ARTH 260 * Introduction to Art History * Professor Sarah Benson * Spring 2005

schedule | requirements | PDF

Unit 1: week 1 | week 2 | week 3 | week 4
Unit 2: week 5 | week 6 | week 7 | week 8
Unit 3: week 10 | week 11


    section: week 2 | week 3 | week 4 | week 5 | week 6 | week 7 | week 8 | week 10 | week 11 | week 12
   paper 1 | paper 2 | paper3 | journal

online resources
Cornell Library | Grove Dictionary of Art | Encyclopaedia Britannica | Oxford Dictionary of Art | Oxford Companion to Western Art | Oxford Dictionary of Architecture | History of Art Dept. | Cornell Homepage

Quiz on week 10 & week 11 images

Discussion topic:
Visions of the modern metropolis: STIEGLITZ, LE CORBUSIER, and YOU

Complete the readings and prepare answers for the following questions in your journal.

1) Using a new technology, the high-speed, hand-held Kodak camera, STIEGLITZ takes on the same subject that had interested the Impressionists two decades earlier. How could you compare the scene of New York that STIEGLITZ creates, using a modern medium to document modern life, to the vision of modern life in Paris created by MONET.
Alfred STIEGLITZ (1864-1946)
Winter on Fifth Avenue
New York: Museum of Modern Art
(STOKSTAD, 27-97)
Claude MONET (1840-1926)
Boulevard des Capucines, Paris
Oil on canvas
Kansas City, Missouri: The Nelson-Atkins Museum of Art
(STOKSTAD, 27-60)

2) Compare these two images of factories, one a shoe factory realized in Germany, the other a representation of an American industrial landscape. What ideas about factory work are expressed in these images?
Walter GROPIUS (1883-1969) and Adolf MEYER (1881-1929)
Fagus Shoe Factory
Alfeld-an-der-Leine, Germany
(STOKSTAD, 28-43)
Charles SHEELER (1883-1965)
American Landscape
Oil on canvas
61 x 78.7 cm.
New York: Museum of Modern Art
(STOKSTAD, 28-72)

3) How do these artists use their craft to represent contemporary living conditions in New York city? What social messages might these artists be communicating about their subjects?
Jacob RIIS (1849-1914)
Tenement Interior in Poverty Gap: An English Coal-Heaver's Home from How the Other Half Lives
c. 1889
Museum of the City of New York
(STOKSTAD, 27-98)
John SLOAN (1871-1951)
Backyards, Greenwich Village
Oil on canvas
61 x 50.8 cm.
New York: Whitney Museum of Art
(STOKSTAD, 28-36)

4) Again compare a building, in this case a skyscraper, to its representation by a painter. What does each express about the experience of inhabiting an urban environment? How does GILBERT's Woolworth Building borrow or differ from the earlier skyscrapers of the Chicago School?
Georgia O'KEEFFE (1887-1986)
City Night
Oil on canvas
Minneapolis Institute of Arts
(STOKSTAD, 28-71)
Cass GILBERT (1859-1934)
Woolworth Building, New York
(STOKSTAD 28-41)

5) This sketch shows LE CORBUSIER's plans for remapping large cities like Paris (see STOKSTAD, 1055). In your journal, create a sketch or plan of a neighborhood in which you have lived. How does your neighborhood compare to LE CORBOUSIER's ideal? How might you remap your neighborhood to make space for residences, houses, shops, recreation, transportation? Do you agree with LE CORBOUSIER's approach of demolishing old buildings to make wider streets, build upwards, and separate offices and residential suburbs?
LE CORBUSIER (Charles-Édouard Jenneret, 1887-1965)
Project for a Contemporary City of Three Million Inhabitants
(STOKSTAD, 28-54)

* Stokstad , AH , "Urban Photography," pp. 1011-1013; Early Modernist Tendencies in the United States," "Early Modern Architecture," "American Modernism," "The American Skyscraper," "European Modernism," "Elements of Architecture: The Skyscraper," pp. 1042-1049; "Classicism and Purism in France," "The International Style," "Bauhaus Art in Germany," 1055-1060; "Art and Architecture in the United States Between the Wars," "Precisionism," "American Scene Painting and Photography," pp. 1067-1072; "Architecture," pp. 1075-1078
  printer-friendly format