DOCUMENT RESUME ED 235 138 SP 023 054
DOCUMENT RESUMESP 023 054ED 235 138AUTHORTITLEINSTITUTIONPUB DATENOTEPUB TYPEBobick, Bruce; Flippo, Rona F.Study Guide for TCT in Art.Georgia State Dept. of Education, Atlanta.May 8322p.; For related documents, see SP 023 053-079.Classroom Ute - Materials (For. Learner)Guides(051)EDRS PRICEDESCRIPTORSIDENTIFIERSMF01/PC01 Plus Postage.*Art Education; *Art Teachers; *EducationalObjectives; Higher Education; Preservice TeacherEducation; *Program Content; Study Guides; *TeacherCertification; Teacher Qualifications; Teaching(Occupation); Test Coaching; Testing Programs;*Tests*Georgia Teacher Certification Testing ProgramABSTRACTThis study guide was specifically designed forindividuals preparing to take the Georgia Teacher Certification Test(TCT) in art. It contains content objectives for the TCT in art and aliSt of references, organized to correspond to the six individualsubareas of the test. These areas include: (1) elements andprinciples of art; (2) drawing and painting ; (3) sculpture,printmaking, etc.; (4) film, ceramics, and photography; (5) careersand criticism; and (6) artists and their works. **************************Reproductions supplied by EDRS are the best that can be made**from the original ******************************
STUDY GUIDE FOR TCT IN ARTPublished byGebrgb Department of EducationGeorgia Teacher CertifiCatiOn Testing ProgramAtlanta, Georgia 30334"PERMISSION TOREPRODUCE THISMATERIAL HAS BEEN GRANTED BYZti-fci. 0, pro-.DEPARTNIENTDE EDUCATION .NA rioNAL IN SIITUTE Of EDUCATIONEDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)This document has been reproduced asreceived from the person or organizationininorac%nag LnIges have been made to improvereproduction quality.TOTHE EDUCATIONAL RESOURCESINFORMATION CENTER !ERIC)."Points of view or opinions stated in this dotement do not necessarily represent official NIEposition or policy.
National Evaluation Systems, Inc., has prepared for distribution by theGeorgia Department of Education the set of content objectives found inThese objectives have been verified as importantthis Study Guide.content requirements for initial certification. Not all of the listedobjectives have had test items written for them. The selected ob jectives have not been identified. All objectives which appear hereare certification requirements and a sampling of them will be tested.When the project to develop the Georgia Teacher Certification Tests(TCT) was begun in November 1976, an Ad Hoc Committee composed ofGeorgia educators was appointed to work with NES on each TCT. Thefunction of these Ad Hoc Committees was to review all NES-generatedmaterials with a goal of making the materials more reflective ofThe first step in the test development proGeorgia education needs;cess was that of content domain specification; Educators identifiedall content knowledge that an applicant would need to know to functioneffectively in a Georgia school. This content was further definedinto content objectives; which were sent to currently practicingThese eddcators provided actualGeorgia educators for verification.ratings of the "job - relatedness" of the content objectives; At thatpoint, it was possible -to identify, from the original domain speci7ficationi the extent of essentiality of specific content skills forTest items were written for thesuccessful performance on the job.most essential objectives which spanned the content of the field.The purpose of providing objectives is to explicitly define the contentrequired of an applicant for certification in this field. Further,the statement of these objectives should assist in preparing for theWe encourage applicantscriterion- reference content knowledge test.to study these materials, which will enhance their understanding ofthe content field and alleviate any unnecessary concerns about thenature of the Georgia Teacher Certification Tests.Along with these materials go hopes for a rewarding career in education.If you have questions or desire further information,contact:Performance-Based CertificationDivision of Staff Development1858 Twin - Towers EastAtlanta, Georgia 30334(404) 656-2556Georgia Department of EducationCharlet McDaniel, State Superintendent of Schools
