Visual Literacy in the Classics

Justine Cucchi

Grand Valley State University

Contents

Introduction

Methodology

Methodology for Each Image

Student Directory

References

Primary Source References

Figures

Justine Cucchi

Honors Senior Project

Prof. Morison

Grand Valley State University

Introduction

Visual literacy has been a concept discussed in academic circles since the 1960’s, mostly due to the rise of popular visual media and the abundance of photography. The exact definition for visual literacy has been under debate since then. However, in recent years many have developed guides on this concept in order to make the intentions of librarians and educators clearer while helping others understand why they believe it is important (ACRL 2011). Most have adopted a definition similar to this one:

Visual literacy is the ability to understand the communication of a visual statement in any medium and the ability to express oneself with at least one visual discipline. It entails the ability to: understand the subject matter and meaning within the context of the culture that produced the work, analyse the syntax—compositional and stylistic principles of the work, evaluate the disciplinary and aesthetic merits of the work, and grasp intuitively the Gestalt, the interactive and synergistic quality of the work (Curtiss 1978) (Avgerinou and Ericson 1997 p.282).

Additionally, a Delphi study was undertaken by the International Visual Literacy Association (IVLA 2018) to further define the term.^[1] In this particular study, they asked a variety of librarians and educators what they thought visual literacy was, then provided a summary of their most popular answers. The definition given above is close to their consensus (Brill 2007). These and other related definitions are the ones most used by educators and librarians today.

Most people have already been exposed to some form of visual stimuli, since the concept applies to anything that uses the optical sense, including photography, art, film, videogames, and graphic novels. Children utilize basic visual literacy skills every day in viewing advertisements and media. Many educators recognize this prevalence and try to bring interactivity into their classrooms through movies, videos, and graphs. One of the primary reasons why is because certain children tend to learn better from visual cues rather than by reading or writing. Another reason may be to liven up the classroom experience. For example, students will remember specific parts of a story better if they are asked to draw their favorite scenes and present them to the class. Another good example of using visual literacy includes visiting a museum, since an evocative environment like this can create ideas in the mind of the visitor. In these spaces, curators, anthropologists, designers, educators, technicians, and artists focus their energy into a single creative act that “stands as the expression of their intended message” (Zanin-Yost 2005). Additionally, many students are taught to draw or build models, such as molecular structures in chemistry, as a way of combining attention to detail with spatial relationships. This helps students understand complex abstract ideas since it gives them a variety of ways to understand it (Zanin-Yost 2005). Therefore, various forms of visual stimuli have always had the tendency to show themselves in the classroom, and its implementation can only be improved with further understanding.

Visual literacy skills can be used alongside reading. In two of my own classes, I have had professors show us the painting Landscape with the Fall of Icarus by Pieter Bruegel the Elder. In Classical Mythology (CLA 101), we were asked to compare the image with others and how they related to the version of the myth appearing in Ovid’s Metamorphoses (Knox 2005). On the other hand, my Capstone course (CLA 495) was tasked with comparing the painting to poetry by W.H. Auden (1940) and William Carlos Williams (1962) in an exercise related to the reception of classics. We were then tasked with figuring out how the contexts of these authors and artists affected the works and the different meanings they hoped to evoke. Educators can also take this idea further and represent complex ideas with key visuals such as timelines and web maps that draw attention to significant people or events (Zanin-Yost 2005). Therefore, visual literacy is a concept many are already familiar with despite unfamiliarity with the name. Teachers implement it in all levels of education, and it has become an invaluable part of 21^st century education.

This concept of visual literacy relates directly to my Honors Senior Project. As a Classics major planning to pursue a Master’s in Library and Information Science, I had wanted a way to combine two of my passions into a project I could give back to Grand Valley’s Classics Department. As a result, my advisor Professor Melissa Morison and I decided that making a pool of visual resources using the Grand Valley Classics Department Slide Collection as a source would be a great idea. We believe this resource collection will promote their usage in the classroom for professors. However, the slides themselves will not be able to be posted publicly on ScholarWorks, since the department does not own their copyright. According to copyright law, the images cannot be made publicly available for view or download on the Internet without ownership. Therefore, these images are for internal department use only. However, I had also wanted to create something publicly available, so my project includes a directory of image resources for those outside of the department to use, which will include recommendations for their appropriate usage. This directory is available on ScholarWorks with its usage demonstrated at Student Scholars Day 2018. The rest of my findings were also presented at Student Scholar’s Day.

The total outcome of this project is stored on a flash drive that will be kept in the Slides Room of the Classics Department. The images themselves are contained in a PowerPoint corresponding to the myths they represent, with background about the artists and suggestions for talking points related to visual literacy. The skills I decided to focus on come from the ACRL Visual Literacy Array featured on their website, which is attached in Figure 1. These include observation, finding meaning, and evaluating for effectiveness from the categories ‘Interpret and Analyze Images’ and ‘Evaluate Images’. I trust that the Grand Valley professors are well-versed in teaching these myths, so no reading comprehension or prompts regarding the primary sources are included.

This project helps the department in a variety of ways. Most importantly, it provides a wealth of visual resources for classics professors and shows them what the Slides Room collection has to offer. Finding the images they desire as well as pictures related to them will be much easier after this project. Additionally, the images in these PowerPoints are also tagged in the department’s database under “visual literacy.” Therefore, professors will either be able to search through the various PowerPoints by myth in the flash drive or a keyword in the database. The other reason I created for this project was more personal, since I had wanted to give back something useful to the department that gave a lot to me. This project is my way of thanking them for letting me be a part of the classics family at GVSU for the past four years.

This visual literacy project is not just important for personal and departmental reasons. In the 21^st century, our world is rife with visual culture. The average American household has 2.93 TV sets as of 2010. This does not include the various advertisements and computer-related media people also consume (Consumer 2010). This means that citizens need these skills to critically analyze visual media in their daily lives. Studies have shown that most people have learned basic visual literacy skills at home, but few have developed higher level skills such as critical thinking and recognizing bias (Avgerinou 2007). This would include understanding the message a photo is trying to get across without text, or how an advertisement is trying to influence your perspective on a subject. For children, cartoons have always been a staple for their targeted programming, whether it was Looney Tunes or Spongebob Squarepants. Most children could point out basic observations, such as the plot of the show or the personalities of their favorite characters. Others can analyze aesthetic quite well, and see the differences in overall artistic quality. For example, many children can identify when an episode of Scooby Doo is from the original 1970’s run or a recent remake based on the overall animation quality and stylistic decisions. The only difference is that children tend to have a limited ability to express language, so their observations often sound like ‘You can tell this is old because it’s all scratchy’ or ‘They don’t move right like in newer cartoons.’ Therefore, the basic groundwork is usually present allowing educators to take the next step in higher level visual literacy development if they choose.

