Web/Internet Support
• The course syllabus, weekly lecture outlines, and additional materials are posted on the Blackboard site for this course under “Course
Documents.” For the Blackboard website, go to: https://blackboard.pace.edu/
• Course announcements may be sent via email. Students are responsible for reading messages sent to their Pace email accounts. If you
don’t check your Pace email account regularly, you may wish to forward your Pace email to your personal email account. To contact Dr. Farber,
please send email messages to Lfarber@pace.edu.
• Students are encouraged to use the Pace Library’s webpage for finding resources in the field of art history.
For finding the material that has been placed on reserve for this course, go to:
http://innopac.pace.edu/search~S2?/pfarber/pfarber/1%2C1%2C2%2CB/frameset&FF=pfarber+l&1%2C%2C2
For learning how to cite your sources in footnotes and bibliography using the Chicago Manual of Style, go to:
http://www.chicagomanualofstyle.org/tools_citationguide.html
For avoiding plagiarism, go to: http://libguides.pace.edu/c.php?g=63932&p=410577
• The Grove Dictionary of Art Online (part of Oxford Art Online) is an excellent resource and is available is available through the Pace
University Library and you can access it from off campus: http://www.pace.edu/library/find-resources/database-page-caller/?do=details&id=378
• For carrying out research for the term paper assignment, the website of the Metropolitan Museum of Art is recommended:
http://www.metmuseum.org. When searching for relevant information about works of art, please make sure to check both of the following parts of
the museum’s website: Collections Database:
http://www.metmuseum.org/collection/the-collection-online
and the Heilbrunn Timeline of Art History: http://www.metmuseum.org/toah/
• The Pace Librarians have created a great webpage that lists links to current news items in the arts: http://libguides.pace.edu/art
• Additional links for art history resources on the web: http://witcombe.sbc.edu/ARTHLinks.html
Term Paper Instructions
The paper is intended to offer you an opportunity to study an original work of art from the period covered by the course. Your paper
should include both firsthand observations from the work of art itself and evidence of library research. Use the attached ground plan of the
Metropolitan Museum of Art to locate the works of art on the list below. It is important that you study an original work of art directly, and not
rely solely on photographs or book illustrations. The evaluation of your paper will be based both on the content and substance of the paper as
well as your ability to convey information and ideas in writing. Your ability to follow these term paper instructions is also important. I
expect a well-written and organized paper in which your sources are adequately and properly documented. Before you hand in your paper, please
reread these term paper instructions carefully to make sure that you have followed all of the directions.
Choose a topic from the list of works of art in the Metropolitan Museum of Art. Each work of art will have a different subject, history,
and literature. When choosing a topic, try to focus on one that interests you both visually as well as thematically, historically, and
intellectually. To understand the requirements of the assignment and how it will be evaluated, please read carefully the section below entitled
“Criteria for the Evaluation of the Term Paper.” You may find the section of the syllabus entitled “Comprehensive Investigation of a Work of Art”
useful as a general guide to some of the issues you should consider in your paper, but this section is not intended to be an outline for your
paper. In addition, you may find the book by Suzanne Hudson and Nancy Noonan-Morrissey, The Art of Writing About Art, helpful in formulating your
ideas and organizing your paper. This book is on reserve in the Henry Birnbaum Library.
Format: Carefully organize the important information and main ideas of your paper. In the first paragraph, fully identify and introduce
your subject, the main themes of your paper, and methods of analysis (optional). Then, in a logical sequence of well-structured paragraphs that
make up the body of the paper, develop each of the themes you introduced in the first paragraph. Begin with the most important theme, which may
be to explain what is known about the original setting (placement), function, and patronage of the work of art, that is, the specific historical
context for which the work of art was made. After an analysis of the historical facts surrounding the work, include a straight-forward
identification of the work’s subject matter (you may include information about the work’s textual or iconographic source, tradition, and the
artist’s particular interpretation of the subject matter). Describe the composition of the work of art and its style (for example, how it has
characteristics of an artistic period style, a regional style, or an artist’s personal style). In analyzing its form, you may also consider such
issues as scale, materials, techniques, and condition. To illustrate specific points and support your arguments, you are welcome to discuss other
works of art and include illustrations, but do not pad your paper with information that is not directly related to the work of art you have chosen
to write about. The main themes of your paper should always address an issue and make a point that is directly related to the work of art that is
the main subject of your paper. End with a summation of and conclusion to your research in the final paragraph of your paper.