STUDY GUIDE FOR TCT IN ARTprepared byBruce Bobick, ChairmanWest Georgia CollegeRuth GassettGeorgia Department of EducationMary HoganWest Georgia CollegeBrian JeffersonGeorgia State UniversityDonna MaddoxColumbus CollegeVetle MitkiShGeorgia State UniversityBarbara J. SwindellKennesaw CollegeRona F. Flippo, Consultant to the CommitteeGeorgia Department of EducationIPmay, 1983Georgia Department of EducationAtlanta, Georgia
STUDY GUIDE FOR TCT IN ART EDUCATIONGEORGIA TEACHER CERTIFICATION TESTING PROGRAMField 11:ArtIntroductionThis study guide has been prepared for persons preparing to takethe Georgia Teacher Certification Test (TCT) in Art and contains thefollowing materials:a.The Content Objectives for the TCT in Art.b.A list of books, organized to correspond to the individualsub-areas of the TCT in Art, and where necessary; furthersub-divided into the various fields of art.This study guide may be used by an individual as a general review,prior to taking the test for the first time, in order to "brush-up" orclarify an area or areas which one feels he might like some additionalstrengthening, or to better mentally prepare one's self for the test.This study guide may also be used by those individuals that havealready taken the test, and have not scored high enough to pass. Ifsuch is the case, the test profile/score report willindicate sub-areastrengths and weaknesses on the TCT. Theindividual may then choosebooks in the appropriate sub-areas from which to study and furtherstrengthen his knowledge in the sub-areas) of his choice.The books listed contain the necessary knowledge needed to passthe TCT in Art, as stated in the Content Objectives of the test.Individuals may further wish to avail themselves of any materials,books, periodicals, which they feel, that after reading through theContent Objectives of the TCT in Art, they deem appropriate.1
GEORGIA TEACHER CERTIFICATION TESTING PROGRAMSTUDY GUIDEField 11:ArtCONTENT OBJECTIVESSUB-AREA I.ELEMENTS AND PRINCIPLES OF ARTIdentify the basic elements ofdesign (e;g.; space, line color,value, shape, form) in a givenrk;Given a work of art, describe theprinciples of art which the workChoose those components whichillustrate the aspects of varietyin a work of art.Identify those aspects whichillustrate the concept of subordination in a work of art;contains.Identify the combahenta whichillustrate the cOhcept of dominance in a given work of artIdentify the components which.illustrate the concept of rhythmin-a work of art.Identify the harmonic componentsof a work of art.Identify the contrasting components of a work of art;Identify the components whichcontribute to the emphasis onportions of a given work of art.Identify those componeat-,s whichcontribute to aspects of proportion in a given Work Of art.Identify those components whichcontribute to apparent movementin a work Of art;Identify those components whichContribute to the formal or informalbalance of a work of art.Recognize different characteristicsOf space, such as positive, negative; receding and advancing, inboth two- and three-dimensionalart work.Identify the role of line (in awork of art).Identify different types of linesused in drawing (contour, broken,direction, curved, diagonal,straight, etc.).Analyze the quality of line in adrawing (thick, thin, hard, soft,etc.).Identify characteristics of geometric shapes.Identify characteristics of freeform shapes.Demonstrate an understanding ofthe ways in which pure hue can bealtered;Demonstrate an understanding of theconcept of color intensity and/oridentify ways in which color intensitcan be altered in painting.