Visual literacy skills are also useful in both liberal arts and STEM fields at the college level. Studies have shown that a proficiency in visual literacy helps STEM students understand complex concepts more easily and improves their grades. This includes the graphs, charts, and models used in scientific textbooks for better comprehension or 3D imaging programs available online (Schonborn 2010). For liberal arts students, visual literacy can also aid their comprehension of a complex idea, such as the theme in a story or a foreign cultural concept. For instance, language textbooks usually include photographs of the countries where the language is spoken, such as pictures of Italy in Italian class. The teacher will first ask the students to make basic observations about the photograph, and then move on to describe the photo’s background and the context this puts the image in. Additionally, professors usually supplement the curriculum with critically acclaimed films produced in that country in their native language. For example, Professor Licari in the Modern Languages Department prepared about two films in every section of Italian I took with her (ITL 102, 201, 202), and she would ask us to critically think about these films in Italian for a variety of reasons. First there was the basic vocabulary understanding and the ability to see the language spoken in a real-life context, which helped with idioms and speaking speed. Then there was the research we were expected to do on the film. Prof. Licari would task us with finding out as much as possible about the film’s production, director, and time period. After gathering this information, she expected us to evaluate the film for its effectiveness in executing its story and aesthetic quality. Lastly, she would expect us to interpret the film’s meaning and the difference between an Italian and American’s interpretations, which could be radically different if the context was not understood. This ultimately proved to be a great exercise in the classroom, and aided us students in vocabulary comprehension, cultural context, and overall ability to critically analyze film. Therefore, I hope this project will be an example for others at Grand Valley who also wish to promote visual literacy in their own fields.

Another reason I chose to create project related to visual literacy is because of its importance in library and information science discourse. I am currently a classics major, and plan to attain a Master’s in Library and Information Science. While enrolled in my MA program, I hope to receive certifications in Children and Young Adult Librarian Services as well as Data Management. Visual literacy, along with information literacy, is a major issue the American Library Association (2018) and the Association of College and Research Libraries (2011) is currently concerned with. In order to prepare for graduate school, I had wanted to research this topic and how it related to classics.

For example, I already found research on the Internet connecting visual literacy to classics. The most major project I found related to an article written by Siegel called Audio-Visual Materials in Classics (2008). In it, she covers a plethora of photographs, documentaries, activities, and performances that could be taught alongside popular subjects, such as Greek Civilization or Classical Archaeology. This is more of a source guide in the form of a bibliography, and does not provide any of the resources itself for copyright reasons. This guide also does not give descriptions or reviews of the media, or how they could directly relate to teaching various visual literacy skills.

Another example I found was featured on Boston University Libraries’ subject guide for Classical Studies. Ruth Thomas, the Classical Studies librarian, provided an entire page about visual literacy and added useful links for the students and faculty. These included a link to the ACRL standards I myself am using, a website titled “How Do You Look” made by Duke University that provides a resource pool of its own for Art History, and links on advice from Duke University for writing about film, comics, etc. (Thomas 2018). Overall, I felt that these sources were great resources for classics students, and it helped myself to see other approaches people have used regarding visual literacy in classics.

Thanks to this research I have found a wealth of primary and secondary sources related to visual literacy and classics. For the primary sources, I chose them for their collections of well-known myths. The myths themselves contain many complex ideas that stimulate conversation in the classroom and have visual representations in our collection. Some of these complex ideas include their themes of life, death, nature, and love, how these myths have been received and why specific aspects were highlighted through the centuries, and their overall aesthetic quality. This is why professors often use these myths in class, and the reason I am so familiar with them is because of the classics professors’ thorough teaching of them. In terms of secondary sources, these helped me in a variety of ways related to my career plans. For instance, they gave me insight into what visual literacy is and how it has developed over the years, as well as examples of how it has been used in teaching and library science. Lastly, they showed me how important this concept has become in the 21^st century and why it continues to be discussed alongside information literacy.

I chose the images themselves for their usefulness in interpretation, analysis, and evaluation. More specifically, this includes the ability to observe images, find meaning, and evaluate for effectiveness. I focused on these areas of visual literacy because the images already come from a reliable source (Figure 1), and having students create their own visual media is a decision a professor makes about their own lesson plans. Moreover, I myself wished to focus on interpretation, analysis, and evaluation. I felt that I could contribute to the classics department by focusing on these specific skills, and my experience working in the slides room gave me important background information on what the professors could find useful. Therefore, my choices in image selection were influenced by the specific skills I wished to focus on.

Methodology

In order to demonstrate how I chose these images, I will first provide an example idea and walk through the decision-making process I used. This will involve taking a hypothetical image depicting The Judgement of Paris (Figure 2) and explaining how it relates to the specific visual literacy skills of interpretation, analysis, and evaluation. In this myth, Paris had to decide whether Athena, Hera, or Aphrodite was the fairest goddess, and this is the main idea in its primary source depictions (Apollodorus, Hyginus 2007; Homer 2000). After confirming that the hypothetical image depicts this specific episode, I consider the artist and the history of the image. This includes the artist’s period and school they belonged to as well as the medium used and the rationale for creating the image. After this, I move on to connecting it with the primary sources to determine meaning and effectiveness. Once the research into the image is finished, the picture is given a place in the series of PowerPoints on the flash drive. Background information, such as discussion points about the artist and period, are also included. In terms of The Judgement of Paris, there are many facets of the image that can be pointed out, and the classroom conversation would change depending on the image’s relationship to which skill the professor chooses to focus on. For example, in terms of observation, the professor may ask: Which gods are depicted here? How do you know this? Do you know what event this image is depicting? Moving on from this, the questions would begin asking about meaning: Why is this scene important? For what reason were Hera, Aphrodite, and Athena were specifically chosen as contenders? Could the Trojan War have been avoided if Paris chose differently? Lastly, the questions one would ask about effectiveness: Do you think this picture demonstrates the scene well? Which source do you believe this depiction was influenced by most? What reason could the artist have had for making this picture, and were they effective in fulfilling this purpose? Many of these suggested discussion points are taken from ideas in Ladevich’s Visual Literacy Report (1974), Frey’s Teaching Visual Literacy (2008) and Harris’ Visual Information Literacy Via Visual Means: Three Heuristics (2007). I included example conversations about how each image might be observed and interpreted under The Methodology for Each Image Section, but these are only suggestions since each class and situation is different. Thus, each image was chosen in this way with a rationale for why it fit into my visual literacy skillset criteria.

Moreover, it is important to remember that each image must be taught in a similar manner. This means that although each image depicts a myth very differently, the systematic method for looking at it in class is the same. For example, the specific skill of observation should be applied before proceeding any further. This way students can learn the difference between observation, or simply viewing the image, before moving onto interpretation, where intent and meaning are determined. At this point, there should be no bias in the viewing whatsoever. Using the Judgement of Paris once more, I will look at Figure 2 and provide an example observation. In Ruben’s painting, I see three women in various stages of undress. The woman on the furthest left has a shield with a face hanging behind her. The second woman seems to have nothing, and the third woman has a peacock at her feet. Two men are looking at these women, and one is holding a golden ball in his right hand and a shepherd’s staff in his left. There is a sheepdog at his heels and two sheep grazing nearby. Lastly, there is a cherub in the bottom left corner, and it is unclear what he is doing. If the students are noting interesting facets of the images that are factually present, they have utilized observation well.

After making sure that each student sees everything of note, interpretation may be used next. This is where students can make their own individual judgements based on accurate observations and the teacher can correct them where they believe it is necessary. I will use Figure 2 again as an example here, and describe my own interpretation. Based on the wealth of iconographical indicators present, I would quickly say that this is The Judgement of Paris. The golden ball is a golden apple, and the man holding it is Paris. He is being depicted as a shepherd with his dog, sheep, and staff all handy. The other man is Hermes because of the winged helmet he is wearing. In terms of the three women, the one on the furthest left is Athena, since she is closest to the shield. The woman with the peacock at her heels is Hera, since that is her sacred animal. This means the woman in the middle would have to be Aphrodite, and the cherub in her shadow represents this. The image itself is meant to be realistic, so different interpretations should be rare. If a student were to incorrectly identify this image, it would be important that the professor steps in and explains why their interpretation is not correct.

