Category: Art

Respond to two of your classmates with observations of their selection – it needs to be at least a few sentences.

What is the poem about? 
Are there conflicting forces in this? Are they external or internal? 
What does the poet want us to think, feel, experience? 
As a group, discuss this poem and create an answer for this question.

Select a work of art from the Renaissance era that catches your eye. This can be any work that reminds you of an event from your own life or otherwise elicits some kind of emotional reaction. Exclude those pieces that are featured in the Case 1 assignment and Discussion 1 (da Vinci’s Mona Lisa and Michelangelo’s The Creation of Adam).
Write a 2- to 3-page paper discussing how the work of your choice reflects the typical values and characteristics of Renaissance art. In other words, how the artwork represents its respective style. Include information about typical Renaissance characteristics, a description of the artwork, and some biographical information about the artist.

Assignment: Portraiture is the theme! This semester, you can write on any one work that focuses on a portrait. You may choose any artist, time period, and medium, as long as the work is considered fine art and you can find enough research material to develop a thesis. In your paper, you will discuss the portrait from an art historical perspective (this means including the time period and the movement it is most closely associated with) and a thorough formal analysis. You can also use information on the artist and process, if it pertains directly to the work. A successful choice would provide questions that you can research beyond the basics, like who the sitter is. Portraiture is a broad category so if you’re not sure how to choose a work, search for certain people, artists, or art historical time periods that you like. If you are still not sure, email me with questions or include your interests at the time of your tutorial and I will help you. The topic must be approved by the instructor before you write your Research Paper Proposal, due Monday April 8. Your thesis: As you develop a thesis, remember that this is your paper, therefore you can determine its direction based on your own questions about the work. Think of something to explore and start your research from there. Start broadly and refine as you go. If you feel overwhelmed by too much information, then your working thesis is likely too broad; if you feel you don’t have enough information, it’s likely your working thesis is too narrow. Also keep in mind that newer or younger artists may not have as much written about them. It’s fine if you don’t have a large amount of biographical material, especially because the focus should not be on the artist. Simply re-focus the paper based on your own questions, conclusions, and the information you can find. Sources and Documentation should include: 1) 5-10 reliable and scholarly sources (3 reliable Internet websites max!) 2) An Images page 3) An Endnotes page (not footnotes) 4) A Bibliography page at the end of the paper (Important: Documentation pages, like the Images page, Endnotes, and Bibliography do not factor into the total page count for the research paper and the 20-page minimum for the class.) 5) Chicago Manual of Style citation for endnotes and bibliography 6) Quotes from primary sources only; no direct quotes from secondary sources 7) Sources cited for all direct quotes, paraphrases, and additional information and source ideas 

Pick a work of art that we DID NOT look at in class and provide a brief analysis of it. This should be two paragraphs of good factual information. Think about: color, perspective, tone, composition. Is there a message and if so, what is it? Is there anything in the artist’s background that would have influenced the artwork (like Caravaggio or Gentileschi)? Did government, society, or religion have any influence – essentially place it in historical context?

For each source provided, have the following: 
the works cited/bibliographic entry for the source
a brief summary of the article, book, or book chapter in one paragraph (4 points)
a reflection on the usefulness of the source for your Thematic Synthesis. (Its okay if you don’t think it will be useful, the essay is about comparing and contrasting 2-3 of Gearges Braque’s paintings in the 19th century.
An early Cubist painting by Braque with a synthetic cubist painting, or one from after the war)
Please try to use these sources:
WHITFIELD, SARAH. “Georges Braque: Paris and Houston.” The Burlington Magazine 156, no. 1334 (2014): 344–45. http://www.jstor.org/stable/24241747. 
Apollinaire, Guillaume, and Eimert, Dorothea. Cubism. New York: Parkstone International, 2010. Accessed May 4, 2024. ProQuest Ebook Central. 
Pap, J. (2016). Looking at painting in occupied Paris: Georges Braque’s spectators. French Cultural Studies, 27(1), 32-46. https://doi-org.hmlproxy.lib.csufresno.edu/10.1177/0957155815597427 
Porter, Julian, and Grant, Stephen. 149 Paintings You Really Need to See in North America : (So You Can Ignore the Others). Toronto: Dundurn Press, 2017. Accessed May 4, 2024. ProQuest Ebook Central. 
Danchev, Alex. “The Strategy of Still Life, or The Politics of Georges Braque.” Alternatives: Global, Local, Political 31, no. 1 (2006): 1–26. http://www.jstor.org/stable/40645171 
Southgate MT. Still Life With Violin. JAMA. 2005;293(6):653. doi:10.1001/jama.293.6.653 https://jamanetwork-com.hmlproxy.lib.csufresno.edu/journals/jama/fullarticle/200309
If needed you can switch out up to two of the sources.

