AH 451-01 LOOKING AT THE LANDSCAPE

SYLLABUS

Daphne Lange Rosenzweig, Instructor

E-mail: drosenzw@ringling.edu
Office hours: By appointment

Class semester: Spring, 2008 Class time: Thursday, 8:30 – 11:15 am

Class credit: 3 Class room: Goldstein 6

1. COURSE DESCRIPTION AND GOALS:

a. Course Prerequisite:
This course is open to any student, from any department, who has taken AH 191 and AH
192 or the equivalent.

b. Course Description and Content:

This upper-level course examines when, why and where landscape art has been a major
focus of aesthetic effort. Diverse definitions of “landscape” will be explored through
discussions of specific themes, schools and styles. We will draw on examples varied in
date, from ancient to contemporary times, and from sources reflecting many visual art
traditions. Works of landscape art will be placed in context through a study of the influences
which led to their creation at a certain place and time.

As well as regular classwork, the course will include guest speakers, a visit to the Ringling
Museum of Art and the Selby Gallery, and an introduction to the Kimbrough Library’s
special collection of artists’ books focused on landscape.

c. Course Goals:
Ringling art history courses are designed to address issues of artistic context and artistic
discernment. There are two course goals for “Looking at the Landscape.” The first goal is to
introduce you to various expressions of landscape globally and throughout time. You will
learn to identify and discuss some of the most famous works of landscape art. The second
goal is that of appropriation; in future years, long after the dates and names might have
faded from memory, your visual vocabulary will retain concepts and formats that can be
helpful and inspirational in your career as an artist.

d. Course Competencies:
The competencies to be achieved in all Liberal Arts art history courses are addressed in
both the conceptual and the practical framework of this course. Participation in art history
courses will enable students to develop skills in critical thinking about issues of artistic
context and discernment. Writing competencies will be addressed through the required
course work.

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2. WRITING AT RINGLING:
a. In Liberal Arts Program courses at the Ringling College of Art and Design, all writing
assignments (reports, quizzes, response papers, essays, essay questions on exams,
research papers, etc.) are expected to be appropriately organized and coherent, and
demonstrate a command of Standard English. Research should be consistently and
appropriately documented in accordance with a prescribed format. For clarification of
Standard English issues, and documentation formats, see Keys for Writers (Fourth Edition),
by Ann Raimes.

b. Plagiarism Policy:
The intentional and/or unintentional use of another writer’s words, ideas, intellectual
property or research, without showing proper credit (documentation of the source), is called
plagiarism. Plagiarism is dishonest and illegal. Plagiarized assignments receive an F, and
the guilty student could receive an F for the course. Writing Studio will cover the proper
ways to document your work, giving credit where it is required, so you can avoid the crime
(inadvertent or otherwise) of plagiarism.

3. COURSE CAUTIONS AND ACCOMMODATIONS:

a. Course Cautions:
During the semester, there may be material discussed and/or illustrated which might be
considered by some to have controversial, adult, or otherwise “politically incorrect” content.
Art and ideas perceived as containing such content, however, are presented for their
educational value, not for reasons of exploitation or confrontation.

b. Policy on Laptops and Other Equipment During Class Time:

The use of laptops, cell phones, and other mechanical/digital devices during the class
period is not permitted. All electronic devices (notebooks, MP3s, cell phones, etc.) are to be
turned OFF during art history classes. The only exception will be for the student/notetaker
entering the current class lecture notes into his/her computer. For this purpose only,
designated seating will be assigned by the instructor at the beginning of the semester. If
you are anticipating an emergency phone call, please alert the instructor at the beginning of
the class and turn your cell phone to the vibration mode. Otherwise, all cell phones must be
turned OFF. Text messaging during class is not permitted for any reason.

c. Course Accommodations:
The Ringling College of Art and Design makes reasonable accommodations for qualified
people with documented disabilities. If you have a learning disability, a chronic illness, or a
physical or psychiatric disability that may have some impact on your work for this class and
for which you may need accommodations, please notify the Director of Academic Resource
Center (Virginia DeMers; second floor, Ulla Searing Student Center, room 227; 359-7627),
preferably before the end of the drop/add period, so that appropriate adjustments can be
made. The specific document guidelines essential to complete this process appear at
www.arc.rsad.edu. Ms. DeMers will examine the documentation provided and, as indicated
therein, write a letter listing the accommodation(s) needed, for you to give your instructors.

4. HEALTH AND SAFETY:

Ringling College of Art and Design is committed to providing students, faculty, and staff with
a safe and healthful learning and work environment and to comply with all applicable safety
laws and regulations and safe work practices.

