FA 201 01 History of World Art
FINE_ART 303 01 [ARTS]
Modern Art: The 19th Century
Fine Arts Center, Room 5062
Tuesday, Thursday
12:00 – 1:15 PM
Instructor: Dr. Marianne Kinkel
Phone: (509) 335-1363
Office: Fine Arts Building, Room 5072E
Office Hours: Thursdays 2:00 - 4:00 pm or
by appointment
E-mail: mkinkel@wsu.edu
TA: Krista Brand Fogt
Course Description and Objectives: This 3-credit lecture course explores 19th century art of Europe and the United States. The 19th century saw dramatic economic, political and social transformations that significantly altered the production and consumption of art in western societies. We will examine how artists negotiated the emerging terrain of modernity, the introduction of new technologies, as well as the formation of identities shaped by notions of class, gender, and race. We will study diverse artistic movements and visual experiences of modernity. We will adopt a mode of analysis that emphasizes detailed examination of individual works, attends to artists’ social relations, and considers visual technologies that formed new ways of seeing.
Learning Outcomes: By the end of this course, you will have a general understanding of 19th century artistic movements and their relations to modernity. You will be familiar with concepts crucial to the study of modern art such as avant-garde, picturesque, realism, and the sublime. There are no prerequisites for this course; however, FINE_ART 201 and FINE_ART 202 are recommended.
|University Learning|At the end of this course, students should be able to: |Course topics and dates that advance this |This objective will be |
|Goal: | |learning goal: |primarily evaluated |
| | | |through: |
|Critical and |reason from what they see. This is achieved through |Weeks 1-15 |Exams 1-3 |
|Creative Thinking |learning how to perform a formal analysis and to | |and |
| |recognize dominant 19th century artistic styles, |This is key goal of this course. In all course |Extra Credit Paper |
| |compositional strategies, rhetorical conventions, and |lectures, art objects and related theories of | |
| |material practices. Students learn how to make |art are considered within their social | |
| |connections between specific representations and general|historical and political contexts. | |
| |concepts through a range of interpretive frameworks, | | |
| |from stylistic analysis to methods informed by feminist,| | |
| |Marxist, and postcolonial perspectives. Introduction to | | |
| |such contextual methods increases students’ awareness of| | |
| |how visual habits and ways of understanding images are | | |
| |culturally conditioned and grounded in their social and | | |
| |historical contexts. | | |
|Communication |write, speak, and listen to achieve understanding of|Weeks 1-15 |Homework assignment #1 |
| |art as a visual form of communication. | |and Exams 1-3 |
| | |Homework: Students write a report on their online| |
| | |search concerning David. Students are encouraged | |
| | |to “diagram” artworks to help them move between | |
| | |looking and writing. In class discussions. | |
| | |Students have a hands-on engagement with | |
| | |photographs and stereoscopes in week 8. Each exam| |
| | |includes two essay questions that cover major | |
| | |themes. | |
|Information Literacy |locate, evaluate and use appropriate art historical |Week 1: |Homework assignment #1 |
| |scholarship for a specific project |The second lecture, information literacy for art |and |
| | |history, addresses how to conduct basic art |Quiz #1 |
| | |historical research using Internet resources such| |
| | |as the WSU Library’s Fine Arts Subject Guide and | |
| | |JSTOR. The lecture introduces students to the | |
| | |concept of peer review and demonstrates how to | |
| | |locate peer-reviewed materials. | |
|Diversity |understand how aesthetics and visual |Week 1: the “beau ideal” and ways of interpreting|Exams 1-3 |
| |representations in Western societies have shaped |the body, physiognomy, and phrenology are | |
| |ideas of race and constructed images of non-Western |introduced. | |
| |cultures as “other.” This increases awareness of how| | |
| |ways of seeing and representations are culturally |Week 3: Hiram Powers’ Greek Slave and the genre | |
| |conditioned. Through the process of critically |of | |
| |examining such images, students are encouraged to |Orientalism are discussed. | |
| |reflect upon accepted ways of thinking about | | |
| |themselves and the world. |Week 9: Manifest Destiny and American painting | |
| | |are discussed. | |
| | | | |
| | |Week 10: | |
| | |representations of race, Ethnographic Sculpture, | |
| | |and civil war monuments are examined in relation | |
| | |to anthropological theories, physiognomic | |
| | |practices, and the beau ideal. | |
| | | | |
| | |Weeks 14 and 15: The works of Van Gogh and | |
| | |Gauguin are discussed in relation to Bretonism | |
| | |and | |
| | |Primitivism | |
|Inquiry in the ARTS [ARTS] Learning Goal: |Evaluated primarily through: |
|Critically analyze, interpret and/or |Pop quizzes and Exams 1-3 |
