Timeline Mural or Museum Gallery Guide you will create a timeline mural or museum gallery guide of 10 objects. You will select one for each unit/theme we’ve studied this year (9) plus one object of your choosing.
Timeline Mural or Museum Gallery Guide
The 10th object that is your own choice may represent a larger theme of history, an important idea or invention, a historical superstar, an iconic musical or art piece—whatever you think should be included in representing what you learned this year that couldn’t fit anywhere else.
• What is the artifact? What is it made of?
• Where do you find it in society?
• Who uses it? An individual or a society?
• What is the function of this artifact in society? What is its significance?
Critical Thinking Questions
¥ In order for this object to exist, what else needs to exist within the society that created it? In other words, what historical context allows this object to exist?
¥ What does this object say about the people who made it? What do they value?
¥ What does this object tell you about the social rank, status or class of the individual that used it? What does it say in general about people of that rank, status or class?
¥ Is there is a difference between the people who used it, those whom it was used upon, or those who created it?
World History specific:
• How does this artifact ease or problematize global connections?
• Does this artifact connect or disconnect people from their culture or others’ culture?
• Does this artifact represent a specific kind civilization? How? Why? At the expense of other civilizations?
• Does this artifact follow a migration pattern?
• Does it embrace the geography of its culture or region?
Artists Materials Techniques of the Museum Please provide a web-link of the museum/gallery (including artwork) or studio/art-making demo you will discuss.
Artists Materials Techniques of the Museum
Please provide the basic information such as artist name/instructor’s name, the title of artwork, the year it was created, medium, artistic styles, and etc.
Please add your opinions, learning (including the reason you chose the work), and other discussion points in 15 or more sentences, not including the basic information.
You can begin your search of artworks, galleries/museums, studios, materials, and techniques with the following links.
https://www.google.com/culturalinstitute/beta/ Links to an external site.
https://www.google.com/culturalinstitute/beta/partner Links to an external site.
https://www.google.com/culturalinstitute/beta/project Links to an external site.
https://www.google.com/culturalinstitute/beta/category/medium Links to an external site.
https://www.khanacademy.org/humanities/art-history-basics/artists-materials-techniques Links to an external site.
Wk 1: Discuss 1
Remember: You may need to scroll down in order to view and complete this assignment.
Discussion Prompt: A World Without Art
In Chapter One (Lewis & Lewis), we read:
“Artists often say that someone can really ‘see,’ as if most people cannot. What an artist means by seeing is difficult to explain, but it is something like the totally involved gaze of a newborn child, hungrily looking at everything as if it had never been seen before, not blinded by preconceptions. All of us like to see things, but in the midst of a busy life our seeing becomes stale, our eyes jaded. Art can renew the pleasure of seeing and help us feel more alive. Many people have had the exhilarating experience after leaving a museum of noticing that the world outside looks much more interesting and beautiful” (p.4).
Topic 1 requires some thought. Answer honestly and with consideration: What if we lived in a world without art?
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.
Grading Criteria
Click the “Grading Criteria” button below to view the rubric, which will be used to evaluate your contributions for this activity.
Grading Criteria
Discuss (Discussion field can’t be blank).
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How does visual thinking work? How do we go about to reconstruct the artist’s visual thinking?
Relate to Bagley, Loher, Pächt, and Picasso
Also it is a class about Chinese bronze, so talk a little about chinese bronze too about the topic of visual thinking of course.
related articles:
Francoise Gilot and Carlton Lake, Life with Picasso(New York: McGraw-Hill, 1964), pp. 115-22.
Paul Wilson, Chrome Dream: Automobile Styling Since 1893(Radnor, Penn.: Chilton Book, 1976), pp. 1-45.
Pächt, The Practice of Art History, pp. 19-70.
Bagley, Gombrich among the Egyptians, pp. 120-41 (“Shang Ritual Bronzes: Casting Technique and Vessel Design”).
Your job is to revise the essay, there are many grammar errors and some stuff are very hard to understand which are not really relevant to the topic of visual thinking. Fix those and add something relevant about the topic.
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Exposing Body to Different Textures INSTRUCTIONS explain what happens in the body when it is exposed to different textures.
Exposing Body to Different Textures
How are we able to recognize a texture without seeing it? Make sure to describe not only the direct effects but also any peripheral systems that may become activated. In addition, now consider what happens in the body if you hit your head on a door. Based on the gate control theory of pain, describe how your body would respond. RESOURCE https://wolfe4e.sinauer.com/ch13.html Is your skin healthy or unhealthy? How can you tell the difference? What does healthy skin look like? Knowing the answers to these questions is the first step in determining how you should be taking care of your skin.
