Sunday, October 3, 2010
Sacred Spaces Essay Homework
Write the sacred spaces essay from Thursday. Time yourself for 30 minutes and do not use your book or notes. Post here as a comment by midnight on Friday 10/8. By Sunday 8/10 at midnight, find an essay that hasn’t yet been graded. Give it a score and a paragraph explanation for the grade, commenting on this post.
Wednesday, August 18, 2010
Gods and Gospels Test
Test on the Gods and Gospels books on Thursday September 2nd. Since both books are huge, I will tell you just what to look over. This is the seriously the easiest test I've ever made, and is simply meant to check that you did the reading.
In Gods and Heroes in Art, look over...
Apollo
Ariadne
Bacchus (Dionysos)
Centaurs
Cupid (Eros)
Hercules
Jupiter (Zeus)
Mars (Ares)
Medusa
Mercury (Hermes)
Minerva (Athena)
Minotaur
Neptune (Poseidon)
Pluto (Hades)
Satyrs
Venus (Aphrodite)
Laocoon
Socrates
Romulus and Remus
For this part, you will mostly be tested on what each god stands for and how they are typically depicted in art. All other required information is very basic.
For this part, you will mostly be identifying scenes from the gospels from images. Most of the pictures are alternate ones to those found in the book, so familiarize yourself with the characteristics and chronology of the story, particularly the passion cycle.
Like I said, nothing to stress about, just a heads up. If you did the reading and briefly look over these sections, you'll knock all 50 matching/multiple choice questions out of the park! We'll also review stuff in class the day before :)
Sincerely,
Mr. Clarke
In Gods and Heroes in Art, look over...
Apollo
Ariadne
Bacchus (Dionysos)
Centaurs
Cupid (Eros)
Hercules
Jupiter (Zeus)
Mars (Ares)
Medusa
Mercury (Hermes)
Minerva (Athena)
Minotaur
Neptune (Poseidon)
Pluto (Hades)
Satyrs
Venus (Aphrodite)
Laocoon
Socrates
Romulus and Remus
For this part, you will mostly be tested on what each god stands for and how they are typically depicted in art. All other required information is very basic.
In Gospel Figures in Art, look over...
The Evangelists and their Symbols
Matthew, Mark, Luke, John
Jesus' Family
Joachim and Anne
Marriage of the Virgin
The Birth and Childhood of Jesus
The Annunciation
The Visitation
The Nativity
Adoration of the Magi
The Flight into Egypt
Stories of Saint John the Baptist
The Baptism of Christ
Feast of Herod
Miracles and Parables
The Raising of Lazarus
The Prodigal Son
The Passion
The Entry into Jerusalem
The Betrayal of Judas
The Last Supper
Christ Washing Feet
The Arrest of Christ
Christ Before Pilate
The Flagellation
The Road to Cavalry
The Crucifixion
The Lamentation
After the Resurrection
The Resurrection
The Ascension
For this part, you will mostly be identifying scenes from the gospels from images. Most of the pictures are alternate ones to those found in the book, so familiarize yourself with the characteristics and chronology of the story, particularly the passion cycle.
Like I said, nothing to stress about, just a heads up. If you did the reading and briefly look over these sections, you'll knock all 50 matching/multiple choice questions out of the park! We'll also review stuff in class the day before :)
Sincerely,
Mr. Clarke
Sunday, August 1, 2010
Last Summer Assignment!
Hello!
This is the last summer assignment and will be turned in on paper on Thursday, September 2nd in class.
Read Chapter 5 in "Writing about Art" about Writing a Comparison
Write a comparison between:
Some Notes:
This is the last summer assignment and will be turned in on paper on Thursday, September 2nd in class.
Read Chapter 5 in "Writing about Art" about Writing a Comparison
Write a comparison between:
- Raphael, The Deposition of Christ, Gospels Page 327
- Caravaggio, Deposition in the Sepulchre, Gospels Page 328
- You may use "splitting" or "lumping" as described in Barnet.
- You should use primarily formal analysis.
- Describing the artists/periods is key in this comparison. This will help you comprehend the differences in the formal elements of these two works. Do some research.
- Pay attention to the annotation throughout the sample essay.
Email me any questions. Good luck and congratulations for sticking it out this summer! See you all soon :)
Sincerely,
Mr. Clarke
Sincerely,
Mr. Clarke
Thursday, July 15, 2010
Third Assignment
This assignment is due by August 15th at Midnight emailed to me at christopher.clarke@redclay.k12.de.us
READING
In "Learning to Look at Paintings", read:
Chapter 4: Tone
Chapter 5: Colour
Chapter 6: Subject-matter
In "Gospel Figures in Art", read pages 167-375 (many pages are just pictures)
In "Gods and Heroes in Art", read pages 189-375 (many pages are just pictures)
WRITING
This assignment will be more practice in formal analysis of works.
