AP ® Studio Art 2007–2008 Professional Development Workshop Materials Special Focus: Breadth in the AP Portfolios The College Board: Connecting Students to College Success Th e College Board is a not-for-profi t membership association whose mission is to connect students to college success and opportunity. Founded in 1900, the association is composed of more than 5,000 schools, colleges, universities, and other educational organizations. Each year, the College Board serves seven million students and their parents, 23,000 high schools, and 3,500 colleges through major programs and services in college admissions, guidance, assessment, fi nancial aid, enrollment, and teaching and learning. Among its best-known programs are the SAT®, the PSAT/ NMSQT®, and the Advanced Placement Program® (AP®). Th e College Board is committed to the principles of excellence and equity, and that commitment is embodied in all of its programs, services, activities, and concerns. For further information, visit www.collegeboard.com. Page 8: Morris, William (1834–1896). Th e Well at the World’s End. 1896. Wood cut and letterpress. Victoria & Albert Museum, London, Great Britain. © Victoria & Albert Museum, London/Art Resource, NY. Reprinted with permission. Page 9: Mackintosh, Charles Rennie (1868–1928). Stylized Flowers and Chequerwork. 1915–1923. Pencil and watercolor on paper laid on board, 23.9 × 20.3 cm. Hunterian Museum and Art Gallery, Glasgow, Scotland. © Textile design from Hunterian Online Photo Library. Reprinted with permission.; Mackintosh, Charles Rennie (1868–1928). Orange and Purple Spirals. 1915–1923. Pencil, watercolor and gouache on paper, 48.6 × 38.3 cm. Hunterian Museum and Art Gallery, Glasgow, Scotland. © Textile design from Hunterian Online Photo Library. Reprinted with permission.; Mackintosh, Charles Rennie (1868–1928). Wave Pattern. 1915–1923. Pencil and watercolor on paper, 49.2 × 37.8 cm. Hunterian Museum and Art Gallery, Glasgow, Scotland. © Textile design from Hunterian Online Photo Library. Reprinted with permission. Page 10: Wright, Frank Lloyd (1867–1959). Leaded Glass Window for the Avery Coonley Playhouse, Riverside, Illinois. 1912. Stained glass, 219.1 × 71.1 × 5.1 cm. Riverside, Illinois. © 2007 Artists (continued on next page) Th e College Board wishes to acknowledge all the third party sources and content that have been included in these materials. Sources not included in the captions or body of the text are listed here. We have made every eff ort to identify each source and to trace the copyright holders of all materials. However, if we have incorrectly attributed a source or overlooked a publisher, please contact us and we will make the necessary corrections. © 2007 Th e College Board. All rights reserved. College Board, Advanced Placement Program, AP, AP Central, AP Vertical Teams, Pre-AP, SAT, and the acorn logo are registered trademarks of the College Board. AP Potential and connect to college success are trademarks owned by the College Board. All other products and services may be trademarks of their respective owners. Visit the College Board on the Web: www.collegeboard.com. ii Rights Society (ARS), New York/Frank Lloyd Wright Foundation. Reproduction, including downloading of Frank Lloyd Wright works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York. Reprinted with permission.; Wright, Frank Lloyd (1867–1959). Wool Rug for the F.C. Bogk House, Milwaukee, Wisconsin. 1916. Wool. Milwaukee, Wisconsin. © 2007 Artists Rights Society (ARS), New York/Frank Lloyd Wright Foundation. Reproduction, including downloading of Frank Lloyd Wright works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York. Reprinted with permission. Page 11: Harunobu, Suzuki (1724–1770). Girl with a Lantern. 1767. Woodcut print on paper, 280 × 208 mm. Rijksmuseum, Amsterdam. © Print from Rijksmuseum, Amsterdam. Reprinted with permission.; Cherét, Jules (1836–1932). Poster for “Papier à cigarettes Job”. 1896–1900. Lithographed poster, 124 × 88 cm. Miriam and Ira D. Wallach Division, Th e New York Public Library, New York, NY, U.S.A. © Th e New York Public Library/Art Resource, NY. Reprinted with permission. Page 12: Bonnard, Pierre (1867–1947). Th e Laundry-Maid. 1896. Lithograph printed in color, 11 5/8 × 7 7/8 in. Th e Museum of Modern Art, New York, NY, U.S.A. Digital Image © Th e Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Reprinted with permission.; Toulouse- Lautrec, Henri (1864–1901). Divan Japonais. 1893. Lithograph printed in color, 31 5/8 × 23 7/8 in. Th e Museum of Modern Art, New York, NY, U.S.A. Digital Image © Th e Museum of Modern Art/ Licensed by SCALA/Art Resource, NY. Reprinted with permission. Page 13: Vuillard, Jean Edouard (1868–1940). Interior with Hanging Lamp. 1899. Lithograph printed in color, 13 ¾ × 11 in. Th e Museum of Modern Art, New York, NY, U.S.A. © 2007 Artists Rights Society (ARS), New York/Museum of Modern Art, New York. Reprinted with permission.; Doesburg, Th eo van (1883–1931). Rhythm of a Russian Dance. 