ARTH 482 ICONOGRAPHY
Dr. Laura Rinaldi Dufresne
Office Hours: Tuesday (McLaurin 102) -Thursday Bancroft 103) 2-3pm by appointment
Email firstname.lastname@example.org; campus phone 2661,
Required Text: Martin Kemp Christ to Coke: How Image Becomes Icon
Recommended Texts: 1. James Hall Dictionary of Subjects & Symbols in Art
- any standard history of art text that includes Non- Western as well as Western Art (Schneider-Adams, Stokstad, Gardner & Jansen)
- Erwin Panofsky, Meaning in the Visual Arts: Collected Essays.
Ch. 1 Iconology & Iconography (1955) exert on website, full article/ book see http://monoskop.org/images/0/0c/Panofsky_Erwin_Meaning_in_the_Visual_Arts.pdf
- Albert Elsen “Images of Gods” in Writings About Art, ed. Carole Gold Calo Prentice Hall: 1993 on website
This seminar is designed to provide a creative format for the exploration of meaning in art. This will be accomplished through research activities, oral presentations, lectures, film, readings and finally designing a symbolic self portrait. The approach will be broad and thematic, so you may wish to consult a standard art history text to understand the chronological and cultural time periods. GLI: This course participates in the Global Learning Initiative by its very nature.”
Course Requirements: 100 points total
Article Review Feb. 18 & 19th 25
Surrealist Presentation March 3, 8, 10 20
In class Mystery Art Work Activity March 22 10
Symbolic Self-Portrait Presentation & Paper April 29 35
Class Discussion of Readings, Activities & Attendance 10
Grading Scale: 94-100% = A; 90-93 = A-; 87-89 = B+; 84-86 = B; 80-83 = B-; 77-79 = C+; 74-76 = C; 70-73 = C-; 67-69 = D+; 64-66 = D; 60-63 = D-; 59 or less = F
- Be respectful of the professor and your fellow students in discussions and conduct
- Be on time & be prepared for class; do not text or use cell phones
- Do not miss class (more than 3 absences = point loss)
· Do see me with any problems or questions
- If you require special accommodations call 323 2233
Calendar – check often! (Subject to change)
|Jan 12/14||Introduction/What is Iconography?
Panofsky & Iconography
|Jan 19/21||Antiquity & Allegory
Th. Reading for discussion of Elsen’s “Images of Gods”
|Jan 26/28||Judeo-Christian Iconography
Face of Buddha
Th: Reading for Discussion: Kemp Ch 1 Christ: True Icon
|Feb 2/4||The Cross & Christian Allegory
Th. Reading for Discussion: Kemp Ch 2 the Cross
|Feb 9/11||The Body
Th. Reading for Discussion: Kemp Ch 3 the Heart
Th. Bring a Photo to class to share – must be of a group of people, either formal or candid
Heroes: Sacred & Secular
Article Review due Th or Fri 2/18 2/19
CVPA Common Hour R119 –Emerging Scholars & Teachers in Art
|Th. Read for Discussion: Kemp Ch 4 The Lion|
|March 1/3||The Symbolists (19th-20th Century)
Th: Surrealists Presentations
|March 8/10||T & Th: Surrealists Presentations
|** March 15/17 Spring Break**
|March 22/24||Art as Icon Tues. Read for Discussion Kemp Ch 5 Mona Lisa
Mystery Art Work – in Class – bring devices!
Th. 24th REQUIRED 11-noon Dr. Elizabeth Paston Bayeux Tapestry Dina’s Place, Digs, GLI cultural event
|March 29/31||Politics & Propaganda
Tues. Nigel Spivey Film How Art Changed the World: Augustus
Th: Reading for Discussion Kemp Ch 6 Che
|April 5/7||Patriotism & Advertising
Th. Read for Discussion: Kemp Ch8 the Flag & Ch 9 Coke: the Bottle
Bring in example of either from media for discussion Th
|Media (Photography, Film, Digital) Th. Read for Discussion Kemp Ch 7 Napalmed and Naked
Bring ex from Media to Discuss Th
|April 19/21||Numbers, Science, Miscellany Th. Read for Discussion
Kemp Ch 10 DNA & Ch 11 E-MC[i]
|April 29th||FINAL PERIOD 11:30am to 2pm Rutledge 127 Presentation of Symbolic Self Portraits and Papers Due
ARTICLE REVIEW Due March 8/9 25 points
Choose an article from a scholarly journal primarily devoted to Iconographic study (meaning) in a work, a series, an artist, etc. It can be from any time period or culture. The article should be at least 4 pages long and from a scholarly journal. Have your article approved by me to make sure it fits the requirement.
Begin with Google Search. J-Stor on Dacus Library’s database system is also an excellent place to start.
Review your article with regard to the “how to” handout attached.