The papers should run around five to ten pages. Papers should be typed or printed and double-spaced. Please also double-space the
footnotes and bibliography sections so that there is room for me to make corrections. For footnotes and bibliography, use the same font size as
the text in the body of your paper. For titles of works of art, book titles, and foreign words (for example, in situ), underline the words or
put them in italics. Illustrations in the form of sketches, diagrams, postcards, or photocopies, are welcome. Please number the pages of your
paper. If you use a Bible, please use the Holy Bible, Douay Rheims Version, which is on reserve for this course in the library. This version of
the Bible can also be found online at:http://www.drbo.org.
Each topic will suggest its own emphasis, but in most cases you will want to devote special attention to the analysis of style and to
placing the work into its proper art historical context. How is it expressive of the time in which it was created? To what tradition, school, or
movement does it belong? Where does it fit in the career of its author (if known)? To what extent was it influenced by specific works of
preceding or contemporary artists? To answer some of these questions you will need to do some additional reading. As starting points, use the
bibliographies in Gardner’s Art Through the Ages (pp. 875-883) and in the books listed in the syllabus section entitled “Additional Bibliography.”
For more bibliography, look under subjects relevant to your topic in the Grove Dictionary of Art (Grove Art Online), which is now part of the
Oxford Art Online. For many topics, the Metropolitan Museum of Art website has useful lists of references. Students are encouraged to use the
resources listed on the pages entitled “Art History Research Tools” and “Art History Indexes and Databases,” which will be distributed in class
and posted on the Blackboard site.
Online sources in Art History are mainly used for searching for and finding bibliographical references to information in print. Most Art
History sites on the internet are generally not scholarly or reliable and you are discouraged from using them (unless they are online versions of
scholarly material found in print). The website for the Metropolitan Museum of Art (http://www.metmuseum.org) and the online version of the Grove
Dictionary of Art are acceptable and very useful online sources for this assignment. If you use information from the internet for this paper, you
must do the following three things: in a footnote, you must give a correct citation of the internet source as well as an accurate and complete
URL address for the information you are citing, you must cite the source in your bibliography, and you must make a print-out of the pages from
which you obtained the information and attach the pages to the end of your term paper.
It is recommended that each student use the Henry Birnbaum Library and the New York Public Library at 42nd Street to obtain historical and
art historical information about the works of art listed below. The Nolen Library at the Metropolitan Museum of Art is also very good and the
staff is helpful.
Sources for all particular facts and interpretations must be cited in footnotes or endnotes. In this paper, do not quote from secondary
sources unless it is absolutely necessary (in other words, please do not quote from secondary sources). You may use quotation marks to include
material from primary sources (for example, a quotation from a Biblical text). Put all information and ideas into your own words and then use
footnotes to let your reader know exactly where to locate the material. Please take note of the following sentence in the MLA (Modern Language
Association) Handbook for Writers of Research Papers, sixth edition, page 70: “Presenting an author’s exact wording without marking it as a
quotation is plagiarism, even if you cite the source.” For this paper, I have asked that you do not quote from secondary sources. This means
that you must always use your own words unless you are quoting from a primary source such as the Bible. One of the main purposes of writing a
research paper is to learn how to put information and ideas into your own words and to document your sources correctly. If you quote from a
primary source, you must also use a footnote. Please be very careful about this!