1918. Oil on canvas, 53 ½ × 24 ¼ in. Th e Museum of Modern Art, New York, NY, U.S.A. Digital Image © Th e Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Reprinted with permission. Page 14: Mondrian, Piet (1872–1944). Composition 1916. 1916. Oil on canvas with wood strip at bottom edge, 119 × 75.1 cm (46 7/8 × 29 5/8 inches). Solomon R. Guggenheim Museum, New York. 49.1229. Reprinted with permission.; Behrens, Peter (1868–1940). Th e Kiss. 1898. Woodcut on thin laid paper, 27.14 × 21.43 cm. Los Angeles County Museum of Art. © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Reprinted with permission. Page 15: Munch, Edvard (1863–1944). Madonna. 1895–1902. Woodcut printed in color, 23 ¾ × 17 ½ in. Th e Museum of Modern Art, New York, NY, U.S.A. Digital Image © Th e Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Reprinted with permission.; Moser, Koloman (1868–1918). Poster for the 13th Secessionist Exhibition. 1902. Reproduced by permission from Philip Meggs, A History of Graphic Design (Hoboken, NJ: John Wiley & Sons, Inc., 1998), 218. Page 16: Klimt, Gustav (1862–1918). Th e Hostile Powers (from the Beethoven Frieze). 1902. Casein paint on plaster, 34.14 × 2.15 m. Oesterreichische Galerie im Belvedere, Vienna, Austria. iii © Erich Lessing/Art Resource, NY. Reprinted with permission.; Kokoschka, Oskar (1886–1980). Self Portrait: Poster Design for Der Sturm. 1911. Lithograph poster. Kunstbibliothek, Staatliche Museen zu Berlin, Berlin, Germany. © Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Reprinted with permission. Page 17: Malevich, Kazimir (1878–1935). Suprematist Painting. 1915. Oil on canvas, 101.5 × 62 cm. Stedelijk Museum, Amsterdam, Th e Netherlands. © Art Resource, NY. Reprinted with permission.; Lissitzky, Lazar El (1890–1941). Hit the Whites with the Red Wedge. 1919. Lithographed poster. © Snark/Art Resource, NY. Reprinted with permission. Page 18: Rodchenko, Alexander (1891–1956). Poster for Rezinotrest, the State Trust of the Rubber Industry. 1923. 45 × 60 cm. Rodchenko Archive, Moscow, Russia. © Scala/Art Resource, NY. Reprinted with permission.; Stenberg, Georgii (1900–1933) and Vladimir Stenberg (1899–1982). Chelovek’s Kinoapparatom. 1929. Lithograph, 39 ½ × 27 ¼ in. Th e Museum of Moden Art, New York, NY, U.S.A. Digital Image © Th e Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Reprinted with permission. Page 19: Kandinsky, Wassily (1866–1944). Composition X. 1939. Oil on canvas, 130 × 195 cm. Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany. © Painting from K21 Kunstsammlung Nordrhein-Westfalen. Reprinted with permission.; Kandinsky, Wassily (1866–1944). Yellow-Red-Blue. 1925. Oil on canvas, 128 × 201.5 cm. Musee National d’Art Moderne, Centre Georges Pompidou, Paris, France. © CNAC/MNAM/Dist. Réunion des Musées Nationaux/Art Resource, NY. Reprinted with permission. Page 20: Schmidt, Joost (1893–1948). Staatliches Bauhaus Ausstellung (National Bauhaus Exhibition). 1923. Lithograph, 26 ¼ × 18 5/8 in. Th e Museum of Modern Art, New York, NY, U.S.A. Digital Image © Th e Musuem of Modern Art/Licensed by SCALA/Art Resource, NY. Reprinted with permission.; Klee, Paul (1879–1940). Th e Window. 1922. Oil. © 2007 Artists Rights Society (ARS), New York. Reproduction, including downloading of Paul Klee works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York. Reprinted with permission. Page 21: Gropius, Walter (1883–1969). Th e Dessau Bauhaus building seen from the southeast. © 2007 Artists Rights Society (ARS), New York/Bauhaus-Archiv, Berlin. Reproduction, including downloading of Walter Gropius works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York. Reprinted with permission.; Gropius, Walter (1883–1969). Façade of the east unit, student residences. 1925–1926. © 2007 Artists Rights Society (ARS), New York/Bauhaus-Archiv, Berlin. Reproduction, including downloading of Walter Gropius works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York. Reprinted with permission.; Breuer, Marcel (1902–1981). Armchair, Model B3. 1927–1928. Chrome-plated tubular steel with canvas slings, 28 1/8 × 30 ¼ × 27 ¾ in. Th e Museum of Modern Art, New York, NY, U.S.A. Digital Image © Th e Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Reprinted with permission. iv Page 22: Breuer, Marcel (1902–1981). B32 “Cesca” Side Chair. 1928. Chrome-plated tubular steel, wood and cane, 31 ½ × 17 ½ × 18 ¾ in. Th e Museum of Modern Art, New York, NY, U.S.A. Digital Image © Th e Museum of Modern Art/Licensed by SCALA/Art Resource, NY. Reprinted with permission.; Moholy-Nagy, László (1895–1946). Title page for “fi lm und foto” exhibition catalog. 1929. Staatliche Museen, Berlin, Germany. © 2007 Artists Rights Society (ARS), New York/Staatliche Museen, Berlin.