Following this, meaning and effectiveness can be brought up in the discussion. Here, students can talk about why Rubens may have chosen to paint Figure 2 or what his goals may have been. Additionally, how effective was he in his goal? This can vary depending on what the student thought the painter’s original intention was. If the image is more abstract, such as Figure 3, the student may ask if the myth pictured is even accurately depicted. In this instance, the instructor should step in and explain why the image appears the way it does and that the beauty of myth is that it can be depicted however the artist feels it should be. There is no “accurate” way of depicting a specific myth, which should become evident to students as they view different artists’ renditions of the same myth. Aesthetics, another subset skill of evaluation, will probably be brought up here as well since students will inevitably discuss how beautiful they believe the picture is. This type of conversation shows that the students are interacting with the images, and although these discussions are enriching, it is the instructor’s job to remind the students that their own personal tastes do not affect the interpretation of the image. Therefore, when a teacher looks over the following images with a class, it is important to remember that the students can have wildly different answers for questions regarding meaning and effectiveness. They may even see something the teacher missed!

Moreover, iconography in many of these images is a useful and important discussion for interpreting these images. Many of the images from the Archaic, Classical, Hellenistic, Renaissance, and Neoclassical periods contain specific symbols and figures that help the viewer identify what is going on in the image. Take Figure 2 again as an example. In the image, the viewer is meant to identify Hera by the peacock at her heels, since this is her sacred animal. A modern viewer might not realize this, but it would have been evident to a viewer in the 1600’s. This is because the audience enjoying this painting would have been aristocratic elites with a strong educational background in the classics. Their ability to identify an image based on iconography would have helped them reinforce their background and distinguish them from the lower classes, since this could justify their expensive education and social status. In the Archaic, Classical, and Hellenistic Periods, however, these images could appear anywhere from a temple to an elite banquet. Since the population was mostly illiterate, these common iconographic symbols helped viewers identify who the mythological figures were and what they were doing. Lastly, when art moves into the Modern and Surrealist periods, the purposes and uses of iconography change drastically (Museum of Modern Art, 2018). This is because these artists were trying to communicate different messages than their predecessors with their art, and these messages were normally meant for a wider audience from a variety of social and educational backgrounds who could read.

Methodology for Each Image

Archaic, Classical, and Hellenistic Images

Regarding the Archaic, Classical, and Hellenistic images, it is important to remember a few points that apply to each of them. Most importantly, many of these images are taken from objects whose artists are completely unknown. When researchers can determine an artist, there is not much one can find about the artist’s life besides when they were working and in what style. Additionally, where the pieces came from can be unclear, since many objects have been in circulation for hundreds of years and their original context has been forgotten. Due to this, the ability to determine the general area a piece is from, such as Athens, can be an important contextual clue for scholars. Knowing the context of where it was found is also important because a vase could have been made in Athens, but found in an Etruscan tomb in Central Italy. This would drastically change how scholars viewed this image, since Athens was not the intended audience. Lastly, many of these images were created for an audience that tended to be illiterate. This meant that a common iconography running through the artwork of these periods helped viewers identify mythological figures and the meaning of the depiction. Many of those indicators must be taught to students so that they can immediately understand who is being depicted in the interpretation phase and why artists did this for their audience at the time. The following images in this section include Figures 3, 4, 5, and 6

Image 1: Figure 3

Database Information: MYTH049 - Artemis: Diana with hind. Roman marble copy. Sculpture. Late Classical Period. 350 BC. The Louvre, Paris.

Step One: Observation – The students should have straightforward observations here. For example, the image is a picture of a statue in a museum. This particular statue is of a woman standing next to a deer. The woman is fully clothed and is pulling an arrow out a quiver on her back. From this angle, there is no bow on the statue. The woman’s hair is bound in a bun with a crown at the crest. The deer is male based on his antlers, and is standing on its hind legs while the woman pets it.

Step Two: Identify Iconography – Although the woman is hunting, it seems that the deer is her pet. Additionally, the idea that a woman is hunting at all with a quiver and arrows is noteworthy. Lastly, the woman’s crown denotes a noble status, so this woman is not an ordinary commoner.

Step Three: Interpretation and Meaning – Based on the iconography, this statue depicts Artemis in the middle of hunting alongside a deer. Since this is a relatively simple interpretation, the instructor might encourage students to come to this conclusion on their own, and have them discuss why the deer seems to be her pet. When they determine that this is because deer are her sacred animal, it may be a good time to give some historical background on the image. For instance, the instructor could explain how the original statue is a bronze figure attributed to Leochares from around 325 BC. This Roman marble copy was created in the 1^st or 2^nd century AD. The statue itself was discovered centuries ago and came into the Louvre’s collection as a donation in 1556 from Pope Paul IV (The Louvre, 2018). This would be a great jumping off point for a classroom discussion on how this statue was viewed by 1^st century Romans compared to Medieval Italians. Additionally, what kind of people had access to this statue would be another point the instructor could bring up. For example, this statue was probably viewed by members from a variety of Roman social classes in a religious setting, but only the aristocracy would have had access to this statue in the mansions and palaces of 1500’s nobles.

Image 2: Figure 4

Database Information: GS157 - Early Classical: Ludovisi Throne: birth of Aphrodite

Step One: Observation – Students should quickly see that this is a relief carved from stone. The three figures pictured are women, and detail is given to their clothing and curves. Two of the women’s heads are cut off from the tablet breaking. The woman in the middle is either being lifted or lowered down, and a cloth is covering her lower half.

Step Two: Identify Iconography – Although there are no objects that could give students an obvious answer, instructors might wish to discuss the actions happening. Most believe that the central motif depicts Aphrodite rising from her birth in the sea; a depiction that is rare in classical art. Others have speculated that it depicts Persephone rising from the Underworld (Museum of Classical Archaeology Databases, 2018). The teacher could open a discussion about these two interpretations and ask the students what they think.

Step Three: Interpretation and Meaning – For further discussion, the teacher could talk about the object’s historical information. For example, the relief comes from the main panel on the Ludovisi Throne, whose sculptor is unknown. Researchers used to think that the three-sided relief had come from a massive throne for the statue of a god, which is why it was given its name. However, archaeologists now believe it was the fender in front of an altar. The other two sides depict women playing pipes and burning incense. Its authenticity has been debated, but those who accept it place it as transitional between Archaic and Early Classical around 460 BC (Museum of Classical Archaeology Databases, 2018). This information could also start a discussion about why the artist created a relief depicting this specific myth for a temple. For instance, perhaps the temple was dedicated to Aphrodite? Of maybe the people who used this temple wished to communicate a specific message with this relief? There are many possibilities here depending on what the instructor wishes to focus on.

Image 3: Figure 5

Database Information: MYTH074 - Oedipus and Sphinx. Red Figure

Step One: Observation – This appears to come from a Greek vase. The vase looks like it has been broken and reassembled due to the cracks all over. The image depicts red figures within a decorated circle. The person on the left appears to be a man due to his beard. He has a large hat and is sitting on a rock listening to the creature on the pedestal. The creature on the pedestal looks like a sphinx from Egyptian mythology. It has the body of a lion, the head of a human, and the wings of an eagle. Also, it has a crown on its head. Lastly, the pedestal appears to be an Ionic column.

