Introduction to Art History
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Art History 2 Syllabus
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Thursday, December 29, 2011
Thursday, April 21, 2011
Rococo to Realism
Manet, Luncheon on the Grass from Smarthistory Videos on Vimeo.
Courbet, Burial at Ornans, 1849-50 from Smarthistory Videos on Vimeo.
Turner Rain, Steam, and Speed – The Great Western Railway from Smarthistory Videos on Vimeo.
John Constable, The Hay Wain from Smarthistory Videos on Vimeo.
Géricault, Raft of the Medusa, 1818-19 (Louvre) from Smarthistory Videos on Vimeo.
Sunday, April 17, 2011
LAST LAP
Tuesday, April 19: TEST, Baroque
Thursday, April 21: Lecture Chapter 29 (1700-1800)
Tuesday, April 26: Lecture Chapter 30 (1800-1870)- HONORS PROJECT DUE
Thursday, April 28: Review Chapter 29, 30
Thursday, May 5: TEST Chapters 29 and 30
Thursday, April 14, 2011
ASSESS THIS CLASS AND GET 5 POINTS EXTRA CREDIT
The Student Assessment of Courses and Faculty provides you with an opportunity to express your views on your classes and how they have been taught. Students are asked to submit an evaluation of this class near the end of the term in order to help faculty and administrators improve instruction.
To complete an evaluation of this course:
Directions:
• Log on to PantherWeb at http://www.palmbeachstate.edu/pantherweb.xml using your regular Student Identification number and PIN.
• Select the Quick Link marked “Evaluate Courses.” You will then see a list of the credit and college preparatory classes in which you are currently enrolled.
• If you see a button marked “Evaluate” next to a course, that course is available to be assessed. Press the button to take the evaluation. The evaluation will open in a new window.
• When you have completed the evaluation, you will see a confirmation page that you may print for your records if you need it. Close the window to return to your list of courses.
• If you have courses without “Evaluate” buttons next to them, look at the dates in the “Evaluation Window” column.
• If you have no other classes to evaluate at this time, you may go to another area of PantherWeb, or simply log off.
FOR EXTRA CREDIT JUST PRINT A RECEIPT SHOWING DATE AND TIME OF EVALUATION
To complete an evaluation of this course:
Directions:
• Log on to PantherWeb at http://www.palmbeachstate.edu/pantherweb.xml using your regular Student Identification number and PIN.
• Select the Quick Link marked “Evaluate Courses.” You will then see a list of the credit and college preparatory classes in which you are currently enrolled.
• If you see a button marked “Evaluate” next to a course, that course is available to be assessed. Press the button to take the evaluation. The evaluation will open in a new window.
• When you have completed the evaluation, you will see a confirmation page that you may print for your records if you need it. Close the window to return to your list of courses.
• If you have courses without “Evaluate” buttons next to them, look at the dates in the “Evaluation Window” column.
• If you have no other classes to evaluate at this time, you may go to another area of PantherWeb, or simply log off.
FOR EXTRA CREDIT JUST PRINT A RECEIPT SHOWING DATE AND TIME OF EVALUATION
Monday, April 11, 2011
THE ART ALLIANCE IS BACK !
 |
| From art alliance posters |
please click on link for info.
you must join, you must, there is no other option....
Sunday, April 10, 2011
Upcoming Dates
Tuesday, April 19: TEST on BAROQUE Tuesday, April 26: Honors Project DUE (200 points).
Thursday, April 7, 2011
The Mural That Set Maine Aflame: Reactions to the Nation's Most Boneheaded Art Controversy
Last weekend, Maine's Republican governor, Paul LePage, had a 36-foot mural removed from the state's labor department after claiming that it was "one-sided." The mural depicted imagery from labor history such as Rosie the Riveter at the Bath Iron Works, child laborers, and a 1937 shoe mill strike. The offending work, which was created by artist Judy Taylor, has been whisked away to an undisclosed location. Taylor produced the mural in 2008 at the behest of the Maine Art Commission, and the project was federally funded -- which means that its removal may actually be illegal.
This controversial decision has lit up the media and the blogosphere, and ARTINFO has rounded up the most interesting reactions -- from the artist's objections to accusations of brainwashing to a call for a good old-fashioned tarring and feathering of the Tea Party governor.
