Essay Instructions: Number of sources to be used are non specific. what ever you need. you do not have to site the specific art example as i have those already sited. If any back ground information is added then that needs to be sited.
This is a three part request: ART APPRECIATION beginning class
Need a one page formal analysis for each of these art pieces.
Need to explore and anaylize the art piece, reading the content, subject, and how the theme or message is conveyed by the artist. Using TWO forms of art criticism ( either Formalist Criticism, Ideological Criticism, Structuralist-based Criticism, Psychoanalytic Criticism or Feminist Criticism to using a form of art criticisms) explain how the image is connected to the ideas in the two forms of criticism.
Final paragraph- What do you think the artist intentions or ideas being expressed in the work? What is embodied in the artwork?
Art piece 1: Migrant Mother Nipoma valley by Dorothea Lang
Art piece 2: Speechless by Shirin Neshat
Part 2 (2 pages)
Food is an essential element of life itself, and people need protection from extreme weather as well as from human and animal foes. Yes our relationship to food and shelter goes way beyond simple survival! People choose to live and work in settings that go far beyond functionality to aesthetically enhance and enrich their lives. And many cultures use art to help secure food, to serve it, and to store it. Art work reflects how different cultures enjoy food. Frequently, a strong association exists among food, art, and ritual or design.
For the two different food-related artworks from two different cultures,
Paragraph one: analysis and description of artwork 1:function, materials made of, colors used.
Paragraph two: analysis and description of artwork 2 function, materials made of, colors used.
Paragraph 3 Compare and Contrast the two food storage contavners and how each culture uses them. How are the cultures aloke, and how are the cultures different. Compare and contrast how each artwork represents the specific relationship that particular culture had with food (be specific!). What is it made of, what is it used for, how does it function, use of colors.
Artwort 1: slide 4 woven basket USA Pomo Tribe
Artwork 2: slide 5 salt cellar Afro-Portugese
By definition, the divine realm is beyond human ability to understand, but humans strive constantly to grasp this other world, to communicate with it or to be joined with it. Art including rituals, oral tradition, sacred writings, meditation, prayer, and music are but a few paths used by humans to connect to the Transcendent World or reality. This chapter looked at what art can tell us about deities or very ancient religions, how a spiritual being can be shown or symbolized in artwork, and how art becomes a form of prayer and/or an expression of the cosmos. This chapter explains some general characteristics of places of worship and sacred structures/works of art.
3 separate pages -one for each artpiece
2/3 page Using the three different works of art depicting spiritual beings explain how each of these figures illustrates that particular culture’s religious or spiritual belief. 2/3 page
1/3/page What do you think of the artists’ intentions or ideas being expressed in the work? What else do you think is embodied in the artwork?
1. Seated Buddha from Sarnath, Uttar Pradesh, India found @ http://www.google.com/imgres?imgurl=http://www.hinduonnet.com/fline/fl2416/images/07606604.jpg&imgrefurl=http://sarahstravelpages.blogspot.com/2009_01_01_archive.html&h=350&w=233&sz=18&tbnid=1aooAqvMBlZRMM:&tbnh=90&tbnw=60&prev=/search%3Fq%3DSeated%2BBuddha%2Bfrom%2Bsarnath%26tbm%3Disch%26tbo%3Du&zoom=1&q=Seated+Buddha+from+sarnath&docid=llY3rYnxtZ-clM&hl=en&sa=X&ei=fSU-TunbG8XZiAL2-ZXDBg&sqi=2&ved=0CD0Q9QEwBg&dur=834
2. The Isenheim Altarpiece, germany found @ http://superdigit.blogspot.com/2009/11/matthias-grunewald-isenheim-altarpiece.html
3. The Water and Moon Guanyin Bodhisattva, China Song Dynasty found @
Excerpt From Essay:
Total Pages: 5 Words: 1507 Works Cited: 0 Citation Style: None Document Type: Research Paper
Essay Instructions: STEP 1 Visit your local art gallery or art museum and view the exhibition/s. If there are many different groups of exhibits at the gallery, for example, an Aboriginal art exhibit and a photography exhibit, select just one area of the gallery to focus your attention on. It is always a good idea to try and speak to the Gallery's Curator or Education Officer (if there is one) to do some preparatory research.
*For an alternative to an 'in-person' visit, see the 'on-line' gallery visit instructions at the end of the visual arts assignment description.