Step Two: Identify Iconography – Students would be correct in thinking that the creature on the right is significant in appearance alone. If they are not sure what the creature is, though, the instructor might have to tell them it is a sphinx. Traditionally, sphinxes have the head of a human and the body of a lion, but the wings of a bird can also be present like in this image. Additionally, it is important for students to note the hat and staff of the man on the left. This indicates that the man is a traveler, since this hat is a traveler’s hat and the staff is meant to be a walking stick.

Step Three: Interpretation and Meaning – This man looks as if he is speaking to the sphinx. The most popular scene involving a man and a sphinx is the conversation between Oedipus and the Sphinx, so it should be fairly easy to ease students into this conclusion. After students come to this conclusion, the instructor could mention some of the historical information regarding this image. Most importantly, the depiction comes from a Greek red figure kylix painted towards the end of the fifth or early fourth century BC. Students will probably not know what a kylix is, so it is important to explain that a kylix was a common drinking vessel in ancient Greece, and this image would have been inside of it. The vessel’s user would not have been able to see the image until they had finished their wine. Historians call this unnamed painter the Painter of Oedipus, an Attic ceramist (Museums., 2018). However, the kylix was found in an Etruscan tomb in Vulci, Italy, not Athens, Greece. Building on this, the instructor might ask the students why an Attic artist would have chosen to put this specific myth into a drinking vessel, or why an Etruscan family felt that this image was worth placing in a tomb. This image could also open up discussion about trade between the two cultures and the popularity of Greek vessels in Etruria.

Image 4: Figure 6

Database Information: MYTH058 - Hydria: Dionysos & Hephaestos. Black-figure. Detail: main scene. 540-500 BC. Vienna.

Step One: Observation – This is an image that a lot of observations could be made from. For example, the picture looks as if it came from a Greek vase. Additionally, there are three figures shown, and one of them is riding an animal. The animal looks like it is either a mule or a donkey. The person on the far left appears to be a man by his beard. He is holding a goblet, and there are snakes hanging from him. The person on the animal looks young, but their feet are awkwardly twisted. The person on the right is following behind while holding a snake. Lastly, there may be another person based on what may be a hand in the far right corner, but they are not pictured here.

Step Two: Iconography – The students might need help with some of the identification here since the art style may be unfamiliar. For example, the black background with the white polka dots is meant to be leopard print, and one can identify Dionysus based on this and the goblet in his hand. Additionally, the awkwardly twisted foot of the man on the pack animal is on purpose, and one can identify Hephaestus based on this. After establishing these important points, the students may be able to figure out that this is depicting Dionysus leading Hephaestus back up to Olympus. The image was meant to be taken humorously in the classical period, mostly because of Hephaestus’ deformed foot and the Bacchic revelry Dionysus and his maenad are partaking in (Kunsthistoriches Museum, 2018). Lastly, if the students can identify the myth, then they may also figure out that the woman on the right is meant to be a maenad based on Dionysus’ presence and the leopard print. If not, the instructor may have to inform them.

Step Three: Interpretation and Meaning - At this point, the instructor might choose to share some background information on the vessel. For example, this is a black-figure hydria from the Classical Period. It is housed in the Kunsthistorisches Museum in Vienna. The hydria vessel is attributed to the Alder painter, and depicts Dionysus exuberantly leading Hephaestus as a young boy back to Olympus on a mule (Kunsthistoriches Museum, 2018). According to the museum “The three-legged water vessel (Hydria) belongs to a small group of vessels, which occupy a special position as one of the most original genres within Greek ceramics and are called Caeretan Hydria after the main site, the Etruscan city of Caere. They were made in the late 6th century BC and produced in an Eastern Greek workshop that emigrated to Etruria. As a painter of the 40 hydria or hydria fragments obtained today, the older Adler painter and the younger Busiris painter are distinguished” (Kunsthistoriches Museum, 2018). If the class does not know what type of vessel a hydria is, then the instructor may choose to explain how it was a water-carrying vessel used for gathering water from wells in the Classical era. After sharing all this information, class discussion could diverge into many different places. For example, why would a Greek ceramicist choose to put what was considered a lighthearted image of Dionysus and Hephaestus on a hydria? These were vessels normally used by women, and would have been on public display when they went to fetch water. Mentioning how the humor in this image is not considered humorous at all in the 21^st century might also be a good idea. Unlike in ancient Greece, an image like this would be taken as offensive and ableist if a woman today had this prominently displayed in public. Another point the instructor might bring up is why the workshop started in Greece but moved to Etruria. The Etruscans were ardent admirers of Classical pottery, but the students may not realize this without some prodding.

Renaissance and Neoclassical Images

Regarding the Renaissance and Neoclassical Images, it is important to note that these images are meant to be taken realistically. The artists were purposely trying to depict these images so that they could be identified by elites viewing these paintings, and they were normally painted with a naturalistic style portraying Classical and Biblical scenes (The Editors of Encyclopaedia Britannica, 2018). Artists would primarily make these myths identifiable using common iconography, such as the peacock discussed earlier representing Hera in Figure 2. While earlier the common iconography was meant to help illiterate viewers identify mythological figures, in this period the aristocratic patrons of these paintings are using it to reinforce their education and status. The images in this section include Figures 7, 8, 9, 2, and 10.

Image 5: Figure 7

Database Information: MYTH001 - Harris: Birth of Venus. Sandro Botticelli. 1480.

Step One: Observation – Students should have much to observe here. For instance, this is a picture with a woman on a seashell in the sea. The woman is naked, and is hiding her genitals with her hands and hair. There are also two figures on the left. One looks like a man flying, while the other looks like a woman being carried by him. The man is blowing wind on the seashell woman, and the couple are surrounded by flowers. They are only partially clothed in billowing cloth. The person on the right is both the only fully clothed figure and the only one standing on land. She appears to be a woman from her hair and dress, and is throwing a cloth on the seashell woman.

Step Two: Iconography – The pose of the naked woman is an important iconographic indicator for identifying this portrait. The woman is meant to be Venus, and she is posing in the classic theme of Venus Pudica, covering her genitals shyly (Uffizi Gallery, 2018). There are also iconographic symbols which help identify the man and woman on the left. Since the man is blowing wind from his mouth and flying, one can deduce that this is Zephyrus, the god of the West Wind who brought spring and light summer breezes. The woman he is carrying can be identified as the nymph Chloris, also known as Aura, a nymph associated with spring and flowers. This is because of the flowers surrounding them and the fact that Zephyrus is carrying her. According to myth, Chloris was abducted by Zephyrus and was transformed into the deity Flora after their marriage (italianrenaissance.org, 2018). The woman on the shore can be identified as Pomona, a wood nymph associated with fruit trees and groves using the trees behind her. It should also be noted that Pomona is normally depicted with a platter of fruit or a cornucopia, but neither of these are present here (italianrenaissance.org, 2018). This would be an interesting point to bring up during discussion of the different mythological figures.

