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Only the source listed below is necessary but to obtain more information of the style etc...more than one resource may be needed.
***Three page compare or contrast paper in MLA format of Frank Lloyd Wright’s Guggenheim Museum in New York City versus Frank Gehry’s Guggenheim Museum in Balboa, Spain.
Explain the terminologies describing architecture like the definition of “cantilever”. Discuss the exterior and interior spaces of the two buildings. Use quotes when possible from “The Humanities Through the Arts” by F. David Martin and Lee A. Jacobus.
Faxed material provided. (15 pages of book material from “The Humanities Through the Arts” including a cover letter) (I will also send this information via fax consisting of 9 pages.) If you do not receive the pages at the time of the order transaction, please contact me at 409-599-8934 since I will not have immediate access to the internet from the location I will be at. I will need to resend the material by fax. If you do not receive the faxed material from the faxed numbers provided, the writer can find a picture of the two buildings online and compare or contrast the two works without the faxed material if you are unable to contact me at the number listed above. I prefer the writer to use the book listed above for direct quotes. I will check on the order when it is sent via attachments by the time I requested in order transaction. Thank you.
Martin, David F., and Lee A. Jacobus. The Humanities Through the Arts. 7th ed.
New York: 2008.
Can use other resources to obtain information. Only take direct quotes from the author in The Humanities Through the Arts.
Layout:
Introduction with thesis and the two buildings. Transitional sentences explaining the two topics.
Body of paragraph: Examples and quotes describing the two buildings. Quotes ONLY from the book listed above.
Conclusion: Title of works, name of artists, and their styles.
Discuss the styles of the architectural works: Also explain if “Form Follows Function” of the buildings.
Note: Frank Wright’s Guggenheim is of “earth resting architecture” and “sky oriented architecture. It is also of “modern architecture” “sea shell design” Uses “cantilever” construction. Add any other details that may be significant of the “style” of his work such as the spiral flow leading to the sky.
Discuss the styles but also include the definitions of earth resting architecture: “Buildings that bring out the special force the earth and its symbolism.” (Glossary: (Martin, G-3)
Sky oriented architecture: Buildings that bring out the special emphasis the sky and its symbolism. Glossary (Martin, G-7)
Frank Lloyd Wright was known for his modern architecture.
Sea shell design: The spiral shape guides our eye to the sky. Does this seem sculptural like Gehry’s Guggenheim of the sea shell design?
Cantilever construction: Projecting a form that juts from the building. One end is fastened to the wall and the other end juts out. (notes)
The cantilever construction provides open spaces.
Frank Wright’s Guggenheim is of cantilever design. Post and beam construction.
Frank Gehry’s Guggenheim is of both earth resting and sky oriented architecture like Frank Lloyd Wright’s Guggenheim.
Check to see if it may also be of cantilever construction (?) It is of post lintel design.
Sculptural shape.
Could it be of cubism? …of geometric shapes.
Pg. 171: Guggenheim Bilbao is earth-rooted from the northern perspective.
Southern perspective the building is sky-oriented.
Other things to note:
1.Curves- geometric shapes from computer design
2.charashiro: “Light and shadows.” (notes) Shape as **light hits other shape.
3.Open spaces
4.Sculpture and architecture
5.Creative vision
6.Computer generated
Could discuss how their styles are of a creative vision etc…
#2) Composition: Frank Lloyd Wright’s Guggenheim: Such as concrete consisting of materials (could explain what concrete is made of.)
Frank Gehry’s Guggenheim is made of Titanium.
#3)Chiaroscuro “Light and shadow” (notes) Does Frank Lloyd Wright’s Guggenheim show this? Frank Gehry’s Guggenheim does show this.
4.) Describe the Light and shadows of the structures Can find some material on Frank Lloyd Wright’s Guggenheim to use as a quote for example from page 143. Use quotes in Gehry’s Guggenheim may find on page 169-171
4.) Iconography: The viewer’s participation in identifying and explaining what is going on in the work of art. (being the two buildings) (notes)
Participating in a painting for example would exemplify.. “tragedy, remembrance, psychic pain…” What do the two buildings exemplify?
5. Symbolism: What is the symbolism of both buildings? Definition: Symbolism is represented by “key images” providing meaning to a work of art.
In a painting we would think of symbolism of a self portrait with lit hands as a person that may be an artist.
What are the two buildings symbolizing? On page 169 some partial quotes from the author could be taken. Notice for Gehry’s museum the author talks about wale…colossal artichoke..blooming flower. Could incorporate this into paper. Frank Wright’s Guggenheim is in a shape of a seashell.