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on TONE (Pages 88-117).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on COLOUR (Pages 118-134).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on SUBJECT MATTER (Pages 135-174).
The instructions for the writing component are the exact same as the first major assignment. Don't forget that I will be assessing you based on the Gods, Gospels, and Writing about Art Readings when we return to school, so make sure you get them done before then! After this assignment there is only one reading and an essay left to complete for summer work, hopefully that is somewhat encouraging. Make sure you ask questions if you need help with anything and check out the extra credit assignment below! Good luck!
Sincerely,
Mr. Clarke
READING
In "Learning to Look at Paintings", read:
Chapter 4: Tone
Chapter 5: Colour
Chapter 6: Subject-matter
In "Gospel Figures in Art", read pages 167-375 (many pages are just pictures)
In "Gods and Heroes in Art", read pages 189-375 (many pages are just pictures)
WRITING
This assignment will be more practice in formal analysis of works.
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on TONE (Pages 88-117).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on COLOUR (Pages 118-134).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on SUBJECT MATTER (Pages 135-174).
The instructions for the writing component are the exact same as the first major assignment. Don't forget that I will be assessing you based on the Gods, Gospels, and Writing about Art Readings when we return to school, so make sure you get them done before then! After this assignment there is only one reading and an essay left to complete for summer work, hopefully that is somewhat encouraging. Make sure you ask questions if you need help with anything and check out the extra credit assignment below! Good luck!
Sincerely,
Mr. Clarke
Monday, July 12, 2010
Summer Extra Credit Discussion
Read this New York Times article and respond to the following prompt using the comment feature.
The author states that artistic taste has always been "hostage to its era" and that eventually even the modern methods we use to conserve and restore art will seem just as "time bound and clueless" to future generations of conservators. Do you agree or disagree and why?
Responses should be one paragraph long. Support your reasoning with examples using the article or other sources. Feel free to react to someone else's post but be respectful. This extra credit assignment will be open until school begins, have fun!
The author states that artistic taste has always been "hostage to its era" and that eventually even the modern methods we use to conserve and restore art will seem just as "time bound and clueless" to future generations of conservators. Do you agree or disagree and why?
Responses should be one paragraph long. Support your reasoning with examples using the article or other sources. Feel free to react to someone else's post but be respectful. This extra credit assignment will be open until school begins, have fun!
Thursday, July 8, 2010
Sample Formal Analysis for Chapter 2: Space
This is what one analysis should look like. Note the use of comparison to works in Learning to Look at Paintings and incorporation of chapter content such as "orthogonals."
Giorgione, The Adoration of the Shepherds from Gospels Pg. 81 for Chapter 2: Space
In The Adoration of the Shepherds, Giorgione uses a variety of techniques to achieve spatial illusion. He utilizes single viewpoint two-point linear perspective to give the painting depth. The assumed orthogonals run from the center of the work where the shepherds are standing to two separate vanishing points. One of these vanishing points can be found on the horizon by the mountains to the far left, while the other occurs somewhere within the cave to the right. At first glance everything seems mathematically proportionate, but closer examination reveals that the figures in the middle ground do not appear to be consistent with the assumed orthogonals running through the work. Instead, they appear much smaller than they should when compared with the figures in the foreground. Adoration looks even less spatially convincing when compared to School of Athens on Pg. 34 of Learning to Look at Paintings, in which Raphael carefully represents the figures in different sizes corresponding to the geometrical organization of the painting.
In addition to this somewhat imperfect linear perspective, Giorgione also uses aerial perspective to convey depth. He does this by painting the houses, foliage, and mountains in far less detail than the subjects in the foreground, such as Mary's robe. He also uses cooler blues and greens in the background, which tend to recede from the viewer and contribute to the illusion of distance. This contrasts the reds and browns found in the foreground and middle ground which catch the viewer's eye and appear closer. Unlike Millet's The Gleaners on Page 44, Giorgione does not ignore the middle distance but instead calls our attention to it by placing structures and figures within it. The viewer's gaze begins on the figures in the foreground and drifts slowly back to the left through the middle ground and into the distance with the mountains and sky.
Remember, ask any and all questions you have and do your best work! Good luck!
Sincerely,
Mr. Clarke
Giorgione, The Adoration of the Shepherds from Gospels Pg. 81 for Chapter 2: Space
In The Adoration of the Shepherds, Giorgione uses a variety of techniques to achieve spatial illusion. He utilizes single viewpoint two-point linear perspective to give the painting depth. The assumed orthogonals run from the center of the work where the shepherds are standing to two separate vanishing points. One of these vanishing points can be found on the horizon by the mountains to the far left, while the other occurs somewhere within the cave to the right. At first glance everything seems mathematically proportionate, but closer examination reveals that the figures in the middle ground do not appear to be consistent with the assumed orthogonals running through the work. Instead, they appear much smaller than they should when compared with the figures in the foreground. Adoration looks even less spatially convincing when compared to School of Athens on Pg. 34 of Learning to Look at Paintings, in which Raphael carefully represents the figures in different sizes corresponding to the geometrical organization of the painting.