Identify techniques used tocreate a feeling of mass in two dimensional work.Demonstrate an understanding ofthe concept of color schemes and/or identify the color scheme usedin a work of art.Analyze the major compositionalfactors of a work of art.Compare the characteristics ofprimary, secondary, and tertiaryIdentify the structural components in the composition of agiven form.colors.Compare the characteristics oftriadics, complementary colors,analogous colors, and color har-Demonstrate an understanding ofthe concept of color value and/oridentify ways in which color valueCan be altered.monies.Compare the characteristics ofmonochromatic and polychromaticcolor schemes;Iaentify characteristics ofwaraiand cool colors and/orclassify colors as warm or coolcolors;Identify media and/or techniqueswhich provide transparent and/ortranslucent color.Identify media and/Or techniqueswhich provide opaque color.Identify various ways in which.texture, both visual and tactile,can contribute to a work of art.Identify techniques by whichvisual textures can be obtaineain painting;Identify various ways to achievedifferent tactile textures in awork of art.Identify the quality of texturee.g., roughin a work of art,smooth, hard-soft.Identify the predominant colorvalue of a painting.Identify the effects of dark andlight modulation.Identify the effects which canbe achieved with gradations oflight and dark.3
SUGGESTED REFERENCESSUB-AREA I:ELEMENTS AND PRINCIPLES OF ARTBeviin, Marjorie E. Design Through Discovery.New York. Holt, Rinehart and Winston, Inc.; 1977.Form,- Spac-and Vision, 3rd Edition.Collier, Graham.Englewood Cliffs, N.J. Prentice-Hall, Inc.PurpOSea-of-Art, 4th Edition;Eisen, Albert E.Holt, Rinehart and Winston; Inc;New York.Feldman, Edmund B. The-Atist.Englewood Cliffs, N.J.Prentice-Hall, Inc., 1982.Feldman, Edmund B. Varieties of VisuaI Experience, 2nd Edition.Englewood Cliffs, N.J. Prentice-Hall, Inc.Children and Their Art, 4th Edition.GaitSkell, Charles D.; Hurwitz; Al.New York; Harcourt Brace Jovanovich, Inc.HaStie, Reid.Ocvirt, 0.G.;Encounter with Art, 3rd Edition.New York. McGraw-Hill Book CompanyArt Fundamentals.Bone, R.O.; Stinson, R.E.; Wigg, P. R:4th Edition. Dubuque, Iowa. Wm. C. Brown, Co.
CONTENT OBJECTIVESSUB-AREA II.DRAWING AND PAINTINGCompare the characteristics ofform in drawing as opposed topainting.Identify the tools and materialsused for drawing and/or theirparticular uses (e.g., perxils,pen and ink, chalk, charcoal, oilpastels, felt tip markers, crayons, mixed media).Recognize the tools and/or materialsused when painting with tempera.Analyze thL. effects of the quality:if a painting surface (wet, dry,absorbent, smooth, hard, etc.)upon the finished product.Identify various techniques usedto apply paint to a surface and/or the resultant effects of each.Recognize art techniques uniqueto drawing.Identify the charact2ristics ofcollage.Recognize contour drawing.Recognize the use of impasto in aAnalyze the techniques and/orcharacteristics of shading inpainting.drawing.Recognize the effect achieved byapplying a wash to a painting.AnalyZe the characteristics and/or techniques of stippling indrawing.Analyze the characteristics and/or techniques of hatching indrawing;Identify the characteristics ofdrawings created with a brush.Recognize the characteristics ofgesture drawing.Analyze changes in contemporarypainting due to technology.Identify the tools and materialsused -in painting and/or theirspecific uses.Recognize how tools and /or materialsare used for watercolor painting;Recognize the tools and/or materialsused in oil painting;Compare the tools and/or materialsused when painting with acrylicsto those used for oils.Recognize the effect achieved byapplying glaze to a painting.
SUGGESTED REFERENCESSUB- AREA II:DRAWING AND PAINTINGDrawingAn -Artist 143tebook.Chadt, Bernard.New York. Holt; Rinehart and Winston, 1979.Chaet, Bernard. The Art of Drawing.Holt, Rinehart and Winston, 1978.New York.The Art of Responsive Drawing.Goldstein, Nathan;Prentide Hall, 1973.Englewood Cliffs.Wakeham; Duane. Mendelowitz's Guide to Drawing.New York. Holt, Rinehart and Winston, 1982.NicolaidesThe Natural Way to Draw.Kimon.Boston. Houghton Mifflin Company; 1941.PaintingChaet, Bernard. An Artists'-- Notebook: Techniques and Materials.New York. Holt Rinehart and Winston, 1979.The- Contemporary Oil Painter's Handbook.Chieffo, Clifford.Englewood Cliffs; New Jersey. Prentice Hall, Inc., 1976.Mayer, Ralph.The Artist's Handbook of Materials and Techniques.Viking Press; 1981.New York.The Painter's Dictionary of Materials-and-Methods.Taubes, Frederic.New York. Watson-Guptill Publicationa, 1971.Collage and-Assemhlage.Crown Publishers, Inc., 1973.Meiiach, Dona &and TenHoor, Elvie.New York.Chomicky; Yar G. Watercolor Painting.Englewood Cliffs, New Jersey;PrenticeWatercolor Bold-an& Free.Goldsmith, Lawrence.New York. Watson-Guptill, 1980.Inc., 1968.