Layout Example Below “Rijn and Kahlo”: In the beginning of the example paper explain who, what, when, where, and why. Follow this format only. Explain in order the styles, composition, chiaroscuro, light and shadows, iconography, and symbolism in these works of art.
Follow this with a transitional sentence at the end of each paragraph such as “First, I will describe the styles of both buildings. (NOTE: COMPARE OR CONTRAST BOTH BUILDINGS ONLY. )
Layout Example: Follow bold format for Frank Lloyd Wright and Frank Gehry’s Guggenheim. Only discuss the building’s exterior and interior spaces. Do not follow foreground, middle-ground, and background as in the example paper below. Only discuss the two buildings and how they compare or contrast to each other. When discussing the “Form Follows the Function” of the two building explain how both buildings do not follow the function. In both buildings it is hard to tell they are museums. We know that Frank Wright’s museum is a museum because on the outside it says the Solomon D. Guggenheim museum. However, the form does not follow the function in both buildings.
Extra: The history of the design may be interesting for one paragraph such as Gehry’s museum was made of foil in the modular design before construction. Also a pen point laser was used to scan the model and then lay it out on the computer. How was Wright’s piece contributed in the modular design process? Did he draw out the plans on a drafting board?
Frank Lloyd Wright’s Solomon R. Guggenheim Museum was constructed during the years of 1957-1959 in Bear Run, Pennsylvania. Frank O. Gehry’s Guggenheim Museum Bilbao was constructed in 1997 in Bilbao, Spain. This essay will compare Wright’s and Gehry’s famous modern architecture masterpieces. I will discuss the styles, composition, chiaroscuro, light and shadows, iconography, and symbolism in these works of art.
Follow bold format below in example paper of Rijn and Kahlo with transitional sentences exactly as shown at the end of each paragraph. “First, I will discuss the styles of both buildings.”
Rijn and Kahlo
Rembrandt van Rijn’s oil on canvas, Self Portrait was painted in the style of Realism in the year 1659. Frida Kahlo’s oil on masonite Self Portrait with Thorn Necklace and Hummingbird was painted in the style of Surrealism in 1940. This essay will compare and contrast Rijn and Kahlo’s self portrait paintings. I will discuss the styles, symbolism, iconography, composition, and chiaroscuro in the foreground. Then we will discuss them in the middle-ground and then the background. Rembrandt’s Self Portrait however does not have a middle-ground unlike Kahlo’s portrait. This paper will explore their self portraits, which deserve their status as distinguished works of art. First, I will discuss the style in the foreground of both paintings.
The viewer must know the meaning of the styles; Realism and Surrealism to participate in both self portraits. Rijn’s painting is captured in the style of Realism. Realism is “people in everyday life” This style of painting was significant from 1840-1860. In contrast to Rembrandt’s Self Portrait, the style of surrealism is captured in Kahlo’s painting. The participant can observe in the painting the monkey and cat perched on her shoulders in the foreground. The title of her portrait, Self Portrait with Thorn Necklace and Hummingbird, provides an indication of the meaning of surrealism. Surrealism is “fantasy, dreams, and subconscious thoughts” This was a painting style used during the 1920’s and 1930’s.
Second, we will explore symbolism in the foreground of the paintings. The participant must know the meaning of symbolism to participate in the paintings. Symbolism is a represented by “key images” providing meaning to a work of art. In the foreground of Rembrandt’s painting, we see his hands in a soft glow offset from the darkness of the painting. His hands symbolize his life as an artist. His closely bonded hands also provide the viewer with the perception that he is worried and insecure. In the foreground of Kahlo’s painting, she is wearing unusual artifacts symbolizing the suffering she had in her life. The hummingbird symbolizes her life much like Christ’s suffering. Branches of thorns constrict her neck and body from movement. The thorn-like branches symbolize her life restricted in a metal body brace and living for the rest of her life in pain. In her hair are decorative butterflies symbolizing life, freedom, and rebirth. However, she would never live her life free. Neither would she have a second chance at life. Comparing both self portraits, the symbolism in both paintings depicts their hardships in life. Kahlo and Rijn are both conflicted with mental distress. However, Kahlo also suffers with physical pain with limited movement unlike what is seen in Rijn’s self portrait. These are examples of symbolism of both paintings, providing key images to deliver a meaning to a work of art. Third, I will discuss the iconography in the foreground of both paintings.
