Summer Reading Assignment 2015






100 Points:  Bookmark AP College Board at and Gardner's Art Through The Ages website and e-mail me with your favorite resources available on the Gardner companion site and College Board site.  Google: Gardner's Art Through the Ages companion website or copy and paste. : Rise of Civilization 


E-mail me and tell me about one favorite resource that you found on the Gardner Companion site and one resource you found useful on the College Board site. This 100-point portion of your assignment is extremely valuable as it sets up your e-mail communications with your instructor. 

Your password for is:  Integrity                       Class ID :10060953       Due JULY 30, 2015    Failure to meet deadlines on any summer assignment will be loss of 100 points. No excuses! Always print out a hard copy and a receipt.                                TOTAL:  450 POINTS

E-mail instructor you favorite resources

found on the College Board & Gardner Web sites. Easy 100 points

July 15

Book Report with formatted paragraphs on subject matter, style, and significance/purpose. 100 points


Book Image print out - 20 points

Due July 30 



Sept. 1st day

Five Flash Cards: Print image or drawn image, Full identity includes, title, date, artist (if known), original location, size, and medium.

Short paragraphs on Subject Matter (What YOU See), Style (carved limestone, fresco paint, hypostyle hall), Significance (Purpose –Why it was made in its time.) 100 points

Due  September - 1st day of class.

READ Introduction of Gardner’s textbook, “ART THROUGH THE AGES”. Answer the questions in packet based on the introductory chapters.

Valuable vocabulary!

100 points

Packet due for Sept. First day of class.

READ Stone Age, Near East, and Egypt chapter readings of Gardner’s textbook, “ART THROUGH THE AGES”.

E-mail tutorial quiz results for chapters 1,2,and 3 to during prior to the start of  school. 30 points

Due August 15, 2014


 Gardner’s ART THROUGH THE AGES has a Textbook Companion Site. Select student resources and note the many resources found in the left column. (see above).

1)    Log on to See if the  2015 AP Art History exam date is posted yet. Register as a student on this site to find valuable information about Advanced Placement and Colleges. BOOKMARK THIS SITE. (Do NOT register for the exam, as this will be done for you during the school year.)    >      students>exams>ap topics

In the left hand column marked More Tools> AP Preparation and then under Course Selection (at left) select Art History. Look at the exam and the additional resources. 

NOW – DUE June 30th. E-mail me and tell me about one resource that you found on the Gardner Companion site and one resource you found on the College Board site. This 100-point portion of your assignment is extremely valuable as it sets up your e-mail communications with your instructor.


Welcome to Advanced Placement Art History! Your summer reading assignment involves reading historical novels. Don’t be surprised by how much you enjoy the reading. These are great books!  July 30 Report:

Select ONE “Free Choice” selection:



FORGER’S SPELL by Edward Dolnick                                                               

THE PASSION OF ARTEMISIA by Susan Vreeland        

DEVIL IN THE WHITE CITY by Erik Larson                      



Do NOT exceed two pages. I value quality over quantity. Do not regurgitate the words of another author as such an action is called plagiarism. I want to know who you are and what your thoughts are. Reports longer than two pages will NOT be accepted.

“Free Choice” report due July 15.

As you begin reading your book selections consider the historical, social, economic, religious, and cultural context of the time! Be prepared to do more research beyond the book. Use your textbook as well as other resources. A little time spent doing research adds tremendously to your knowledge and will enhance your writing. There are 3 S’s that we will discuss all year: Subject, Style, and Significance.

Paragraph ONE: Write about the subject/content (subject matter) that the an artist/architect created that reflects this time period and how the subject matter reflects the artist’s society in their time. Who commissioned the art and who selected the subject matter? Was it the artist or the patron?

Paragraph TWO: Write about the style of the art/architecture. Read the Introduction to your textbook (Gardner’s Art Through The Ages). This will help tremendously in your understanding of style. Consider the media the artist worked with and the technology of the time. Consider format and composition. How were materials applied or constructed? Was the artist’s approach revolutionary or the norm of the day? What is the period or regional style called?

 Paragraph THREE: What was the significance of the artist and his/her work? What purpose did the art serve in its time? Why was the painting painted? Why was the building built? Where was the art originally located and for whom was the art displayed? Was the art private or public, political, secular or religious, created for a king or the masses?


Did this artist/benefactor make an impact in his/her own time and did the artist impact the history of art? How? How did future artists benefit from the artist’s/benefactor’s work? Was the artist greatly influenced by their contemporaries or artists of the past? 

