Rembrandt van Rijn, Self-Portrait, 1659. Peter Horree/Alamy
Modern Day Rembrandt van Rijn Self Portrait
Today, the self-portrait is most frequently created in the form of “selfies.” Consider Rembrandt’s use of lighting, body position, and facial expression in his Self-Portrait. What careful selections and decisions has he made? Which of these same decisions are you concerned with when you compose a selfie? Rembrandt van Rijn (1606 to 1669) was a Dutch baroque painter, draughtsman, and printmaker who was not only one of the greatest artists of all time but created the most self-portraits of any other known artist.
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Compare and Contrasts these 3 paintings about Self-Portraits Facing Death.
Pablo Picasso, Last Self-Portrait, 1972
Jean-Michel Basquiat, Riding with Death, 1988
Keith Haring, Unfinished Panting, 1990
– Introduction: introduce the theme of your project giving enough background and contextual information. This part should be the map of your essay. Answer the questions: What is it that you are going to discuss (the theme)? How are you going to discuss it?
– Analysis of the paintings: the first time you mention each painting fully identify it with the name of the artist, title and date. Give some biographical information of the artist and some information about the historical background (socio-political) of the painting, find out the style of the painting, explain who commissioned it, the intentions of the artists and patrons, the positive or negative reception of the artwork, the function, etc. It is important that you show that you understood the intrinsic meaning of the paintings. Go over the focus questions of each of the methodologies studied in class and answer those that you think are more relevant to your theme
– Order of the paintings: there needs to be an internal order in your essay so organize the analysis of your paintings in a specific way, one that you find meaningful
– Conclusion: wrap up your essay with a long and meaningful summary of your findings, comparing and contrasting the different takes of the paintings on the theme of the project
– Use in-text citations: MLA citation style, Chicago-style, or any other is good, as long as you use it consistently along the paper. Regardless the system of citation that you use, add the list of bibliographical sources at the end of the paper.
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The Early Civilizations of the Mesopotamian Region
#6: Mesopotamian Civilizations (2-pages)
This response should address the early civilizations of the Mesopotamian region. It should provide a summary of each group (Sumerians, Babylonians, Assyrians, and Persians) that lived in this region along with their major contributions, especially their artistic contributions.
TIP: Here are some links to start your thinking process about the artistic contributions of the Mesopotamian Civilizations (specifically Sumerians, Babylonians, Assyrians, and Persians). Don’t forget to check the Course Materials > Content > Chapter Resources pages to find more links.
Ancient Near Eastern Art Video (Neo-Sumerian, Babylonian, Assyrian, Persian)
Persian Art Video
There are many resources available online for these civilizations. Here are just a few to begin your research and appreciation of their artistic contributions
#7: Cathedral vs. Temple (2-pages)
This response should compare imagery on the exterior of Chartres Cathedral in France to the imagery on the exterior of the Kandariya Mahadeva Temple in India. How do the exterior of these images represent the philosophy of each religion?
TIP: Here are some links to start your thinking process about cathedrals and temples, specifically the exterior similarities of the Chartres Cathedral in France and the Kandariya Mahadeva Temple in India. Don’t forget to check the Course Materials > Content > Chapter Resources pages to find more links.
Chartres, Cathedral of Notre-Dame (interactive virtual tour)
Chartres Cathedral (architectural panorama)
The Stained Glass at Chartres (interactive learning object)
Asian Education: Kandariya Mahadeva Temple (website)
Ancient India (website)
Kandariya Mahadeva Temple (video)
#8: African Art (2-pages)
How did museums and individuals outside Africa come to possess such large collections of African art? This response should address how this came to be, the history of imperialism in Africa, and what efforts are being made to return these works.
TIP: Here are some links to start your thinking process about African Art and Imperialism. Don’t forget to check the Course Materials > Content > Chapter Resources pages to find more links.
Imperialisms Impact on Sub-Saharan Africa (website)
The New Imperialism in Africa (web document)
The Hidden Treasures of African Art (video)
Rethinking the Canon: African Collectors and the Canon of African Art (video lecture)
Africa Fights to Reclaim Lost Art, Artifacts (article
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Your assignment must follow these formatting requirements:
Be typed, double spaced, using Times New Roman font (size 12), with one-inch margins on all sides; citations and references must follow APA or school-specific format. Check with your professor for any additional instructions.
Include a cover page containing the title of the assignment, the student’s name, the professor’s name, the course title, and the date. The cover page and the reference page are not included in the required assignment page length.
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Cultural Artifact Critique of Classical to Postmodern Period Term paper is a critique of a cultural artifact from the classical to the post-modern period which includes any type of medium for example pictures, paintings, drawings, sculptures, buildings, bridges, freestanding structures, landscape, song or instrumental, etc.
Cultural Artifact Critique of Classical to Postmodern Period
Essays should contain an introduction with a thesis, body, and conclusion essay must be typed and double-spaced. Your critique (1500+ words), should reflect concepts and ideas about an artifact. You should avoid using sources such as Wikipedia or unofficial sources online. Your sources should be peer-reviewed journals, books, periodicals, reference books, and databases for research.
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In art making courses, critique is the primary pedagogical tool. The student artist presents their work to the group, which is engaged with, interrogated and interpreted. The purpose of critique isn’t simply criticism, it’s to ascertain levels of meaning (both intentional and otherwise), effectiveness in terms of technique and representation, and to provide the artist with the opportunity to articulate their intention while comparing that with the interpretations of artist peers in order to determine if they’re communicating what they think they are. This is where my dictum that good/bad and like/don’t like aren’t useful. What matters is critical engagement with the elements and operation of the work.