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5. COURSE TEXT AND MATERIALS:

a. The required text is in paperback and available in the campus bookstore. Please bring the
text to each class.

Malcolm Andrews, Landscape and Western Art, (New York, Oxford University Press,
1999)

A copy of the required text is on reserve in the Library.

b. The text only covers Western landscape traditions. Other landscape traditions, including
those of China and Japan, will be introduced via other resources including several assigned
readings in books placed on Open Reserve in the Library, on websites, and selected
DVD/videos to view.

6. COURSE WORK AND GRADING POLICY:

a. Attendance:

Regular and timely class attendance is MANDATORY. Continual lateness will affect grade.

Class absences, for reasons other than health, family emergencies or legal requirements
are disallowed, and a note from a doctor or the office of the Dean of Students is required to
gain excused absences. There is only ONE unexcused absence allowed in this advanced
class. Each unexcused absence lowers your final grade by one-half of a letter grade.

b. Required Work:

1. Completion of all required readings, and regular and relevant class participation based on
the readings and on websites which will be introduced in certain classes.
2. Completion of all assigned work for each class in advance of that class.
3. Mid-term quiz based on material and images in your textbook.
4. Production of two course papers. See “e” below.

c. Course Grade:

1. Regular, timely, and active class attendance and participation evidencing that you have
read the assigned work for that week and thought about it (10% of grade).
2. Mid-term quiz (30% of grade).
3. Course papers (30% each, 60% of grade).

d. Mid-term Quiz (2/21/08):

The in-class mid-term will include names, terms, concepts and works of art from chapters
assigned in your Andrews text book. Specific required information will be announced well in
advance of the quiz.

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e. Course Papers:

Each student is responsible for producing two course papers. Hand in on or before the date
indicated; no late papers will be accepted.

Each paper should include suitable illustrations and references, including full citation of any
material borrowed from other writers. For a citation from a book, list author, title of book, place
of publication, publisher, date of publication, page cited. For a citation from a periodical, list
author, title of article, title of magazine, volume number, date, page cited (i.e. appropriate MLA
format). For a citation from a website, give the full address.

Each paper must be typed or computer generated, with regular double spacing and typeface.
Correct spelling and punctuation are expected (see Syllabus #2). Each should have a
minimum of four (4) pages and a maximum of seven (7) pages, not counting illustrations. Each
should be literate, thoughtful, and well-organized.

Course Paper One: Ringling Museum of Art Permanent Collection

Compare two (2) works in the Ringling Museum permanent collection exhibition.
First, identify each by artist/title/date/country/cultural context/school name. Then compare and
contrast the two works. Include a discussion of the following factors:

 Concept – which type of landscape is represented, and what non-visual forces (poetic,
musical, political, other) have contributed to its creation?
 Style of presentation, including perspective, composition, features included, colors, other.
 What would be considered timeless qualities and which are more specifically time-place-
space related?
 Which work of art speaks to you more as viewer or participant? Why?

Course Paper One due week of 3/13/08.

Course Paper Two: choose one of the following:

1. Prepare a landscape of your own, based on technical vocabulary established in your

major. In an accompanying paper, thoroughly analyze your concept, your approach, and
your outcome.

2. Choose one artist (any period, any country) whose work you admire and examine the
artist’s intent, context, content, methodology, and style; then determine why you find this
voice so potent, through exploration of one specific work by this artist.

3. Comparison studies:

a. Visit the collection of George Inness Jr. paintings located at the Unitarian Universalist
Church in Tarpon Springs (727-937-4682; open from 1-4 p.m. [except Mondays and
holidays], Nov. 1-April 30; discuss one of the paintings in depth and compare it with
one of his father’s works (George Inness Sr.).

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 b. Visit the Ringling Museum of Art’s exhibition “Grandma Moses: Grandmother to the
Nation” (Jan. 26-April 13); analyze one of the works in a coherent essay, placing it
within the context of the artist’s biography, and discussing the artist’s style/s. Then
compare her rural views with the Pennsylvania landscapes of Edward Hicks or
Andrew Wyeth.

c. Examine the connections between writings of the American Transcendentalists and

the paintings of Church or Cole of the Hudson River School.

d. Compare the patrons, purpose, and approaches in the Western landscapes of Albert
Bierstadt and Ansel Adams.

e. Analyze the “Great Wave” by Hokusai and explore its influence on later art and
advertising.

Course Paper Two due week of 4/17/07.

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6. COURSE SCHEDULE [Tentative]: TOPICS AND READING ASSIGNMENTS

This is only a TENTATIVE schedule. There will be changes due to scheduling of guest
speakers and a class trip to the Ringling Museum. The quiz and course paper due dates,
however, are fixed.