Choose an article that may help you with your final Symbolic Self Portrait Project and Paper dues at the end of class.
Iconographical subjects can be difficult to research, so give yourself plenty of time to locate an article! (see list at end of syllabus)
SURREALIST PRESENTATIONS March 3, 8, 10 20 Points
5-7 minute slide or power point presentation
Typed outline & Bibliography of 3-4 sources needed
- You will choose one work of surrealist art (c.1910 – 60) to interpret for the class.
- Focus on the meaning of one particular work as discovered through research. Do not focus on the artist’s life story too much – keep it relevant to the piece.
- You may use artist’s statement, scholarly works, poetry, literature, plays, dream interpretation & especially psychoanalytic theory popular among these artists (Freud, Adler, Rank, and Jung & Others).
Two students may choose the same artist as long as they focus on different works.
Choose a work that has enough written about it to make a good presentation (museum sites online where the work is located are often the best sources).
Dali Max Ernst Remedios Vara Kahlo?
Klee Arp Joan Miro DortheaTanning
Tanguy Man Ray Leonora Carrington Merit Oppenheim
Magritte Chagall Andre Masson Luis Buñuel
Giacometti DeChirico Valentine Hugo Mark Ryder
Picasso Picabia Kansuke Yamamoto Toyen (Marie Čermínová)
See handout on giving presentations attached.
Mystery Art Work Activity March 22 in class 10 Points
You will be given a print to analyze, along with the following facts:
artist or culture, title & date.
- Begin first with James Hall for clues to decoding your piece.
- Also check Google Scholar
- Research the piece and give a short presentation on its meaning, taking all relevant factors into consideration (culture, religion, location, time period, purpose, etc.)
- See handout on giving presentations attached.
ICONOGRAPHIC RESEARCH PAPER & SYMBOLIC SELF-PORTRAIT
Presentations & Paper due April 29th
35 points (20 paper, 10 artwork 5 presentation)
Requirements & Format:
7-10 minute presentation
1 symbolic self-portrait – any medium
8-10 double spaced, typed research & process paper
Copies of all images discussed
6 sources for bibliography (one must be an old fashioned book)
Research an iconographic system which fascinates you; the labors of Heracles, Viking runes, Egyptian Hieroglyphs, the martyrdom of St. Appolonia, Botticelli’s Primavera, Chartres Cathedral, pure land Buddhism, Tlingit Masks, Mayan jaguars……..in Caravaggio’s case above, the bacchanal, etc.
Create a symbolic self portrait in any medium.
The self portrait must be decipherable according to some symbolic system discussed in class (ex. Classical, Buddhist, prehistoric, Freudian, etc.) or researched by you – just run it by me first!
Immerse yourself in a symbolic language. If Hindu art is your source of inspiration, read everything you can about it – religious books, myths, history, etc. You can choose the symbolic system of a, a culture, a faith, a sect or even an individual. Include in your paper/presentation an analysis of the symbols and their meaning, and why you choose them. Discuss all influences in your piece of which you are consciously aware.
If you do not consider yourself artistic, consider photographs, or a collage or an embroidery, etc. Brain Storm with me. Have fun!
GUIDE LINE FOR FORMAL PRESENTATIONS
- 10 MINUTES IN LENGTH (THIS EQUALS 4-5 PAGES OF DOUBLE SPACED TYPED TEXT)
- PRACTICE READING PAPER ALOUD SEVERAL TIMES – ARE THEIR WORDS YOU HAVE DIFFICULATY PRONOUNCING? WRITE THEM PHONETICALLY IN YOUR TEXT IF NECESSARY. Don’t say in presentation “I don’t know how to pronounce this word”.
- TRY TO READ SLOWLY & CLEARLY
- MAKE EYE CONTACT WITH THE AUDIENCE AS OFTEN AS POSSIBLE
- IF YUOU ARE NERVOUS, JUST READ PAPER. DON’T TRY TO “AD LIB.”
- NOTE ON YOUR PAPER WHEN TO CHANGE IMAGES IN YOUR TEXT
- SUGGESTIONS FOR POWER POINTS:
- FIRST “SLIDE” SHOULD HAVE YOUR PAPER TITLE & YOUR NAME
- GOOD CLEAR IMAGERY AGAINST SIMPLE BACK GROUND (BLACK)
- LIMITED TEXT-DO NOT INCLUDE YOUR ENTIRE PAPER!!!
- IDENTIFICATION OF ALL IMAGES USED
- LOOK AT YOUR IMAGES DURING PRESENTATION – YOU MIGHT HAVE THE WRONG ONE UP! POINT OUT IMPORTANT DETAIL WHEN APPROPRIATE.
- CAN HAVE BIBLIOGRAPHY AT THE END
- ALWAYS CHECKOUT THE ROOM AND ITS TECHNICAL EQUIPMENT AHEAD OF TIME IF AT ALL POSSIBLE TO AVOID PROBLEMS.