Paragraph FOUR: In your fourth and final paragraph, discuss your favorite part of the book. In September you will join a book group in class. You will be discussing why you found this part of the book so interesting or revealing.

Print out one image for each book report and bring these to school in September. DOES NOT allow for images to be added to written work.  The art does not have to be the featured selection from the book. Sometimes other masterpieces by the artist tell a great deal about the artist’s subject, style. and significance. Be sure to clearly identify the title, artist, date, and location of each artwork/architecture image selected. 10 Points will be deducted from each report if images and identification are not turned in. 

Reports will be handed in through     

“Free Choice”/July 15.

Art Held Hostage by John Anderson

Print out your own hard copies. Print out your receipt. Print out your pictures for September book groups, identify them, and write your name on them.

E-mail me: prior to July 20.

I will periodically check my e-mail. I am not on call daily all summer!


Tips for Quality Writing in AP Art History:

Thank you, in advance, for getting your reports in. You know how much effort you put into them. Some of you will need the opportunity to rewrite and resubmit your work before the book groups meet in September. Be prepared. Putting your best efforts forth the first time really will save you time. I advise you to read directions and hand in quality work. Results for the first book report will be given out the first day of school.

Things you should already know:

      Read directions carefully. Use directions as a check off list.

      Place name at top of document when turning in to Class Block too.

      Use specific dates pertaining to an artist's life, painting, duration of building project, etc. Do not just use just the Century.


What I do and do NOT want to see in your papers: 

Use a quality starting topic sentence for each paragraph. Stick to this topic.

 Do not repeat the same information. Say it once where it makes a powerful statement and backs up your starting topic sentence.


      No Fluff! Do not tell me how amazing, beautiful, and revolutionary a piece of artwork is without telling me the why, how, or specifically what it looks like. Adjectives are nothing without knowledge.


      When writing the paragraphs on SUBJECT MATTER, be sure to describe what the building or artwork looks like. Make me SEE what YOU SEE.  Is the image a landscape, portrait, a figure or more,  non-representational, a mosque/church/ secular home??? Who and what is in the picture? 


When writing about STYLE, consider what media the artists works in and the manner in which he works it. Oil paint with loose brush strokes/ polished naturalistic appearance, deeply carved limestone relief sculpture, hypostyle floor plan, etc. Large monumental scale or fits in the palm of your hand.

For example - Baroque architecture includes curving walls and much sculptural ornamentation. Natural light is dramatically displayed and controlled by the architect. 


When writing about SIGNIFICANCE, consider the purpose in the artist's time as well as the impact on  future artist's. For example, The Duomo of the Florence Cathedral was a symbol of the pride and power of Florentine citizens and merchants. The largest dome in the world was for a church but not commissioned by the pope.









1. Look through the textbook and select an image other than one used in the 

Introduction that you think represents each of the following:

Period Style:

Regional Style:

Personal Style:

2. Define the following terms as used by art historians, using the text and glossary as necessary. Make sure you understand what the words mean and why they are important to the understanding of art:




intensity or saturation


mass (NOT a church mass)




value or tonality

3. Define the following terms as they apply to sculpture:

additive sculpture

high relief

low relief (bas-relief)

subtractive sculpture

4. Define the following terms as they apply to architecture:






1. What factors does an art historian consider when answering the question "How old is it?" How do those factors relate to the question?

2. What is the significance of context in the study of art history?

3. What is iconography and what are its functions in art-historical study?

4. What do the two portraits of Te Pehikupe (Intro-19) tell us about the ways that artists from different cultures depict reality? Be specific about details of each image.


Full  sentences required in answering questions. Write concisely and to the point.


Five Flash Cards from this Listing:


There are now 250 required images for AP Art History. Many are in your book but some are not.

Select five images from this listing from five different regions and/or time periods. Complete your 5 flash cards by printing out or drawing the image. Identify fully the Title, Artist if known, Date, Medium, Size, and Original Location. Discuss the image in terms of Subject Matter, Style, and Significance.

Ancient Mediterranean

1. Temple of Menerva (Veii, near Rome, Italy) and sculpture of Apollo. Master sculptor Vulca. C. 510-500BCE Original temple of wood, mud brick, or tufa (volcanic rock); terra cotta sculpture.