|evaluate the creative activities or | |
|accomplishments of others, past or present.|Students will increase their skills in reasoning from what they see. This is achieved through learning how to|
|Students must also demonstrate that their |perform a formal analysis and to recognize dominant 19th century artistic styles, compositional strategies, |
|analysis and interpretation is grounded in |rhetorical conventions, and material practices. Students learn how to make connections between specific |
|existing historical, critical or |representations and general concepts through a range of interpretive frameworks, from stylistic analysis to |
|methodological scholarship. |methods informed by feminist, Marxist, and postcolonial perspectives. Introduction to such contextual methods|
| |increases students’ awareness of how visual habits and ways of understanding images are culturally |
| |conditioned and grounded in their social and historical context. |
|Introduce students to key texts, monuments,|Pop quizzes and Exams 1-3 |
|and artifacts within humanistic traditions | |
|or humanities |FINE_ART 303 surveys major 19th century European and American artworks and visual technologies that shaped |
| |the ideas of art, ways of seeing and notions of modernity. A range of texts, such as those by Charles |
| |Baudelaire, Paul Broca, Edmund Burke, Friedrich Engels, William Gilpin, Karl Marx, John Ruskin, and Henry Fox|
| |Talbot, are introduced to examine theoretical issues. |
|Help students develop the ability to |Exams 1-3: |
|construct their own interpretations | |
|according the standards of a humanistic |Each test includes two essay questions which ask students to demonstrate their ability to interpret work of |
|discipline |arts and to consider their historical, theoretical, and social significance. Each test also contains an extra|
| |credit question in which students are presented with an unknown artwork and are asked to identify the artist |
| |and to offer a justification for their attribution. |
| | |
| |Extra credit paper: |
| | |
| |Students ground their interpretation of an artwork through performing a formal analysis and examining the |
| |work in relation to a concept discussed at length in class, such as emulation, Orientalism, the sublime, |
| |realism, the picturesque, or the avant-garde. The goal of this looking and writing exercise is for students |
| |to demonstrate their ability to reason from what they see and consider connections between a particular work |
| |of art and a theoretical or social issue discussed in class. |
|Engage students in the history of ideas or |Throughout the course, students consider “big questions” relating to notions of identity. As much 19th |
|of big questions |century art concerned representation of the human body, in each section of the course students tackle the |
| |construction of identity by attending to issues of race, beauty, gender, and class. Specific notions such as |
| |the “beau ideal,” femme fatale, and the odalisque are introduced in the course. For example, students study |
| |how the genre of Orientalism, which crossed the Classical and Romantic, the realist and symbolist traditions |
| |as well as media, served as way to define Middle Eastern cultures as “Other” to Western societies. Works |
| |specifically intended as anthropological representations of race are examined through the genre of |
| |ethnographic sculpture. Ideas of the “primitive” and “rural peasant” are also discussed in relation to |
| |specific artistic movements throughout the 19th century. |
|Acquaint students with significant cultural|FINE_ART 303 surveys major European and American artworks from 1780 – 1900 that shaped the idea of modern art|
|traditions |and its relation to modernity. |
Grading: There are three exams each worth 30% of your final grade. Each test covers one section of the course. In cases of excused absences, make up examinations will be offered during the week following the scheduled exam. The remaining 10% of your grade consists of attendance and performance on pop quizzes. You can earn extra credit (up to three percentage points) by writing a term paper. The paper should consist of at least five typed pages. Illustrations must be attached. Please submit the paper topic for approval by November 16, 2017. The paper is due December 7, 2017. Midterm grades are based on your performance on the first exam (86%) and class participation (14%). Scores are rounded to the nearest percent.
Grading Scale:
93 - 100 = A
90 - 92 = A-
87 - 89 = B+
83 - 86 = B
80 - 82 = B-
77 - 79 = C+
73 - 76 = C
70 - 72 = C-
67 - 69 = D+
60 - 66 = D
0 - 59 = F
Attendance Policy: Attendance is mandatory; three or more unexcused absences will result in the lowering of your participation grade. Excused absences are: medical, observance of religious holy days, and documented university-sponsored events (with prior notification.) In cases of excused absences, make-up examinations will be offered during the week following the scheduled exam.
