College of the Arts

School of Art and Design

ARH 2850:  Renaissance through Modern Art
Fall 2020

Instructor Information

Name: Diana McClintock, Ph. D.


Office Location: Vis Arts 236

Office phone: 470-578-6139

Office Hours*:    W 4:30pm-6:30pm; Thurs. 9:00am-11:00am

Preferred method of communication: email
                        *office hours will be simultaneously held on Microsoft Teams, as well as f2f

Course Description

 This is an online lecture course in which students study major developments and trends in world art from the fifteenth through the twentieth centuries CE. It includes an introduction to parallel developments in Asia, Africa, and the Americas. 


Course Materials

 Required Texts: Fred S. Kleiner, Gardner’s Art Through the Ages: A Concise Global History, 4th Edition, 2016 (Boston: Wadsworth Cengage Learning). ISBN 978-1-305-57780-0

Technology Requirements: In order to succeed in this course, you will need regular access to a computer that is connected to the internet with a high-speed connection.  You will need a recent version of Microsoft Office, or another program that can save documents in one of the following formats: Microsoft Word (.doc or .docx), Plain text (.txt), Adobe Acrobat PDF (.pdf), Rich Text Format (.rtf), PostScript (.ps), WordPerfect (.wpd), or HTML (.html, htm).  Any other formats cannot be read and graded on D2L, and will therefore not be graded and will be counted as a "0."  Please note:  Open Office documents with the .odt suffix, or PDFs created using Mac Preview software, cannot be read by D2L!

Learning Outcomes

  1. Students will analyze works of art perceptively and evaluate them critically using appropriate observations and relevant information.
    Students will identify and describe forms and styles of art produced during different art historical periods and in different places, using appropriate art historical terminology.
  2. Students will explain how specific historical and cultural circumstances contributed to the development of different styles and forms of global artistic practice at different periods in history.
  3. Students will explain how theories and philosophies of art contributed to the development of different styles and forms of global artistic practice at different periods in history.

Course Requirements and Assignments

 Each week students will complete a 10-point required quiz, based on all of the material covered in the Weekly Learning Module. There will be at least 15 “required” weekly quizzes offered during the semester, but only the best 12 scores will count towards each student's final grade (the lowest required weekly quiz grades will be dropped). Missed quizzes will count as a "0."  There are optional practice quizzes throughout the semester that do not count towards students' final grade. In addition, extra credit quizzes may be offered.

There will be three exams during the semester, worth 100 points each. Each Exam will be broken down into three separate parts that can be taken at different times during the week of the exam.  One section will include objective questions, one will include written answers, and one will include extra credit questions based on the optional PDF readings that are listed in the Assignment Schedule and posted in the Weekly Learning Modules.

There is one required written paper, the Formal Analysis and Interpretation Essay that students will write based on work of art on display at either the High Museum of Art in Atlanta, or the Zuckerman Museum of Art here at KSU, selected from a list that is posted in the Rubrics and Assignments submodule on D2L.  The rubric for this assignment can also be found (with the list of artworks from which students  may choose) in the Rubrics and Assignments submodule, and also in the Week 1 Learning Module.

