In an annotated bibliography, each citation of a source is followed by a summary and evaluation of the source (of at least 150 words for each source) that informs the reader of the relevance, accuracy, and quality of the sources cited.
What sources can I use?
6 Dean B Ellis library (DEL) sources (no more than 2 of these can come from our syllabus)
- Books: if DEL does not have books on your artist, you can order these through Interlibrary Loan (ILL). There is a link for ILL on the DEL website. It usually takes 1-2 weeks to receive a book through ILL.
- Academic journal articles: You can search JSTOR, Art Index and other databases on the DEL website for journal articles on your chosen topic.
2 web sources
- using a search engine such as Google, you should perform a search using the name of your artist
- DO NOT cite a website that is only an image source
- not wikipedia
How do I cite my sources?
Sources should be listed alphabetically by the author’s last name in the following manner:
Sample citation for a book:
Author last name, Author first name. Title. City of publication: Publisher, date.
Jones, Amelia. Body Art: Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Sample citation for a journal article:
Author last name, Author first name. “Title of article.” Title of journal volume no. (month and year of publication): page numbers.
Barker, Emma. “Painting and Reform in Eighteenth-Century France: Greuze’s L’Accordée de Village.” The Oxford Art Journal 20 (March 1997): 42-52.
Sample citation for a website:
Author last name, Author first name (if known). “Title of essay.” Title of website. Date you accessed website. URL
Anonymous. “Pablo Picasso.” Wikipedia. 2 Aug 2011. http://en.wikipedia.org/wiki/Pablo_Picasso
Questions to use in evaluating sources:
- What material does the source cover? (artist’s early career? political background? Etc).
- What argument (if any) does the author make?
- What makes the source unique, i.e. does it give information not found in other sources? Be specific.
- Find common themes that run through all of your sources and focus on these in your discussion of each source.
Your bibliography must be typewritten or computer-generated with margins no greater than 1.25″, using an 11-point Times New Roman font.
It must include 6 library sources and 2 web sources (the rough draft must include at least 6 sources). Each source must be cited correctly. The summary/evaluation for EACH source must be at least 150 words. Each entry needs to be single spaced with double spaces between entries.
Broude, Norma. Impressionism: a feminist reading. New York: Rizzoli, 1991.
Broude has taken full advantage of her feminist lens to scrutinize modern French science and its relation to Impressionism. Her text is accessible and reader-friendly and uses post-structuralism without becoming a slave to its theories. Her examination of the field, particularly in the chapter entitled “The Gendering of Art, Science, and Nature in the Nineteenth Century,” reveals underlying patterns of gender discrimination inherent in traditional French philosophy, which upholds Descartes’ theory “I think, therefore I am.” Her examination of the social relations between art and science compels readers to take a harder more skeptical look at the sexual politics of postmodernism, whose theory seems to be rooted within the French Cartesian tradition. Her book gives a good overview of the feminine principle and how it is treated in a male-oriented universe. Her take on Impressionism was novel. Most of my other sources focused on the male artists in the group and the timelines of their output, their exhibitions, etc. It was interesting, but not as helpful for my presentation as some other sources because of its lack of specifics about individual works of art.
Dorival, Bernard. “Ukiyo-e and European Painting.” in Dialogue in Art; Japan and the West. Tokyo: Kodansha, 1976. pp. 27-71.
Dorival discusses the history of Ukiyo-e prints in France. The essay states that they were known in France at least by 1860 and had an immediate influence on the vision and the craft of painters. First, Theodore Rousseau and Millet and then Whistler, Manet, and mainly Degas were profoundly affected. Asymmetrical compositions, scenes and landscapes represented from above or below, figures shown in close-up, pale palette, flat areas of color, the replacement of Albertian perspective with the system of opposed diagonals: all these innovations were taken up by the Impressionists, particularly Monet, who learned moreover not to reduce the scene he was painting to the limits of the canvas, and absorbed a pantheistic feeling for nature contrary to traditional Western humanism. After the Renaissance rediscovery of ancient art, nothing had so influenced European painting as Japanese prints. This source did of good job of explaining the formal aspects of Japonisme and how these influenced Monet and other artists. I found it very helpful.
50% word count, quality of summary/evaluations, correct citation format
20% grammar, punctuation, spelling
30% coherent expression of ideas (including writing style, organization of ideas, sentence structure, etc.)