Academic Honesty: Academic integrity is the cornerstone of higher education. As such, all members of the university community share responsibility for maintaining and promoting the principles of integrity in all activities, including academic integrity and honest scholarship. Academic integrity will be strongly enforced in this course. Students who violate WSU’s Academic Integrity Policy (identified in Washington Administrative Code (WAC) 504-26-010(3) and -404) will fail the course, will not have the option to withdraw from the course pending an appeal, and will be reported to the Office of Student Conduct. Cheating includes, but is not limited to, plagiarism and unauthorized collaboration as defined in the Standards of Conduct for Students, WAC 504-26-010(3). You need to read and understand all of the definitions of cheating: . If you have any questions about what is and is not allowed in this course, you should ask course instructors before proceeding. If you wish to appeal a faculty member's decision relating to academic integrity, please use the form available at conduct.wsu.edu.
Safety Statement: Classroom and campus safety are of paramount importance at Washington State University, and are the shared responsibility of the entire campus population. WSU urges students to follow the “Alert, Assess, Act,” protocol for all types of emergencies and the “Run, Hide, Fight” response for an active shooter incident. Remain ALERT (through direct observation or emergency notification), ASSESS your specific situation, and ACT in the most appropriate way to assure your own safety (and the safety of others if you are able). Please sign up for emergency alerts on your account at MyWSU. For more information on this subject, campus safety, and related topics, please view the FBI’s Run, Hide, Fight video and visit the WSU safety portal.”
Students with Disabilities: Reasonable accommodations are available for students with a documented disability. If you have a disability and need accommodations to fully participate in this class, please either visit or call the Access Center [Pullman] or Disability Services at [name of campus] address on your campus] to schedule an appointment with an Access Advisor. All accommodations MUST be approved through the Access Center or Disability Services. For more information contact a Disability
Specialist at the Access Center (217 Washington Building) 509-335-3417, , Access.Center@wsu.edu
Strategies for Success: Plan to have assigned readings and/or homework done before each class so that you are ready for lectures and pop quizzes. For each hour of lecture, students should expect to have a minimum of one hour of work outside of class. For assistance on preparing for class see the Reading Strategies Workshop at . FA 303 is a lecture course; this format requires skills in note taking by hand or using a laptop. Recent studies have shown that students who take notes on paper rather than on computers have greater understanding and retention of course material. For tips on how to take lecture notes go to . Please, no talking during class and cell phone use is not permitted.
Required Readings:
Textbook: Robert Rosenblum and H.W. Janson, 19th-Century Art (Prentice Hall, 2005) revised edition, ISBN 0131896148. (Available at the Bookie and Crimson & Gray)
Essays on Electronic Reserves (available through Blackboard, ):
1. Robert Herbert, “Paris Transformed,” Impressionism: Art, Leisure, and Parisian Society (New Haven: Yale University Press, 1988), 1-32.
2. David Llewellyn Phillips, “Photography, Modernity and Art,” Nineteenth Century Art: A Critical History ed. Stephen F. Eisenman (Thames & Hudson, 2002), 241- 268.
3. Frances Pohl, “”Monuments to Freedom,” Framing America: A Social History of American Art (Thames & Hudson, 2002), 217-224.
Websites: Links to other required readings are listed below. For additional course materials, consult
Course Schedule
Please note that the instructor reserves the right to make changes to the following schedule.
