SYLLABUS
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.
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.
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.
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)
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.
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).
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.
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.
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?
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.).
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.
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
MID-TERM QUIZ
7 2/21/08
After Quiz: 10:00 am, Selby Gallery, Brenda Brown presentation
Environmental Art
14 4/17/08
HAND IN COURSE PAPER TWO THIS WEEK
TR 654.M667 1986 The Most Beautiful Places in the World Jay Maisel
N 6494.E27 B64 2002 Earthworks: Art and the Landscape of the Sixties Suzann Boettger
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
ND 588.F75 C37 1991 The Boundaries of Our Time: Casper David Friedrich 39
GARDENS:
SB 481.6.O55 F7 1990 Frederick Law Olmstead & the Public Park in America 58