Early Europe and Colonial Americas

2. Catacomb of Priscilla. Rome, Italy. Late Antique Europe. C. 200-400 C.E. Excavated tufa and fresco.

3. Pyxis of al-Mughira. Umayyad. C. 968 C.E. Ivory

4. Dedication Page with Blanch of Castile and King Louis IX of France and Scenes from the Apocalypse, from a Bible moralisee. Gothic Europe. C. 1226-1234 C.E. Illuminated manuscript (ink, tempera, and gold leaf on vellum).

5. Golden Haggadah (The Plagues of Egypt, Scenes of Liberation, and Preparation for Passover). Late medieval Spain. C. 1320 C.E. Illuminated manuscript (pigment on vellum).

6. Alhambra Palace, Granada, Spain. Nasrid Dynasty. 1354-1391 C.E. Whitewashed adobe stucco, wood, tile, paint, and gilding.

7. Frontispiece of the Codex Mendoza. Viceroyalty of New Spain c. 1541-1542 C.E. Pigment on paper.

8. Angel with Arquebus, Asiel Timor Dei. Master of Calamarca (La Paz School). C. 17th century C.E. Oil on Canvas.

9. Woman Holding a Balance. Johannes Vermeer. C. 1664 C.E. Oil on Canvas.

10. Screen with the Siege of Belgrade and hunting scene. Circle of the Gonzalez Family, c. 1697-1701 C.E. Tempera and resin on wood, shell inlay.

10. The Virgin of Guadalupe (Virginde Guadalupe). Miguel Gonzalez. C. 1698 C.E. Based on original Virgin of Guadalupe. Basilica of Guadalupe. Mexico City.

16th century C.E. Oil on canvas on wood, inlaid with mother-of-pearl.

11. Fruit and Insects. Rachel Ruysch. 1711 C.E. Oil on wood.

Later Europe and Americas 1750-1980 C. E.

12. Portrait of Sor Juana Ines de la Cruz. Miguel Cabrera. C. 1750 C.E. Oil on canvas.

13. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de Mexico desde el Cerro de Santa Isabel). Jose Maria Velasco. 1882 C. E. Oil on canvas.

14. The Coiffure. Mary Cassatt. 1890-1891 C. E. Drypoint and aquatint on laid paper.

15. Where Do We Come From? What Are We? Where Are We Going? Paul Gauguin. 1097-1898 C. E. Oil on Canvas.

16. Goldfish. Henri Mattise. 1912 C.E. Oil on Canvas.

17. Villa Savoye. Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and reinforced concrete.

18. Illustration from The Results of the First Five-Year Plan. Varvara Stepanova. 1932 C.E. Photomontage.

19. The Jungle. Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas.

20. Narcissus Garden. Yayoi Kusama. Original installation and performance 1966. Mirror balls.

21. The Bay. Helen Frankenthaler. 1963 C.E. Acrylic on canvas.

Indigenous Americas 1000 B.C.E. – 1980 C.E. ( 14 works)

22. Chavin de Huantar. Northern highlands, Peru. Chavin. 900-200 B.C.E. Stone (architectural complex); granite (Lanzon and sculpture); hammered gold alloy (jewelry).

23. Mesa Verde cliff dwellings. Montezuma County, Colorado, Anasazi. 450-1300 C. E. Sandstone.

24. Yaxchilan. Chipas, Mexico. Maya. 725 C.E. Limestone (architectural complex).

25. Great Serpent Mound. Adams County, southern Ohio. Mississippian (Eastern Woodlands). C. 1070 C.E. Earthwork/effigy mound.

26. Templo Mayor (Main Temple). Tenochtitlan (modern Mexico City. Mexico). Mexica (Aztec). 1375-1520 C.E. Stone (temple); volcanic stone (The Coyolxauhqui Stone); jadeite (Olmec-style mask); basalt (Calander Stone).

27. Silver and gold maize cobs. Inka c. 1400-1533 C.E. Sheet metal/repousse, gold and silver alloys.

28. Ruler’s feather headdress (probably of Motecuhzoma II). Mexica (Aztec). 1428-1520 C.E. Feathers (quetzsal and cotinga) and gold.

29City of Cusco, including Qorikancha (main temple/church and convent of Santo Domingo) and Walls at Saqsa Waman (Sacsayhuaman). Central highlands. Peru, Inka. C. 1440 C.E. Sandstone.