For footnote and bibliography forms, please use the Chicago Manual ofStyle, 15th or 16th edition (the 16th edition has been used for
these instructions). A copy of this book is on reserve and copies are also available in the bookstore. A handout with examples of Chicago
Manual of Style footnote and bibliography forms will be distributed in class. For footnotes, use the system called the “notes and bibliography
system.” Do not use parenthetical references in the text or the body of the paper (also described as the “author-date system”). The first time
you cite a source, use the form for a “first note citation in a work without full bibliography,” which is described in section 14.14 on pp. 660-
666. You can either put the footnotes at the bottom of the page (footnotes) or at the end of the paper (endnotes), which are placed before the
bibliography – it’s up to you. Footnote (or endnote) and bibliography forms are discussed in chapter 1 of the ChicagoManual of Style. Additional
examples of types of sources and how to cite them are included in chapter 14. For footnotes (or endnotes) use sections 14.14 to 14.55 on pp. 660
-684. Please take special note of how to cite subsequent references, that is, “shortened citations,” which is described in section 14.14 and
14.18 on pp. 660-665. A complete bibliography or section entitled “Bibliography,” “Selected Bibliography,” or “Works Consulted” (written in
proper bibliography form) must be included at the end of the paper. In your bibliography, put all of your sources in one list and use
alphabetical order (by the first author’s last name). Do not separate your bibliography into different sections for books, articles, and online
sources. To write a proper bibliography, use sections 14.56 to 14.280 on pages 684-769 of the Chicago Manual of Style. To cite Biblical,
Classical Greek, or Latin references, use sections 14.252-14.266 on pages 757-762.
A summary of the Chicago Manual of Style forms with examples of footnotes and bibliography forms can be found here:
http://www.chicagomanualofstyle.org/tools_citationguide.html
Students who commit plagiarism will fail the assignment and will not be granted an opportunity to rewrite the paper. Papers submitted
without proper footnotes, bibliography, and documentation of online sources may be considered unacceptable and may be returned to students. In
fairness to students who hand their work in on time, students submitting late papers will be penalized. Papers may not be submitted via email.
Late papers may be handed in during class or placed in Dr. Farber’s mailbox, which is located on the same wall as her office door in the Art
Department, 41 Park Row, Office 1205. Do not slide your paper under a locked door or through a slot in the door of the Art Department. Before
placing your paper in Dr. Farber’s mailbox, please have someone in the Art Department office sign and date the paper (or, if there is no one on
the 12th floor, please ask a security guard to sign and date the paper). After obtaining a signature and date on your paper, you may wish to make
a photocopy of it for your own records.
^^^ Deadline for the term paper: Monday, June 22.
^^^Wednesday, June 24, is the last day on which late term papers will be accepted.
Criteria for the Evaluation of the Term Paper
Introductory paragraph
Identification of subject
Statement of the main themes of the paper; thesis statement
(content and quality of these statements)
Statement of the methods of analysis used to support the thesis (optional)
Body of the paper
Organization of ideas and development; Logical sequence of paragraphs
Organization of ideas within each paragraph
Analysis of the historical facts concerning the work (original setting, function,
and patronage, if known)
Analysis of the work’s content and subject matter (iconographic and literary
source, tradition and the artist’s particular concept of the subject matter)
Placement of the work of art in its proper art historical context and analysis of
style (period, regional, and personal style)
General description of the work of art: formal analysis (analysis of its form,
composition, scale, materials, techniques, and condition, if appropriate)
Comparison to other works of art, if appropriate; comparative discussion of the
significance and special qualities of the work within the historical and art
historical context for which it was made
Conclusion
Appropriate connection to the ideas in the introductory paragraph (not just
a rehash of the material from the first paragraph)
Summary of main points of the paper
Statement about the significance of the work(s) of art studied for the history of art
Quality of firsthand observations from the work of art
Research effort
Ability to find appropriate material (reliable and scholarly sources)
Effective use of library sources: reading comprehension, accuracy, clear description and
effective analysis of information gained from library sources
Ability to synthesize information and put it into your own words
Documentation: Adequate documentation of sources in footnotes; correct footnote form
Adequate documentation of sources in the bibliography; correct bibliography form
Attachment of printouts of all internet pages used for this paper
Punctuality: please hand in your papers on time
Ability to follow the instructions of the term paper assignment printed in the syllabus
Other criteria: Word choice and word use Grammar
Spelling Clarity of expression and style
Punctuation Adequate proofreading
Organized and neat presentation of visual material, if included
Term Paper TopicsMetropolitan Museum of Art
All works may be seen at the Metropolitan Museum of Art, the specific Gallery (room)locations are provided for each work of art, and they can also
be found using the interactive map on the Museum website:
