Posted: June 17th, 2015

How is it expressive of the time in which it was created? To what tradition, school, or movement does it belong?


erm 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:


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 ( 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 of Style, 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 Chicago Manual 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:
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

           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 Topics           Metropolitan 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:


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.


  1. Tintoretto. The Miracle of the Loaves and Fishes. Oil on canvas. Francis L. Leland
    Fund,1913. 13.75. Gallery 607.
  2. 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.


  1. 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.

  1. Thomas Hovenden, the Last Moments of John Brown, 1882-84. Gift of Mr. and Mrs. Carl Stoeckel, 1897. 97.5. Gallery 762.



  1. Boucher. The Interrupted Sleep. 1750. The Jules Bache Collection, 1949. 49.7.46.

Gallery 616.

  1. 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.


  1. Artemisia Gentileschi. Esther Before Ahasuerus. Gift of Elinor Dorrance Ingersoll,
    1969. 69.281. Gallery 601.


  1. Joos van Cleve and a collaborator. The Crucifixion with Saints and a Donor. Bequest of
    George Blumenthal, 1941. 41.190.20a-c. Gallery 639. 
  2. Pieter Bruegel the Elder. The Harvesters, 1565. Rogers Fund, 1919. 19.164. Gallery 642.


  1. Rembrandt. The Toilet of Bathsheba. 1643. Bequest of Benjamin Altman, 1913.
    14.40.651.  Gallery 634.


  1. Jan Steen. Merry Company on a Terrace. Fletcher Fund, 1958. 58.89.  Gallery 633.
  2. Jan Steen. The Dissolute Household. C. 1663-64. Oil on canvas. The Jack and Belle
    Linsky Collection, 1982. 82.60.31. Gallery 542.


  1. 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:__________________________________


  1. Jules Bastien-Lepage. Joan of Arc. 1879. Gift of Erwin Davis, 1889. 89.21.1. Gallery 800.
  2. Edgar Degas. The Rehearsal Onstage, pastel over brush-and-ink drawing, bequest of Mrs.
    H. O. Havemeyer, 1929. 29.100.39.   Gallery 816.


  1. 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.
  2. 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.

  1. 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.


  1. Camille Pissarro. The Boulevard Montmartre on a Winter Morning, 1897, oil on
    canvas. Gift of Katrin S. Vietor, 1960. 60.174. Gallery 820.
  2. Camille Pissarro Morning, an Overcast Day, Rouen. 1896. Oil on canvas. Gift of
    Alexander Tarnopol, 1980. 1980.21.1. Gallery 820.


  1. Georges-Pierre Seurat. Circus Sideshow. Oil on canvas, c. 1888. Bequest of Stephen C.
    Clark, 1960. 61.101.17. Gallery 826.


  1. Vincent van Gogh. First Steps, after Millet. 1890. Oil on canvas. Gift of George N. and
    Helen M. Richard, 1964. 64.165.2. Gallery 826.


  1. Paul Gauguin, Ia Orana Maria (Hail Mary). Bequest of Sam A. Lewisohn, 1951. 51.112.2.

Gallery 826.


  1. Henri Matisse. Nasturtiums with the Painting “Dance” I. 1912. Bequest of Scofield
    Thayer, 1982. 1984.433.16. Gallery 830.

Modern Art Section (First Floor):__________________________________________________

  1. Vasily Kandinsky. Improvisation 27 (Garden of Love II). 1912. Oil on canvas. Alfred
    Stieglitz Collection, 1949. 49.70.1. Gallery 910.
  2. Pablo Picasso. Nude in an Armchair. 1909-1910. The Mr. And Mrs. Klaus G. Perls
    Collection, 1997. 1997.149.7. Gallery 908.


  1. Max Beckmann. Beginning. 1949. Bequest of Miss Adelaide Milton de Groot, 1967.
    67.187.53a-c.   Gallery 901.


  1. Horace Pippin. American (1888-1946). Lady of the Lake. 1936. Oil on canvas.
    Bequest of Jane Kendall Gingrich, 1982. 1982.55.1. Gallery 911.
  2. Georgia O’Keeffe. Cow’s Skull: Red, White, and Blue. 1931. Alfred Stieglitz Collection,
  3. 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):___________________________________________________________


  1. 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.


  1. 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:

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,

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 through Cezanne. 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.
i Grove 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.

i Hartt, 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.

i The 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,
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 Herman Fuchs and E. Tholen. Koninklijke    Nederlandse Akademie van Wetenschappen. Amsterdam: North-Holland, 1973-1985.
h Wehle, Harry B. A Catalogue of Italian, Spanish and Byzantine Paintings. New York:
Metropolitan Museum of Art, 1947.
h Wehle, Harry B., and Margaretta Salinger. A Catalogue of Early Flemish, Dutch and
           German Paintings. New York: The Metropolitan Museum of Art, 1947.

Westermann, Mariët. A Worldly Art. The Dutch Republic 1585-1718. New York: Harry N.      Abrams, 1996.
h Zeri, Frederico, with the assistance of Elizabeth E. Gardner. Italian Paintings: Florentine
           School. New York: Metropolitan Museum of Art, 1971, reprint, 1979.

h Zeri, Frederico, with the assistance of Elizabeth E. Gardner. Italian Paintings: Venetian
           School. New York: Metropolitan Museum of Art, 1973.
h Zeri, Frederico, with the assistance of Elizabeth E. Gardner.   Italian Paintings: Sienese
           and Central Italian Schools. New York: Metropolitan Museum of Art, 1980.
h Zeri, Frederico, with the assistance of Elizabeth E. Gardner. Italian Paintings: North
           Italian School. New York: Metropolitan Museum of Art, 1986.


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

  1. Historical Facts Concerning the Work
  2. Date of commission
  3. Patron
  4. Person(s) portrayed
  5. Original setting and function of the work
    III. Analysis of Content (subject matter)
  6. Identification and description of the subject matter
  7. Source of the subject matter (literary, etc.)
  8. Iconographical tradition (earlier versions by this artist and/or others)
  9. Artist’s individual concept of subject matter
  10. 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)
  11. Analysis of Form (composition)
  12. Structure and organization of the composition; placement of the main          elements of the composition
  13. Construction of space and depth
  14. Technical Facts (if relevant)
  15. Materials
  16. Condition
  17. Technical structure and procedure
  18. 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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