  • Students who live outside of North Georgia and the Greater Atlanta area may request an alternative museum/gallery assignment by emailing Dr. McClintock directly by Sunday September 30, 2020.
  • Students will visit the High Museum of Art in Atlanta OR the Zuckerman Museum of Art at KSU. A list of artwork that is currently on display can be found with the Rubric for this assignment. Select one work of art from that list to analyze and interpret. Students are strongly encouraged to read Edmund B. Feldman’s “Visual Arts Critique” (in the Week 1 Module) to become more familiar with writing a “Formal Analysis,” however your essay should NOT be written as four distinct and labelled sections (as Feldman organizes his "Visual Arts Critique").  A “formal analysis” involves first carefully observing, then analyzing the form of your selected artwork. Your interpretation should begin with evidence from your formal analysis, and should not be based on the title or on other information about the artwork that you have read.
  • THIS IS NOT A RESEARCH ASSIGNMENT. However, if you read wall text, pamphlets, or other published material that is available at the High Museum or at, it is imperative that you properly cite every source according to Chicago Style (Notes and Bibliography Method). Failure to do so will result in a grade reduction.
  • The required Formal Analysis Quiz (and the Formal Analysis and Interpretation Practice Quiz) will help you prepare for this assignment.
  • Papers should be 3-5 pages, double-spaced, standard fonts and margins.
  • Papers will not be graded unless they are Microsoft Word (.doc), Plain text (.txt), Adobe Acrobat PDF (.pdf), Rich Text Format (.rtf), PostScript (.ps), WordPerfect (.wpd), or HTML (.html, htm).
  • Grades will be reduced for excessive writing errors. Visit the KSU Writing Center for help with common writing errors.
  • Finished papers are due in the Assignment Submission Folder during Week 13 by 11:59 pm on Sunday November 15.  The Assignment Submission Folder will remain open for exactly one week to accept late papers. Papers submitted after the due date will receive an automatic 10% grade penalty. Papers will not be accepted after the Assignment Submission Folder closes.
  • Unless otherwise indicated in the weekly assignment modules on D2L or in the schedule of weekly assignments, reading assignments will be from the course textbook. Optional readings (for extra credit) may be from other sources, and will be identified as Optional in the weekly modules and on the list of weekly assignments.

Evaluation and Grading Policies

Grades will be tabulated on a point system.  Assignments and quizzes/exams will add up to 500 possible points for the semester (not including extra credit):

  • 12 quizzes (out of at least 14, so your lowest scores will be dropped), up to 10 points each = 120 total points
  • 4 required Discussions, 5 points each = 20 total points
  • Formal Analysis Quiz, up to 10 total points
  • High Museum/ZMA Formal Analysis and Interpretation Essay, up to 50 points
  • 3 Exams, up to 100 points each = 300 total points

A = 450-500 total semester points

           B = 400-449 total semester points

           C = 350-399 total semester points

           D = 300-349 total semester points

           F = 299 or below total semester points

Semester grades may be raised or lowered based on class participation, to be determined by regular and consistent Reading of lectures and other course material; submitting assignments on time, and taking required quizzes.  This will enable the professor to award a student the higher grade if the semester total falls within 10 points of the higher grade, and the student has been actively participating all semester.

Formal Analysis/Interpretation Essay

  • The Formal Analysis/Interpretation Essay is the only written assignment this semester.  In order to be graded, all written assignments must be submitted to their designated Assignment Folder on D2L in one of the following formats: Microsoft Word (.doc), Plain text (.txt), Adobe Acrobat PDF (.pdf), Rich Text Format (.rtf), PostScript (.ps), WordPerfect (.wpd), or HTML (.html, htm).  Any other formats cannot be read and graded on D2L, and will therefore not be graded and will be counted as a "0."
  • The Assignment Folder will remain open for one week after the published due date and time (11:59 pm Sunday October 22, 2020 for the Formal Analysis/Interpretation Essay) to accept late submissions.  Any late submissions will be automatically penalized by 5 points (10%) for lateness... but a 90% is still better than a 0% so it is still worth handing in papers even with the grade penalty! 
  • Emailed papers will not be graded.


The Formal Analysis and Interpretation Paper may take up to two weeks to grade. 
You will receive instant feedback on the objective portions of quizzes and exams. Essay questions have to be graded individually, and depending upon the number of students and the length of the essay questions, feedback may take up to 2 weeks (but every attempt will be made to provide feedback sooner than that).