http://www.metmuseum.org/visit/museum-map/galleries/european-paintings/602
European Paintings (Second Floor):______________________________________________
1. Giotto di Bondone. The Epiphany or the Nativity. John Stewart Kennedy Fund, 1911.
11.126.1. Gallery 602.
2. Titian. Venetian, c. 1488 – 1576. Venus and Adonis. Oil on canvas. The Jules Bache
Collection, 1949. 49.7.16. Gallery 607.
3. Tintoretto. The Miracle of the Loaves and Fishes. Oil on canvas. Francis L. Leland
Fund,1913. 13.75. Gallery 607.
4. El Greco. The Miracle of Christ Healing the Blind. Gift of Mr. and Mrs. Charles
Wrightsman, 1978. 1978.416. Gallery 608.
5. Adélaïde Labille-Guiard. Self Portrait with Two Pupils. Gift of Julia A. Berwind, 1953.
53.225.5.Gallery 613.
6. Jacques Louis David. The Death of Socrates. 1787, Oil on canvas. Catharine Lorillard
Wolfe Collection, Wolfe Fund, 1931 31.45. Gallery 614.
The American Wing:________________________________________________________
7. Emanuel Gottlieb Leutze. Washington Crossing the Delaware, 1851. Gift of J. S. Kennedy,
1897. 97.34. Gallery 760.
8. Albert Bierstadt, the Rocky Mountains, Lander’s Peak, 1863 (Landscape with an Indian
Camp) Rogers Fund 1907. 07.123. Gallery 760.
9. Thomas Hovenden, the Last Moments of John Brown, 1882-84. Gift of Mr. and Mrs. Carl Stoeckel, 1897. 97.5. Gallery 762.
__________________________________________________________________________
10. Boucher. The Interrupted Sleep. 1750. The Jules Bache Collection, 1949. 49.7.46.
Gallery 616.
11. Claude Lorraine (Claude Gellée). The Trojan Women Setting Fire to their Fleet.
Fletcher Fund, 1955. 55.119. Gallery 618.
12. Giovanni Battista Tiepolo. Allegory of the Planets and Continents. Gift of Mr. and Mrs. Charles Wrightsman, 1977. 1977.1.3. Gallery 622.
13. Artemisia Gentileschi. Esther Before Ahasuerus. Gift of Elinor Dorrance Ingersoll,
1969. 69.281. Gallery 601.
14. Joos van Cleve and a collaborator. The Crucifixion with Saints and a Donor. Bequest of
George Blumenthal, 1941. 41.190.20a-c. Gallery 639.
15. Pieter Bruegel the Elder. The Harvesters, 1565. Rogers Fund, 1919. 19.164. Gallery 642.
16. Rembrandt. The Toilet of Bathsheba. 1643. Bequest of Benjamin Altman, 1913.
14.40.651. Gallery 634.
17. Jan Steen. Merry Company on a Terrace. Fletcher Fund, 1958. 58.89. Gallery 633.
18. Jan Steen. The Dissolute Household. C. 1663-64. Oil on canvas. The Jack and Belle
Linsky Collection, 1982. 82.60.31. Gallery 542.
19. Rubens and Jan Brueghel the Elder, Feast of Acheloüs. Oil on wood, gift of Alvin and Irwin
Untermeyer, 1945. 45.141. Gallery 630.
