4210B/5210 Fall 2008

TERM PROJECT

Due December 1st

Choose your artist from list below and notify me by September 5th  

Annotated Bibliography is due October 8th

RATIONALE & THESIS STATEMENT Due October 30th, by 5 PM

                For this semester, you will prepare a sort of preliminary research report on one of the artists on the following list.  Select the one you want and claim them, because no two people will work on the same artist. E-mail me to claim your choice. If the one you want is selected by someone else, you must choose another.  The basis for the list, as well as for the project, is the ways in which these artists have contributed to the sense of what is means to be American in the creation of art or architecture in the late 19th or early 20th century, given the influences that are present from other times and places. You may have a sub-topic as long as it is also related to the subject of the American character of the work. I have avoided inclusion of the most major artists, so you will not see any of the real giants here.  I have selected ones I know to be of significance, though.

PHASE TWO: THE FINAL REPORT (your ultimate goal):  Your final report will be posted on the class WebCT site and everyone will be able to read the reports of the other students in the class and to comment upon them.  You will submit your work through the dropbox and I will publish it (before I make comments or grade them).  Your work will include the following:

·         A basic research statement (3-4 pages of text : 1200-1500 words) about the American nature of their work, in which you discuss 3 or 4 specific works by the artist to support your line of argument.  This might address their use of imagery, of media, of formal principles, etc., in ways that differ from modes of previous artists or those from other countries.

·         3-4 images to support your inquiry and your statements.  These should be very small (less than 50K, so they will not overload the WebCT system.  Supplementally or alternatively, you may use references to specific websites (by inclusion of their addresses) or to your text book.  They should be properly captioned as per this sample:

FIG. 1. ABBOT HANDERSON THAYER.  Florence, from THE 4 GREAT ART CENTERS OF ANTIQUITY
AND THE RENAISSANCE. 1894. O/C,  144 X 288" . BOWDOIN COLLEGE: WALKER ART GALLERY MURALS. (http://artmuseum.bowdoin.edu/Obj*1$139*86535$*86536)

·         An annotated bibliography, with 5 references:  2 scholarly books and 3 scholarly journal articles (you may add websites only if they are scholarly, and only in addition to the 5 required here) instructions for annotation below. You can or should have sources for images that are used for only that purpose, not for research. List them as bibliographic entries, but they do not need annotation other than to say they are used for images, if that is all they are used for.  They are then not part of the required 5 sources. Do not use your textbook or any other textbook as one of your 5 main sources. Encyclopedia entries may be a place to get started, and may be cited if used, but they are not to be used as one of your main sources either.

 Clearly, a report of this short length cannot be exhaustive, but it should be insightful and to the point.  It should not be primarily biographical nor anecdotal, although those issues may be a minor or explanatory part of your discussion.  Your writing should be based in your research about the American character of the artist’s works.  You may select your few works and discuss them and their significance without drawing general conclusions about all of the work of the artist, as long as what you say is accurate and meaningful.  Your writing should be based firmly in the scholarly sources you use, rather than too-creative or showing conjectural interpretation.  And make sure you acknowledge the ways that you are using those sources.  AVOID QUOTATION.  Rather paraphrase what the scholar has said and credit them with the thought.  Clearly distinguish any of your own thinking from what you have read.

Graduate Students:  Double the length and number of sources, add more images (up to 8), and intensify your examination of sources and images.

________________________________________________________________________________________

WHAT IS AN ANNOTATED BIBLIOGRAPHY?

An annotated bibliography is a list of citations of books, articles, and documents. Each citation is followed by a brief (usually about 150 words) descriptive and evaluative paragraph, the annotation. The purpose of the annotation is to inform the reader of the relevance, accuracy, and quality of the sources cited.

ANNOTATIONS VS. ABSTRACTS

Abstracts are the purely descriptive summaries often found at the beginning of scholarly journal articles or in periodical indexes. Annotations are descriptive and critical; they expose the author's point of view, clarity and appropriateness of expression, and authority. Relate the value of the source to its importance in your study and your use of it for this project.

THE PROCESS

Creating an annotated bibliography calls for the application of a variety of intellectual skills: concise exposition, succinct analysis, and informed library research.

