internet research tutorial

Research Tutorial Fall 2012

1.  Recognize and identify major artifacts and monuments of the ancient world by period and title (and artist if known)

2.  Describe, analyze, and compare major works of art from the ancient world using art historical methods such as iconographic analysis and formal analysis

3.  Explain the relationship between works of art and the social, political, and religious context in which they were made

4.  Draw connections between works of art from different cultures and time periods

5.  Use online and library resources to locate and evaluate information relevant to the study of art history

Course Objectives: Upon successful completion of this course you will be able to

Research Sources •  Books •  Journal Articles •  Internet

Research Sources

Books

Enter Search Term

Articles

Page Scan

The University of Chicago Press International Center of Medieval Arthttp://www.jstor.org/stable/767148 .

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The University of Chicago Press and International Center of Medieval Art are collaborating with JSTOR todigitize, preserve and extend access to Gesta.

http://www.jstor.org

This content downloaded by the authorized user from 192.168.52.77 on Sun, 25 Nov 2012 08:38:37 AMAll use subject to JSTOR Terms and Conditions

Reading Romanesque Sculpture: The Iconography and Reception of the South Portal Sculpture at Santiago de Compostela* KAREN ROSE MATHEWS University of Colorado at Denver

Abstract

Although recent scholarship and reception theory have demonstrated the importance of audience in the actualization of meaning in images and texts, more concerted attention is necessary to understand the polyvalent iconographic readings of Romanesque sculpture. Imagery on the south portal of the cathedral of Santiago conveyed messages of ecclesiastical authority to specific audiences, namely the cathedral chapter and inhabitants of the town. The unseverable link between the cathedral of Santiago and pilgrimage, however, has caused scholars to overlook the importance of the local population as an audience for the cult of St. James and the art patronage program of the cathedral's bishop, Diego Gelmirez (1100- 1140). This paper will explore the reception of the iconography of the cathedral's south portal by various audiences in the twelfth century. The cathedral canons and townspeople may have responded to the imagery in a manner diametrically op- posed to the prescribed reading of this sculptural ensemble commissioned by the bishop. The audiences' multiple readings, mis-readings, and non-readings of the south portal imagery demonstrate the indeterminacy inherent in the iconography of Romanesque sculpture and highlight the importance of the di- alectical relationship between production and reception to its understanding.

For centuries Santiago de Compostela has been famed for its connection to pilgrimage1 (Fig. 1). The Liber Sancti Iacobi or Codex Calixtinus, the medieval text centered on the cult of St. James and the pilgrimage to his church, depicts the pilgrims visiting Santiago as a devout, enthusiastic, and thor- oughly satisfied audience for the cult. Recent studies, however, have begun to analyze the central role played by other social groups in the orchestration of James's cult in Santiago and the benefits which these other audiences hoped to derive from the booming economic enterprise of the medieval cult of saints.2

Unlike the visiting pilgrims, the local population, par- ticularly the townspeople and the cathedral canons, were ambivalent about the pilgrimage industry generated in Santi- ago by their ambitious bishop, Diego Gelmirez (1100-1140). Gelmirez combined the construction of a massive new cathedral, the acquisition of ecclesiastical honors for himself and his church, and the implementation of religious reform to increase the flow of pilgrims, to enhance the status and dig-

jijxxxxx::?5:?: .......... ........... ...........

. ..... ............... .. . ... . .. . ........ ........ .. . .. .. . .... .... .. ......... . .. . . .. xxx? .......... . ..... ... ... ....... .... ...... W . . . . ..... .. .. .. . .... . . .... ... .. x ..............

............. .. ....... ..........

....... . ..... X. va pz. ....... .... .. ................. ... .. .. ...... ....... . Xg.

'eo ? Al ........ ..... ?

......... "WI . ....... .... ......... .

O XW

40

...........

low , . ...... 0 ..... .... .

NP 14, -?Mw/" gg?? el " ' ............. ............. . . W3 ON Mag . ...... .. ... .... '3, WAR ....... ... . FIGURE 1. Santiago de Compostela, cathedral, exterior view of west facade (photo: author).

nity of his cathedral, and to present Santiago as a center of piety and pilgrimage equal to Rome.3 The canons and townspeople of Santiago were at best reluctant participants in this grandi- ose plan, and at worst Gelmirez's most trenchant opponents.4

This paper will address the local inhabitants' responses to the central artistic enterprise undertaken by Gelmirez in

GESTA XXXIX/1 @ The International Center of Medieval Art 2000 3

This content downloaded by the authorized user from 192.168.52.77 on Sun, 25 Nov 2012 08:38:37 AMAll use subject to JSTOR Terms and Conditions

Advanced Search

Search specific title

!"#$%&'$!()*+(#$#,$-+.*+/01$2011$3&%3$

!"#*)1+$!(0145*5$

$607+$888888888888888888888888888888888888888888888888888888888888888888$$!"#*)1+$9*#0#*,(:$9*#+$#;+$0"#*)1+$4,<$"+0.$<5*(=$),""+)#$)*#0#*,($>,"70#$$$$$$$$$$$$$$$$

!"#*)1+$?<770"4:$@"*+>14$5<770"*A+$#;+$0"#*)1+B$*($4,<"$,C($C,".5$D*E+E$.,$(,#$5*7F14$F0"0F;"05+GE$$H;0#$*5$#;+$0<#;,"5$#;+5*5I0"=<7+(#B$0(.$C;0#$J*(.$,>$+/*.+()+$*5$<5+.$#,$5<FF,"#$#;+$0"=<7+(#$$

