This resource is useful for students who can visit rare books in special collections libraries. Teachers and students of book history, literature, and art history might find this resource useful.

In this art history video discussion Beth Harris and Steven Zucker look at Albrecht Durer's "Self-Portrait, 1500." (Alte Pinakothek, Munich).

In this art history video discussion Beth Harris and Steven Zucker examine Albrecht Altdorfer's "The Battle of Issus," 1529, oil on panel. Alte Pinokothek, Munich.

Early in the Spring 2020 semester, University of Tennessee at Chattanooga students in my Ancient to Modern Latin American Visual Culture Art History course embarked upon an intensive first-hand visual analysis and research project that involved working directly with original artifacts from Ancient Latin America housed within the University of Tennessee at Chattanooga Library’s Special Collections. This unique opportunity and the publication of their findings were made possible thanks to the generous support and assistance of Special Collections Director Carolyn Runyon and her dedicated staff.

By examining the wide array of Pre-Columbian objects in the George and Louise Patten Salem Hyde Papers and Cultural Artifacts Collection, these upper division students formed small research groups dedicated to specific artifact types, such as human figurines, animal figurines, tools and lithics, vessels, anthropomorphic ceramics, replicas, and sherds. They carefully recorded their original observations of their selected objects of study in written field notes, photographs, and drawings. Later, they compared their initial observations with preliminary collection data developed independently by Archaeology students of Dr. Andrew Workinger, leading to further questions and insights surrounding these extraordinary pieces predominantly from pre-contact indigenous cultures of the Central and Intermediate regions of Latin America that today comprise Costa Rica, Ecuador, Panama and Colombia. Building upon their analysis, the Art History student research groups then re-examined their selected artifacts through analytical frameworks focused on Gender and the Body, Color, Pattern and Materiality, Spirituality and the Object, Form and Function, and Identity and Representation. In presenting their findings to their peers, students received feedback that allowed them to refine their analysis and develop the original individual and group catalog essays that comprise this exhibition publication. Their research sheds further light on the extraordinary value and diversity of the ancient artifacts of Latin America that uniquely form part of UTC’s Special Collections, as well as the innovative power of interdisciplinary research and collaboration.

This entry-level course is designed to help you gain a general appreciation for art as well as to help you develop a working vocabulary for the knowledgeable analysis of art based on the Visual Elements and the Principles of Design. The syllabus is included in the course and contains the course objectives, student learning outcomes, list of assignments and names of the course textbooks.

The history of Art is long and varied, spanning tens of thousands of years from ancient paintings on the walls of caves
to the glow of computer-generated images on the screens of the 21st century.

Art museums are powerful and contested institutions. They are also innovative sites of architectural and artistic practice. From the exhibitionary complex of the nineteenth century to the experiential complex of today, this course investigates the art museum from historical and contemporary perspectives, striking a balance between theoretical investigation and case studies of recent exhibitions and museum buildings. Where and why did the concept of the public art museum emerge, and how have its functions changed over time? How do art museums continue to shape our definitions of what art is? How have they responded to recent critiques of the self-described 'universal' museum and to claims for the ethical display of ill-gotten artifacts or the restitution of such objects as Greek vases and bronzes looted from Benin? And why is the Euro-American art museum so compelling a model that it has spread around the globe?
To address these and other questions, we will also go behind the scenes. Visits to local museums and discussions with curators are an essential component of the course.

This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world.

This site presents a program that places art in the context of people's lives so our students will understand how important and effective a tool art is in solving problems and overcoming adversity. The student will recognize that Africans sometimes face problems that are similar to his own, and while the solutions Africans create may look different than ours, they are logical and effective.

The visual narratives and abstractions of this preeminent African American artist explore the places where he lived and worked: the rural South, Pittsburgh, Harlem, and the Caribbean. Bearden's central themes: religion, jazz and blues, history, literature, and the realities of black life he endured throughout his remarkable career in watercolors, oils, and especially collages and photomontages from the 1940s through the 1980s.

A series of Poweroint presentations dealing with guidelines on how to acquire research and organisational skills for first-year undergraduate level essays and presentations in the History of Art 

Step-by-Step instructions for collaboratively annotating a public-domain text in your course and sharing it with the world.

In this art history video Dr. Beth Harris and Dr. Steven Zucker discuss Claus Sluter and Claus de Werve's, "Mourners", Tomb of Philip the Bold, Duke of Burgundy, installed 1410. In the Museum of Fine Arts, Dijon.

What does it mean to belong to a country? Can events change what that means? This interactive compares two paintings by John Lewis Krimmel. Both show people in Philadelphia’s Centre Square celebrating the Fourth of July, but one was painted in 1812, just after the United States had declared war on Great Britain, and the other was painted in 1819, four years after the war had ended. The two look very different, reflecting changing ideas. This "Genial.ly" presentation includes interactive annotations and a juxtapose slider--the final slide includes suggestions on how to help students use the art as historical evidence. If you evaluate or use this resource, please respond to this short (4 question) survey here bit.ly/3ofUImf

Charles Bargue Drawing Course introductionThe Charles Bargue Drawing Course was a highly influential guide to art instruction in the 19th century, which has recently returned to prominence in the Realist painting movement. This module introduces students to the fundamental drawing skills covered in the Charles Bargue Drawing Course, and leads them through the process of completing a Bargue plate copy. 

This resource is a video abstract of a research paper created by Research Square on behalf of its authors. It provides a synopsis that's easy to understand, and can be used to introduce the topics it covers to students, researchers, and the general public. The video's transcript is also provided in full, with a portion provided below for preview:

"Vincent van Gogh once compared this impressionist masterpiece to a “Japanese dream”—a reflection of his love for Japanese prints but perhaps a comparison that has proven all too fitting. Because the thing about dreams is, their details tend to fade. A combination of natural aging and the buildup of grime has dulled van Gogh’s _Field with Irises near Arles_ over the past 130 years. Fortunately, those changes are not completely irreversible. Modern experimental art technology has given a team of Dutch researchers unprecedented access to the artist’s full color palette. Enabling them to not only digitally recreate van Gogh’s landscape in its original color—but also, to reproduce the very paints he used from scratch. Using the same techniques forensic scientists use to reconstruct a crime scene, the team first determined the chemical makeup of each dab of paint in the work..."

The rest of the transcript, along with a link to the research itself, is available on the resource itself.

Diego Rivera’s, “The History of Mexico: An Epic of the Mexican,” is one of his masterpieces. The fresco mural tells more than 2,000 years of Mexican History, but there’s an emphasis on the last 700 years of Mexican History. The mural discusses more than 230 historical figures and historical events within 554 meters at the north stairwell at the National Palace in Mexico City - Palacio Nacional.

Ficha análisis del cuadro de Diego de Velázquez: La Rendición de Breda (1634-35) 

Ficha comparativa de dos edificios religiosos en Catalunya: La Sagrada Familia y Sant Climent de Taüll

Ficha comparativa de dos hospitales: El Hospital de Sant Pau (Barcelona) y el Hospital de Bellevue (Nueva York)