Art History Research & Writing: UW Ten Twenty Overview

Four $4$ credit hours; class meets twice weekly; heavy emphasis on writing and research; no quizzes/exams; focus on developing a scholarly voice and research process.
Open to non-majors; goal is to find what speaks to you in art and engage deeply with paintings through research.
Field experiences and museum visits encouraged; in-person viewing prioritized for analysis.

UW \ten\twenty partners with Gelman Library; Gelman librarian assigned for two to three meetings/semester.
Librarian contacts: Shira Eller (Gelman); Shelley Burring (Gilman Special Collections).
National Gallery of Art Library = primary research hub; access to half a million art history volumes; on-site reading room with photocopies; open $10:00-16:00$ , Mon–Fri.
National Gallery Rare Book Room (seventeenth-century Dutch materials) during class time with rare book librarian.
National Gallery online resources and exhibitions catalogs; National Gallery of Art online editions (link subject to updates).
National Gallery of Art is a major research stop; visits to the National Gallery are integrated into coursework.

Instructor contact: email provided in syllabus; office hours on Zoom: Tue $05:30-07:30$ .
Meetings may alternate to other days/evenings; some sessions held at the National Gallery.
Communication via Blackboard and email for scheduling; punctual attendance emphasized.

Catalog entries: short pieces, about $2-3$ pages each; practice summary writing for artworks.
Short research paper: $5-7$ pages; develops thesis and argument.
Mid-semester: students placed into three Dutch art exhibition groups; design an exhibition; write catalog entries for works in the show; each student writes a larger paper on related theme; private group presentations.
Final output: a longer research paper around $10$ pages on a related Dutch art topic; ongoing writing process with predrafts, drafts, and peer review.
Assessments rely on research quality, proper citation, and originality; Google Docs with edit access for feedback.

Develop critical reading and analytical thinking; engage with scholarly questions and respect others’ opinions while forming original ideas.
Master information-resource exploration and proper citation practices; avoid plagiarism; understand various scholarly genres and rhetorical devices in art history writing.
Understand writing as part of the scholarly conversation, not just descriptive writing.
Recognize that disciplinary expectations vary; aim for high-quality writing within art history context.

Exhibition project: midsemester, students form three groups to curate a Dutch art theme.
Tasks within groups: select artworks, write exhibition catalog entries, and compose a related larger research paper.
Final deliverables include presentations of group work and individual research.

Rembrandt self-portrait, 1669: on view at the National Gallery; use in-class discussion to understand age, emotion, technique, and status.
Painterly aspects: thick impasto, visible texture, expressive facial features; discussion of rosacea hypothesis from research notes.
Historical context: Rembrandt’s later life, bankruptcy (late $1650s-1660s$ ), Saskia’s death, and ongoing debates about attribution and conservation.
The Mill (Rembrandt): historically significant due to late attribution discussions; earlier presses and market dynamics influenced its reputation; conservation history (varnish and cleaning controversies).
Vermeer studies: focus on artworks like Woman Holding a Balance and Girl with a Pearl Earring; Vermeer’s small oeuvre (approx. $36-37$ known paintings) and rarity of works; high market value and forgeries risk.
In-person viewing vs. reproduction: emphasize how viewing works on-site changes interpretation and writing quality.
Blank and missing works: some Vermeers are extremely rare; a Vermeer can be a highly valuable, well-protected treasure; discussion of authenticity and provenance.

Attribution challenges: Rembrandt’s workshop, copies by students, and sequencing of dating; canvas vs panel debates.
Conservation history: varnish removal can alter perceived color and mood; cases like the Sistine Chapel cleaning changing color dynamics; restoration debates affect interpretation.
Market dynamics: authentic Rembrandts can fetch millions; detection of forgeries or misattributions remains a critical skill for researchers.
Proactive inquiry: consider varnish, state of preservation, and the timing of restoration when interpreting an artwork.

Timeframe: $17^{th}$ century; era known for a flourishing of the arts in the Dutch Republic.
Key themes: Eighty Years' War, Protestant Reformation, urban expansion (e.g., Amsterdam, Delft), and cultural production across painting, architecture, and engineering.
Relevance to study: contextualizes art production and patronage, enabling more nuanced research and writing.

Attendance: important; excessive absence risks failing; instructors will check in with missing students.
Accessibility: accommodations available; students should notify and work with advisers.
Academic integrity: emphasis on original writing; avoid overreliance on AI; discuss concerns openly with the instructor.

Key texts: Mariette Westerman, Dutch Art of the Golden Age (chapters 1-2 suggested early); Jonathan Price, Dutch Art of the Golden Age; Gelman Library resources.
Online catalogs: National Gallery of Art online backlist titles and exhibition catalogs.
Important dates (historical): $Eighty Years' War$ , $First Anglo-Dutch War$ , $Second Anglo-Dutch War$ , $Third War with France$ ; typical Dutch industry and cultural milestones.
Notable people: Shira Eller (Gelman librarian); Shelley Burring (Gilman Special Collections librarian).

Prioritize in-person viewing; use primary experiences to inform analysis and writing.
Start with base historical context; supplement with text chapters and catalog entries.
Plan writing: work through predrafts and peer reviews; use Google Docs for feedback loops.
Observe conservation context before drawing final conclusions about attribution or interpretation.