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
Thursday, July 15, 2010
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
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