First, locate and record citations to books, periodicals, and documents that may contain useful information and ideas on your topic. Briefly examine and review the actual items. Then choose those works that provide a variety of perspectives on your topic. Do not just choose the first five that you find.

Cite the book, article, or document using the appropriate style. (Chicago style)(find on UWG library website or Google to find on another university website)Art History uses footnotes or endnotes. DO NOT insert parenthetical references into your writing.

Write a concise annotation that summarizes the central theme and scope of the book or article. Include one or more sentences that (a) evaluate the authority or background of the author, (b) comment on the intended audience, (c) compare or contrast this work with another you have cited, or (d) explain how this work illuminates your bibliography topic.

The above paragraphs are taken from the website, slightly modified: http://www.library.cornell.edu/olinuris/ref/research/skill28.htm#what

For further information on how to create the annotated bibliography, visit that site.




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PHASE ONE:  ANNOTATED BIBLIOGRAPHY,  RATIONALE & THESIS STATEMENT Due October 30th, by 5 PM

Annotated Bibliography:   See direction in section above.

Rationale:   Write a brief statement ( 1-2 sentences) about why you selected your particular artist.  What was it about the artist or their work that made them seem like a good choice for your research and writing?  Do you see their work as related to your own or was there some other aspect of it that intrigued you or made them seem worthy of further investigation on your part?

Thesis Statement:   Another brief statement, probably a paragraph long .  By the time you have created a good annotated bibliography, you will have likely already developed and refined a sort of thesis, as the thought processes for the two parts go hand-in-hand.   The thesis will result from your careful thinking process about the particular significance of your artist and the work, and from collecting and organizing  the materials you have found on your selection, as you have searched for bibliography that seems relevant and that has potential for illuminating the possible links between what you think important and what can be supported by scholarly writings.  Be careful to distinguish between what you consider  known  or apparent facts and what can actually be substantiated through research.  As you progress and accumulate thoughts and research materials, their relative significance will become more clearer and your" working thesis" will emerge and become increasingly defined and refined.  You will develop a basic or main idea, an argument that you think you can support with evidence but that may need adjustment along the way.  You must be prepared to change direction as the evidence requires.  Remember the overall requirement that you include consideration of the work as AMERICAN.

A good thesis will be definitive and arguable. To test the strength of your thesis, consider these issues:

  • Do I answer the question about the specific significance of the particular works I am examining? Re-reading with a a view to whether you have bought together works that are related in their relevance to the thesis after constructing a working thesis can help you repair an argument that misses the focus of the question. For instance, if you had sought to know the significance of Monet's "haystack" paintings, and then stated a thesis that Monet, in a specific group of paintings, had an overarching concern of showing the morning light in different seasons of the year, but had included in your thesis statement that none of Monet's paintings can be seen in Cleveland,  it would likely be clear to you that these ideas have nothing to do with one another. If you had selected Monet, he would clearly NOT fit the requirement that his work be considered as American.  If you did select an American artist, state clearly and specifically what is distinctively American about the work, as well as how it relates to the phase of evolution in American art in which it appears.
  • Have I taken a position that others might challenge or oppose? If your thesis simply states facts that no one would, or even could, disagree with, it's possible that you are simply providing a summary or your research findings, rather than making an argument and showing your own thought processes. Just the gathering of research materials is not sufficient basis for the thesis statement or for the ultimate writing -- there needs to be clear evidence of your own thought and hypothesis.   
  • Is my thesis statement specific enough? Thesis statements that are too vague often do not have a strong argument. If your thesis contains words like "good" or "successful," see if you could be more specific: why is something "good"; what specifically makes something "successful"? Judgment of the value of art, in itself, rarely has significance.  Rather, focus on the specific relevance in context. For example, if you posit that Monet's haystack  paintings mark a phase of Impressionism in which the focus on light conditions and and atmospheric phenomena were more important than the farmland and the activity of gathering hay into stacks as agrarian activities, you would have a much stronger thesis than if you stated that Monet's most beautiful paintings were of haystacks.
  • Does my thesis pass the "So what?" test? If a reader's first response is, "So what?" then you need to clarify, to forge a relationship, or to connect to a larger issue.  If you had said the Monet's most beautiful paintings were of haystacks, a reader would be quite justified in saying "So what?" and insisting that you offer them something much more specific.
  • Does my essay support my thesis specifically and without wandering? If your thesis and the body of your essay do not seem to go together, one of them has to change. It's o.k. to change your working thesis to reflect things you have figured out in the course of writing your paper. Remember, always reassess and revise your writing as necessary.
  • Does my thesis pass the "how and why?" test? If a reader's first response is "how?" or "why?" your thesis may be too open-ended and lack guidance for the reader. See what you can add to give the reader a better take on your position right from the beginning.