TEXTBOOK
WEEK DATE TOPIC
CHAPTER

1 1/10/08 Defining “Landscape”

2 1/17/08 The Early European Landscape Experience

3 1/24/08 Landscape Comes of Age: Northern Visualizations of the Sublime 1, 2, 3

Across the Atlantic, up the Hudson: American Landscape as

4 1/31/08 4, 5, 6
Science, Religion, and Grand View

The Western Experience: American Landscape as Poetry and

5 2/7/08 7
Politics

6 2/14/08 The Pacific Frontier (or field trip, to be determined) 8

MID-TERM QUIZ
7 2/21/08
After Quiz: 10:00 am, Selby Gallery, Brenda Brown presentation

Chinese Landscape Painting

8 2/28/08
Reading: to be announced

Artist Books - Kimbrough Library, Susan Carter presentation

9 3/13/08
HAND IN COURSE PAPER ONE THIS WEEK

Impressionist and Post-Impressionist Landscapes

10 3/20/08
Reading: to be announced

11 3/27/08 The Art of Gardens and Rocks

12 4/3/08 Parks and Mazes

Site and Environmental Sculpture

13 4/10/08 9

Environmental Art
14 4/17/08
HAND IN COURSE PAPER TWO THIS WEEK

15 4/24/08 Course Papers Returned

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 Books Placed on Open Reserve in the Library
(not complete list)

Library Shelf No. Title Author

SB 470.5.J44 1995 The Landscape of Man Geoffry & Susan Jellicoe

Modern Landscape Architecture: Redefining the
SB 470.53.J64 1991 Felice Frankel & Jory Johnson
Garden
SB 472.S685 1998 The Language of Landscape Anne Wheston Spirn
ND 212.G47 1991
Art Across America (vols. 1-3) William Gerdts
(v.1, 2, 3)
ND 210.5.I4 G476 2001 American Impressionism William Gerdts

TR 654.M667 1986 The Most Beautiful Places in the World Jay Maisel

TR 647.P67 P67 1987 Photographs and Their Text Eliot Porter

N 6494.E27 B64 2002 Earthworks: Art and the Landscape of the Sixties Suzann Boettger

ND 1942.T8 A4 2000 The Great Watercolors Eric Shayne

American Sublime: Landscape Painting in the United
ND 1351.5.W55 2002 Andrew Wilton, et.al.
States 1820-1880
ND 497.W8 D36 1999 Joseph Wright Stephen Daniels

N7650.G66 2002b Artists, Land, Nature Mel Gooding

NB497.G64 G64 1999 Midsummer Snowballs Andy Goldsworthy

SB 458.O373 2000 Japanese Gardens of the Modern Era Haruzo Ohashi

Masterpieces of Japanese Garden Art
SB 458.M5813 1992 (v.1) Mizuno Katsuhiko
(v.1 Western Kyoto)

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 Videos and DVDs Placed on Reserve in the Library
(not complete list)

Library Shelf No. Title Minutes

BL 325.L3 L333 1996 Labyrinth: The History of the Maze 50

N 8214.5.U5 L34 1996 Land and Landscape: Views of America's History and Culture 27

N 8214.5.W4 A78 1986 Art of the American West: Before the White Man (v.1) 22 / 65

N 8214.5.W4 A78 1986 Art of the American West: Westward Expansion (v.2) 22 / 65

NB 497.G64 A4 2004 Rivers and Tides: Andy Goldsworthy Working with Time 90

PR 5883.L34 1998 Wordsworth and Coleridge 30

PS 614.V65 1995
Robert Frost 60
(v.3, pt. 5)
TR 647.W44 R45 1992 Remembering Edward Weston 30

ND 237.R75 C52 1993 A Portrait of Charles M. Russell 60

ND 1340.L36 2002 Landscape as Backdrop 27

ND 497.C7 C7 1991 Constable: The Changing Face of Nature 25

ND 653.G7 A4 1984 In a Brilliant Light: Van Gogh in Arles 57

ND 681.R87 2002 (v.2) Russian Painters: The Impressionist Years 50

ND 588.F75 C37 1991 The Boundaries of Our Time: Casper David Friedrich 39

ND 553.M7 M66 1995 Monet: Legacy of Light 28

ND 237.H7 W56 1986 Winslow Homer: The Nature of the Artist 29

ND 1351.5.H82 1987 The Hudson River and its Painters 57

ND497.T87 T87 1987 Turner at the Tate 55

GARDENS:

SB 481.6.O55 F7 1990 Frederick Law Olmstead & the Public Park in America 58

SB 458.D74 1992 Dream Window: Reflections on the Japanese Garden 57

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