Step Three: Interpretation and Meaning – At this point the instructor might choose to reveal that this was created by Sandro Botticelli in the 1480’s and is considered one of the most famous paintings from the Italian Renaissance alongside his other painting Primavera. This image was meant to depict the goddess Venus, or Aphrodite, arriving at the shore after her birth in the sea as a fully-grown woman. The painting itself was commissioned by the Medici family, specifically Lorenzo di Pierfrancesco de’ Medici, a cousin of Lorenzo the Magnificent. (Uffizi Gallery, 2018). After considering the historical background, students can be asked to figure out why this painting was commissioned and how the image was meant to taken. In terms of why this was commissioned, this might be harder for students to figure out if they do not know anything about the Medici. If they are having trouble, then the instructor might have to tell the students that the Medici were an affluent aristocratic family in Florence, Italy. They were instrumental in the rise of humanism across Renaissance Italy, which included the rediscovery of the classics. The Uffizi Gallery provides a wonderful description:

We can find clear references to the “Stanzas”, a famous poetic work by Agnolo Poliziano, a contemporary of Botticelli and the greatest Neoplatonic poet of the Medici court. Neoplatonism was a current of thought that tried to connect the Greek and Roman cultural heritage with Christianity. The Neoplatonic philosophical meaning is then clear: the work would mean the birth of love and the spiritual beauty as a driving force of life (Uffizi Gallery, 2018).

From this, the students should be able to determine that this painting was meant to show off their status, wealth, and strong humanistic tendencies.

Image 6: Figure 8

Database Information: MYTH026. Ingres, Jean-Auguste. Jupiter and Thetis. 1811 AD. Musee Granet. Aix-en-Provence.

Step One: Observation – This image was painted with a naturalistic style, and students should have a relatively easy time observing this image. For instance, there is a man and a woman painted in the center with oil on canvas. The man is seated on a stone throne, and the woman is kneeling beside him. Both are only partially clothed. The man is wearing a red cloth, while the woman has a blue and white cloth. The man has a full beard and head of hair, with finely-toned muscles and golden sandals. He is staring directly forward while holding a staff. The woman looks like she is upset based on her facial expression, and has one of her hands on his knee and the other on his chin. She is wearing a crown and jewels. The throne is surrounded by clouds, and there is an eagle on the right of the throne. A stone relief is also carved on the bottom of the throne, but it is hard to make out what it is. The relief appears to depict a group of people fighting. Lastly, there is a face floating in the background. It appears to be a woman holding a staff and a loaf of bread. The bread woman also has a crown on her head.

Step Two: Iconography – The students should be able to guess that man is Zeus based on the clouds and eagle. The woman is ambiguous, though. Her defining characteristic is that she is supplicating in the traditional Greek way, with one hand on Zeus’ knee and the other on his beard. She also is not just any other person, since she is wearing a golden crown and has the ability to appear at Zeus’ feet in Olympus. These actions denote that she is a goddess, but the students may need some suggestions to realize this is Achilles’ mother Thetis. Lastly, the students may need help with identifying the woman floating in the background. This is meant to be Zeus’ wife Hera, the queen of the gods, and can be identified from her rich clothing and crown.

Step Three: Interpretation and Meaning – At this point, some historical information about Ingres and the painting may be pertinent. For example, this was created by Jean-Auguste in 1811 AD in the Neoclassical art style. The portrait is based on the episode in The Iliad when Achilles’ mother Thetis supplicates Jupiter to intervene in the Trojan War on behalf of her son Achilles (Musee Granet, 2018). Jupiter's pose is closely based on that of the famous Statue of Zeus at Olympia, which was one of the Seven Wonders of the Ancient World. Although the sculpture was destroyed in antiquity, its pose is known from coins and small replicas (Musee Granet, 2018). Ingres created this painted while he was at the French Academy in Rome. This Academy was created by Napoleon for so that young French artists could see and copy the masterpieces of Antiquity or the Renaissance and send back to Paris. The artists were expected to paint at least one work annually, which were sent to Paris to be judged. This was Ingres’s compulsory painting (Musee Granet, 2018). Using all this information, the instructor may choose to discuss all the ways in which Antiquity influenced this painting, from the myth itself to the stylistic decisions Ingres chose.

Image 7: Figure 9

Database Information: NCL064 - Gerard, Francois-Pascal. Cupid & Psyche. 1790. French.

Step One: Observation – Since this image was painted naturalistically, it should be easy for the students to make observations. For example, there are two figures in the center, with grass and sky surrounding them. The figure on the left appears to be a woman, since she was her hair worked into a bun and a feminine figure. She has a sheer piece of fabric on her lap and is seated on a red cloth. Besides this, the two figures are naked. The person on the right is androgynous with angel wings. They are kissing the woman, who seems neutral to what is going on. The only other thing in the picture is a white butterfly above the woman’s head.

Step Two: Iconography – The iconography here is also fairly straightforward. For example, the androgynous man with angels’ wings is Cupid. He is embracing the other woman, who has a butterfly over her head. The butterfly is an eponymous symbol of Cupid’s wife Psyche, which many students may not know and might need to be informed.

Step Three: Interpretation and Meaning - The instructor may wish to share some historical information here. For example, this painting was created by Francois-Pascal Gerard in 1790 and depicts Cupid and Psyche embracing in the Neoclassical style. Psyche is the personification of the human soul, symbolized by the butterfly in art. The butterfly above is painted in for this purpose. In this image Psyche is aroused by Cupid’s touch. She can feel but not see him (The Louvre, 2018). Using this information, a great class discussion would be why Gerard would have wished to paint this. Cupid and Psyche was a very common subject matter at the time, and it might be interesting to think about why this was a trend.

Image 8: Figure 2

Database Information: MYTH0032 - Ruben, Sir. Peter Paul. The Judgement of Paris. 1635-1638 AD. National Gallery. London.

Step One: Observation – (This is partially taken from the example paragraph above). This is another naturalistically painted image, so students should have relatively straightforward observations. For example, there are three women in various stages of undress. The woman on the furthest left has a shield with a face hanging behind her and a helmet at her heels. She is also holding a sheer white cloth. The second woman seems to have nothing but a sheer white cloth similar to the first woman’s, and the third woman has a peacock at her feet with a rich red and white robe. Only the two women on the right are facing the men. Two men are looking at these women, and one is holding a golden ball in his right hand and a shepherd’s staff in his left. There is a sheepdog at his heels and two sheep grazing nearby. The man standing next to him is wearing a red cape and a helmet with wings. Lastly, there is a cherub in the bottom left corner, and it is unclear what he is doing.

Step Two: Iconography – (This is partially taken from the example paragraph above). This image also contains some straightforward iconography. However, students may have trouble here since none of these symbols are widely known today. Therefore, the instructor may wish to assist the students here through explanation. For example, the instructor could begin with the women starting from the left. This woman has a shield with a frightening face on it as well as a helmet next to her. Therefore, one can assume this is Athena, goddess of wisdom and war strategy. She was famous for her aegis shield, which depicted Medusa on the front. The woman in the middle is meant to be Aphrodite, and the cherub in her shadow represents this. This one will probably be the most evident to students, since cherubs are still associated with love. Lastly, the woman with the peacock at her heels is Hera, since that is her sacred animal. Now that the three women have been established, the students should be able to guess which myth this is if they are familiar with Greek mythology. If not, the instructor may have to tell them that this is the Judgement of Paris, and explain who the men on the right are supposed to be. Based on this information, one can see that the golden ball is a golden apple. The man holding the apple would have to be Paris, who is being depicted as a shepherd with his dog, sheep, and staff all handy. Finally, the man behind him is Hermes, who is shown wearing his famous winged helmet.