STEP 2 Describe the exhibition briefly and provide a rationale as to why you think this exhibit would be educationally suitable and of interest to primary students. Include a gallery leaflet on it if there is one or some sample of the work for the lecturer to view. Suggested word length 300 words.
STEP 3 List five open-ended questions you may ask a class of students when you lead a class group discussion at the gallery. These questions should help them to look closely and observe things about either subject matter, art techniques, art media used, art elements ( like line, tone, colour, pattern/texture), or the mood and other expressive qualities in regards to the artworks selected to study. It is a good idea to focus your attention on just 2 or 3 artworks that are in the exhibition in order to provide more depth of study. You need to also supply answers to these questions so that you are prepared to steer students in the correct direction. Suggested word length 400 words.
STEP 4 Create one visual arts lesson plan using the lesson plan proforma (blank template) that is provided for you (a downloadable pre-populated word document is included in the weekly module focused on the Syllabus - Week 4). An overview is also provided below.
Try to build on what has been learned through the gallery visit in a logical way in your art lesson. The lesson would typically involve both art making and art appreciation work. The art appreciation would naturally incorporate discussion reflecting upon the recent gallery visit and possibly the activity sheet completed at the gallery would be valuable as a resource to use in this session. Suggested word length 400-500 words.
Lesson plan format example
Format for presenting your visual arts lesson ? visual arts assessment task
INSTRUCTIONS This is a word file so the boxes will expand as you type. It is best that you create a two-page lesson plan. Remove the instructive text that appears in orange before submission. Formatting is single spacing using simple plain 12pt. font like Times New Roman.
Lesson Title: (insert your own title)
ES1 S1 S2 S3
Circle One only
Duration of lesson
Advise between 40- 60 minutes depending on age/stage selected
Lesson Activity (Describe briefly how each aspect is addressed in the lesson)
Practical art making task. (task can be done in any art form, such as, drawing, painting, sculpture, photography?
Art appreciation ? This involves talking about, writing about, looking at, or researching artworks.
Anticipated Student Outcomes:
Please Note: These should be written (original numbers and full sentence statements) as they appear in the NSW Creative Arts syllabus document but relate this to your particular lesson content.
List only one or two main learning outcomes ? that is, the knowledge, skills,
or concepts gained ? as a result of participating in this lesson.
Materials/ Resources needed:
What will the teacher and students need to have prepared or be able to use?
A list of ten key words or terms and their meanings ? please only list those that will be specifically used in the course of this lesson - appropriate to the age group.
Teaching and Learning Sequence:
? What is the order of learning activities in the lesson?
? Include full descriptions of the steps or procedures involved in the practical art making and the specific questions or dialogue introduced in art appreciation.
? Please note that within a lesson you have 3 different kinds of learning processes that involve: Exploring, Developing and Responding. These processes are not necessarily done in a set order so, for example, you may begin the lesson with responding to an artwork by a professional artists and you could also end the lesson by responding to the artworks made by the students.
Assessment Component: This should connect to the anticipated learning outcome/outcomes (What knowledge or skills will be assessed? How?) e.g. Were the students able to perceive and compare the 2 dimensional and 3D shapes?
How does this lesson relate to the student's gallery experience?
(Write a short justification)
Teacher self-evaluation What would you need to reflect upon in terms of the success of this lesson and the impact of your teaching own practice?
Note: this essay should be based on the australian curriculum, and australian arts gallery
Excerpt From Essay:
Total Pages: 3 Words: 1009 Bibliography: 4 Citation Style: APA Document Type: Essay
Essay Instructions: Museum Paper: The Display of Non-Western Art
The distinction between art and artifact is one that has plagued the status and reception of Non-Western art, a contrast epitomized, for instance, in the display practices of the art museum versus the anthropological museum (the latter often characterized by its use of dioramas, mannequins and photo murals).This paper should address and analyze distinctions in how Western and Non-Western art are displayed at the Metropolitan Museum of Art. Focus on the galleries of Africa, Oceania and the Americas; you may extend your comparison to other galleries whose art we have studied, such as China, Japan and India.