Part I: Classicism and Romanticism
Aug 22 Introduction to the Course
Review: Formal Analysis (see instructions of extra credit paper)
WSU reading strategies workshop
Aug 24 Late 18th Century Art and Visual Culture
Read: pp. 14-23, 91-109 and Tate Museum’s entry on history painting at , watch video on The Death of General Wolfe at
Information Literacy for Art History
Aug 29 Neo-Classicism
Read: pp. 23-40 and 109-114
Aug 31 Goya and Visionary History Painting
Read: pp. 40-55
Sept 5 Classicism in Crisis, the Followers of David
Read: pp. 55-73
Sept 7 Late Goya and Romantic Painting in France
Read: pp.120-147
Information Literacy Assignment due
Sept 12 Romantic Landscape Painting in Germany and Great Britain
Read: pp. 51, 73-91, 179; read essay on the sublime at
and watch video, “Art and the Sublime,” at
Sept 14 British Romantic Landscape Painting, and Panoramas
Read: pp.147-162 and see “The Panorama Effect: Spectacle for the Masses” at
Sept 19 The Emergence of a Romantic Theory of Sculpture
Read: pp. 200- 202, 204- 208, 211- 225
Sept 21 Exam One
Part II: Realism and Naturalism
Sept 26 Daumier and the Language of Caricature
Read: pp. 194- 196; essays at
and and watch video at
Sept 28 History and Landscape Painting: 1830-1848
Read: pp. 162-189
Oct 3 Painting and the Rhetoric of Realism
Read: pp.189 –198, 228 - 237
Oct 5 Courbet and the Origins of the Avant-Garde
Read: pp. 237- 256, 267-274
Oct 10 Photography, Modernity and Art
Read: Electronic Reserves, Llewellyn Phillips, “Photography, Modernity and Art,” in Nineteenth Century Art: A Critical History, ed. Stephen F. Eisenman (Thames & Hudson, 2002), 241- 258.
Oct 12 Photography, continued
Read: Electronic Reserves, “Photography, Modernity and Art,” pp. 258- 268 & fig. 261.
Oct 17 The Pre-Raphaelite Brotherhood
Read: pp. 256-267, 274-280, and 310-312 tour the recent exhibition at the Tate at and watch video at
Oct 19 Panoramas and American Landscape Painting
Read: pp. 280-288 (see also figure 173), Kevin Avery, “Movies for Manifest Destiny,” aa/3aa/3aa66.htm, and “Grand Moving Panorama of Pilgrim’s Progress,” newsm1/n1m487.htm and view video at
Oct 24 Ethnographic Sculpture and Monuments to Freedom
Read: pp. 323-331 (Cordier and Carpeaux), 514-515 (Saint-Gaudens), and Electronic Reserves, Frances Pohl, “Monuments to Freedom,” Framing America: A Social History of American Art (Thames & Hudson, 2002): 217-224.
Oct 26 Exam II
Part III: Modern Art and Life - Impressionism and Post-Impressionism
Oct 31 Manet
Read: pp. 288-309
Nov 2 Outdoor Painting
Read: pp. 312-322, 344-349
Nov 7 The First Impressionist Exhibition and Salon Painting
Read: pp. 350-369
Nov 9 Impressionism and the Haussmannization of Paris
Read: Electronic Reserves, Robert Herbert, “Paris Transformed,” Impressionism: Art, Leisure, and Parisian Society (New Haven: Yale University Press, 1988), 1-32.
Nov 14 Impressionism as a Gendered Practice
Read: pp. 363-386, 391-394, and 486
Nov 16 Seurat and Neoimpressionism
Read: pp. 407- 422
Extra Credit Paper Topic Due
Nov 21 & 23 Thanksgiving Holiday, no class
Nov 28 Cézanne
Read: pp. 396-407 and see figures 344 & 345
Nov 30 Decadence and the Retreat from the Urban
Read: pp. 422-439
Dec 5 Retreat from the Urban, continued
Read: pp. 439-450, 464-476
Dec 7 Rodin and Late 19th Century Sculpture
Read: pp. 477–481, 486-488, 490-499, and 506-513
Extra Credit Paper Due
Dec 13 Exam Three, 8:00-10:00 am (meet in regular classroom)
Recommended Readings on 19th Century Art:
Altick, Richard. The Shows of London Cambridge: Belknap Press, 1978.
Bann, Stephen. Paul Delaroche: History Painted Princeton University Press, 1997.
________. Romanticism and the Rise of History New York: Maxwell MacMillan International, 1995.
Boime, Albert, The Academy and French Painting in the Nineteenth Century London: Phaidon, 1971.
Bordes, Philippe, Jacques- Louis David, Empire to Exile Yale Univ. Press, 2005
Chu, Petra ten-Doesschate, Nineteenth-Century European Art Prentice Hall, 2006.
Clark, T.J. The Painting of Modern Life: Paris in the Art of Manet and His Followers Princeton University Press, 1999 revised edition.