That's Comrade Rosie the Riveter: Although the governor's office claimed to have received several complaints about the mural from the business community, it has cited only one source: an anonymous fax, which it showed to the Portland Press Herald, whose sender complained that the mural was propaganda, writing that "I felt for a moment that I was in communist North Korea where they use these murals to brainwash the masses."
Judy Taylor Speaks Out: In an op-ed for the Bangor Daily News yesterday, Taylor writes that her first painting as a child was of her grandfather on his farm in Nebraska. In the mural, which she researched and painted over the course of a year, she represented her mother as a little girl in one panel and based the figure of the young army officer on her father, who fought in the Korean War. She adds that "it was so heartbreaking to learn that this controversy may have started with an anonymous letter comparing this mural to a North Korean propaganda poster. Perhaps we should hang my father's Bronze Star for his service in Korea in the now empty reception area of the Maine Department of Labor until the mural is returned, as a symbol of the importance of remembering our history, and not shuttering it away."
Artist Solidarity: In protest against the mural's removal, Finnish-born Maine-based artist Vaino Kola has asked that five of his artworks that hang in Maine's state house be removed, the Bangor Daily News reports. Former Labor Secretary Weighs In: In his Christian Science Monitor blog, the former secretary of labor Robert Reich disagrees with the removal of the mural and the additional decision to rename several conference rooms that honor labor leaders, including Frances Perkins, a former secretary of labor and the first female cabinet member. Quoting the governor's spokesperson that the mural and the room names are "not in keeping with the department's pro-business goals," Reich simply asks, "Are we still in America?" He adds that the U.S. department of labor building is named after Frances Perkins and contains portraits and murals of labor leaders. Reich concludes with the following line: "Governor, you might be able to erase some of Maine's memory, but you'll have a hard time erasing the nation's memory -- even if it's not in keeping with your pro-business goals." Going Colonial on Paul LePage: Wonkette's Ken Layne writes that "Paul LePage needs to be yanked out of his office by a bunch of pissed-off grim-faced yankees, tarred and feathered (this hurts!), and sealed inside one of those display canoes at the back of the L.L. Bean."
And Going Even Further Back in History: In an editorial on Monday, the New York Times said that governor LePage had "stooped to behavior worthy of the pharaohs' chiseling historic truths from Egyptian monuments." It also points out that the governor's daughter, fresh out of college and hired at an entry-level assistant's job at the governors office, is making $10,000 more than Mainers who pass the police and teacher exams.
Open Call for Pro-Business Art: In collaboration with The Portland Phoenix, the New England Journal of Aesthetic Research has issued a call for pro-business art to replace the "degenerate, 'one-sided' mural at the Maine department of labor." If you need any ideas, consider this: "submissions are encouraged to honor Maine's grand business history, from logging to ship building, from the brave executives who put down the 1937 women's strike to steadfast proponents of child labor, from the paper mill bosses who purified our waters with dioxins to those who intrepidly called in the National Guard to restore order in the face of wrong-thinking mobs and crybabies, and surplus and salvage company CEOs who selflessly offer damaged goods for retail sale before giving it all up for public service."
Republican Blogger Defends Labor Mural, Mocks Maine: On SodaHead News, Republican blogger Jack Thomas asks Governor LePage, "Do you really think some large corporation is going to pass up on moving to your state because of your artwork? 'Sure, moving to Maine would have saved Widgetsoft millions, but damn it, that mural pissed me off, so we aren't going to do it.' The real reason people aren't moving their businesses to Maine is that -- it's Maine. It's cold and if you don't ski, rock climb or enjoy making your own maple syrup there's nothing to do there." And on the Fake News: Referring to the governor's complaint that the mural is "one-sided," Jon Stewart quipped, "Do you understand how murals work?" He suggested that a new mural could include panels such as "Daddy Warbucks Gets a Shoeshine" and "Donald Trump Classes Up the Moon."