Skill: Use and understand the language and process of critiquing artworks
Exercise: Go through the process of critiquing art: Describe, Analyze, Interpret and Summarize. Assignment: Submit a detailed writeup about one of your fellow artists’ works. Go through the critiquing art process.
Be sure to describe the work.
Analyze the visual elements.
Interpret these visual element and what they mean to you.
Summarize your conclusions about the artwork.
Be sure to include a paragraph on each: Description, Analysis, Interpretation and Summary
Use the Critiquing Art Lecture and Document as a guide for writing about one work of art in the presentation.
Select the drawing in the from the student work. Review the lecture Download lectureand document Download documenton critiquing art and go through the process for the selected drawing.
We will have a discussion and writing assignment on Tuesday. Be prepared to back up your statements using your visual vocabulary. Note: Remember we assume the artist has purposefully depicted everything we see. Imagine walking into a gallery or museum and seeing the artwork displayed. Take the time to look and consider what visceral response you have to the artwork.

Make a Visual Analysis Paper on Edgar Degas’ painting, The Dance Class (1873), 
Musée d’Orsay
Using this Problem: A puzzling aspect of the work is the fact that most of the ballet dancers are turned away from the viewer – an odd choice for a subject associated with public spectacle and performance. What is more, the most prominent poses are awkward – the dancers are scratching, stretching and adjusting their ribbons, rather than exhibiting the graceful movements usually associated with the ballet.
INSTRUCTIONS-
Visual Analysis Paper
A visual analysis essay asks you to interpret a work of art. The goal of your essay is to identify a striking or puzzling element in the work and to explore the consequences it has for the meaning of the work as a whole. By doing so, you are generating a visual analysis of the work, that is, you are offering a possible explanation of what the work means. Select a work of art of your choice from the list of topics provided. Each work is paired with a puzzling element – the interpretive problem. Begin your essay by introducing and describing the work (paragraph 1), followed by a focus paragraph (paragraph 2) that sets up what you will do in the body of the essay. Then continue with your visual analysis in the body of the essay. Follow the instructions below.
Paragraph 1: Short Visual Description
Write a short visual description, between 14 and 16 lines, of the work you have chosen. Do not forget to identify the artist, the work’s title (italicized), date (in brackets), and location in the first sentence. Begin the first sentence of your paragraph in this way: “Caravaggio’s St. John the Baptist (1602), Capitoline Museums, Rome, shows…” using the informationpertaining to your object. Be thorough and specific. Focus on the main aspects of the work, do not worry about minor details or try to describe everything you see. Do NOT interpret the work or write what you think about it – this will come later in the essay. Try to be as objective as possible in your description. Bear in mind that your reader will become confused if you refer obliquely to the work or do not refer to precise areas of the work.
Paragraph 2: Focus Paragraph
The second paragraph sets up the problem and question your essay seeks to answer in the work; you are to identify a puzzling feature and ask what its consequences are for the rest of the work. The problem is provided for you in the handout of essay topics. Write a paragraph that:
(1) Identifies the PROBLEM/PUZZLING FEATURE (A puzzling aspect of the work is…) (2) Poses a QUESTION about it (What are the consequences of this unusual feature for the meaning of the work as a whole?)
(3) Presents a ROAD-MAP that anticipates how you will answer this question – the aspects of the work that you will explore (To answer this question, this essay will consider…)
(4) Articulates WHY THE READER SHOULD CARE (e.g. This topic is important to consider because…)
The focus paragraph has this specific structure and should contain the above four elements. Do not put down a thesis statement in this paragraph. Read the sample essay beginning on pg.3-4 and use it as a guide to write your own.
Body of the Essay
In the body of the essay, continue by following through with your road-map to answer the question you posed in paragraph two. Even though you have already described the work in your first paragraph, you will continue to refer to the work to make your points. This time, however, you are not just describing objectively, you are making interpretive claims about the work. The answer to the question you posed is internal to the painting; thus, you will use its visual evidence to support your claims. Interpreting or “reading” a painting means that you are attending to its visual language – the arrangement of forms, lines and colors on the surface (the parts) and their relationships to one another – and deducing the meaning of the work from these observations. To support your points, you may compare the work to other relevant works from the period. Avoid over-generalizing statements, be specific when referring to the work, and do not formulate a thesis statement from the start. Let your thesis emerge as you write.
Each paragraph in the body of your essay should contain a clear interpretative claim that builds on the claim in the previous paragraph. Connect the paragraphs using smooth transitions. The thesis should appear in the very last paragraph, the conclusion.
Research
You should consult at least three scholarly sources to familiarize yourself with the work and its historical and cultural context – but the visual analysis should ultimately be your own.
***
Format
The essay should be 2000 words in length (approximately 6 pages), double-spaced, in 12- point font, Times New Roman. Use paragraph indentation and do not add gaps between paragraphs. Single-space your name, the course title, and my name in the upper right-hand corner of your first page. Center the title, number your pages and images, and provide full captions for the latter. Cite your sources using footnotes in Chicago Manual Style.
*Include a selfie photo with yourself next to the painting to show that you saw the work in person. Visit the museum early to make sure that the work is on view.
Due Date
Submit your essay by Wednesday, May 8 on Blackboard under “Assignments.”
SAMPLE ESSAY BEGINNING*
Rosso Fiorentino’s Dead Christ with Angels (1525-6), Museum of Fine Arts, Boston (Figure 1) shows Christ surrounded by four angels; one palpates his side wound, two others witness the act, and a third leans forward to improve his view. The figure of Christ, at center, is monumental. His torso is broad and massive, his arms and legs thick and muscular, his hands and feet large: a huge body – both absolutely and in relation to the containing frame – folded in on itself. With the head inclined to the shoulder, the legs bent and tense, the body twists sharply to the side and tenses up into a crescent shape while the thick legs advance towards the picture plane and then retreat. This twisting movement of the body is nevertheless contained by the compositional ellipse and stabilized by the two vertical candles at the sides. Light cast from the left softens his muscular structure and makes sensuous the torso and belly, with their creases at the waist and swellings. What is more, Rosso drapes a dark cloth over the seat, thereby obscuring the relation of Christ’s deeply shadowed haunch to the seat. Inexplicably, his feet appear to support his body on two tense toes. Christ’s torso is pushed forward by the bodies of the two outermost angels, brought to the surface in the upper part of the panel by their candles, their golden hair, and the hot, brilliant golden splashes of their robes. Colored old ivory, the body is surrounded by three areas of clashing raspberry and grass green, salmon and turquoise, terra cotta and dark slate blue. But while Christ’s knees approach even closer to the viewer, apparently breaking through the surface of the panel, the lower bodies of the angels retreat to a location behind the seat.
A puzzling aspect of the painting is the orientation and posture of Christ’s body amid the angels. The darkness of the space around his torso and the absence of a secure seat are an unusual way to render a seemingly-seated figure. As a result, Christ’s self-supporting body appears suspended in the air, giving the impression of being more alive than dead. What are the consequences of this bodily paradox for the meaning of the work as a whole? To answer
this question, it will be important to consider the combination of relaxation in Christ’s upper body and the tension in his legs, particularly his toes, his facial expression, as well as the role that light and shadow play in defining the figure’s relationship to the setting. The discussion will also include a consideration of Christocentric works by Michelangelo and Pontormo in order to shed light on Rosso’s depiction of the dead Christ. Rosso’s painting is an important work from the Italian Renaissance and its analysis can help us better understand how artists visualized the nature of divine death in response to theological debate on this controversial question.
Figure 1. Rosso Fiorentino, Dead Christ with Angels (1525-6), oil on canvas, Museum of Fine Arts, Boston
*The two paragraphs are modified passages taken from Regina Stefaniak, “Replicating Mysteries of the Passion: Rosso’s Dead Christ with Angels,” Renaissance Quarterly 45, no. 4 (1992): 677–738.