Course Policies

  • There are no makeup quizzes.  If you miss a quiz it will count as one of the low scoring quizzes that are dropped. There are no makeup Exams, so students are advised to mark the dates of each exam and plan for enough time to take all three parts.
    If a legitimate emergency prevents a student from completing an assignment or assessment, it is the. student's responsibility to notify the Professor as soon as possible.  With documentation of the legitimate reason, arrangements may be made for the student to complete the missed work at the Professor's discretion.  All such requests will be reviewed on a case-by-case basis.
  • Exams and quizzes in this class are open book/open note, but that does not include internet sites or other materials that are not part. of this course.  Exams and quizzes are also timed to take the same amount of time that they would take in a regular, face-to-face class... so students will not have time to look up the answers.  The best way to earn a good grade is to study for each exam as if it were a regular exam in a face-to-face class, and make an outline that combines your reading and lecture notes.  Then when you take the exam, you can have your outline with you in case you forget specific things.  You can even have your textbook with you, but if you quickly look up each work of art and copy something that the textbook says instead of reading the question and answering it from what you have learned, most likely you will not have time to finish (and your grade will be less than you hoped for).

Avoid Plagiarism!!  What is Plagiarism? defines "plagiarism" as "[pley-juh-riz-uh m, -jee-uh-riz-] noun

  1. an act or instance of using or closely imitating thelanguage and thoughts of another author without authorization and the representation of that author's work as one's own, as by not crediting the original author:...
  2. a piece of writing or other work reflecting such unauthorized use or imitation:...
  3. Synonyms: appropriation, infringement, piracy, counterfeiting; theft, borrowing, cribbing, passing off. 

source: plagiarism. Unabridged. Random House, Inc. (accessed: January 3, 2017).

How will I know when to cite my sources?

Many instances of plagiarism occur because the writer does not know when, and/or how, to indicate when what they are writing is derived from another source.  Students often believe that mentioning their sources at the end of a paper, in a "Works Cited" list or a Bibliography, is sufficient... but that is not true.  Every time that you present an idea or a series of phrases that were borrowed from one specific source, you need to identify that source within the body of your paper, and then again at the end.

Citing sources can be confusing, because there are so many different ways that it can be done.  Which style should I use?

There are many different "styles" or forms for citations, and you may have already used one or more of these in other classes.  In Art History, most publications and most universities (including KSU) use "Chicago Style" (sometimes known as "Turabian," because it was first developed by Kate Turabian at the University of Chicago).  Here is a link to an online guide to Chicago Style citations

The KSU College of Humanities and Social Sciences provides some excellent advice and resources to help you avoid plagiarism.  Go to,  and under "Tutorials and Resources" on the left you will find "Student Tutorials" under "Student Resources."  

There is also a "Plagiarism" Resource with a "slideshow," but CHSS uses APA or MLA styles... so I have edited their presentation and included it here, using Chicago Style Notes and Bibliography format instead: Understanding Plagiarism from KSU CHSS

The Writing Center at KSU will review your paper and help with your questions:

In addition, there are a number of other very good websites that offer advice and suggestions to help you avoid plagiarism.  "" offers everything that a student might want to know about plagiarism, and how to avoid it.  Visit their site at:

What happens if I am suspected of plagiarism?

The Assignment Folder for your written assignments has "Turn-It-In" plagiarism detection enabled.  After you submit your assignment, Turn-It-In will compare your work to internet sites, and to papers that have been electrically submitted to schools all over the United States. Then it will generate an "originality" report.  This is an amazing resource, but it is not perfect.  If you see that Turn-It-In has flagged portions of your paper as not original and you don't understand why, you should email your professor immediately to discuss the situation.   If, however, a student is found to have plagiarized material on a written assignment, that student will fail the assignment, potentially fail the course, and possibly be subject to further disciplinary action according to KSU Student Conduct and Academic Integrity policies that can be found on the KSU website: 

Department of Student Conduct and Academic Integrity

Department or College Policies

Learning content is provided in multiple formats within each weekly module. Kennesaw State University provides program accessibility and reasonable accommodations for persons defined as disabled under Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act of 1990. A number of services are available to help students with disabilities with their academic work. In order to make arrangements for special services, students must visit KSU Student Disability Services to arrange an individual assistance plan. In most cases, certification of disability is required. For more information visit Once SDS has received the necessary documentation, the professor will receive notification... but it is the student’s responsibility to notify the professor if appropriate accommodations will be requested in an individual class. 