-Kate Deimling, ARTINFO
Tuesday, April 5, 2011
Woman Charged In Attack On 'Evil' Gauguin Painting
WASHINGTON -- A woman accused of pounding on a painting by Paul Gauguin and trying to rip it from a wall at the National Gallery of Art told police the post-Impressionist artist was evil and the painting should be burned, court documents show. Susan Burns, 53, of Arlington, Va., has been charged with attempted second-degree theft and destruction of property following the attack Friday. She was being held without bail pending a mental health hearing Tuesday. The Gauguin painting, "Two Tahitian Women," valued at an estimated $80 million, was not damaged and will go back on view Tuesday, the National Gallery said in a statement. The picture is on loan from the Metropolitan Museum of Art in New York for an exhibit titled "Gauguin: Maker of Myth." The painting depicts two women standing next to each other, one with both breasts exposed and the other with one breast showing.
According to charging documents, an investigator told Burns her rights and asked why she had tried to remove the painting. "I feel that Gauguin is evil. He has nudity and is bad for the children. He has two women in the painting and it's very homosexual. I was trying to remove it. I think it should be burned," according to the documents. Burns also said: "I am from the American CIA and I have a radio in my head. I am going to kill you." Burns' attorney, Sharon Weathers, declined to comment Monday. Burns approached the painting around 4:45 p.m. Friday, grabbed the frame and pulled the bottom part off the wall, causing screws to fall to the floor, according to the documents. She then began banging on the middle of the painting with her fist. Burns was quickly apprehended by the museum's federal protection services officers. The painting was protected by a transparent plastic shield.
It was the first documented case of someone trying to deface a painting at the gallery since the 1970s, spokeswoman Deborah Ziska said. She said the gallery's security procedures worked.
Gauguin (1848-1903), a Frenchman, first traveled to Tahiti in 1891 and was known for his erotic portraits of local women and for his moral failings – including sexual relationships with his underage models.
Burns has been arrested several times. She served six months in jail after a 2006 conviction for assault and battery on a police officer. In 2002, she was convicted of misdemeanor trespassing. She has also been charged with disorderly conduct, obstruction of justice, vandalism and a separate assault on a police officer, but prosecutors declined to pursue those cases, Virginia court records show. ___ AP news researcher Julie Reed contributed to this report.
___
AP news researcher Julie Reed contributed to this report.
Gauguin
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Tuesday, March 29, 2011
Thursday, March 17, 2011
DATES, DATES, DATES
TUESDAY, MARCH 29 : IN CLASS WRITING LAB. Bring a rough draft of your paper for me to review/edit. THIS IS HIGHLY RECOMMENDED. Please sign up for consultations in message box below. I will work on a first come first serve basis.
THURSDAY, MARCH 31: ART CRITICISM (Museum Visit Paper) DUE
THURSDAY, MARCH 31: ART CRITICISM (Museum Visit Paper) DUE
Tuesday, March 15, 2011
Saturday, March 12, 2011
REMINDERS
FIELD TRIP: TUESDAY MARCH 15, NORTON MUSEUM
GROUP PROJECT: INTERPRETATION DUE THURSDAY, MARCH 17
Thursday, March 3, 2011
The Baroque
Peter Paul Rubens, The Consequences of War, 1638-39 from Smarthistory Videos on Vimeo.
Baroque Art from Smarthistory Videos on Vimeo.
Caravaggio Contarelli Chapel from Smarthistory Videos on Vimeo.
Ribera, Martyrdom of St Philip from Smarthistory Videos on Vimeo.
Diego Velázquez, Vulcan's Forge, c. 1630 from Smarthistory Videos on Vimeo.
Diego Velázquez, Los Borrachos (The Triumph of Bacchus), 1628-29 (Prado) from Smarthistory Videos on Vimeo.
Diego Velázquez, Las Meninas from Smarthistory Videos on Vimeo.
Nicolas Poussin from Smarthistory Videos on Vimeo.
Claude Lorrain, The Judgment of Paris from Smarthistory Videos on Vimeo.
Jean-Honoré Fragonard, The Swing from Smarthistory Videos on Vimeo.
Boucher, Venus Consoling Love from Smarthistory Videos on Vimeo.
Rembrandt, The Three Crosses, 1653 from Smarthistory Videos on Vimeo.
Caravaggio, The Supper at Emmaus, 1601 from Smarthistory Videos on Vimeo.