30. City of Machu Picchu. Central highlands. Peru. Inka c. 1450-1540 C.E. Granite (architectural complex).

31. All- T’oqapu tunic. Inka. 1450 – 1540 C. E. Camelid fiber and cotton.

32. Bandolier bag. Lenape (eastern Delaware) tribe. C. 1850 C. E. Beadwork on leather.

33. Transformation mask. Kwakiutl, Northwest coast of Canada. Late 19th century C.E. Wood, paint, and string.

34. Hide painting of Sun Dance. Attributed to Cotsiogo (Cadzi Cody). Eastern Shoshone, Wind River Reservation, Wyoming. C. 1890-1900 C.E. Painted elk hide.

35. Black-on-black ceramic vessel. Maria Martinez and Julian Martinez, Tewa, Puebloan, San Ildefonso Pueblo, New Mexico. C. mid-20th centery C. E. Blackware ceramic.


Africa 110-1980 C. E. (14 works)

36. Conical tower and circular wall of Great Zimbabwe. Southeastern Zimbabwe. Shona peoples. C. 1000-1400 C.E. Coursed granite blocks.

37. Great Mosque of Djenne. Mali. Founded c. 1200 C.E.; rebuilt 1906 -1907 . Adobe.

38. Wall plaque, from Oba’s Palace. Edo peoples, Benin (Nigeria).

16th century C. E. Cast brass.

39. Sika dwa kofi (Golden Stool). Ashanti peoples (south central Ghana), c.1700 C.E. Gold over wood and cast-gold attachments.

40. Ndop (portrait figure) of King Mishe miShyaang maMubul. Kuba peoples (Democratic Republic of the Congo). C. 1760-1780 C.E. Wood.

41. Power figure (Nkisi n’kondi) Kongo peoples (Democratic Republic of the Congo). Late 19th century C.E. Wood and metal.

42. Portrait mask. (Mblo). Baule peoples (Cote d’Ivoire). Late 19th century to early 20th century C. E. Wood and pigment.

43. Female (Pwo) mask. Chokwe peoples (Democratic Republic of Congo). Late 19th century to early 20th century C. E. Wood, fiber, pigment, and metal.

44. Bundu mask. Sande Society, Mende peoples (West Africa forests of Sierra Leone and Liberia). c. 19th to 20th century C. E. Wood, cloth, and fiber.

45. Ikenga (shrine figure). Ibgo peoples (Nigera). C. 19th to 20th century C.E. Wood.

46. Lukasa (memory board). Mbudye Society, Luba peoples (Democratic Republic of the Congo). C. 19th to 20th century C. E. Wood, beads, and metal.

47. Aka elephant mask. Bamileke (Cameroon, weatern grasslands region). C. 19th – 20th century C. E. Wood, woven raffia, cloth, and beads.

48. Reliquary figure (nlo bieri). Fang peoples (southern Cameroon). C. 19th to 20th century C. E. Wood.

49. Veranda post: equestrian figure and female caryatid. Olowe of Ise (Yoruba peoples). Before 1938 C. E. Wood and pigment.

West and Central Asia 500 B.C.E.-1980 C.E.

50. Jowo Rinpoche, enshrined in the Jokhang Temple. Lhasa, Tibet. Yarlung Dynasty. Believed to have been brought to Tibet in 641 C. E. Gilt metals with semiprecious stones, pearls, and paint; various offerings.

51. Bahram Gur Fights the Karq, folio from Shah Tahmasp’s Shahnama. Islanic; Persian, Il’Khanid. C. 1330-1340 C. E. Ink, opaque watercolor, and gold on paper.

52. The Court of Gayumars, folio from Shah Tahmasp’s Shahnama. Sultan Muhannad. C. 1522-1525 C. E. Ink opaque watercolors, and gold on paper.

South, East, and Southeast Asia 300B.C.E. -1980 C. E.

53. Lakshmana Temple. Khajuraho, India. Hindu, Chandella Dynasty. C. 930-950 C. E. Sandstone.

54. Night Attack on the Sanjo Palace. Kamakura Period, Japan c. 1250-1300 C.E. Handscroll (ink and color on paper).

55. The David Vases. Yuan Dynasty, China. 1351 C.E. White porcelain with colbalt-blue underglaze.

56. Portrait of Sin Sukju (1417-1475). Imperial Bureau of Painting.

c. 15th century C. E. Hanging Scroll (ink and color on silk).

57. Ryoan-ji. Kyoto, Japan. Muromachi Period, Japan. c. 1480 C. E.; current design most likely dates to the 18th century. Rock garden.