CONTENT OBJECTIVESSUB-AREA III.SCULPTURE, PRINTMAKING, ETC.Identify the toolS; tethniquea,and materials used in creatingmosaics.Identify tools and proceduresneeded tO WOrlt with glass (blown;stained, SlUtp).Analyze sculpture in terms of itsthree - dimensional qualities(relief and in-the-round; andenvironmental events).Identify the techniques used whenmodeling with pliable materials.Identify tools and/or techniquesused for carving various materials, such as wood, plaster, andCompare serigraphy to relief andintaglio printmaking in terms ofMethods and visual characteristics.Identify the processes of pianography (e.g.; lithography);Recognize the tools and-Materialsutilized in printmaking (burin,knives; gouges, drypoint needle,acid bath, woodblock, metal plates;inks; wax; litho, stones, squeegesipresses, papers).Compare engraving and etching astechniques of printmaking.Differentiate between natural andsynthetic fibers.stone;Identify the steps involved inmaking a casting (sand, LoStIdentify various types of rooms(e.g., cardboard, box, table, floor,inkle, back-strap).wax).Compare casting to constructionin sculpture, (i.6 tethniqUeS,Understand terminology used forloom weaving (e.g., warp, weft, shed,shuttle, peddle).tools, and materials).Identify the UniqUe propertiesof, and /or the techniques usedto create, a kinetic sculpture.Identify traditional and con,temporary tools and materialsassociate with sculpture (wood,plastic; styrofoam; metal; etc.).Identify the various processes ofprintmaking and the visual characteristics of various types ofprints.Identify various forms of off-loomweaving; such as macarame, andwrapping;Identify various methods of fabricdesign (quilting, stitchery, batik,etc.),Compare the qualities of natural andsynthetic dyes and/ar identifysources of natural dyes.Analyze the processes of reliefprintmaking.Identify the methods of intaglioprintmaking and the visual effectsof each method.zr
SUGGESTED REFERENCESSUB-AREA III:SCULPTURE, PRINTMAKING, ETC.SculptureDesiEn Through Discovery.Bevlin, Marjorie Elliott.Holt, Rinehart and Winston, 1977.New York.Soulture ; A Basic Handbook for Students.William L. Brown 1968.Dubuque.Coleman, ROnald L.HaSlUck, Paul N. Manualof Traditional Wood Carving.Dover; 1977.New York.Kelly, J. J.Rich, Jack C.re Idea.The Sc"Burgess PUblishing Co., 1970.Minneapolis;The Materials and Methods of Sculpture.Oxford, 1947.New York;VerhelSt, Wilbert. Sculpture Tools, Materials, and TeChniquos;Prentice Hall, 1973.Englewood Cliffs, New Jersey.PrintmakingPrintmaking Today.Heller, Jules.HOlt, Rinehart and Winston, 1958.New York.Printmaking.Peterdi, Gabor.MacMillan, 1959.New York.Printmaking.Staff, Donald; Sacilotto, Deli.Holt; Rinehart and Winston, :978.New YOrk.Russ, Stephen. A CompleteZulde to Printmaking.Viking Press; 1975.New York.Tne Art of the Print.Eidrenberg, Fritz.H. N. Abrams, 1976.New York.Fabi nonFabric Painting and Dying For the Theater.Dryden, Deborah M.Drama Book Specialists PublisherS. 1981.New York.Belfer; Nancy; Designing in Batik and Tie-Dye.Worchester, Mass. Davis PUbliSher§0 Inc., 1972Larson, Jack Lenor. The Dyers Art: Tkat,Van NoStrand, Reinhold, 1976.New York.