Rembrandt, Bathsheba at Her Bath, 1654 from Smarthistory Videos on Vimeo.
Caravaggio, Death of the Virgin, 1605-06 from Smarthistory Videos on Vimeo.
Rubens, The Debarkation at Marseilles, 1622-1625 from Smarthistory Videos on Vimeo.
Rembrandt's Self-Portraits from Smarthistory Videos on Vimeo.
Vermeer, Young Woman with a Water Pitcher from Smarthistory Videos on Vimeo.
Gentileschi, Self-portrait as the Allegory of Painting, 1638-39 from Smarthistory Videos on Vimeo.
Caravaggio, Narcissus at the Source, 1597-99 from Smarthistory Videos on Vimeo.
Caravaggio, Calling of St. Matthew, c. 1599-1600 from Smarthistory Videos on Vimeo.
Bernini, Cathedra Petri (or Chair of St. Peter), 1647-53 from Smarthistory Videos on Vimeo.
Gian Lorenzo Bernini, Bust of Medusa, marble, c. 1644-48 (Capitoline Museum) from Smarthistory Videos on Vimeo.
Bernini, Ecstasy of St. Theresa, 1647-52 from Smarthistory Videos on Vimeo.
bernini-pluto from Smarthistory Videos on Vimeo.
Tuesday, March 1, 2011
on CRITICAL THINKING
What is a Cognitive Bias??
Anchoring – the common human tendency to rely too heavily, or "anchor," on one trait or piece of information when making decisions.
Bandwagon effect – the tendency to do (or believe) things because many other people do (or believe) the same. Related to groupthink and herd behavior.
Bias blind spot – the tendency to see oneself as less biased than other people.
Confirmation bias – the tendency to search for or interpret information in a way that confirms one's preconceptions.
Framing effect – drawing different conclusions from the same information, depending on how that information is presented.
Hostile media effect - the tendency to see a media report as being biased due to one's own strong partisan views.
Hyperbolic discounting – the tendency for people to have a stronger preference for more immediate payoffs relative to later payoffs, where the tendency increases the closer to the present both payoffs are.
Illusion of control – the tendency to overestimate one's degree of influence over other external events.
Irrational escalation – the phenomenon where people justify increased investment in a decision, based on the cumulative prior investment, despite new evidence suggesting that the decision was probably wrong.
Mere exposure effect – the tendency to express undue liking for things merely because of familiarity with them.
Normalcy bias – the refusal to plan for, or react to, a disaster which has never happened before.
Planning fallacy – the tendency to underestimate task-completion times.
Post-purchase rationalization – the tendency to persuade oneself through rational argument that a purchase was a good value.
Reactance – the urge to do the opposite of what someone wants you to do out of a need to resist a perceived attempt to constrain your freedom of choice.
Restraint bias – the tendency to overestimate one's ability to show restraint in the face of temptation.
Semmelweis reflex – the tendency to reject new evidence that contradicts an established paradigm.
Wishful thinking – the formation of beliefs and the making of decisions according to what is pleasing to imagine instead of by appeal to evidence or rationality.
Authority bias – the tendency to value an ambiguous stimulus (e.g., an art performance) according to the opinion of someone who is seen as an authority on the topic.
Availability cascade – a self-reinforcing process in which a collective belief gains more and more plausibility through its increasing repetition in public discourse (or "repeat something long enough and it will become true").
Clustering illusion – the tendency to see patterns where actually none exist.
Gambler's fallacy – the tendency to think that future probabilities are altered by past events, when in reality they are unchanged. Results from an erroneous conceptualization of the
Hindsight bias – sometimes called the "I-knew-it-all-along" effect, the tendency to see past events as being predictable.
Overconfidence effect – excessive confidence in one's own answers to questions. For example, for certain types of questions, answers that people rate as "99% certain" turn out to be wrong 40% of the time.
Pareidolia – a vague and random stimulus (often an image or sound) is perceived as significant, e.g., seeing images of animals or faces in clouds, the man in the moon, and hearing hidden messages on records played in reverse.
Pessimism bias – the tendency for some people, especially those suffering from depression, to overestimate the likelihood of negative things happening to them.