Legal Disclaimer: This college-level art history course views images of artwork including male and female nudity for the study of the human figure, and the human condition from diverse viewpoints. If viewing nudity and discussing the human condition offends you, you are hereby advised to drop this class. By remaining in this class, you consent to viewing artworks with nudity and to discussions of the human condition for educational purposes.

Institutional Policies

Federal, BOR, & KSU Course Syllabus Policies:

Student Resources:

Academic Integrity Statement:

KSU Student Resources

This link contains information on help and resources available to students:

Course Schedule

Week 1

Monday August 17 – Sunday Aug. 23, 2020: Early Renaissance in Northern Europe, 1400-1500: In your Gardner’s Concise Global History of Art textbook, 4th Edition, read pages 218-228 [Hereafter, readings from your textbook will be listed simply as page numbers]; View the lectures, and study the Week 1 Vocabulary; Read the Summaries of Edmund B. Feldman’s “Visual Arts Critique” (you will need to use this for your Formal Analysis and Interpretation Paper, due during Week 11, and also for the required Formal Analysis Quiz next Week (Week 2); Practice Formal Analysis Interpretation Quiz (based on the summary of Edmund B. Feldman’s “Visual Art Critique”) not for credit; required: Quiz 1

Week 2

Aug. 24-30: Early Renaissance in Italy, 1400-1500: 229-250; View the Lectures (in two groups: “Early Renaissance in Italy” and “Second Half of the Quattrocento”), and study the Week 2 Vocabulary List; Optional: Patricia Simons “Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture.   In Critical Perspectives on Art History, edited by John C. McEnroe and Deborah F. Pokinski, 112-119. Upper Saddle River, NJ: Prentice Hall, 2002. PDF. Required: Formal Analysis Quiz (based on the Rubric for the High Museum of Art Formal Analysis and Interpretation paper, as well as the Summary of Edmund B. Feldman's “Visual Arts Critique.”) required: Quiz 2

Week 3

Aug. 31-Sept. 6: High Renaissance in Italy and Venetian Renaissance (“Cinquecento”): 251-268; required: Letter from Leonardo da Vinci to the Duke of Milan, 1481; View the lectures and study the Week 3 Vocabulary; Optional: Richard Leppert “The Male Nude: Identity and Denial” in Critical Perspectives on Art History, edited by John C. McEnroe and Deborah F. Pokinski, 134-138; and John T. Paoletti and Gary Radke, “Florence: The Renewed Republic and the Return of the Medici,” in Critical Perspectives on Art History, edited by John C. McEnroe and Deborah F. Pokinski, 138-140. Upper Saddle River, NJ: Prentice Hall, 2002. PDF; required: Quiz 3

Week 4

Sept. 7-13: Mannerism and the Northern High Renaissance: 268-283; View the lectures and study the Week 4 Vocabulary; Optional: Moynihan, Patrick, “Mechanics of Modernism.” New Criterion 30 (DECEMBER 2011): 18+ ; required: Quiz 4; Practice for Exam 1 for Format Only (see “Information About Exam #1 sub-module)

Week 5

Sept. 14-20:  First take EXAM 1 in 3 parts: Part 1 (Objective Questions), Part 2 (Slide ID Essays and Comparison Essays), Part 3 (Extra Credit based on the optional readings); ...Then Begin Counter-Reformation Baroque Art and Architecture in Italy 285-295; View the lectures and study the vocabulary; view the virtual tour of St. Peter's and the Vatican; Practice Quiz (not for credit)

Week 6

Sept. 21 -27: Baroque in Spain, Flanders, Dutch Republic, France and England 295 (Spain)-312; View the Lectures, and study the Week 6 Vocabulary. Optional: Svetlana Alpers, “Art History and Its Exclusions: The Example of Dutch Art” in Critical Perspectives on Art History, edited by John C. McEnroe and Deborah F. Pokinski, Upper Saddle River, NJ: Prentice Hall, 2002, 161-167. PDF. required Quiz (includes Counter-Reformation Italian Baroque from Week 5, and you can attempt it twice -- only the highest score will count.