Nineteenth-century European Paintings Section:__________________________________
20. Jules Bastien-Lepage. Joan of Arc. 1879. Gift of Erwin Davis, 1889. 89.21.1. Gallery 800.
21. Edgar Degas. The Rehearsal Onstage, pastel over brush-and-ink drawing, bequest of Mrs.
H. O. Havemeyer, 1929. 29.100.39. Gallery 816.
22. Edgar Degas. The Dance Class. 1874 (Shown in the 1876 Impressionist Exhibit in Paris.)
Bequest of Mrs. Harry Payne Bingham, 1986. 1987.47.1. [If you choose this subject,
please make sure that you write your paper on this version in the Metropolitan Museum
of Art and not the version in Paris.] Gallery 815.
23. Édouard Manet. The Dead Christ with Angels, 1864. Oil on canvas. H. O. Havemeyer
Collection, Bequest of Mrs. H. O Havemeyer, 1929. 29.100.51. Gallery 810.
24. Claude Monet. Two paintings of the Manneporte near Étretat. These two paintings are
hanging in the same room and you can write your paper on both of them as well as the
other paintings Monet did of this subject. Bequest of William Church Osborn, 1951.
51.30.5. Bequest of Lillie P. Bliss, 1931. 31.67.11. Gallery 819.
25. Camille Pissarro. The Boulevard Montmartre on a Winter Morning, 1897, oil on
canvas. Gift of Katrin S. Vietor, 1960. 60.174.Gallery 820.
26. Camille Pissarro Morning, an Overcast Day, Rouen. 1896. Oil on canvas. Gift of
Alexander Tarnopol, 1980. 1980.21.1. Gallery 820.
27. Georges-Pierre Seurat. Circus Sideshow. Oil on canvas, c. 1888. Bequest of Stephen C.
Clark, 1960. 61.101.17. Gallery 826.
28. Vincent van Gogh. First Steps, after Millet. 1890. Oil on canvas. Gift of George N. and
HelenM. Richard, 1964. 64.165.2. Gallery 826.
29. Paul Gauguin, Ia Orana Maria (Hail Mary). Bequest of Sam A. Lewisohn, 1951. 51.112.2.
Gallery 826.
30. Henri Matisse. Nasturtiums with the Painting “Dance” I. 1912. Bequest of Scofield
Thayer, 1982. 1984.433.16. Gallery 830.
Modern Art Section (First Floor):__________________________________________________
31. Vasily Kandinsky. Improvisation 27 (Garden of Love II). 1912. Oil on canvas. Alfred
Stieglitz Collection, 1949. 49.70.1. Gallery 910.
32. Pablo Picasso. Nude in an Armchair. 1909-1910. The Mr. And Mrs. Klaus G. Perls
Collection, 1997. 1997.149.7. Gallery 908.
33. Max Beckmann. Beginning. 1949. Bequest of Miss Adelaide Milton de Groot, 1967.
67.187.53a-c. Gallery 901.
34. Horace Pippin. American (1888-1946). Lady of the Lake. 1936. Oil on canvas.
Bequest of Jane Kendall Gingrich, 1982. 1982.55.1. Gallery 911.
35. Georgia O’Keeffe. Cow’s Skull: Red, White, and Blue. 1931.Alfred Stieglitz Collection,
1952. 52.203. Gallery 900.
36. Edward Hopper. Tables for Ladies. 1930. Oil on canvas. George A. Hearn Fund, 1931.
31.62. Gallery 903.
Sculpture (First Floor):___________________________________________________________
37. Auguste Rodin. The Burghers of Calais, modeled in 1884-5, cast in 1985. Gift of Iris and B. Gerald Cantor, 1989. 1989.407. Gallery
548.
38. Gian Lorenzo Bernini. Bacchanal: A Faun Teased by Children. C. 1616-7. Marble
sculpture. 1976.92. Gallery 534.
Additional Bibliography
See also the bibliography in Gardner’s Art through the Ages, pp.875-883.