- AT THE END OF A PRESENTATION SAY SOMETHING LIKE:
“THANK YOU, ARE THERE ANY QUESTIONS?”
UPDATED: HOW TO REVIEW AN ARTICLE/BOOK
Dr. Laura Rinaldi Dufresne (2009-10)
State Author, Title of article, Journal / Book Title, Date of Publication.
- Demonstrate you understand the Author’s Thesis
- Thesis Statement. Why was this article/book written? Purpose?
State Thesis in One or Two sentences only! Be concise – then elaborate: What are the supporting points/ evidence used to support the thesis?
- How is the article/book structured? Thematic or Chronological subheadings?
- Identify (if any) rhetorical strategies the author uses to persuade the reader – concern for fairness / justice? Appeal to logic, reasoning? A plea to emotions?
- Identify any obvious methodological approach use by the author (hint: what is their background, education, training, career)
Aesthetic/Formal? Cultural/Sociological? Psychological? Historical/biographical? Political (ex. Feminist? Marxist) Iconographic? Groundbreaking? Theoretical? Other?
- Is there an obvious tone to the article? Persuasive? Emotional? Scholarly? Logical? Educational? Detached? Personal? Humorous?
- Who is the intended audience? Students? Colleagues? Artists? Public?
II Was the article successful?
- Once you establish that you understand the author’s thesis (Part I), you can address how successful you believe the author was in proving or persuading you (the reader) regarding his or her thesis.
- Do you agree or disagree in whole or in part with the author’s thesis? Ground your response in sound reasoning, evidence or experience.
- Were there any particularly exciting and memorable observations that you found important or persuasive?
- Keep in Mind
- The articles are often difficult to read. This is not necessarily a fault.
- You are not grading the article on whether it is well written or not – rather, you should focus on the merit of the ideas
- Paraphrase as often as you can. Avoid long quotes.
- Cite all sources properly, even when paraphrasing.
- If presenting review in class – do not read from a highlighted Xerox of the article! Have note cards or written statement.
- Warburg Institute – http://warburg.sas.ac.uk/home/
- Index of Christian Art: – https://ica.princeton.edu/
- Daoist Iconography Project: http://manoa.hawaii.edu/daoist-iconography/
- Dumbarton Oakes (Byzantium and Mayan) – http://www.doaks.org/resources
- Metropolitan Museum of Art – http://www.metmuseum.org/toah/
- ALSO Norma Broude & Mary Garrard Feminism and Art History & The Expanding Discourse 2 books of essays.
A selection of iconography scholars:
Famous, but older…Erwin Panofsky, Fritz Saxl, Wendy Steiner, Aby Warburg, Martin Kemp, Rudolf Wittkower, Millard Meiss, Gertrude Schiller, Ananda K. Coomaraswamy (Buddhism) Donald A. Proulx (pre-Columbian)
Articles (in no particular order)
Avram Kampf “The Interpretation of the Second Commandment” in Writings About Art, ed. Carole Gold Calo Prentice Hall: 1993
Laurie Schneider Adams, “Dreams, Delusions and Art “ in Art and Psychoanalysis, Ch 5, Harper Collins: 1994
Emil Mâle “Medieval Iconography” Spencer’s Readings in Art History v. 1
|Debra Higgs Strickland:||“Antichrist, and the Jews in Medieval Art and Protestant Propaganda”|
|Elina Gertsman:||“Image as Word: Visual Openings, Verbal Imaginings”|
|Nina Rowe:||“Pocket Crucifixions: Jesus, Jews and Ownership in Fourteenth-Century Ivories”|
|Paula Mae Carns:||“Remembering Floire et Blancheflor: Gothic Secular Ivories and the Arts of Memory”|
|Richard A. Leson:||“Heraldry and Identity in the Psalter-Hours of Jeanne of Flanders(Manchester, John Rylands Library,|
The Bayeux Tapestry: New Interpretations, ed. Martin K. Foys, Karen Eileen Overby, and Dan Terkla
By Herbert R. Broderick
Maria Vassilaki, The Painter Angelos and Icon-Painting in Venetian Crete
By Maria Evangelatou
Andrew Ladis, Giotto’s O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel.
Anne Derbes and Mark Sandona, The Usurer’s Heart: Giotto, Enrico Scrovegni, and the Arena Chapel in Padua.
Laura Jacobus, Giotto and the Arena Chapel: Art, Architecture and Experience
By Holly Flora?
Beth Williamson, The Madonna of Humility: Development, Dissemination & Reception, c. 1340-1400
By M. A. Michael?
Haig David-West African Iconography in Contemporary Afro-Cuban Visual Art
Beth Cohen, “From Bowman to Clubman: Herakles and Olympia.” Art Bulletin. 76.4 (1994) 695-715.