Week 7

Sept. 28-Oct. 4: Rococo, the Enlightenment, and Neoclassicism in Europe and America 313-330; View the Lectures, and study the Week 7 Vocabulary; required Quiz 6 (Week 7)

Week 8

Oct. 5-11: Romanticism (including “Art Under Napoleon”), Realism, Photography 331-356 (except Crystal Palace on 350-1 -- we will cover that later); View the lectures and study Week 8 Vocabulary; Optional: Susan Sontag, “In Plato’s Cave,” in On Photography, 3-26 (New York: Farrar, Strauss and Giroux, 1977) PDF.   required Quiz 7 (Week 8) (includes Art under Napoleon); required Quiz 8

Week 9

Oct. 12-18: First Take EXAM 2 (in three parts); Then Art of Japan 514 (Muromachi Period)-525;  Then view the lectures, and study the Week 9 Vocabulary;  required Quiz 9

Week 10

Oct. 19-25:  Early Modern Architecture, impressionism and Post-Impressionism (including "Symbolism") 350-1 Crystal Palace, 357-375; View the lectures and study the Week 10 Vocabulary; Optional: three essays from Theories and Documents of Modern Art, edited by Herschel B. Chipp (Berkeley: University of California Press, 1968): Paul Cézanne, “The Cylinder, the Sphere, the Cone,” 18-19; Paul Gauguin, “Abstraction,” “Shadows,” and “Notes Synthétiques,” 60-65; Vincent Van Gogh, “The Night Café,” 36-37. PDF;   required  Quiz 10 [Early Modern Architecture, Impressionism] required  Quiz 11 [Post-Impressionism and Symbolism]

Week 11

October 26 – Nov. 1: Art of Africa and its influence on Modernism: Fauvism, German Expressionism and Cubism 555, 560-71; 376-85; View the lectures and study the Week 11 Vocabulary; required Quiz 12 [Art of Africa] required Quiz Quiz 13 [Fauvism, German Expressionism, Cubism] required  Formal Analysis and interpretation Quiz closes this week!

Week 12

Nov. 2-8: Futurism, Dada, and Suprematism; American Art 1900-1930 386-93; View the lectures and study the Week 12 Vocabulary; Optional: Filippo Marinetti, “The Founding Manifesto of Futurism,” originally published in Le Figaro on February 20, 1909. This version was reprinted in Documents of 20th Century Art: Futurist Manifestos, edited by Umbro Appolonio and translated by Robert Brain, R.W.Flint, J.C.Higgitt, and Caroline Tisdall (New York: Viking Press, 1973) 19-23. PDF required Quiz 14;  Formal Analysis and Interpretation Essay is due in the Assignment Folder by 11:59 Sunday 11/8

Week 13

Nov. 9-15: European Art 1920-1945; US and Mexico 1930-45; Architecture 1920-45 393-409; View the lectures and study the Week 13 Vocabulary; Optional: Robert Hughes “Trouble in Utopia” from “The Shock of the New” (BBC, 1980). Watch the video (on, but you can also find it for free on YouTube), or read the alternative text version from Critical Perspectives on Art History, edited by John C. McEnroe and Deborah F. Pokinski, Upper Saddle River, NJ: Prentice Hall, 2002. PDF; required Quiz 15.

Week 14

Nov. 16- 22: Modernism and Postmodernism in the Aftermath of World War 2 410-437;  View the lectures and study the Week 14 Vocabulary;  required Quiz 16;
KSU THANKSGIVING BREAK November 23-29, 2020

Week 15

Nov.30-Dec. 6: Performance, Conceptual Art and New Media; Contemporary Art Worldwide 438-459; View the lectures and study the Week 15 Vocabulary; required  Quiz 17

Week 16

December 8-14 EXAMS!

Our Last Exam (in 3 parts) will be available from Monday Dec. 7 at 7:00 am until Sunday Dec. 13 at 11:59 pm.