Step Three: Interpretation and Meaning – At this point, the instructor might wish to share some historical information for further interpretation and meaning. For example, the image depicts the Judgement of Paris as told in Lucian’s Dialogues of the Gods (The National Gallery, 2018). The painting was created by Peter Paul Rubens, a member of Flemish Baroque Movement, around 1632-1635 AD (The National Gallery, 2018). The Flemish Baroque Movement was heavily influenced by the earlier Renaissance, and is considered to belong to the Late Renaissance happening throughout Europe at the time. The subject material was primarily biblical, mythological and historical subjects, which was considered as the most noble art in the 16^th century (The National Gallery, 2018). Using this information, the instructor could lead the classroom discussion into Renaissance painting in general. For example, although this image and Botticelli’s Birth of Venus were created in different countries, they share many characteristics in their stylistic choices. Students could look at the images and talk about what qualities make them Renaissance paintings even though they differ in individual painting style and depict different stories.

Image 9: Figure 10

Database Information: MYTH034 - Tiepolo, Giovanni. Death of Hyacinth. 1752-1753 AD. Thyssen-Bomemisza Collection, Lugano.

Step One: Observation – This picture should provide some straightforward observations from the students. For example, in this picture are a group of men surrounding another man on the ground. The man on the ground appears to be in pain, and is looking at another man in the foreground standing above him. These two are partially clothed, with a gray robe and sandals on the man in pain and a blue robe and a laurel crown on the man above him. The other people are watching these two men, and they are all fully clothed. One looks like a soldier, another is a child, and another in a rich black and yellow robe with a fancy hat. The man in pain is lying down on a red cloth, and a tennis racket and flowers are placed next to him. There is a cherub behind his head, and a statue of a fat satyr with horns looking down on him. Lastly, there is a parrot in the far right corner on a building.

Step Two: Iconography – Although this painting depicts a lifelike scene, the students will probably have trouble identifying this myth. The instructor may need to step in and provide some iconography information. For example, the man standing above the man in pain is Apollo, which is evident based on the laurels around his head. The man in pain is meant to be Hyacinthus, shown through the hyacinth flowers growing next to him. This is hinting at how Apollo will turn him into hyacinths later in the myth (Museo Nacional Thyssen-Bornemisza, 2018). Although the image was painted to resemble Classical Greece, the artist has taken a few liberties to give the painting more modern elements. For example, there is a tennis racket lying next to Hyacinthus. The game of tennis itself was not invented until the 19^th century, but there was a game called ‘real tennis’ or ‘royal tennis’ today that used tennis rackets in the 18^th century (Clerici, 1976). The implication here is that Hyacinthus was fatally struck by Apollo while playing royal tennis instead of a discus like in the original myth (Ovid 10.162-219). The statue looking on maliciously is meant to be the god Pan, which is evident from his horns and satyr body. Paired with the parrot, both the statue and the parrot are meant to turn the tragedy of the scene into irony (Museo Nacional Thyssen-Bornemisza, 2018). Lastly, the cherub next to Hyacinthus represents their love for each other, since cherubs suggest romantic feelings.

Step Three: Interpretation and Meaning – After discussing the rich iconography this image has to offer, the instructor may wish to share some historical information about the painting. For example, this image depicts the Death of Hyacinthus as told in Ovid’s Metamorphoses. The painting was created by Giovanni Battista Tiepolo around 1752-1753 during the Rococo Movement (Museo Nacional Thyssen-Bornemisza, 2018). The Rococo Movement began in 1699 after the French King Louis XIV demanded more youthful art to be created. This period has also been called the Late Baroque since it developed as Baroque artists moved away from symmetry to more fluid designs. The Rococo art movement addressed a huge issue at the time of whether color or drawing was better, and combined the two to create the pieces we have today. Artists of this period focused more on attention to detail, ornamentation and use of bright colors (Museo Nacional Thyssen-Bornemisza, 2018). Additionally, Battista worked with his two sons Giandomenico and Lorenzo on this painting and the others in the same commission. These included frescoes for the residence of the Prince-Bishop Karl Philipp von Greiffenklau (Museo Nacional Thyssen-Bornemisza, 2018). Using this information, the instructor has many avenues of classroom discussion they may wish to choose. For example, the fact that Battista included more modern designs in this painting for his patron is interesting, especially since he wished to depict a myth from Ovid. Discussing this and the other iconographic choices might be a good avenue of conversation.

Modern, Surrealist, and Regionalist Images

Regarding Modern, Surrealist, and Regionalist images, instructors and students must remember the context these images were created in. Most of this art was created in the 20^th century during a period of rapid industrial expansion and technological innovation. In terms of why this art tends to appear so different from previous periods, many explanations have been suggested. A very important one to remember is the worldwide increase in literacy and education, as well as the dissolution of a shared “high-brow” culture and an deemphasis on Western influence. This means that there is no longer a common educational background among elites and their shared iconographic symbols are emphasized much less in art. Another reason researchers cite for why Modern and Surrealist art tends to be more abstract is because of the invention of the camera. Portraits and mythological scenes used to be the most common form of painting asked for by patrons, but after photography could more accurately depict people, the demand diminished (Museum of Modern Art, 2018). Artists no longer had the need to depict art literally, and they preferred to explore meaning and expression less literally (Museum of Modern Art, 2018). The images featured in this section include Figures 11, 12, and 14.

Image 10: Figure 11

Database Information: MYTH004 - Harris: Persephone. Thomas Hart Benton. 1938.

Step One: Observation – The simplicity of this image should be simple for the students. For example, a woman is lying naked on her clothes in the main foreground. She is resting next to a tree, and a basket of flowers is placed next to her. There are also black heels next to this basket. The woman is looking at a stream, and there is a distant field in the top left corner. On the right is a man standing behind a tree looking at the woman. He appears older, and is wearing a shirt and vest. Lastly, there is a horse-drawn wagon behind him.

Step Two: Iconography – At this point, it would be pertinent to explain how 20^th century art tends to handle iconography in a unique manner, and is usually trying to use it to relay a specific message. The art is not meant to be realistic, and there is a hidden meaning present in this painting.

Step Three: Interpretation and Meaning - At this point, the instructor might choose to reveal more about the painting, such as its title and historical background. For example, this painting was created by artist Thomas Hart Benton, who is known for being at the forefront of the Regionalist art movement. American Regionalism was a movement that depicted realistic scenes of rural and small-town America primarily in the Midwest and Deep South. It arose in the 1930’s and ended in the 1940’s due to World War II. Normally, Benton created works meant to be commentaries on social injustices. The artist often focused his attention on the plight of farmers in the Industrial Age, and would often depict working class values and people in his works (Art Net, 2018) . This picture itself is different from what he normally paints, showing Persephone resting nude in a rural Midwestern setting. The farmer peeking at her is meant to be Benton himself, taking on the role of Hades (Nelson-Atkins Museum of Art, 2018). Once given this background, multiple connections can be made. For example, Persephone in both the primary sources and this painting are innocently going about their business in a field. However, the man seems to be a farmer based on his clothing, the farmland behind, and the horse-drawn wagon in the background. Something to bring up here are the comparisons that can be made between the old man and Hades. For example, the wagon is like Hades’ chariot and both take an unwelcome interest in the women. Although the painting appears idyllic at first glance, it feels much more sinister when one considers the relationship between the man and woman, or lack thereof. Therefore, it is important to show the students how the painter is making a commentary on the male gaze and the objectification of women in this Midwestern setting, taking these same themes from the original myth.

Image 11: Figure 12

Database Information: MYTH014 - Bacon, Francis. Oedipus & the Sphinx after Ingres. 1983 AD. private collection, CA.