Here are some questions you might ask yourself as you explore the museum (and be sure to draw conclusions from your observations):
I. Display: Examine the galleries of Africa, Oceania and the Americas, and think about what they look like and how they present the art. In what ways do you think this differs from the museum?s display of European paintings and sculpture and does that affect your impression of the art (individually and as a whole)? You may also extend that comparison to the museum?s period rooms, which incorporate different media within one space. What determines whether a work of art is singled out for aesthetic contemplation or displayed within a larger context?
a. Consider the physical layout of the museum and how or where these galleries are situated within it. Are they easy to locate? What is the flow of the galleries like and do they readily attract the visitor?
b. How are the artworks within the galleries organized (by place, people/culture, chronology, theme or type, medium, etc.)? Is there a common unifying theme that has determined how and where they are displayed?
c. Are the artworks displayed on or along the walls, in the middle of the room, hung from the ceiling, etc? Are any of them framed? Are sculptures shown in the round or only from one angle? Are the objects shown in isolation or in groups?
d. Consider the design of the gallery, taking into account factors such as lighting; wall or room color; flooring; use of paint or fabric in the display; presence of wall text labels or photographs; use of vitrines (display cases), bases or pedestals, and fences (barriers) around the objects.
e. Does the manner of display accurately reflect how the work of art was used or viewed in its original context?
f. To what degree do you think an object?s medium (what it is made of and how) or scale influenced how it was displayed, in terms of conservation or preservation (to control light, temperature, humidity, dust, visitor interaction, etc.)?
II. Interpretation and Ideology
a. Do you think the manner of presentation is neutral or ideologically charged and why?
b. Does the way in which the artworks are displayed affect how you value or appreciate them?
c. Does the way the objects are displayed emphasize aesthetic formalism (how it looks) or social context (what it meant and how it was used)?
d. Do you think that the original use or intent of the piece matters for aesthetic objects that were not necessarily made as art to be displayed (that served some other purpose or function in addition to their aesthetic qualities)? Should we display ?art that was made to be art? differently from objects that we have come to accept as art (such as ceremonial or ritual objects, decorative art, and crafts ? masks, furniture, posters, baskets, etc.)?
e. Do Western paradigms of art appreciation, such as its emphasis on authorship or the privileging of painting and sculpture in the hierarchies of art, affect how we treat and view Non-Western art in the museum?
Excerpt From Essay:
Total Pages: 2 Words: 618 Sources: 1 Citation Style: MLA Document Type: Research Paper
Essay Instructions: Compare the three works in terms of form, content, and subject matter. Using the terminology and concepts that you have learned in the course, explain the similarities and differences in the styles of the works and the context in which they were made.
Compare and contrast their aesthetic qualities and symbolic significance, as well as the artists? points of view. Your personal point of view that you have developed throughout the paper will be summarized here. As with the preceding three sections, you will write in your own words, supported by research.
Below is my paper as it is right now.
A study of Baroque Art
Huma205-1203A Art Appreciation Unit 5 IP
The elements of this paper compare and contrast Baroque artists Michelangelo Merisi da Caravaggio?s Conversion of Saint Paul, Artemisia Gentileschi?s Judith Slaying Holofernes, and Peter Paul Rubens? Elevation of the Cross. The essay includes the description and style of the works, the artist?s philosophies of the artwork, trends and schools of thought, and how the works fit into the context of the time period. A comparison of the three pieces will be made as well as some of the differences in the style of the works and the context in which they were made.
The style of Baroque art ran from 1600-1700 and echoed the religious pressures of the period. The meaning of Baroque comes from the Portuguese term ?barocco? which means irregular pearl or stone. The desire of the Catholic Church in Rome wanted to reaffirm itself because of the Protestant Reformation. Many of the Royal Courts of France, Spain and other places commissioned a large number of paintings, architectural designs, and sculptures because they needed to strengthen their political positions by glorifying their own divine grandeur. In comparison, Baroque art in Protestant Dutch areas were less religious and were intended to appeal to middle classes. Michelangelo?s The Conversion of Saint Paul, Artemisia Gentileschi?s Judith Slaying Holofernes, and Peter Paul Rubens? Elevation of the Cross reflect a rich, diverse period of art when religious practices and beliefs, social turmoil and politics prevailed; reflecting lines, tones, movement of figures, loose brushstrokes, and dramatic colors were definitive during the baroque period of art.