English 101
Writing Assignment #1 Guide
Reflective Essays:
A Reflective essay will relate to personal events or experiences and how they have impacted or
changed the writer.
A reflective writing assignment should analyse the experience, its meaning, and lessons that can be
learned from it.
It requires you to open up about your thoughts and emotions to uncover your mindset, personality,
traits of character, and background.
The reflective essay should include a description of the experience/literature piece as well as
explanations of your thoughts, feelings, and reactions.
Reflections are very personal and subjective, but they must maintain a formal tone and should be
well organized.
Reflective essay ideas:
 An experience you will never forget.
 The moment you overcame a fear.
 The most difficult choice you had to make.
 A time your beliefs were challenged.
 A time something changed your life.
 The happiest moment, or most frightening moment, of your life so far.
 Ways you think you, or people, can make the world a better place.
 A time you felt lost.
 An introspective look at your choices, or a time you made the wrong choice.
 A moment in your life you would like to relive.
Reflective Essay Outline
Introduction:
Should begin with a short preview of what you will be writing about.
The introduction should also include a hook to engage the readers and pique interest.
Body of the essay:
This part of the essays should take a chronological approach of the events which happened.
Surmise the experiences and how they impacted you as well as the lessons that have been learned.
Reflect on the impact the experience has had on your life and the changes you have made because
of it.
Include points about why your views or reasoning has changed.
English 101
Conclusion:
Wrap up your ideas and demonstrate a sense of how you’ve developed as a result of the experience.
Describe your feelings, mention discoveries, and plans for the future.

find three different work of architecture that are illustrated in the textbook that are from different time period periods  and cultures. chapter 1-14, compare and contrast them as to their uses , materials, styles etc., make sure you list the architect name of buildings, locations, date built and other pertinent facts. describe their layout and why they are significant add personal opinion to your response., should be atleast six long paragraphs, preferably longer include jpegs.