Step One: Observation – This image is a pink room with a door open. Nothing is in the foreground, and there is no primary focus besides the foot. There is a creature with breasts on the left, and appears to be standing on four legs. However, only two of these four legs are shown. There is also a man to the right with a white tank top and a bandaged leg. His foot is bleeding profusely from a puncture, and the foot is circled with blue and is propped on a wooden stand. The man seems to be showing his foot to the creature. Lastly, there is a red and white object in the background that may be wearing a top hat.

Step Two: Iconography – At this point, it would be pertinent to explain how 20^th century art tends to handle iconography in a very unique manner, and is usually trying to use it to relay a specific message. The art is not meant to be realistic, and there is a hidden meaning present in this painting.

Step Three: Interpretation and Meaning - Unless the students are very familiar with Modern art, they will probably need to be told the title of the painting before any interpretation begins. The statue to the left is the Sphinx, the man on the right is Oedipus, and the creature in the doorway is a Fury (Museu Colecao Berardo, 2018). Additionally, the artist is comparing his own painting to a famous Ingres painting, which is another Oedipus depiction we have in the slides room (see Figure 13). I would suggest showing the images side-by-side during this phase to help students make the visual comparisons Bacon wished. Some striking differences will appear when this is done, such as how Ingres chose to depict Oedipus in the foreground and the Sphinx in shadow. On the other hand, Bacon chose to paint Oedipus to the side, with two gaping wounds on his foot representing Oedipus’ feet being bound as a child by his father. Bacon also added a Fury in the doorway, representing his inescapable fate (Museu Colecao Berardo, 2018). What I had thought was a top hat was really a white arrow pointing at the Fury, adding emphasis to its presence. It is also significant that Oedipus is not depicted front-and-center, and his injured leg is the only object in the middle besides the Fury in the door. While it seems like Ingres was trying to depict Oedipus and the Sphinx as realistically as possible, Bacon was trying to depict the emotional elements of the myth more realistically. In the play by Sophocles, Oedipus feels like the main character, but the reader also understands that Oedipus is ultimately a victim of his own inescapable fate. Fate takes on its own personification as the main agent of change, and Bacon chose to represent this with the bloody Fury in the doorway. Additionally, Oedipus’ childhood foot injury takes on a physical representation of his dark destiny. The injury is one of the ways that Oedipus is recognized as Jocasta’s son at the end of the play, which might be another reason why Bacon chose to circle the foot in blue and place it in the center. On the other hand, Oedipus’ injured feet are not depicted in the Ingres painting at all, and these stylistic differences might be a great discussion in point in class. Some background information might be pertinent here as well. For example, this painting was created by Francis Bacon and was finished in 1983. Bacon, born in 1909 in Ireland, was self-taught and did not start painting until he was in his 30’s (Francis Bacon Website, 2018). He was heavily inspired by Surrealism and the artist Pablo Picasso. Surrealism was a movement in the early 20^th century that “sought to channel the unconscious as a means to unlock the power of the imagination” (The Art Story, 2018), while Picasso was a famous painter working in the early 20^th century (The Art Story, 2018) Some common themes that run through Bacon’s work include a heavy focus on the act of crucifixion, feelings of isolation, and stories from church history and Greek mythology (Francis Bacon Website, 2018). Taking this into account, the relationship to Greek mythology should be evident to the students. On the other hand, the relationship to crucifixion might not be, and instructors could also point this out. Oedipus’ foot injury closely resembles the stigmata, a term used by Catholics to describe body injuries in locations corresponding to Jesus Christ’s crucifixion wounds. This could start a great discussion about why Bacon might wish to make this connection to Christ, and whether Bacon meant to do this all.

Image 12: Figure 14

Database Information: MYTH008 - Harris: The Metamorphoses of Narcissus: Salvador Dali 1936-1937.

Step One: Observation – There is a lot going on in this image, and the instructor may wish to have the students work with it after going through a few others in the resource pool. However, there are many observations the students can make here, since it is a rich painting in terms of imagery. For example, in this photo are two giant figures kneeling. One is in a pool of water, and seems to be looking into the pool. There is a tree sprouting from its head. The other figure looks like it is made from stone, and a flower is blossoming from its head. This second figure also looks like a hand coming out of the ground holding an egg. In the background on the left are rock formations and plateaus. There is a creature in the bottom right corner, and possibly a shadow above that creature. In the top left is a checkered floor with a statue on top of a pedestal. There appears to be mountains behind this. In the background between the two figures are a group of people on a path. The path looks like it leads to a group of buildings next to the mountains.

Step Two: Iconography – At this point, the instructor may wish to discuss how Modern art does have iconography like earlier periods, but that each artist tends to use their own rules and forms of symbolism. For example, eggs often represent sexuality in Salvador Dali’s work, but few other artists use this visual cue. The instructor may tell the students the title and artist at this point, so that students can figure out how the egg in this image relates to Narcissus. Dali made no personal statements about this painting, but it is probably meant to represent Narcissus’ own love for himself and the sexuality he never shared with anyone else (Tate Modern, 2018).

Step Three: Interpretation and Meaning – Additionally, the students may wish to have some background information in order to interpret this painting. For example, this image was created by Salvador Dali during his Paranoiac-critical period, and he was overall known as a Surrealist artist. Surrealism was a movement in the early 20^th century that “sought to channel the unconscious as a means to unlock the power of the imagination” (The Art Story, 2018), and Dali was one of the most famous artists of this movement (Tate Modern, 2018). The Paranoiac-critical period was a technique created by Dali himself that consisted of the artist invoking a paranoid state where the artist fears that they are being manipulated, targeted or controlled by others. The result is a deconstruction of the psychological concept of identity, such that subjectivity becomes the primary aspect of the artwork (Tate Modern, 2018). This painting specifically depicts Narcissus sitting in a pool gazing down at his image. Nearby is a decaying stone figure corresponding to his appearance but also perceived differently. The stone figure can also be a hand holding an egg with a Narcissus flower blossoming from it (Tate Modern, 2018). After realizing this, the students may feel that there are many different figures/objects in the painting meant to represent Narcissus himself instead of just one. For instance, the figure on the left staring into the pool is a more literal representation of Narcissus before his transformation. On the other hand, the figure on the right staring into the pool seems to be Narcissus after his transformation. There is a Narcissus flower blooming out of his head, and the figure also looks like a stone hand holding an egg with the blooming flower. Additionally, there is a statue on a pedestal in the far right corner, surrounded by checkered black and white tiles. This represents Narcissus and his unattainable beauty. He is loved by many and loves no one himself, but is put on a pedestal for his attractiveness. Lastly, the group of people in the background on the road represent all his lovers who ultimately never received his love (Tate Modern, 2018). Using this information, the instructor may wish to take the discussion in a variety of directions. For example, why might Dali have made the stone figure both a man and a hand holding an egg? Additionally, why might Dali have painted this in paranoia? These questions themselves can lead to much discussion, and the conversation around this image should be some of the most interesting of all the images in the resource pool.