For a list of Metropolitan Museum of Art catalogs and publications, go to:
http://www.metmuseum.org/research/metpublications
h Ainsworth, Maryan W. and Keith Christiansen, eds. From Van Eyck to Bruegel. Early Netherlandish Painting in the Metropolitan Museum of Art.
New York: Metropolitan Museum of Art, 1998.
h Allen, Josephine L., and Elizabeth E. Gardner. A Concise Catalogue of the European
Paintings in the Metropolitan Museum of Art. New York: The Metropolitan Museum
of Art, 1954.
Arnason, H. H. History of Modern Art. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1998.
h Baetjer, Katharine. European Paintings in the Metropolitan Museum of Art by Artists
Born in or before 1865: A Summary Catalog. 3 Vols. New York: Metropolitan
Museum of Art, 1980.
h Baetjer, Katharine. European Paintings in the Metropolitan Museum of Art by Artists
Born in or before 1865: A Summary Catalog. 3 Vols. New York: Metropolitan
Museum of Art, 1995.
h Baetjer, Katharine, Guy C. Bauman, and Mary Sprinson de Jesús. “The Jack and Belle
Linsky Collection in the Metropolitan Museum of Art: Addenda to the Catalogue.”
Metropolitan Museum Journal 21 (1986): 154-63.
i Barnet, Sylvan. A Short Guide to Writing About Art. Boston and Toronto: Little, Brown,
1981.
Baxandall, Michael. Painting and Experience in Fifteenth Century Italy. New York: Oxford University Press, 1983.
__________. The Limewood Sculptors of Renaissance Germany. New Haven and London:
Yale University Press, 1980.
Benesch, Otto. The Art of the Renaissance in Northern Europe. Cambridge: Harvard
University Press, 1945.
Blunt, Anthony. Art and Architecture in France 1500-1700. 4th ed. Baltimore:
Penguin, 1982.
Blunt, Anthony, ed. Baroque and Rococo: Architecture and Decoration. Cambridge:
Harper and Row, 1982.
Burckhardt, Jacob. The Civilization of the Renaissance in Italy. 4th ed. 1876.
London: Phaidon, 1960.
Châtelet, Albert. Early Dutch Painting: Painting in the Northern Netherlands in the Fifteenth Century. Trans. by Christopher Brown and
Anthony Turner. New York: Rizzoli, 1981.
Eisenman, Stephen, ed. Nineteenth Century Art. A Critical History. London: Thames and
Hudson, 1994.
Eitner, Lorenz. An Outline of 19th Century European Painting from David throughCezanne. 2 vols. New York: Harper and Row, 1987.
Enggass, Robert, and Jonathan Brown. Sources and Documents in the History of Art: Italy and Spain 1600-1750. Englewood Cliffs: Prentice-
Hall, 1970, pp. 127-135.
Fleming, John, Hugh Honour, and Nikolaus Pevsner. The Penguin Dictionary of Architecture. New York: Penguin, 1966.
Freedberg, Sydney F. Painting in Italy: 1500-1600. Harmondsworth, England: Penguin, 1983.
Gilbert, Creighton. Italian Art 1400-1500: Sources and Documents. Englewood Cliffs, NJ:
Prentice-Hall, 1970.
iGrove Dictionary of Art. Ed. Jane Shoaf Turner. 34 vols. London: Macmillan, 1996 ed.
This set of books is located in the Reference section of the Birnbaum Library and all
students are encouraged to use it to find basic information and further bibliography.
The Grove Dictionary of Art is also available online – see page 8.
iHartt, Frederick. History of Italian Renaissance Art. 4th ed. New York: Abrams, 1994.
Held, Julius, and Donald Posner. 17th and 18th-Century Art. Baroque Painting, Sculpture, Architecture. New York: Abrams, n.d.
Heydenreich, Ludwig H., and Wolfgang Lotz. Architecture in Italy 1400-1600.