This set of suggestions is based on those at: http://www.unc.edu/depts/wcweb/handouts/thesis.html .  For further ideas on how to approach the task of thesis writing, you should visit that site or scour the web for similar ones -- there are many.

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ARTISTS: painters, sculptors, architects, designers, decorators, graphic artists, printmakers, and photographers. Some were active in creating more than one type of artwork.  These have been selected in the hope that you are not too familiar with them, that you will become more acquainted with someone new.  Do not pick someone that you have already researched for another class.  If there is someone off the list that seems to fit the framework of the project (American 1865-1945, not of giant stature from our perspective, and contributing to the emergence of an American character and identity in art), you could ask to do the study on them, subject to my approval. Submit your requests through the class WebCT e-mail.  First come, first served. I will post your name next to the artist you will research. Please make your selection and notify me of your choice by September 5th.

Henry Austin

Jennifer Mercier

Erastus S. Field

Frances Palmer

Richmond Barthe

Tristan Paul

Frank Furness

Ammi Phillips

Paul W. Bartlett

Alexander Gardner

Wm. B. Post

Cecilia Beaux

Elizabeth Tullis

C. S. & H. M. Greene

James Renwick, Jr.

J. H. Belter

William Glackens

Theodore Robinson

George G. Bernard

Chester Harding

Hugo Robus

Alexa Izzet

Albert Bierstadt

Grayson  Augsburger

Herter Brothers

Severin Roesen

E. H. Blashfield

Edward Hicks

John Rogers

Karl Bodmer

Harriet Hosmer

Elizabeth Weatherby

Randolph Rogers

James Bogardus

Eastman Johnson

Theodore Roszak

Solon &/or Gutzon Borglum

Sargent Johnson

Jessica Craig

Eliel Saarinen

Daniel Burnham

Gertrude Käsebier

Emily Smith

Ben Shahn

Annie Owens

Arthur Carles

Michelle Anthony

John LaFarge

Charles Sheeler

Channing Longo

George Catlin

FitzHugh Lane

Gustave Stickley

Kenyon Cox

Marcus Wise

Gaston Lachaise

Wm. Wetmore Story

Jasper Cropsey

Lee Lawrie

Sheena Daniel

Louis Sullivan

Amy Coursey Pippin

J. S. Curry

Sara Morgan

Edmonia Lewis

Abbot Thayer

Edward Curtis

Christhian Perez

George Luks

Travis Overstreet

Ithiel Town

Cyrus Dallin

F. W. MacMonnies

John Twachtman

Andrew Dasburg

Herman A. Macneil

Richard Upjohn

Jo Davidson

Paul Manship

Kimmy Wood

Elihu Vedder

Reginald Marsh

Vincent Parker

Bessie P. Vonnoh

Arthur Davies

Alfred Maurer

Lindsay Thomas

Thos. Ustick Walter

A. J. Davis

Bernard Maybeck

J. Q. A. Ward

Donald Deskey

John McArthur, Jr.

Olin L. Warner

Thos. Wilmer Dewing

Robert Mills

Carlton Watkins

Thomas Doughty

Thomas Moran

Max Weber

Jessica Denman

Arthur Dove

Archibald Motley

Ricky Warren

J. Alden Weir

A. J. Downing

Wm. Sidney Mount

Clarence White

Frank Duveneck

Elie Nadelman

Worthington Whittredge

Asher Durand

F. L. Olmstead

Mahronri Young

Seth Eastman

Samuel & J.C. Newsom

Walker Evans

Jeff Abney

Timothy O’Sullivan