________. Images of the People: Gustave Courbet and the 1848 Revolution University of California Press and Thames and Hudson, 1999
Comment, Bernard. The Painted Panoramas tr by Anne Marie Glasheen New York: Harry N. Abrams, 2000.
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century MIT Press, 1990.
Crow, Thomas. Emulation: David, Drouais, and Girodet in the Art of Revolutionary France Yale University Press 2006
Eisenman, Stephen F. ed. Nineteenth Century Art: A Critical History Thames and Hudson, 2007.
Facos, Michelle. An Introduction to Nineteenth-Century Art Routledge 2011.
Frascina, Francis, Nigel Blake, Briony Fer, Tamar Garb, and Charles Harrison Modernity and Modernism: French Painting in the Nineteenth Century Yale University Press, 1993.
Gersheim, Helmut and Alison, L. J. M. Daguerre: The History of the Diorama and the Daguerreotype London: Dover, 1968.
Groom, Gloria, ed. Impressionism, Fashion, and Modernity Yale University Press, 2013.
Harrison, Charles and Paul Wood, eds. Art in Theory: 1800-1915 Malden, Mass: Blackwell, 1998.
Herbert, Robert. Impressionism Art Leisure and Parisian Society Yale University Press, 1988.
Mainardi, Patricia. Art and Politics of the Second Empire Yale University Press, 1987.
McPhee, Constance and Nadine Orenstein, Infinite Jest: Caricature and Satire from Leonardo to Levine Yale University Press, 2011.
Nelson, Charmaine. The Color of Stone: Sculpting the Black Female Subject in Nineteenth-Century America Univ. Minn. Press, 2007.
Oettermann, Stephan. The Panorama: History of a Mass Medium trans. Deborah Lucas Schneider New York: Zone Books, 1997.
Pohl, Frances. Framing America: A Social History of American Art Thames & Hudson, 2002
Pollock, Griselda. Vision and Difference: Femininity, Feminism and Histories of Art Routledge, 1988.
Prettejohn, Elizabeth. The Art of the Pre-Raphaelites Princeton University Press, 2000.
Schivelbusch, Wolfgang. The Railway Journey, Trains and Travel in the 19th Century New York: Urizen, 1979.
Schwartz, Vanessa R. and Jeannene M. Przyblyski. The Nineteenth Century Visual Culture Reader Routledge, 2004.
Shiff, Richard. Cezanne and the End of Impressionism University of Chicago, 1984.
Smith, Paul. Seurat and the Avant Garde Yale University Press, 1997.
Wagner, Anne W. Jean Baptiste Carpeaux Sculptor of the Second Empire Yale University Press, 1986.
Wood, Paul, ed. The Challenge of the Avant Garde Yale University Press with the Open University Press, 1999.
Wright, Beth. Painting and History during the French Restoration: Abandoned by the Past Cambridge University Press, 1997.
Online Resources:
1. WSU Library’s Fine Arts Research Guide
2. General Information on 19th Century Artists, Works, Concepts, and Visual Culture
site of Nineteenth Century Art Worldwide, a Journal of 19th century Visual Culture
3. Museums
British Museum: thebritishmuseum.ac.uk
American Memory at the Library of Congress:
Walker Art Gallery Collection of 19th Century British art:
Musée d’Orsay (Collections of French Art from 1848-1914): musee-orsay.fr
Index to the Various Museums at the Smithsonian Institution:
Tate Galleries: .uk
Victoria & Albert Museum: vam.ac.uk
FINE ART 303 UCORE Discussion of Information Literacy for Art History
Teaching and Evaluating Basic Information Literacy in Art History:
FINE_ART 303 is a large lecture course in which the course textbook, Robert Rosenblum and H.W. Janson’s 19th-Century Art (Prentice Hall, 2005), is augmented with readings placed on electronic reserves and essays on museum websites. During the first day of instruction, I explain what are peer-reviewed essays and why these required essays are excellent examples of different kinds of art historical scholarship. I demonstrate how to access the readings placed on electronic reserves through the WSU Library main web page and on museum and university web sites.
During the remaining section of the lecture I discuss information literacy in art history so that students will know how to learn more about particular art objects on their own. I introduce the WSU Library Fine Arts Research Guide, research journals, JSTOR, and visit major museum web sites.