Harmondsworth, England: Penguin, 1974.
i Holt, Elizabeth G., ed. Literary Sources of Art History. An Anthology of Texts from
Theophilus to Goethe. 2d ed. 2 vols. Garden City, New York: Doubleday, 1981.
iThe Holy Bible. Douay Rheims Version. Translated from the Latin Vulgate. Baltimore,
1899. Reprint, Rockford Illinois: Tan Books, 1971.
Honour, Hugh. Neo-classicism. Harmondsworth, England: Penguin, 1968.
__________. Romanticism. New York: Harper and Row, 1979.
i Hudson, Suzanne and Nancy Noonan-Morrissey. The Art of Writing about Art.
Fort Worth: Harcourt College, 2002.
Ivins, William M. Ivins, Jr. How Prints Look. Photographs with Commentary. 1943.
Boston: Beacon, 1958.
_______. Prints and Visual Communication. Cambridge and London: M.I.T. Press, 1969.
Janson, H. W. History of Art. 4d ed. New York: Abrams, 1991.
Kaufmann, Thomas DaCosta. Court, Cloister and City. The Art and Culture of Central Europe 1450-1800. Chicago: Chicago University Press,
1995.
__________. The Mastery of Nature. Aspects of Art, Science, and Humanism in the Renaissance. Princeton: Princeton University Press,
1993.
h Lieberman, William S., ed. Catalogue by Sabine Rewald. Twentieth Century Modern
Masters: The Jacques and Natash Gelman Collection. New York: The Metropolitan
Museum of Art, 1989.
h Liedtke, Walter. Flemish Paintings in the Metropolitan Museum of Art. 2 Vols.
New York: Metropolitan Museum of Art, 1984.
Lynton, Norbert. The Story of Modern Art. 2d. ed. Englewood Cliffs: Prentice Hall, 1969.
Osten, Gert von der, and Horst Vey. Painting and Sculpture in Germany and the Netherlands 1500-1600. Baltimore: Penguin Books, 1969.
Panofsky, Erwin. Renaissance and Renascences in Western Art. New York: Harper and Row, 1969.
h Pope-Hennessy, John, Katharine Baetjer, Guy C. Bauman, Keith Christiansen, and Walter
A. Liedtke. The Jack and Belle Linsky Collection in the Metropolitan Museum of Art.
New York: Metropolitan Museum of Art, 1984, pp. 11-12, 20-125.
h Pope-Hennessy, John, with the assistance of Laurence B. Kanter. The Robert Lehman
Collection I: Italian Paintings. New York: Metropolitan Museum of Art in
association with Princeton Univ. Press, 1987.
h Pope-Hennessy, John. The Study and Criticism of Italian Sculpture. New York:
Metropolitan Museum of Art, and Princeton: Princeton Univ. Press, 1980.
Rewald, John. The History of Impressionism. New York: Museum of Modern Art, 1973.
Rosenberg, Jakob, Seymour Slive, and E.H. ter Kuile. Dutch Art and Architecture, 1600-1800. Baltimore: Penguin, 1979.
i Rosenblum, Robert, and Horst Janson. 19th Century Art. New York: Harry N. Abrams,
1984.
Russell, John. The Meanings of Modern Art. New York: Museum of Modern Art and London: Thames and Hudson, 1981.
i Schiller, Gertrud. Iconography of Christian Art. Trans. by Janet Seligman. 2 vols. Greenwich, Conn.: New York Graphic Society, 1971.
Slive, Seymour. Dutch Painting 1600-1800. New Haven and London: Yale University Press, 1995.
i Snyder, James. Northern Renaissance Art. New York: Abrams, 1985.
h Sonnenberg, Hubert von, Walter Liedtke, Carolyn Logan, Nadine M. Orenstein, and
Stephanie S. Dickey. Rembrandt/Not Rembrandt in the Metropolitan Museum of
Art: Aspects of Connoisseurship. Exh. Cat. New York: The Metropolitan Museum
of Art, 1995.
h Spassky, Natalie et alia. American Paintings in the Metropolitan Museum of Art. Vol. 2.