58. Jahangir Preferring a Sufi Shaikh to Kings. Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper.

59. White and Red Plum Blossoms, Ogata Korin. c. 1710-1716 C.E. Ink, watercolors, and gold leaf on paper.

60. Chairman Mao en Route to Anyuan. Artist unknown; based on an oil painting by Liu Chunhua. c. 1969 C. E. Color Lithograph.

The Pacific 700-1980 C. E. (11 works)

61. Nan Madol. Pohnpei, Micronesi. Saudeleur Dynasty. C. 700-1600 C.E. Basalt boulders and prismatic columns.

62. ‘Ahu ‘ula (feather cape). Hawaiian. Late 18th century C. E> Feathers and fiber.

63. Staff god. Rarotonga, Cook Islands, central Poylnesia. Late 18th to early 19th century C. E. Wood, tapa, fiber, and feathers.

64. Female deity. Nukuoro, Micronesia. c. 18th to 19th century C. E. Wood.

65. Buk (mask). Torres Strait. Mid- to late 19th century C. E. Turtle shell, wood, fiber, feathers, and shell.

66. Hiapo (tapa). Niue. c. 1850-1900 C.E. Tapa or bark cloth, freehand painting.

67. Tamati Waka Nene. Gottfried Lindauer. 1890 C. E. Oil on Canvas.

68. Navigational Chart. Marshall Islands, Micronesia. 19th to early 20th century C.E. Wood and fibers.

69. Malagan display and mask. New Ireland Province, Papua New Guinea

c. 20th century C. E. Wood, pigment, fiber, and shell.

70. Processional welcoming Queen Elizabeth II to Tonga with Ngatu launima (tapa cloth). Tonga, central Polynesia. 1953 C. E. Multimedia performance (costume; cosmetic, including scent; chant; movement; and pandanus fiber/hibiscus fiber mats), photographic documentation.

Global Contemporary 1980-to Present

71. The Gates, New York City, U.S. Christo and Jeanne-Claude. 1979-2005 C.E. Mixed Media installation.

72. Horn Players. Jean Michel Basquiat. 1983 C. E. Acrylic and oil paintstick on three canvas panels.

73. Summer Trees. Song Su-nam. 1983 C. E. Ink on paper.

74. Androgyn III. Magdalena Abakanowicz. 1985 C.E. Burlap, resin, wood, nails, string.

75. A Book from the Sky. Xu Bing. 1987-1991 C. E. Mixed-media installation.

76. Pink Panther. Jeff Koons. 1988 C. E> Glazed Porcelain.

77. Dancing at the Louvre, from the series The French Connection, Part I; Faith Ringgold. 1991 C. E. Acrylic on canvas, tie-dyed. Pieced fabric border.

78. Earth’s Creation. Emily Kame Kngwarreye. 1994 C. E. Synthetic polymer paint on canvas.

79. Rebellious Silence, from the Woman of Allah series. Shirin Neshat (artist); photo by Cynthia Preston. 1994 C. E> Ink on photograph.

80. En la Barberia no se Llora (No Crying Allowed in the Barbershop). Pepon Osorio. 1994 C. E> Mixed-media installation.

81. Pisupo Lua Afe (Corned Beef 2000). Michel Tuffery. 1994 Mixed-media.

82. Electronic Superhighway. Nam June Paik. 1995 C.E. Mixed-media installation (49-channel closed-circuit video installation, neon, steel, and electronic components).

83. The Crossing, Bill Viola. 1996 C. E. Video/sound installation.

84. Pure Land.. Mariko Mori. 1998 C. E. Color photograph on glass.

85. Lying with the Wolf. Kiki Smith. 2001 C. E> Ink and pencil on paper.

86. Darkytown Rebellion. Kara Walker. 2001 C. E. Cut paper and projection on wall.

87. The Swing (after Fragonard). Yinka Shonibare. 2001 C.E. Mixed-media installation.

89. Old Man’s Cloth. El Anatsui. 2003 C. E. Aluminum and copper wire.

90. Stadia II. Julie Wangechi Mutu. 2006 C. E. Mixed media on Mylar.

91. Shibboleth. Doris Salcedo. 2007-2008 C. E. Installation.

92. MAXXI National Museum of XXI Century Arts, Rome, Italy, Zaha Hadid (architect). 2009 C. E. Glass, steel, and cement.

93. Kui Hua Zi (Sunflower Seeds). Ai Weiwei. 2010-2011 C. E. Sculpted and painted porcelain.

Use textbook and Quality Internet Resources!