Iconography is the viewer’s participation in identifying and explaining what is going on in a painting. In the foreground of Kahlo’s painting, the viewer can see Kahlo’s trademark unibrow and her grim facial expression. The iconography of this painting is tragedy, remembrance, psychic pain, and strength. Her unibrow is a marking for the strength she had in her life. In the foreground of Rijn’s Self Portrait, the viewer can form a perception of Rijn. He is seen here as an aged man, in business attire whom appears to be concerned for his future. The iconography of this painting is insecurity, uncertainty, and financial ruin. The comparison of the iconography of both paintings is that they both suffered tragedy in their lives. However, Kahlo shows she has gained strength from her tragedy unlike Rijn whom is confronted with his insecurities. These are examples of iconography of both paintings, providing the identification and explanation of what is going on in a painting. Fourth, we will explore the composition of the foreground of both paintings.
Composition is the viewer’s participation in identifying in a painting …“the ordering of relationships: among details, among regions, among details and regions, and among these and the total structure” (Martin, 79). In the foreground of Kahlo’s painting, the viewer can see a detailed triangular composition consisting of linear lines. The linear lines of the shoulders merge to the point of her elongated neck forming the triangular shape guiding the viewer upward to her face. In the foreground of Rijn’s Self Portrait, the viewer can is captured by the similarities of the linear lines of the business jacket forming a triangular shape leading to his lightened face. The seam of his jacket is also emphasized on his left shoulder closest to the viewer. In contrast to Rijn’s painting, the linear lines of Kahlo’s shoulders are of sharp white color offset from the shades of green in the middle ground. Rijn’s painting consists of soft linear lines that descend from his brightly lit face, almost fading into the dark background as they capture the glowing stir of his clenched hands. The composition in both self portraits guides the viewer to the main subject or artist of the painting. These are examples of composition in both paintings, guiding the viewer to the ordering of geometric shapes and color. Fifth, I will discuss the chiaroscuro of the foreground of both paintings.
Chiaroscuro is the display of “light and shadows” Kahlo’s portrait displays the light color of her dress offset from the middle ground. Her face is also light in color. The shadows of her dress, neck, and face provide somewhat a three-dimensional perspective although the painting appears flat. Rembrandt’s painting also displays light and shadow in his face, suit, and hands. However, the chiaroscuro and three-dimensional perspective of Rembrandt’s self portrait is strengthened with his body slightly turned at an angle. The darkness of the shadows on his left shoulder capture him like a picture taken in real life. These are examples of chiaroscuro in both paintings, guiding the viewer to experience the display of “light and shadows” Sixth, I will discuss the symbolism, composition, and chiaroscuro of the middle ground of Kahlo’s painting.
As previously discussed the viewer can see that Kahlo’s painting consists of a middle-ground unlike Rembrandt’s painting. Now that symbolism, composition, and chiaroscuro have been defined, I will briefly discuss the middle-ground of her work. First, the symbolism of the middle-ground is the dragonflies on both sides of her head resembling freedom. Also the yellow leaf symbolizes growth, energy, and new life. This would be something Kahlo would never be able to have. Next the composition consists of triangular pointed leaves guiding the eye upward. Last, the chiaroscuro defined as “light and shadows” is casted off the green and yellow leaf in the middle-ground providing a three-dimensional perspective on a flat-like middle-ground. Seventh, I would like to conclude with the background of both paintings.
Kahlo’s background is offset from the middle-ground unlike Rembrandt’s Self Portrait that has no middle-ground. The dusk-like appearance of the background of Rembrandt’s portrait is offset from the foreground of the painting where his lightly colored face and hands are essentially captured. His dark shaded clothes, hat, and hair also stand out from the background. The background in Kahlo’s portrait is of a hazy blue unlike Rembrandt’s background of light tones of brown and black. I will now conclude with a summary of both paintings.
Both paintings are exceptional works of art depicting the life of the artist in a self portrait. Rembrandt van Rijn’s oil on canvas, Self Portrait was painted in the style of Realism in the year 1659. Frida Kahlo’s oil on masonite Self Portrait with Thorn Necklace and Hummingbird was painted in the style of Surrealism in 1940. We have compared and contrasted Rijn and Kahlo’s self portrait paintings. The styles, symbolism, iconography, composition, and chiaroscuro had been discussed. The main difference between both paintings is that Rembrandt’s painting captures “people in everyday life” Kahlo’s self portrait is depicted from “fantasy, dreams, and subconscious thoughts” The self portrait paintings by Rembrandt and Kahlo deserve their status as distinguished works of art.
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