Student Resources Directory

Unfortunately, the Classics Department does not have the rights to put these images up online, and they can only be used in a classroom setting. This means that the resource pool will not be able to be posted on ScholarWorks or used by students. Therefore, I decided to create a directory for students that provides links to websites where they can find high quality images for their own research. Each of these websites contains high quality images and background information about them, such as the artist, art movement, and time period. I also added descriptions about each site so that students can save time before searching for an image that may not be located on that website. This directory will be posted on ScholarWorks in the form of a PowerPoint file, and will also be available on the same flashdrive as the resource pool in the Classics Department Slides Room.

http://www.artic.edu/

https://www.louvre.fr/en/homepage

https://www.metmuseum.org/

https://www.moma.org/

One of the best places to find images are within collections for museums. Most museums keep an up-to-date database of all the art in their collections, including pictures and information about the pieces. The four linked above include the Art Institute of Chicago, The Louvre, The Metropolitan Museum of Art, and the Museum of Modern Art. These are by no means the only websites, and are just museums with the very large collections. Also, these images must be cited as coming from these websites, as they are owned by the museums.

http://www.artstor.org/

ArtSTOR is probably the most comprehensive site on the Internet for free public domain images. The site hosts a few million images for educational and research purposes for any discipline. For those familiar with JSTOR, this database is a sister website to the academic paper database. Unlike JSTOR, each image is listed by the museum collection they belong to. One must first figure out which museum collection the picture is stored in, then search ArtSTOR to see if they have made their collection available on the site. These images must be cited as coming from ArtSTOR in students’ bibliographies.

http://www.oxfordartonline.com.ezproxy.gvsu.edu/

Oxford Art Online is an art reference library that searches Grove Art Online, The Oxford Companion to Western Art, The Concise Oxford Dictionary of Art Terms, and The Encyclopedia of Aesthetics. The database contains images, biographies, subject entries, and thematic timelines. This particular website is provided by Grand Valley State University, and any non-GVSU users would have to check with their local institution for access. Also, the images that come from this site must be cited in students’ work.

http://www.artnet.com/

Artnet is an online resource used by the international art market. Although one can buy and sell art here, there are also comprehensive biographies about artists, information about specific pieces, news, and descriptions of different art movements. This website is completely free, and can be very handy for a student. If the images taken from this site are cited as belonging to Artnet, then the user is free to use them.

Therefore, this directory is by no means comprehensive, but provides students with a starting point for image research. The goal of this directory is to make these images more accessible to students, since many images in research projects are either inaccessible or improperly used by students who did not know any better. The directory is meant to help guide students to legitimate websites with high resolution images that can also give them background information about these works of art. As long as these websites are cited, students are free to use whatever information they find on them. They can also know that it is coming from a trusted source, such as an official art gallery, instead of a less reliable source such as Wikipedia.

References

Abilock, D. (2008). Visual Information Literacy: Reading a Documentary Photograph. Knowledge Quest, 36(3), pp. 7-13.

ACRL Board of Directors. (2018, 3 18). ACRL Visual Literacy Competency Standards for Higher Education. Retrieved from ACRL: http://www.ala.org/acrl/standards/visualliteracy

Adams, D., & Mayer, R. (2014). Cognitive Consequences Approach: What Is Learned from Playing a Game? In R. Mayer, Computer Games for Learning (pp. 173-224). Cambridge: Massachusetts Institute of Technology.

American Library Association. (2018, February 21). American Library Association. Retrieved from http://www.ala.org/

Art Net. (2018, 3 27). Thomas Hart Benton. Retrieved from Art Net: http://www.artnet.com/artists/thomas-hart-benton/

Auden, W. (1940). Another Time. New York: Random House.

Avgerinou, M. (2007). Towards a Visual Literacy Index. Journal of Visual Literacy, 27(1), 29-46.

Avgerinou, M., & Ericson, J. (1997). A Review of the Concept of Visual Literacy. Wiley-Blackwell Journals, 28(4), 280-291.

Brill, J., Kim, D., & Branch, R. M. (2007). Visual Literacy Defined - The Results of a Delphi Study: Can IVLA (Operationally) Define Visual Literacy. Journal of Visual Literacy, 27(1), 47-60.

Burmark, L. (2008). Visual Literacy: What You Get Is What You See. In N. Frey, & D. Fisher, Teaching Visual Literacy: Using Comic Books, Graphic Novels, Anime, Cartoons, And More To Develop Comprehension And Thinking Skills (pp. 5-25). Thousand Oaks: Corwin Press.

Carter, J. B. (2008). Comics, The Canon, And The Classroom. In N. Frey, & D. Fisher, Teaching Visual Literacy: Using Comic Books, Graphic, Novels, Anime, Cartoons, And More To Develop Comprehension And Thinking Skills (pp. 47-60). Thousand Oaks: Corwin.

Chandler-Olcott, K. (2008). Seeing The World Through A Stranger's Eyes: Exploring The Potential Of Anime In Literacy Classrooms. In N. Frey, & D. Fisher, Teaching Visual Literacy: Using Comic Books, Graphic Novels, Anime, Cartoons, And More To Develop Comprehension And Thinking Skills (pp. 61-89). Thousand Oaks: Corwin.

Clerici, G. (1976). Tennis. London: Octopus Books.

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Primary Source References

Apollodorus, Hyginus. (2007). Apollodorus’ Library and Hyginus’ Fabulae: Two Handbooks of Greek Mythology. (R. S. Smith & S. M. Trzaskoma, Trans.) (1st Edition edition). Indianapolis: Hackett Pub Co.

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Ovid; Knox, B. (Trans.) (2005). Metamorphoses: A New Translation. (C. Martin, Trans.) (Reprint edition). New York: W. W. Norton & Company.

Figures

Note: The figures from this project are not available online due to copyright restrictions.

Figure 1: Taken from ACRL Visual Standards website http://www.ala.org/acrl/standards/visualliteracy:

Figure 2: MYTH032 Ruben, Sir. Peter Paul. The Judgement of Paris. 1635-1638 AD. National Gallery, London.

Figure 3: MYTH049 Artemis: Diana with hind. Roman marble copy. Sculpture. Late Classical Period. 350 BC. The Louvre, Paris

Figure 4: GS157 Early Classical: Ludovisi Throne: birth of Aphrodite.

Figure 5: MYTH074 Oedipus and Sphinx. Red Figure.

Figure 6: MYTH058 Hydria: Dionysos & Hephaestos. Black-figure. detail: main scene. 540-500 BC. Vienna.

Figure 7: MYTH001 Harris: Birth of Venus. Sandro Botticelli. 1480.

Figure 8: MYTH026 Ingres, Jean-Auguste. Jupiter and Thetis. 1811 AD. Musee Granet. Aix-en-Provence

Figure 9: NCL064 Gerard, Francois-Pascal. Cupid & Psyche. 1790. French.

Figure 10: MYTH034 Tiepolo, Giovanni. Death of Hyacinth. 1752-1753 AD. Thyssen-Bomemisza Collection, Lugano..

Figure 11: MYTH 004. Harris: Persephone. Thomas Hart Benton. 1938.

Figure 12: MYTH014 Bacon, Francis. Oedipus & the Sphinx after Ingres 1983 AD. private collection, CA.

Figure 13: Oedipus and Sphinx – get description from slides room

Figure 14:MYTH008 Harris: The Metamorphoses of Narcissus: Salvador Dali 1936-1937.

^[1] This is where a panel of experts, in this case librarians, educators, and academics, answer questionnaires in two or more rounds about a particular topic. After each round, a facilitator provides a summary of the experts’ answers and the reasoning from the previous round. Then the experts are encouraged to revise their answers based on feedback from the other members in the panel. A group utilizing this method believe that through multiple rounds, the range of answers will decrease until a consensus is made.