. Early Byzantine art and architecture, c. 330-700 C.E.
III. The Iconoclastic Controversy, c. 700s-843 C.E.
IV. Middle Byzantine art and architecture, c. 843-1204 C.E.
V. The Latin Empire, c. 1204–1261 C.E.
VI. Late Byzantine Art and Architecture, c. 1261–1453 C.E.

This book contains all of Smarthistory’s content for Italian art in the 1300s.

Table of Contents
Part I. A Beginner's Guide
Part II. Florence
Part III. Siena
Part IV. Pisa, Pistoia, Rome

This book contains all of Smarthistory’s content for Italian art in the 1400s.

Table of Contents
Part I. A Beginner's Guide
Part II. Central Italy: Painting
Part III. Central Italy: Sculpture and Architecture
Part IV. Northern Italy: Venice, Ferrara and the Marches

This course is designed in the tightly controlled space between (national) security and (civil) liberty, student projects, guest presentations, readings and workshop discussions will attempt to develop positive answers to these questions. More specifically, the course will focus on the psychological, economical and political conditions of those who are marginalized and therefore deprived of parrhesia today: the silent victims and witnesses of any kind of social and cultural exclusions. "Parrhesia" was an Athenian right to frank and open speaking, the right that, like the First Amendment, demands a "fearless speaker" who must challenge political powers with criticism and unsolicited advice. Can designer and artist respond today to such a democratic call and demand? Is it possible to do so despite the (increasing) restrictions imposed on our liberties today? Can the designer or public artist operate as a proactive "parrhesiatic" agent and contribute to the protection, development and dissemination of "fearless speaking" in Public Space.

In this course, we will study the history of Western art, beginning with the first objects created by prehistoric humans around 20,000 years ago and ending with the art and architecture of the High Gothic period in fourteenth-century Europe. The information presented in this course will provide you with the tools to recognize important works of art and historical styles, as well as to understand the historical context and cultural developments of Western art history through the end of the medieval period. Upon successful completion of this course, student will be able to: demonstrate an understanding of the general arc of the history of the Western world, from Prehistory through the end of the medieval period; identify the major historical events in Western history and the roles of various religious and political leaders in these events; demonstrate an understanding of the vital role that imagery played as various cultures have sought to perpetuate religious, political, and cultural ideologies; understand the relationships between various cultures over timeĺÎĺĚ_ĺÜhow cultures build on the traditions of older cultures to create something new; identify the major stylistic developments in Western art from Prehistory through the end of the Medieval period; discuss the different techniques used by Western artists from the Prehistoric through the Medieval periods and understand which techniques were favored by which cultures; demonstrate an understanding of how technological developments over the course of history changed the appearance, function, and reception of works of art; identify the culture and art-historical period in which works of art were created, based on an understanding of distinctive stylistic features; demonstrate an understanding of how cultures coexisting in different geographical regions related to one another, and how artistic styles were transmitted from one region to another; identify specific monuments and be able to provide basic identifying information: title, date, location, artists, patrons, and art-historical period (i.e. Prehistoric, Egyptian, Ancient Near East, Gothic, etc). (Art History 110)

In this course, we will study important movements and some influential artists in Western art history. It begins with the Proto-Renaissance in Italy in the 13th century and continues through to the late 20th century, providing a framework for considering how and why certain artistic movements emerged in certain places at certain times. Upon successful completion of this course, student will be able to: identify the major styles of works of art in the West from the Italian proto-Renaissance through contemporary art; explain how political, social, and religious ideas inform art styles and images; explain prevalent artistic and architectural techniques developed through the period covered; eiscuss formal aspects of works of art in terminology basic to the field; recognize important artworks and describe them in terms of their form, content, and general history of their creation. (Art HIstory 111)

The student will focus on becoming literate in the art of the Italian Renaissance, on identifying the effects that the Renaissance had on the arts of Italy, and discovering the ways in which specific historical developments impacted those arts from the end of the thirteenth century to the end of the sixteenth century. The Renaissance, a European phenomenon that began to develop in the late thirteenth century, refers to a marked shift in the ways in which individuals perceived their world. A new outlook was emerging that was characterized by, among other things, increased humanism and a renewed interest in the cultures of Classical Antiquity (and all within a Christian framework). There is no specific date that marks the beginning of the Renaissance, but its burgeoning effects on art can be detected earlier in Italy than in other areas. Upon successful completion of this course, the student will be able to: Define the term Renaissance and identify its modes of expression in the art of Italy; Place the major artistic developments of Italian Renaissance art along a timeline and characterize the art of different periods within the Renaissance; Situate different artists, artworks, and artistic practices within their respective regions or cities; Explain how specific historical contexts, events, and figures affected Italian Renaissance art; Describe specificities in interests and style as they apply to the work of important artists of the Renaissance; Recognize important artworks and describe them in terms of their form, content, and general history of their creation; Explain the role of art and artists during the Renaissance in Italy; Discuss specific artistic techniques used during the Renaissance in Italy. (Art History 206)

In this course, you will study the various artistic movements that comprise 19th- and 20th-century modern art. You will examine several dozen artists, all of whom helped define their respective artistic styles and eras through their innovative approaches to representation, artistic space, and the role of the artist in society. Each unit will cover a significant period in the history of modern art and explore the ways in which both the principal figures from each period and the corresponding movements challenged the limits of art through the incorporation of modern life, as each artist addresses the political, philosophical, and personal implications of ĺÎĺ_ĺĚĄ_modernityĺÎĺ_ĺĚĺÎĺ and how it relates to the production of artwork.

Subject engages a dialogue with architecture and urbanism from the perspective of the visual artist. Ideas investigated thematically from early modernist practices to the most recent examples of contemporary production. Art making as an adjunct to the design process is challenged by both synthetic and critical models of production. Visual art practice is examined as a conceptual prologue to architectural and urbanistic thinking, as an integrated part of the design process, and as a critical epilogue. Lectures and discussions lead to the development of realized projects to be coordinated with architectural studio. This seminar engages in the notion of space from various points of departure. The goal is first of all to engage in the term and secondly to examine possibilities of art, architecture within urban settings in order to produce what is your interpretation of space.

This book contains all of Smarthistory’s content for the Ancient Aegean, including Cycladic, Minoan, and Mycenaean art.