Lloyd Llewellyn-Jones. “Herakles re-dressed: gender, clothing and the construction of a Greek hero,” in Herakles and Hercules: exploring a Greco-Roman divinity, edited by L. Rawlings and H. Bowden. Classical Press of Wales, 2005, 51-70.
Jennifer Larson, “Singularity of Herakles,” in Heroes: Mortals and Myths in Ancient Greece, edited by S. Albersmeier. Walters Art Museum, 2009, 31-38.
Eric Shanower, Age of Bronze: A Thousand Ships. Image Comics, 2001. (Selections) graphic novel
Jonathan Burgess, “Achilles’ Heel: The Death of Achilles in Ancient Myth.” Classical Antiquity 14.2 (1995) 217-244.
Ralf von den Hoff, “Odysseus: an Epic Hero with a Human Face,” in Heroes: Mortals and Myths in Ancient Greece, edited by S. Albersmeier. Walters Art Museum, 2009, 57-65.
Gregory Nagy, The Epic Hero: a Companion to Ancient Epic. Edited by J. M. Foley, (http://chs.harvard.edu/publications.sec/online_print_books.ssp). Center for Hellenic Studies, Washington, DC. January, 2006. (Selections)
Misc Greek Heroes/Themes
- A. Shapiro, “Theseus: Aspects of the Hero in Archaic Greece,” in New Perspectives in Early Greek Art, edited by. D. Buitron-Oliver. National Gallery of Art, 1991, 123-140.
Hans-Joachim Gehrke, “Myth, History, and Collective Identity: Uses of the Past in Ancient Greece and Beyond,” in The Historian’s Craft in the …
Andrew Stewart, “A Hero’s Quest: Narrative and the Telephos Frieze,” in Pergamon: the Telephos Frieze from the Great Altar, edited by R. Dreyfus and E. Schraudolph. Fine Arts Museum of California, 1996, 39-52.
Volkner Kästner, “Myth of Telephos in Pergamon,” in Pergamon: the Telephos Frieze from the Great Alta
Females Heroes in Ancient Greece Reading:
Deborah Lyons, Gender and Immortality: Heroines in Ancient Greek Myth and Cult. Princeton University Press, 1996. (Selections)
- A. Shapiro, “Helen: Heroine of Cult, Heroine in Art,” in Heroes: Mortals and Myths in Ancient Greece, edited by S. Albersmeier. Walters Art Museum, 2009, 349-46..
King Arthur and the Knights of Camelot :
Muriel Whitaker. The Legends of King Arthur in Art. D. S. Brewer, 1990. (Selections)
Selections from Beowulf Leo Carruthers, “Kingship and Heroism in Beowulf,” in Heroes and Heroines in Medieval English Literature, edited by L. Carruthers. D. S. Brewer, 1994, 19-29.
- R. R. Tolkein, “Beowulf: The Monsters and Critics.” Proceedings of the British Academy 22 (1936) 245-295.
St. George and the Dragon Reading:
Samantha Riches, St. George: Hero, Martyr, and Myth. Sutton, 2000. (Selections)
David Reading: Selections from the Bible Antonio Paolucci and Aurelio Amendola,
Michelangelo’s David. Royal Academy Books, 2006. (Selections)
Andrew Butterfield. “New Evidence for the Iconography of David in Quattrocento Florence,” I Tatti Studies in the Italian Renaissance 6 (1995) 115-133.
The Modern Hero and Tales of Adventure: The Princess Bride and Star Wars Reading:
Joseph Campbell, The Hero with a Thousand Faces. 3rd edition. New World Library, 2008. (Selections)
The Modern Superhero Reading:
Tom Morris and Matt Morris, eds. Superheroes and Philosophy: Truth, Justice, and the Socratic Way. Open Court, 2005. (Selections)
Hal Blythe and Charlie Sweet, “Superhero: The Six Step Progression,” in The Hero in Transition, edited by R. Browne and M Fishwick. Bowling Green University Press, 1983, 180-187.
E.R. Leach, Magical Hair. The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol.88(2): 147-164.
- R. Hallpike, Social Hair, Man, New Series, 4(2):256-264 (Jun., 1969)
Alice Samson and BridgetWaller,Not Growling but Smiling.Current’Anthropology Volume51, Number 3, June2010
Jeanette Marie Mageo, Hairdos and Don’ts: Hair Symbolism and Sexual History in Samoa, Man, New Series, Vol. 29, No. 2 (Jun., 1994), pp. 407-432
- Hershman, Hair, Sex, and Dirt. Man, New Series, Vol. 9, No. 2 (Jun., 1974), pp. 274-298
Carol Delaney, Untangling the Meanings of Hair in Turkish Society. Anthropological Quarterly, Vol. 67, No. 4 (Oct., 1994), pp. 159-172