SUGGESTED REFERENCESSUB-AREA III:SCULPTURE, PRINTMAKING, ETC. (continued)MosaicsStibling, Mary Lou. Mosaic Techniques.New York. Crown Publishers, 1972.Young, Joseph L. COurse in Making Meaatta.NeW York. Van Nostrand Reinhold; 1976.History of Mosaics.Anthony, Edgar W.New York. Hacker Art Books; 1962.Haswell, J.Van Nostrand Reitholida-of:Mbaalca.NeW York.Van Nostrand Reinhold; 1974Timmons, Virginia G. Desigfting andMakingiMoqaics.Englewood Cliffs, N.J. Prentice Hall Publishers, 1977.GlassHow to Work in Stained Glass.Isenberg, Anita and Seymour.Chilton Book Company, 1972.Radner, PA.ElMetcalf, Robert and Gertrude. Making Stained Glass: A Hand Book for theAmateur and Professional.New York. McGraw Hill Book Company, 1972Crafting in Glass: Molding, Fusing, Embellishing,Isenberg, Anita and Seymour.Designing.Chilton Book Company, 1981.Radnor, PA.Kulasiewiez, Frank. Glass Blowing.NeW York. Watson-Guptill Publishers, 1974.FibersPlaith, Iona.HandweavIns.Charles Scribners Sons, 1964:New York.Carter, Jean.Creative Play With Fabrics and Threads.Taplinger Publishing Company, 1969.New York.Editors of Fiberarts Magazine. Fiberarts Design Book. (Fiberarts, Asheville, N.C.)New York. Hastings House Publishers, 1980.Creating Art From Fibers and Fabrics.Meilack, Dona Z.Henry Regnery Company, 1972.Chicago.Redman, Jane.Frame-Loom Weaving.Van NoStrand Reinhold, 1976.New York.
SUGGESTED REFERENCESSUB- AREA III:SCULPTURE, PRINTMAKING, ETC(continued)Fibers (continued)Spiders Games: A Book for Beginning Weavers.Morrison, Phylis.Seattle and London. University of Washington Press, 1979.Hakney, Virginia. Macrame: The Art of Creative Knotting.Van Nostrand Reinhold, 1967.New York.10
CONTENT OBJECTIVESSUB -AREA IV. FILM,4 CERAMICS, AND PHOTOGRAPHYDemonstrate an Under-Standing ofthe origins of- the camera.Identify the steps involved inthrowing pottery.Demonstrate an understandiug ofthe principles of making a photographic image.Identify the characteristics ofslip and/or identify decorativetechniques which employ the useof slip;Demonstrate a knowledge of basicdarkkOoM procedures.Identify techniques used to createa surface design in clay.Idtitity the basic types of photographs (photojournalism, portrait;abstract, commercial reprOduction,historic, etc.).Identify techniques which can beused to create textures on ceramics.Identify basic darkroom equipment.Distinguish between functionalanti non-functional ceramic products.Identify major twentieth centuryphotographers:Identify the functionaland/ordecorative characteristics ofglazes.Identify American and Europeanartists uho were influenced byphotography;Identify chemical compounds commonlyfound in glazes.Analyze film-making in terms ofits unique qualities as an artIdentify methods of glaze applicationand/or the effects achieved by each.medium.EValuate the importance of glazetesting.Identify techniques used in making animated films.Identify the effects of heat on clay.Identify tools and materials usedfor making films.Compare the operating characteristicsof gas and electric kilns.Analyze the qualities of videotape-recording as an art form incomparison to film-making;Identify the characteristics of reduction fired pottery and oxidationfired pottery.Identify the different physicalstates of clay (plastic, leatherhard, greenware, bisque).Identify techniques of slab buildingpottery.Identify techniques of coilbuilding pottery.Identify the techniques of makingpinch pots.Specify techniques used when draping clay.11
SUGGESTED REFERENCESSUS AREA IV:FILM, CERAMICS AND PHOTOGRAPHYFilmFilm Making In Schools.Lowndes, Douglas:Watson GuptilI, 1972.New YorkBobker, Lee R. Making Movies; From Script to Screen.Harcourt Brace Jovanovich, 1973.New York.Super 8 Cassette Film Making for Beginners.Camera!Carrier, Rich. Action!Charles Scribner & Sons, 1972.New York.Roberts, Kenneth H. Primer for Film-Making; A Complete Guide to16mm and 35mm Film Production.IndianopoliS. BobbS Merrill Co., 1971.Churchill, Hugh B. Film Editing Handbook; Technique -of 16 Film-cuttimg.Wadsworth; 1972.Belmont, California.CeramicsBall, Frederick C. mleina Pottery Without a Wheel: Texture and Form in Clay.Van Nostrand ReihnoId, 1965.New York.Nelson, Glenn C. Ceramics: A Potter's Handbook. 4th ed.New York. Holt, Rinehart, Winston, 1978.Clay and Glazes for the Potter. Rev.Rhodes, Daniel.Chilton Book Co., 1973.Randor, PA.Kilns: Design, Construction and Operation.Rhodes; Daniel.Chilton Book Co., 1968.Randor, PA.Electric Kiln Ceramics: A Potter's Guide to Clays and Glazes.Zakin, Richard.Chilton Book Co., 1981.Randor, PA.PhotographyAdams, Ansel.FeiningerThe Camera.Little, Brown and Company; 1980.NeW York.The Complete Photographer.Andreas.Prentice Hall, Inc., 1965.New Jersey.Newhall, Beaumont; The History of Photography.Doubleday and Company, 1964.New York.Hertzberg, Robert E. Photo Darkroom Guide.Chilton Book Company, 1967.New York.Great Photographers.Editors of Time-Life Books.Time, Inc., 1971.New York.Into Your Darkroom, Step -by -Step.Curtin, Dennis.New York. Van Nostrand Reinhold, 1981.1216