New York: Metroplitan Museum of Art in association with Princeton Univ. Press, 1985.
h Sterling, Charles. A Catalog of French Paintings, Fifteenth-Eighteenth Centuries.
Cambridge: Harvard Univ. Press, 1955.
h Sterling, Charles, and Maryan Ainsworth, Charles Talbot, Martha Wolff, Egbert
Haverkamp-Begemann, Jonathan Brown, and John Hayes. The Robert Lehman
Collection II: Fifteenth- to Eighteenth-Century European Paintings: France, Central
Europe, The Netherlands, Spain, and Great Britain. New York: the Metropolitan
Museum of Art, 1998.
h Sterling, Charles, with the assistance of Olga Raggio and Michel Laclotte and the
collaboration of Sylvie Béguin. Exposition de la collection Lehman de New York /
Musée de l’Orangerie. Exh. Cat. 2nd rev. ed. Paris: Musées Nationaux, 1957.
h Sterling, Charles, and Margaretta M. Salinger. French Paintings 3: Nineteenth-Twentieth
Centuries. New York: The Metropolitan Museum of Art, 1967.
h Tinterow, Gary, Kathryn Galitz, Asher Miller, Rebecca Rabinow, Sabine Rewald, and
Susan Stein. Masterpieces of European Painting, 1800 1920, in the Metropolitan
Museum of Art. New York: Metropolitan Museum of Art and New Haven and London:
Yale Univ. Press, 2007.
h Tinterow, Gary, intro. The Metropolitan Museum of Art. Modern Europe. New York:
Metropolitan Museum of Art, 1987, reprint 2007.
Trachtenberg, Marvin and Isabelle Hyman. Architecture. From Prehistory to Post-Modernism. The Western Tradition. Englewood Cliffs:
Prentice-Hall and New York: Abrams, 1986.
Van Mander, Carel. Dutch and Flemish Painters (Originally Het Schilder-boeck, Haarlem and
Alkmaar, 1604 and 1618). Trans. C. van de Wall. New York: McFarlane, Warde, McFarlane, 1936.
Vasari, Giorgio. The Lives of the Most Eminent Painters, Sculptors, and Architects,1550-1568.
3 vols. New York: Abrams, 1979.
Waal, Henri van de. Iconclass: an Iconographic Classification System. 17 vols. Completed and edited by L. D. Courprie with Rudolf
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Metropolitan Museum of Art, 1947.
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Westermann, Mariët. A Worldly Art. The Dutch Republic 1585-1718. New York: Harry N. Abrams, 1996.
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School. New York: Metropolitan Museum of Art, 1971, reprint, 1979.
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Comprehensive Investigation of a Work of Art
(Please do not use this as an outline for your paper – the following is intended to be a general guide to some of the issues you might consider in
your paper.)
I. Introduction. Identify the subject and major themes of the paper
II. Historical Facts Concerning the Work
A. Date of commission
B. Patron
C. Person(s) portrayed
D. Original setting and function of the work
III. Analysis of Content (subject matter)
A. Identification and description of the subject matter
B. Source of the subject matter (literary, etc.)
C. Iconographical tradition (earlier versions by this artist and/or others)
D. Artist’s individual concept of subject matter
IV. Analysis of Style
A. Period Style
B. Regional (National) Style
-Local style (for example, this would apply to Duccio, but not to Ingres)
C. Personal Style (for example, the position of the work in the artist’s development)
V. Analysis of Form (composition)
A. Structure and organization of the composition; placement of the main elements of the composition
B. Construction of space and depth
VI. Technical Facts (if relevant)
A. Materials
B. Condition
C. Technical structure and procedure
D. Individual characteristics of artist’s technique
VII. Comparative discussion of the significance and special qualities of the work of art within the historical and art
historical context for which it was made
VIII. Footnotes
IX. Bibliography (A list of all works consulted. List sources in alphabetical order.)
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