1) The lecture will introduce students to the WSU Library’s Fine Arts Research Guide (), a good place to start basic art historical research. I will show students how to get to the research guide, navigate elements on the home page and use links to electronic research databases and electronic books. The most accessible database for foundational research is the Grove Art Online, which is available from the Fine Arts Research Guide. I will also access websites that are listed on the course syllabus and demonstrate how to use JSTOR, a database extremely helpful for accessing electronic versions of peer-reviewed research.
2) The lecture will then address reputable web sites on the Internet for art historical research: Because much of the material on the WWW is not peer-reviewed, readers cannot be assured that the material presented is correct. For basic art historical research, museum web sites are extremely helpful, and reputable. I discuss museum websites listed on the course syllabus. Major museums and libraries such as Musée d’Orsay, the British Museum, the Library of Congress, the Smithsonian Institution, and the Tate have information about their collections of 19th century art. For instance, the Metropolitan Museum of Art has an excellent web site, that contains essays written by curators and their assistants. On this website you can research objects in the Met’s collection. Under the Collection drop down menu, the last selection “Timeline” brings one to the Heilbrunn Timeline of Art History, which is a thorough and reliable resource for art historical research in different time periods, various cultures, and a range of geographical locations. Students are required to read the essay on the Hudson River School written by Kevin Avery, an outstanding scholar of 19th century American art available at . The Met Media page gives viewers access to videos created for the public. The video at is assigned so that students can hear three art historians discuss the graphic tradition of caricature.
Evaluation of art historical literacy unit:
Class Participation Grade - Homework Assignment and Quiz:
Through the homework assignment, students are actively engaged in practicing information literacy. They are given the question, “Why is Jacques-Louis David considered a Neo-Classical artist?” To answer this question, students will locate scholarly sources using the WSU Library’s Fine Arts Research Guide web page and reputable museum websites. During this process, they will weigh the quality of scholarship and assess the relevance of sources in answering the proposed question. They will write an annotated bibliography, consisting of two reputable web-based sources and one peer-reviewed article, which explains and evaluates each entry in terms of quality and relevance of scholarship. Students are required to turn in this one-page bibliography for grading. Homework assignment is due September 7, 2017. (4 pts) Supplementing this activity is an in-class pop quiz which asks students to explain why peer-reviewed research is important. (2 pts)
FINE_ART 303 Instructions for Extra Credit Paper: due December 7, 2017; no late papers will be accepted. Paper topic must be submitted for approval by November 16, 2017.
This paper is intended for you to demonstrate your ability to analyze the formal elements of a 19th century work of art and to consider a work in relation to a theoretical concept discussed in class. This is a looking exercise; no research is required.
I. Formal analysis. Spend time looking at a 19th century artwork and write an essay, at least five pages in length, that considers the following formal issues. Please note that not all of them will apply, and that you may want to raise additional points not included below. You must support general statements and assertions by referring to specific visual elements of the work.
1. Materials and Technique. Is the work a drawing, print, photograph, painting, or sculpture? How does the medium contribute to the overall statement?
2. Composition. What is the basic arrangement of the work? How do the visual elements relate to each other? What is the size of the work?
3. Line. Does line play a significant role? If so, how are they arranged? Are there contour lines or lines used for modeling?
4. Color. What colors are used? Are they intensely saturated or are they muted? What is the arrangement of the colors? Do some colors seem more predominant than others?
5. Space. Is there an attempt to create an illusion of space? Are pictorial devices such as perspective, modeling, and foreshortening used? Is the two-dimensional surface emphasized? If you choose a three-dimensional work, like a sculpture, discuss the relation of mass to space.
6. Light. What are the light and dark relationships in the work? Is there implied light source?
7. Texture. What does the surface look like? Is the surface rough, smooth or a combination of textures? Are the textures implied?
8. Brush work. If you chose a painting consider the application of paint. Are the brush strokes visible? Is the paint thickly or thinly applied?
II. In your essay, consider how your chosen work engages an issue and/or theoretical concept (such as notions of the avant-garde, beauty, caricature, picturesque, realism, or sublime) discussed in class. Remember, this is a look exercise; it is intended for apply your analytical skills to a work of art. All WSU policies concerning academic integrity apply to this paper.
Further suggestions for getting started:
You may want to write down your first impressions and then fully describe the work. These initial steps will help you respond to the above questions and build a well-developed analysis. It may be helpful to write as if you are describing the work to someone who has never seen it. Organize your thoughts into coherent paragraphs and proofread your essay. For additional assistance read
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