1. Introduce drawing and printmaking techniques.
2. Introduce three dimensional art: sculpture, and the use of architecture to create and enclose usable space.
3. Discuss materials and techniques and the ways in which they affect reception and appearance.
4. Continue to do visual analysis, building on what was begun in Section 1.

DRAWINGS AND PRINTS

• Albrecht Durer, Self-Portrait with Study of hand and Pillow, Drawing, 1493.
• Francisco Goya, The Sleep of reason Produces Monsters. From Los Caprichos series, Etching andaquatint, 1794.
• Hokusai, The Great Wave off Kanazawa from Thirty-Six Views of Fuji series. Woodblock Print, 1823-1829. (H&F 16,13)
  • How do prints differ from paintings and drawings? Why would an artist want to use a printing process rather than painting or drawing? (To reach a wider audience.) Under what circumstances is it desirable to produce many copies? (Political purposes, advertising, to make affordable art)

SCULPTURE

• Mesopotamian Kneeling Man-Bull, from Jemdet Nasr, silver, c. 3,000 B.C. (2 views)
• Donatello, Saint George, Marble, Sculpture, c. 1415-1417. (2 Views)
  • Why do artists choose different materials? (Desired effect, portability, expense, durability.) Notice that when looking at the Mesopotamian Man-bull from the front, the cup blocks the bull's face. Is this a successful piece in the round? (No.) The artist conceived it in two dimensions. In other words, the artist had a picture in his mind of the piece as seen from the side, and made it exactly that way. What constitutes a successful sculpture in the round? (One that is successful and convincing from all angles.) Is the Donatello St. George convincing as three dimensional sculpture? (Yes.)
• Robert Smithson, Spiral Jetty, Great Salt Lake, Utah, 1970 (1500 ft. long, 15 ft. wide)
  • Is this work a sculpture? If yes, why? If no, why?