A common method for critique has three parts: 1) Description: Take an inventory of all the elements presented in the work, such as light, color, size, camera movement, sound, etc., 2) Interpretation: Consider what the process and the elements in that inventory suggest in terms of meanings and associations, 3) Evaluation: Determine the effectiveness of the formal techniques employed in expressing the ideas, as well as the operation, i.e. what the work is doing in terms of its over-riding action and affect.
For example, if we think of Andy Warhol’s famous Brillo boxes, the operation was a conceptual gambit to introduce commercial product design into the lexicon of high art as sculptural (found) object. It was subversive both as a critique of consumer culture and art world hierarchies of value. The work harkened back to the seminal moment of conceptualism in 1917 when Marcel Duchamp placed a white porcelain urinal on a pedestal in a Paris exhibition, called it The Fountain, signed it as R. Mutt (the manufacturer) and declared it a work of art. This was the birth of the found object, what Duchamp called a ready made. Not every artwork is ambitious, savvy or conceptual enough to contain an operation, but it’s a question that should be asked.
So pick the work of one of the following artists in the module: Nathaniel Mellors, Ryan Trecartin, Petra Cortright and Doug Aitken. Subject their work to the methodology outlined above and provide an analysis of 500+ words. Remember, a critique isn’t a review. As always, avoid simple good/bad, like/don’t-like opinions. Rather, does the piece work, does it make effective use of materials, techniques and concepts?
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Judy Chicago created The Dinner Party (figure 20-13, p. 460) with help from a team of hundreds.
What is its significance in the history of art?
Evaluate the use of the triangle as symbolism and the number 13 on each side of the triangle.
Why did Chicago include the women she did?
Create the 40th place setting. Who would you invite and why?
Assignment Instructions
Please scroll down to the input box to type your response to the discussion prompt. After keying in your response, click the SAVE button. Once you’ve posted your initial response to the question, you can join your fellow learners in the discussion forum by clicking the “Discussion” tab on the top of the “Course Outline” page.
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Please develop a paper in which you compare and contrast the differences and similarities between two periods of ancient Greek sculptural development as a result of the influence of the Hellenistic Age.
Two periods of ancient Greek sculptural development
The Hellenistic Age brought about a widespread liberation of parameters for sculptors in the Greek world. Please develop a paper in which you compare and contrast the differences and similarities between two periods of ancient Greek sculptural development as a result of the influence of the Hellenistic Age.
Your paper should consider two examples of sculpture – one from the Classical period and one from the Hellenistic Age. Your paper should also contain content which addresses the following four questions:
1. What techniques or features are unique to the sculpture of this period -both Classical and Hellenistic?
2. What was the focus of the artists of these periods-what themes or ideals were they trying to display?
3. Why is the sculptural example you’ve chosen a good representation of the ideals of the period?
4. Describe the political changes that occurred between the Classical and Hellenistic Ages. How did these changes affect the sculptors and their work?
Your paper should be three FULL pages in length, but no more than four. It should be typed in MLA format, 12 pt. font, double-spaced, with standard 1î margins. Your paper needs to have a Works Cited page, but this page does not count towards the minimum length of the paper.
Sources
Your paper should utilize at least two sources, with a maximum of three. These sources should be quoted correctly (when relevant to your paper) and should be listed in your Works Cited page.
Below is a list of approved and banned sources:You can use – Scholarly books and journal articles, as well as scholarly eBooks and digitized journal articles (see the explanation below for how to look up journal articles through the library database).You CANNOT use – Any course textbook (ours, another course’s text), any website (NO WEBSITES – even .eduî sites), any reference book (including encyclopedias, almanacs, Time Life books, etc.), or anything that might be considered a children’s book.
Checklist:
DO:
-Write your paper on Greek sculpture, not on pottery or architecture.-Turn your paper in via Canvas in the week it is due. -Include your Works Cited page as part of your paper.-Make sure you adequately address the four questions (see above) in your paper.
-Utilize academic sources – books, journal articles, eBooks, and digitized journal articles are all OK. -Make sure you understand how to look up online journal articles (see my step-by-step guide below).-Read your paper out loud to yourself before submitting it (you’ll catch grammar errors this way).
DO NOT
-Use any website, any textbook, or my PowerPoint lectures as a source. These are NOT allowed.-Plagiarize. See the explanation below for what plagiarism is and is not. Plagiarism = automatic zero.-Use block quotes – keep quotes to two or three lines (max).
I want to hear your voice in the paper. -Write on the Archaic age – the paper is only on the Classical and Hellenistic ages. -Use Athena Parthenos or Colossus of Rhodes as examples – these have not existed for centuries, and there are no accurate copies, only guesses.
Your paper needs to have a Works Cited page, but this page does not count towards the minimum length of the paper.
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Write in depth and on piece of art encompasses an exhibition review
chosen from the following exhibitions in different museums: Isabella Stewart Gardner Museum –
Joan Jones: I Know Why They Left; Institute of Contemporary Art (ICA) – Nina Chanel Abney; Ragnar Kjartansson:
The Visitors; or Huma Bhabha: They Live (opens March 23, 2019) – MIT Museum: Lighter, Stronger, Faster: The Herreshoff Legacy; Imagined Communities: Photographs by Mila Teshaieva (through March 3, 2019); Gestural Engineering: The Sculpture of Arthur Ganson; MfA: Jack Bush: Radiant Abstraction; Graciela Iturbide’s Mexico; Made Visible: Contemporary South African Fashion and Identity; Radical Geometries: Bauhus Prints 1919-33; Postwar Visions: European Photography, 1945-60; Frida Kahlo and Arte Popular.
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