Search Engines

•  Search engines are used to locate information on the internet

Keyword Search

•  Begin your search by choosing a “keyword”

Keyword: Giotto

Search term is too broad

•  Narrow your search by using more specific keyword terms

  Giotto di Bondone

  Giotto Madonna

  Giotto Arena Chapel

Limit your search to images using Google’s image feature

Click on Search Tools and select “Large” for high resolution images

Evaluating Web Resources

•  Much of the information available on the internet is not reliable

•  You must therefore evaluate your resources to determine their validity

Criteria

WCC Librarians recommend 5 simple criteria:

1.  Authority 2.  Accuracy 3.  Coverage 4.  Objectivity 5.  Currency

Authority

Authority:

•  Is the author or sponsor a reliable source?

Authority

•  Since anybody can post on the internet you must be sure that your source is credible

Authority

•  This is why Wikipedia is not considered a reliable resource

Authority

•  But Wikipedia can be a great jumping off point!

Authority

•  Look for sites sponsored by recognized experts in the field

Authority

•  Beware of sites that appear to be authored by experts

Authority

•  The authors are not always experts on the topic

Authority

•  Look for sites that are sponsored by recognized institutions such as:   Libraries  Museums  Universities  Reputable arts

organizations

Authority

•  Domain names can help you identify credible sources at a glance

Authority

•  Museums and libraries are identified by the “.org” tag in their URL

Authority

•  Museum sites are an excellent source of scholarly material

Authority

•  Artcyclopedia provides links to museum object pages

Authority

•  Commercial sites are identified by the “.com” domain name: http://www.artble.com/artists/giotto_di_bondone

Authority

•  Be wary of .com sites!

Authority

•  Be wary of sites with distracting advertising!

Authority

•  Be wary of blogs!

Authority •  If you can’t find the

author, do not trust the site

Coverage

•  Coverage refers to the quality and depth of content

•  If its geared towards kids, it may not be sophisticated enough

Accuracy

•  Is the information accurate?

•  Are there mistakes in facts, spelling, or the use of vocabulary?

Quality of Design

•  Blaring colors, confusing layouts, and poor design should be a warning sign that the site is not reputable

Objectivity

•  Is the information presented objectively, or does it promote an opinion or point of view?

Currency

•  Currency refers to whether a website is current or up to date

Recommended Sources

•  Metropolitan Museum Heilbrunn Timeline of Art History

http://www.metmuseum.org/toah/hd/iptg/hd_iptg.htm

Recommended Sources

•  Artcyclopedia links to other museum resources

http://www.artcyclopedia.com/artists/giotto_di_bondone.html

Recommended Sources

•  Smarthistory

http://smarthistory.khanacademy.org/st.-francis-of-assisi-receiving-the-stigmata.html

http://www.wga.hu/frames-e.html?/html/g/giotto/index.html

Citation Format

•  Citing internet sources is a pain in the neck -- but everybody has to do it!

•  Otherwise, you will be guilty of plagiarism!

Citation Format

Required information includes:   Author or agency   Title of article   Site name or original source   Date created and publisher   Date of access   URL

Citation Format

Required information includes:   Author or agency   Title of article   Site name or original source   Date created and publisher   Date of access   URL

Melissa Hall, “Gothic Art,” Art 108 Ancient to Medieval, Fall 2012 (November 26, 2012) http://wccart108.wordpress.com/lectures/week-14-15-romanesque-and-gothic/gothic-art/

Citation Format

•  There are now “citation machines” available on the web that will do the formatting for you

http://citationmachine.net/

Citation Format

•  Choose the format and type of source you are using


Citation Format

•  If you can’t find the information you need then you might want to question the reliability of your site


Citation Format

•  Many museum sites now offer information about how to cite their pages

!"#$%&'$!()*+(#$#,$-+.*+/01$2+3#)4+3#+"$5,667(*#8$5,11+9+$

:",;+33,"$-+1*330$<011$=011$>&%>$

$$!"#$$#%&#'()*#+%&#'()*,,$%%-"./"#0'1+*23%?*3#$0#$1+03#$@$"+3,7")+3$73*(9$A",A+"$)*#0#*,($;,"60#B$C+$37"+$#,$+/0170#+$8,7"$"+3,7")+3D$0(.$1*3#$,(18$#4,3+$#40#$)0($C+$),(3*.+"+.$/01*.$0(.$"+1*0C1+$C8$0)0.+6*)$3#0(.0".3E$$$$$$$$$$$$$$4516+/,)3%:"*(#$,7#$+F06A1+3$#40#$8,7$#4*(G$C+3#$+F+6A1*;8$#4+$*((,/0#*,(3$,;$H*,##,I3$J,"G$$$$$$$$$$$$$$$$

78661'23%K"*+;18$37660"*L+$J40#$8,7$1+0"(+.$0C,7#$H*,##,D$0(.$J48$4+$*3$),(3*.+"+.$#,$C+$3,$3*9(*;*)0(#$#,$#4+$4*3#,"8$,;$0"#E$$240#$*((,/0#*,(3$.*.$4+$*(#",.7)+D$0(.$4,J$.,+3$8,7"$G(,J1+.9+$,;$0"#$4*3#,"8$4+1A$8,7$7(.+"3#0(.$#4+$3*9(*;*)0()+$,;$4*3$C"+0G#4",794M$$

Where to Go for Help

internet research tutorial

Education