Stereotyping – expecting a member of a group to have certain characteristics without having actual information about that individual.
Egocentric bias – occurs when people claim more responsibility for themselves for the results of a joint action than an outside observer would.
Forer effect (aka Barnum effect) – the tendency to give high accuracy ratings to descriptions of their personality that supposedly are tailored specifically for them, but are in fact vague and general enough to apply to a wide range of people. For example, horoscopes.
False consensus effect – the tendency for people to overestimate the degree to which others agree with them.
Herd instinct – common tendency to adopt the opinions and follow the behaviors of the majority to feel safer and to avoid conflict.
Ingroup bias – the tendency for people to give preferential treatment to others they perceive to be members of their own groups
.Just-world phenomenon – the tendency for people to believe that the world is just and therefore people "get what they deserve."
Outgroup homogeneity bias – individuals see members of their own group as being relatively more varied than members of other groups.
Projection bias – the tendency to unconsciously assume that others (or one's future selves) share one's current emotional states, thoughts and values.
Self-serving bias – the tendency to claim more responsibility for successes than failures. It may also manifest itself as a tendency for people to evaluate ambiguous information in a way beneficial to their interests.
System justification – the tendency to defend and bolster the status quo. Existing social, economic, and political arrangements tend to be preferred, and alternatives disparaged sometimes even at the expense of individual and collective self-interest. (See also status quo bias.)
Sunday, February 27, 2011
Wednesday, February 23, 2011
FIELD TRIP TUESDAY, MARCH 15
The Norton Museum
DIRECTIONS:
Take I-95 north or south and exit Okeechobee Boulevard. Go East on Okeechobee Blvd to South Dixie Highway, turn right and travel 1/2 mile.
The Museum is located on the left. Free parking is available in front of the museum and in the West Parking Lot on the west side of South Dixie Highway.
Norton Museum of Art 1451 S. Olive Avenue, West Palm Beach, FL 33401 Phone: 561.832.5196 Fax: 561.659.4689
CLASS WILL MEET AT REGULAR TIME IN FRONT LOBBY
DIRECTIONS:
Take I-95 north or south and exit Okeechobee Boulevard. Go East on Okeechobee Blvd to South Dixie Highway, turn right and travel 1/2 mile.
The Museum is located on the left. Free parking is available in front of the museum and in the West Parking Lot on the west side of South Dixie Highway.
Norton Museum of Art 1451 S. Olive Avenue, West Palm Beach, FL 33401 Phone: 561.832.5196 Fax: 561.659.4689
Tuesday, February 22, 2011
Nathan Selikoff
Nathan Selikoff
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I love to experiment in the fuzzy overlap between art, mathematics, and programming. The computer is my canvas, and this is algorithmic artwork—a partnership mediated not by the brush or pencil but by the shared language of software. Seeking to extract and visualize the beauty that I glimpse beneath the surface of equations and systems, I create custom interactive programs and use them to explore algorithms, and ultimately to generate artwork.
In the world of chaotic dynamical systems, minute changes in initial conditions produce radically different results. The interface of my software gives me hooks into the algorithms and allows me to exert some control. But there is always tension—between the computer and me, between simplicity and complexity, and between problem solving and spontaneity.
Art and mathematics, the right brain and the left, are inextricably linked in this work. My art depends on mathematics, yet simultaneously illuminates and unravels its beauty. I am the explorer who uncovers something extraordinary, bringing into view that which was always there to be discovered.
A Society of Stickpeople from Nathan Selikoff on Vimeo.
Chaotic Particles using OpenCL and ofxOpenCL for OpenFrameworks from Nathan Selikoff on Vimeo.
Aesthetic Exploration from Nathan Selikoff on Vimeo.
Tuesday, February 15, 2011
TEST 2
Will be next Tuesday, Febraury 22
...unless thou doth protest this as cruel and unusual or unusually cruel. But c'mon- we gotta move on people.
...unless thou doth protest this as cruel and unusual or unusually cruel. But c'mon- we gotta move on people.