CONTENT OBJECTIVESSUB-AREA V.CAREERS AND CRITICISMIdentify tools and materials usedfor lettering and identify thecommon styles of lettering;Identify art careers:Identify skills which would beuseful. for a career in photography and/or specify types oforganizations where a career inphotography might be found;Specify factors that contributeto effective layout design; suchas posters; showcards, billboards.Identify skills needed by anillustrator and/or identifytypes of organizations whichwould employ an illustrator.Identify the purposes of environmental planning and design;ing.Identify the various types and/orfunctions of architecturalstructures (e.g.,Tublic/commercial; industrial, domesticiresidential).Specify the Skills needed for acareer in architecture.AnalyZe the Objectives and applications of interior design.Identify organizations where aninterior designer might be -2;npleyed and/or identify the :;killsneeded For a career in interiorDistinguish among the advantagesand disadvantages of traditionalbuilding materials such as wood,britk, and stone.Specify skills needed by anartist in the field of advertis-deSign.Identify building devices such asarches, domes, trusses, and postand lintel constructions and/oridentify their uses.Identify skills needed by afashion designer.Identify skills needed by alandscape architect and/oridentify orgnnizations where alandscape archltect might beemployed;Identify various types of modernbuilding materials and/or theirunique aesthetic or tectonicqualities.Identify manufacturers that wouldemploy a product designer and/oridentify the skills needed bysuch a person.Distinguish amount; modern buildingdesigns (e.g., geodesic dome, spaceframe; inflatable, cantilever).Identify Skil? ; needed by aIdentify the equipment used in stagedesign (costume, prop; lighting).package designer and/ot specifyorganizations which might employA package deSigner.DiStinguiSh among varlona kinds ofpuppets (marionettes, shadow, hand,red).Identify techniques of Framing and/or identify factors to considerDescribe the aspects of a given work(.71,0n selectingof art.Identify factors which contributedisplay.toward an ofAnalyze the interrelationships ofaspects of a given work of art;13
Given a work of art, choose themost appropriate interpretation.Identify various processes ofmounting pictures.Analyze the various factors thatcontribute to the judgment of theaesthetic value of a work of art.Identify techniques of mattingpicture and identify factors toccinaider when selecting the matting.Identify factors considered infilm criticism (e.g., plot, lighting, setting).Identify the factors involved incriticism of a craft object(similar to criticism of otherart forms).Describe the technical propertiesof painting that affect itscriticism.Describe the technical propertiesof sculpture that affect itscriticism.Describe the technical propertiesof architecture that affect itsCriticism.Describe how descriptive, analytical, interpretive and judgmental components contribute tothe criticism of a drawing.Describe the technical propertiesof printmaking that affect itscriticism.Recognize appropriate criteriafor the criticism of productdesign.Describe ;-"id technical proper-ties of graphics that affectits criticism.Recognize appropriate criteriafor the criticism of interiordesign.Define and evaluate the qualitiesof an aesthetic experience.14
SUGGESTED REFERENCESSUB-AREA V:CAREERS AND CRITICISMSHolden, Donald. Art Career -Guide.New York: Watson-Guptill Publications, 1973.The Nature of Criticisms.Radtorn, Colin and Minogue, Sally.Humanities Press, Inc. 1981.Atlantic Highlands, New Jersey:
CONTENT OBJECTIVESSUB-AREA VI;ARTISTS AND THEIR WORKSIdentify the major forms andthemes found in pre-ColumbianRecognize prominent modern(twentieth century) Americanartists and/or identify theirrespective works of art.art.Identify the general charadteria tics of African art.Recognize prominent Americanarchitects and/or identify theaesthetic principles underlyingIdentify the stylistic characteristics and the function6 ofPaleolithic cave painting.their work.Identify prominent modern designers and architects.Explain the differences betweenPaleolithic and Neolithit art.Identify prominent filM directors.Identify the major characteristics of Greek art.Identify prominentAmerican colonial artists and their works.Analyze the relationship of Greekarchitecture and Greek sculpture.Identify prominent Afro-Americanartists.Analyze the details of Greekarchitecture.Identify the characteristics offolk art and recognize examplesof folk art.Identify major characteristicsof ancient Mesopotamian andEgyptian art; and ideni:ify examplesof each.Recognize the stylistic, characteristics of the Hudson RiverSchool artists and their works.Recognize prominent American artistswho used the local color of the"Old West" as their theme.Identify stylistic characteristics of the art of China, Japan,and India; and identify examplesof each.Identify appropriate uses of theterm "realise; and/or giveexamples of "realistic" art.Identify examples of Persian artin metalwork, ceramics, architecture,sculpture; or manuscript illutinationExplain abatrattioninart andAnalyze mosque architecture and itsdecoration.identify examples of abstractart.Identify style characteristic ofAegean art.Explain romanticism in art andidentify examples of romantic art.Identify the major characteristics of Roman art in painting(fresco; encaustic); sculpture(portraiture); and architecture;and identify examples of each.Identify the major stylisticfeatures of Polynesian art.Identify major style characteristics of AmeriCan Indian art.Demonstrate an understanding ofthe relationship between Etruscanart and Roman art.Identify major characteristicsand/or materials of Eskimo art.2ti16
identify major stages in the evolution of the Early Christianbasilica into the Romanesque andGothic cathedrals and distinguishbetween the various styles ofpainting and sculpture from theEarly Christian through theGothic Periods.Demonstrate an understanding OfByzantine art as a cultural interface between eastern and westernartistic traditions; and identifyexamples of Byzantine painting orarchitecture.Identify workS by the Protorenaissance artists.Identify the masters of Italianand GerMan Renaissance art, theirworks and characteristics of style;the relationship between humanismand Renaissance art; the origins ofperspectives.Analyze post7impressionist concernsin terms of its relationship toImpressionism; and/or identifythe influences of post-impressionismon twentieth century art.IdentifY'the work of principleCubist artists; and distinguishbetween works of analytic andsynthetic CUbiSM.Identify the objectives of Bauhaus;and/or identify Bauhaus artists andtheir works.Analyze Dada and surrealism in termsof their individual goals andaccomplishments;Identify the artists and stylecharacteristics of abstractexpressionism;Identify pop art and the major popartists.Identify major Baroque artists andthe characteristics of Baroque art.Identify the elements of rococostyle; and examples of rococoIdentify major op artists andunderstand op art.art.Identify the goals of Fauvism andthe work of principle Fauve artists.Identify the historical and political influences on the emergenceof neo-ciassicism; and examples ofneo-classical art.Analyze futurism in terms of itsrelationships to Cubism andtechnology; and/or identify thework of futurist artists;Contrast nineteenth century neoclassicism and romanticism.Identify the work and stylecharacteristics of principleExpressionists; and the contributions that the Expressionistsmade to printmaking.Identify CharacteritticS ofnineteenth century realism andidentify the artists of thePeriod.Analyze Impressionism in termsOf its relationship to nineteenthcentury scientific theories; and/or identify the work of majorImpressionist painters.Analyze impressionism in ,terms ofits relationship to nineteenthcentury scientific theories; And/oriden'Afy the work of majorImpressionist painters.17
SUGGESTED REFERENCESSUB-AREA VI:Brommer.ARTISTS AND THEIR WORKSDiscovering Art History.Davis PubliCation, Inc., 1980.Worcester, Mass.Feldman, Edmund Burke.New York.Varieties-cif-NTsUal-Experience.Harry N. Abrams, 1972;Gardner's Art- Through-The-Age .Gardner, Helen.Harcourt Brace, 1975.New York.Huater, Sam.Modern Art.Harry N. Abrams, 1976:New York.2nd edition.Janson, Horst W. History -of -Art.New York. Harry N. Abrams, 1977.6th edition.
