A Little Help Goes A Long Way

By Al Acres

Al Acres, Assistant Professor in Art History, provides his GTFs with an informal guide for their discussions. This has given his discussion leaders invaluable support in being able to determine what is and isn't critical to cover; it helps them design good discussion questions and offers much-needed confidence for those who are teaching for the first time. The following is an excerpt from these guidelines.

Main points this week are:

Here and in discussion notes to follow through the term, I'll indicate a few main issues and the key images that should be used to illuminate them. My notes are meant as an example outline for you, usually including some specific questions you may find useful. This is by no means a required script; you'll find the line and tone of approach that works best for you and your students.

I. Questions from lecture, syllabus, readings, etc.?

Remind students to read the first page of the syllabus carefully and to keep up with the readings. Lecture presumes that the readings have been done.

II. Baxandall

Reactions?
Some negative ones are almost guaranteed, which is fine. Ask them what the problem was. If they're vague, press them for specifics. Ask then if everyone disliked it; you'll usually find at least one defender. Some of the density of this selection comes from its being an excerpt. Tell them that for this article and for the others, they shouldn't worry too much about the names and dates: the idea is to focus on the kinds of observations and arguments that are being made.

What's the point of the article?

"A 15th Century painting is the deposit of a social relationship."

15th Century art comes about through specific kinds of needs and expectations. The appearance of art was negotiated. The most important art was produced on a "bespoke basis" (meaning what?).

Is this different from the way(s) we think of art being produced today? Sometimes . . .

One of the essential questions he poses is why patrons (which he prefers to call clients) commissioned works of art. What kinds of answers does he dig up?

Baxandall culls these motives from (where? What kind of source?) the written remarks of a wealthy merchant (G. Rucellai), and points out that these things are certainly flexible from client to client.

[Fabriano-Strozzi Adoration] Given those kinds of concerns, which one might you guess as motive for this commission? (Ask them to identify it.)

Piety, money well spent (richest man in Florence), perhaps self-commemoration (portrait included?).

[Donatello -- St. Mark] How about the motive for this?

It's different; this is a corporate client; they were fulfilling an obligation, and also advertising their craft (how?).

[Tribute Money] Other motives here?

A rather specific dimension of civic commentary -- a seeming editorial aspect. Get them to explain the issue (taxation, etc.).

Emphasize that they should get into the habit of thinking about the different reasons for which works of art were made, and how those reasons will shape the artworks' appearance.

How did clients make their wishes known to painters (and other kinds of artists)?

Contracts.

Guidelines like this are particularly helpful when GTFs are first starting their teaching assignments, building their self-confidence, and establishing their relationship with their students.

Lizard 36 Spring 96

 

    Address questions or comments about TEP or this site to:
Georgeanne Cooper, Program Director, 64 PLC
Phone: 541-346-2177 Fax: 541-346-2184
© Copyright 2000-2006 Teaching Effectiveness Program, University of Oregon.
Last Modified: 01/11/08