Tuesday, February 8, 2011
Wednesday, February 2, 2011
Sunday, January 30, 2011
Chapter 22
AH 2 Chapter 22
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Leonardo da Vinci, Virgin of the Rocks from Smarthistory Videos on Vimeo.
smARThistory discusses Leonardo's Last Supper from Smarthistory Videos on Vimeo.
Raphael's School of Athens from Smarthistory Videos on Vimeo.
smARThistory visits the Sistine Chapel in Second Life from Smarthistory Videos on Vimeo.
smARThistory visits the Sistine Chapel in Second Life -- Part 2 from Smarthistory Videos on Vimeo.
Titian's Bacchus and Ariadne from Smarthistory Videos on Vimeo.
Tuesday, January 25, 2011
Individual Project 1
DUE TUESDAY, FEBRUARY 8
Please apply your knowledge of the elements and principles of design to a work of art in
the College Gallery. Describe how each is present in the work, and its relationship
to the painting/sculpture as a whole.
Your explanations for each element and principle should contain at least 2-3 well-written sentences per bullet point.
Elements of Design:
• Line:
• Color:
• Shape / Volume:
• Texture:
• Illusion of Space:
• Illusion of Motion:
Principles of Design:
• Unity:
• Emphasis / Focal Point:
• Scale / Proportion:
• Balance:
• Rhythm:
Summary:
• Use your depth of understanding of color and design to interpret a particular point of view regarding this work of art. How do the elements and principles work together to create a particular feeling or message?
Fernando Botero, Mona Lisa. 1977. Oil on Canvas, 6'x5'5" (page 75)
Elements of Design:
Line:
Line is a minimal element of design in this piece, which largely is composed of soft, subtle gradations of form. There are delicate lines that do appear, such as the lines that articulate the expression of the Mona Lisa, or the line that establishes the presence of the veil across her forehead, but they remain subtle and muted and do not demand immediate attention.
Color:
The colors in this piece are very muted and quiet warm earth colors. They are mostly tones, tints and shades of a red-earth hue and a slightly cool grayish sky. There are no fully saturated hues, the color is understated and does not demand critical attention. Black is more dominant than any specific hue, and it frames the face of the figure as well as creating a strong positive shape.
Shape / Volume:
The shapes Botero employs are largely organic and biomorphic. They express a physique that is volumetric and appears comically inflated. There is an element of distortion as the figure becomes abstracted and simplified into it's whimsical dimensions. As such, there is little naturalism or realism as the Mona Lisa is here re-imagined as a rather corpulent fantasy in the artists own imagination. He has created an ideal figure, but one that may not overlap with the ideals of Hollywood or the runways of NY and Milan.
Texture:
The implied textures articulated by the paint are soft and smooth. Although the work does not "fool the eye" like many trompe l'oeil oil paintings, it nevertheless alludes to and suggests a smooth and unblemished face as well as the delicate surfaces of fabric and fine hair. The work demonstrates softness in texture as well as in light and color.
Illusion of Space:
Space is broken down into 2 primary areas in this piece: the large figure of the foreground that is closest to the viewer, and the landscapes that moves into the distance-barely visible around the inflated shape of the Mona. Mountains that sometimes resemble pears or other fruits receed and diminish in space according to the laws of linear perspective. Atmospheric perspective causes these landscape elements to lose contrast and become faded as they regress towards the horizon line. The viewer's eye largely remains in the foreground, however, as the central figure carries much more compositional weight than any other picture element.
Illusion of Motion:
There is no illusion of motion in this piece, the central figure appears static and unmoving. The central placement is largely responsible for this, and the spatial elements discussed above add to the motionless quality of this work.
Principles of Design:
Unity:
The simplicity of the composition is the main design element that contributes to unity in this work. The viewer is meant to focus on some very subtle adjustments in scale and proportion that Botero has made to Da Vinci's original work, and the overall impression is one of restraint and sobriety. There are no whirling rhythmic lines or dissonant colors to reign in with unifying techniques, so the portrait format itself does much of the work in achieving a unified composition.
Emphasis / Focal Point:
Our eye moves first to the wry expression of this re-imagined Mona Lisa, and then to her strangely proportioned sausage hands that somehow seem delicate. The other picture elements act largely to frame our examination of this oddly proportioned face, and emphasis is created to push the focal towards the delicate facial features and the hands.