Conversion of Saint Paul
Michelangelo Merisi (1573-1610), also known as Caravaggio named after the northern Italian town in Lombardy that he came from, created a new style of painting that had remarkable influence all over Europe (no author, Caravaggio, 2001). Michelangelo despised the classical masters drawing tremendous criticism from many of his fellow artists. Giovanni Pietro Bellori was an influential critic that felt Caravaggio?s refusal to immolate his predecessors would threaten the tradition of Italian painting. Caravaggio was arrogant, rebellious and a murderer and his stormy life channeled into the drama of his works. His paintings were provocative, well liked, and very influential over generations of painters throughout Europe (www.artlex.com). At the age of 21 he moved to Rome and in 1595 he received his first commissions. In the Conversion of Saint Paul, he used perspective and a chiaroscuro so he could bring in as close as possible to scene?s action and space. This piece was painted for the Cerasi Chapel in the Roman Church of Santa Maria del Popolo (www.artlex.com). The low horizon line gives the sense of inclusion for the viewer and the presentation on the chapel wall was low at the viewer?s eye level. The light on the figures seems to come from an unknown source at and is meant for the figures to be moving from the dark side of the background. The contrast of dark and light was a feature of Caravaggio?s style that was shocking at first but then fascinated his peers. The use of the dark settings that enveloped their occupants had an influence in European art. The light used in this piece is a blinding flash that symbolized Paul?s conversion (Frank, 2011). Caravaggio used light and darkness and the use of radical chiaroscuro created a sense of emotional realism that was too strong for some of the people.
Judith Slaying Holofernes
The artist Artemisia Gentileschi (1593-1653) was greatly influenced by Caravaggio?s naturalism and drama. She was the daughter of a well-known artist Orazio Gentileschi (Frank, 2011). She was one of the first of women artists to receive recognition in the male-dominated world of art. She received her early training from her father, the art academies rejected her because she was a woman so she studied under a friend of her father, Agostino Tassi. Tassi later raped Artemisia and her father brought a lawsuit against him (www.artlex.com). After the humiliation she endured her paintings reflected her physical and psychological pain. Her style was heavily influenced by dramatic realism and may have painted this piece after her rape. Judith was a Jewish widow of noble rank and lived in Bethulia, a town under siege by the Assyrian general Holofernes. She went to his tent to captivate him with her beauty. After having a feast with a lot of wine he passed out and that is when Judith and her maid Abra sieged the opportunity to kill Holofernes by decapitating him with his sword. This story pictures Judith as Judaism in victory over their pagan enemy. This work is definitive of the Baroque style of painting with it?s use of bold warm colors, intense light, melodramatic gestures of blood spurting everywhere and the strength required is evident with two women struggling with the sword. She made several versions of this scene from the bible probably because of the turmoil she experienced with her rape.
The Raising of the Cross
Peter Paul Rubens (1577-1640) was a creative seventeenth-century Flemish Baroque painter who?s style emphasized color, movement and sensuality. Rubens was born in Germany but later he and his family fled to Antwerp because of the religious turmoil and persecution of Protestants during the rule of the Spanish (www.artlex.com). Religion played a big role in his artwork. At age fourteen he began his artistic apprenticeship with Verhaeght. Of course like many apprentices he learned by copying earlier artists. He became Master at age 21 in 1608. In the 1600?s he traveled to Italy to study. Upon hearing of his mother?s sickness he moved back to Antwerp, but arrived too late, his mother had already passed away. In 1611 he was commissioned by the Church Saint Walburga to make The Raising of the Cross as an alter piece. This piece, a triptych reveals his interest in Italian art. The scene brings together the tremendous straining of muscles struggling to lift the cross as well as counter forces. This violent action is reminiscent of Michelangelo?s work. The body of Christ is put at a dramatic diagonal angle cutting across the picture plane. The whole scene depicts power and the tension is emotional as well as physical. The strong use of light and dark maximizes the drama unfolding.
In conclusion all three artists were great examples of Baroque art. The use of warm and bold colors, dramatic movement and the use of darkness and light were present in all three pieces of work. They are very emotional and in some form they connect to the artist and portray the theme of Religion.
001. "Caravaggio." Monkeyshines On Art & Great Artists 34. MasterFILE Premier, EBSCOhost (accessed June 2, 2012).
Frank, P. (2011). Artforms (10th ed.). Prentice Hall. (Original work published
Michelangelo Merisi da Caravaggio, www.nationalgallery.org (n.d.). Retrieved June 25, 2012, from http://www.artlex.com
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