DOCUMENT RESUME ED 235 138 SP 023 054 AUTHOR Bobick, Bruce; Flippo, Rona F. TITLE Study Guide for TCT in Art. INSTITUTION Georgia State Dept. of Education, Atlanta.
CHAPTER 235, Page 1 (Unofficial Compilation) CHAPTER 235 INCOME TAX LAW Part I. General Provisions Section 235-1 Definitions 235-2 Repealed 235-2.1 Repealed 235-2.2 Repealed 235-2.3 Conformance to the federal Internal Revenue Code; general application . , such as assemblers, compilers, routines, generators, and utility programs. .
9 138-0867-03 1 Guard-Muffler 10 138-6036-03 1 Support-Seat 11 138-2548 2 Spring-Compression 12 138-9820-03 1 Guard-Engine 14 138-9827-01 1 Footrest 15 140-2097 2 AxleStubASM 15:2 109-3678 2 Bearing-Ball Ref. PartNumber Qty.Description 17 138-7200 2 Cap-Grease 18 117-1232-03 1 Bracket-Hitch 20 139-5890 1 Decal-Timecutter 21 139-2387 1 Decal .
S 235 JR 1.0037 Č0370 S 235 JRG1 1.0036 Č0371 S 235 JRG2 1.0038 Č0361 S 235 J0 1.0114 Č0362 S 235 J2G3 1.0116 Č0363 S 275 JR 1.0044 Č0451 S 275 J0 1.0143 Č0452 S 275 J2G3 1.0144 Č0453 S 355 JR 1.0045 Č0561 S 355 J0 1.0553 Č0562 S 355 J2G3 1.0570 Č0563 Metalne i d
816-235-2896 leggiok@umkc.edu assistant dean: Kami Thomas 816-235-2214 thomaska@umkc.edu student services 816-235-2215 bloch@umkc.edu department of accountancy, Chair: David Donnelly 816-235-2218 donnellyd@umkc.edu department of finance, information Management and strategy, Chair: Marilyn Taylor 816-235-
There are four variations of the Model TFM-138 Transceiver. All units offer identical features and performance except for the following differences: TFM-138, P/N 921012-1 GREEN display and 28 Volt back lighting. TFM-138, P/N 921012-1 (5V) GREEN display and 5 Volt back lighting. TFM-138, P/N 921012-2 RED display and 28 Volt back lighting.
Genos-L L300-M L300E-M L300-MY L300E-MY L300-MW Velikost sklíčidla 10“ 10“ 10“ 10“ 10“ Max. soustružený průměr ø300 mm ø300 mm ø340 mm ø340 mm ø300 mm Max. soustružená délka 450 mm 1060 mm 420 mm 1020 mm 150 mm Pojezdy (X, Z, Y, W) 235 mm/520 mm/ –/– 235 mm /1144mm/ –/– 235 mm/450 mm/ 100 mm/– 235 mm/1074 mm .
5 U-235 stands for uranium-235. Uranium is the heaviest atom that is found in relative abundance on the natural Earth. Uranium has atomic number 92, i.e. it has 92 positively charged protons, and 92 negatively charged electrons. U-235 also has 143 neutrons. The atomic "weight" is the sum of 92 protons 143 neutrons 235 heavy particles in the .
i7j "irles gnat :cl Tc 3" :rzeiins t:,rs 11 01 follo i g O\ IS C)TS oC the Rzg1st-y 3% :,erren: an :he !i a-v Y "rifcct h rB. why appro\ ecl by 112 JL'I) "LITz T; of Commerce S sc:ioais 3 1 (cll rls) .k (I \ t srtcl ul r:g kpend x ";), 3 1 f dji.ii), 7 I . and 7.3, wkch :ex- s.