Scale / Proportion:
Botero is famous for his unusually scaled and proportioned figures, and this slightly amusing/disturbing adjustment is what gives this piece it's power. The Mona Lisa we are meant to consider is morbidly obese with comically small facial features and a plump cartoon body. Strangely these adjustments in scale add a comic effect rather than repel or disgust. The distortions in scale cause one to question the very premise of the face and figure as an organizational gestalt of separate elements as we begin to focus further on the absurdity of each feature.
Balance:
The piece is well balanced as it utilizes the portrait format to emphasize the bi-lateral symmetry inherent in all human subjects. The figure is faced slightly to the left, but holds our gaze with a forward view. By cropping the body as it exits the picture plane, the artist has created a solid and stable mass to plant his robust figure upon. There is an easy solidity and inert balance that feels very earthbound and does not suggest asymmetry, isolation, or motion.
Rhythm:
The primary rhythmical element can be seen in the background: the pear like hills that pop up regularly as the horizon stretches into space. The repetition is regular and not overwhelming. Additionally the waves of Mona's hair add a slight sensation of rhythm as we consider the figure.
Summary:
Use your depth of understanding of color and design to interpret a particular point of view regarding this work of art. How do the elements and principles work together to create a particular feeling or message?
Botero uses clever and skillful distortions of scale and proportion to challenge our idea of Da Vinci's original masterwork. By appropriating the painting and adjusting it according to his whims, he asks us to reconsider this art-historical icon in a new and unusual context. Botero is able to create a subtle and delicate figure that teeters on the edge of farce, yet somehow remains compositionally solid enough to be taken seriously. The quiet color, smooth textures, solid balance, and gentle gaze are all a demonstration of good design principles that contribute not only to a unified piece, but engage the viewer on an intellectual level as well.
Thursday, January 20, 2011
NEW GROUP ASSIGNMENTS
Mistresses of the Dark Lord Savonarola
Jennifer Becker
Samantha Kuharcik
Christina Hansen
Napoleon in Exile
Samuel Hoarfrost
Anika Bethel
Derminga Bruneau
Caravaggio's Dream
Ava Funk
Rebecca Ireland
Brandon Parker
Jennifer Becker
Samantha Kuharcik
Christina Hansen
Napoleon in Exile
Samuel Hoarfrost
Anika Bethel
Derminga Bruneau
Caravaggio's Dream
Ava Funk
Rebecca Ireland
Brandon Parker
ART CRITICISM
Art Criticism AH2
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Visual Elements
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Visual Elements (2)
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Principles of Design
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Monday, January 17, 2011
Thursday, January 13, 2011
Group Project 1
Iconography
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Iconography
Group Assignment 1 100 points
Please refer to the image provided for this assignment.
1. Figure looking in distress at the revealed scene.
2. Figure in anguish.
3. Winged boy caressing figure 4, stealing crown.
4. Woman stealing arrow from figure 3, associated with the dove and golden orb.
5. Old man with wings, hourglass, wielding the blue cloth.
6. Half-monster figure with backwards hands and honey-comb.
7. Small boy with flowers.
8. Masks
In small groups please discuss the 8 picture elements listed above and their possible symbolic or allegorical meaning. For each item describe what you think may be a plausible explanation. Please write at least two sentences for each item.
In a final paragraph of at least 6-8 sentences, put all the pieces together and describe how the narrative functions in a totality. What is the message or moral of the allegory? How do the figures relate to larger themes or ideas that they may represent? There is no wrong answer, but your explanation must be plausible and show a sufficient amount of inquiry and explication.
Please do not look the image up. Obvious cheating in this regard will be penalized!
If you are already familiar with the image please notify me in advance.
Please hand in one copy for the entire group with all names listed.
Although there will probably only be one typist, you must all make contributions. It is highly advisable to obtain respective e-mails so that the assignment can be proof-read by all group members.
Poor grades are not a reflection of the typists contribution, since you all must approve your assignment before handing it in.
Objectives:
• Demonstrate understanding of the use of symbols and allegory in iconographic images.
• Demonstrate understanding of historical context and its relationship to form.
• Demonstrate understanding of theme.
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