In addition to this somewhat imperfect linear perspective, Giorgione also uses aerial perspective to convey depth. He does this by painting the houses, foliage, and mountains in far less detail than the subjects in the foreground, such as Mary's robe. He also uses cooler blues and greens in the background, which tend to recede from the viewer and contribute to the illusion of distance. This contrasts the reds and browns found in the foreground and middle ground which catch the viewer's eye and appear closer. Unlike Millet's The Gleaners on Page 44, Giorgione does not ignore the middle distance but instead calls our attention to it by placing structures and figures within it. The viewer's gaze begins on the figures in the foreground and drifts slowly back to the left through the middle ground and into the distance with the mountains and sky.
Remember, ask any and all questions you have and do your best work! Good luck!
Sincerely,
Mr. Clarke
Tuesday, June 29, 2010
Second Assignment
This assignment is due by July 31st at Midnight emailed to me at christopher.clarke@redclay.k12.de.us
READING
In "A Short Guide to Writing about Art", read:
Chapter 1: Writing About Art
Chapter 2: Writing About Art: A Crash Course
Chapter 4: Formal Analysis and Style
In "Learning to Look at Paintings", read:
Chapter 1: Composition
Chapter 2: Space
Chapter 3: Form
In "Gospel Figures in Art", read pages 1-165 (many pages are just pictures)
In "Gods and Heroes in Art", read pages 1-188 (many pages are just pictures)
WRITING
This assignment will be practice in formal analysis of works.
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on COMPOSITION (Pages 1-28).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on SPACE (Pages 29-55).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on FORM (Pages 56-87).
Each analysis should be 1-2 paragraphs in length. List the work and page # at the top of each analysis (ex. Anthony van Dyck, Flagellation, 1620. Pg. 277 in Gospels). In each analysis compare/contrast the work to the ones listed as examples in that chapter and the other 3 works you are analyzing. Analyze only the qualities from that chapter! (Ex. If you are writing using the FORM chapter don't talk about the subject matter of the work...) Use "Writing About Paintings" to guide you in your writing style. Correct spelling and grammar will be expected on the AP test and for all assignments in this course. Proffread everthing ;)
I will post an example paragraph within the week to help guide you. Email me or post on the blog any questions you have! Do your best! Good luck!
Sincerely,
Mr. Clarke
READING
In "A Short Guide to Writing about Art", read:
Chapter 1: Writing About Art
Chapter 2: Writing About Art: A Crash Course
Chapter 4: Formal Analysis and Style
In "Learning to Look at Paintings", read:
Chapter 1: Composition
Chapter 2: Space
Chapter 3: Form
In "Gospel Figures in Art", read pages 1-165 (many pages are just pictures)
In "Gods and Heroes in Art", read pages 1-188 (many pages are just pictures)
WRITING
This assignment will be practice in formal analysis of works.
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on COMPOSITION (Pages 1-28).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on SPACE (Pages 29-55).
Choose 4 works from your reading in "Gods" or "Gospels" and write an analysis of each based on the "Learning to Look at Paintings" chapter on FORM (Pages 56-87).
Each analysis should be 1-2 paragraphs in length. List the work and page # at the top of each analysis (ex. Anthony van Dyck, Flagellation, 1620. Pg. 277 in Gospels). In each analysis compare/contrast the work to the ones listed as examples in that chapter and the other 3 works you are analyzing. Analyze only the qualities from that chapter! (Ex. If you are writing using the FORM chapter don't talk about the subject matter of the work...) Use "Writing About Paintings" to guide you in your writing style. Correct spelling and grammar will be expected on the AP test and for all assignments in this course. Proffread everthing ;)
I will post an example paragraph within the week to help guide you. Email me or post on the blog any questions you have! Do your best! Good luck!
Sincerely,
Mr. Clarke
Wednesday, June 23, 2010
First Assignment
Hello everyone!
For your first easy assignment, comment on this post with the following:
Your name.
Your status in acquiring the textbooks.
Your experience (or lack of) with the visual arts.
Do this by Sunday 6/27 to avoid getting an email from me checking up on you.
Your first assignment will be posted by next Wednesday, so check back or follow this blog.
Thanks!
Mr. Clarke
For your first easy assignment, comment on this post with the following:
Your name.
Your status in acquiring the textbooks.
Your experience (or lack of) with the visual arts.
Do this by Sunday 6/27 to avoid getting an email from me checking up on you.
Your first assignment will be posted by next Wednesday, so check back or follow this blog.
Thanks!
Mr. Clarke
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