Latin America Museums and Art Exhibit The format and due date for the final paper are listed in the syllabus.
Latin America Museums and Art Exhibit
Remember that for this paper you have to go somewhere related to Latin America. Write about an event you attended THIS SEMESTER (i.e. don’t submit an essay about the trip you took to Puerto Rico over the summer).
Submit with your paper PROOF that you attended the event. For example, a photo of yourself at the event, a copy of the ticket, etc. Points will be deducted for papers that are submitted without this.
In the past, I’ve had students go to:
– Museums and art exhibits related to Latin America
– Plays (that are in Spanish or related to Latin American culture)
– Latin American parades and festivals
– Family events such as weddings, bridal showers, christenings (bautizos) where the family is of Latin American descent
I’ve posted some suggestions below. You are not limited to these choices. I will try to update the list throughout the semester so please keep checking back. I’ve set this up as a shared page so that you can post your own recommendations and ideas. Please add to the list – thanks and enjoy!
Modern and Contemporary Art and Artists You need to be thorough in your answers and they need to be properly formatted.
Modern and Contemporary Art and Artists
Each answer should begin with the work’s number and identifying information that includes the artist, date, and title. There is no need to footnote, but please make sure your answers are factual and that you use correct grammar. Spelling counts as does the format of your responses. For the first section, I expect a short paragraph for each work no less than 5 full sentences.
For the second part, you need to answer in form of short essays, no less than 10 sentences each. Please be analytical and use the information you have learned in class.
Heros Hall Accommodation Message and Discussion A description of your message and discussion of the desired results
Heros Hall Accommodation Message and Discussion
A description of the intended audience for your message. Be specific and include the appropriate demographic information for your target audience.
A description of the typography you plan to use in your message (e.g., this might include the font or typeface you plan to use or the tone you want the type to achieve). Include an explanation for why the typography you chose is appropriate.
An explanation of how you plan to utilize visuals to support your message. To provide support for your explanation, be sure to discuss one of the alternatives you considered before settling on your approach.
Identify the platform/medium you plan to use to communicate your message using PowerPoint as an explanation for the platform or medium you selected.
1) what visual images that are clear and valuable do you have in mind of using for this?
2) systematic thinking and analysis, which can be useful in workplace situations like these.
3) Is your document an advocacy piece for the adoption of Access showing how the information can be tracked and utilized?
Jan van Eycks Double Portrait Paper Step One: Examine several theories concerning Jan van Eyck’s painting variously entitled The Arnolfini Wedding/Marriage, Giovanni Arnolfini and His Wife, The Arnolfini Betrothal, and The Arnolfini Double Portrait.
Jan van Eycks Double Portrait Paper
Students may find an exposition of the several theories in Possible Interpretations of Double Portrait.pdfPreview (will upload) the document or at http://flux-boston.com/unsolved-mysteries-the-arnolfini-double-portrait/. Post your own theory, as expressed in at least 250 words, as to what is occurring in Jan van Eyck’s Double Portriat. Defend you opinion.
Possible Interpretations of Jan van Eyck’s Double Portrait (1434)
I. Marriage or Betrothal?
A. Marriage – Panofsky argues that the couple depicted are Giovanni di Arrigo Arnolfini and Giovanna Cenami who in the process of getting married or promising to get married in the future.
Jan van Eycks Double Portrait Paper
The double portrait is a “pictorial marriage certificate” in which symbolism related to couple’s fidelity and expectations abound (Erwin Panofsky, “Jan van Eyck’s Arnolfini Portrait,” The Burlington Magazine for Connoisseurs, Vol. 64. No. 372 (March, 1934), pp. 117-119, 122-127).
B. Betrothal – Hall argues that the double portrait records a “solemn sponsalia or betrothal,” a formal vow that the two will marry in the future. They are not getting married, but they are promising to marry down the road (Edwin Hall, The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck’s Double Portrait, Berkeley, University of California Press, 1997, p. 83).
Jan van Eycks Double Portrait Paper
C. Problems with Marriage and Betrothal
1. Lorne Campbell has discovered that Giovanni di Arrigo Arnolfini and Giovanna Cenami did not marry until 1447, thirteen years after the date on the painting and six years after Jan van Eyck’s death (L. Campbell, National Gallery Catalogues: The Fifteenth Century Netherlandish Schools, London, 1998, p. 193). So, the painting certainly could not record Giovanni de Arigio Arnolfini and Giovanna Cenami in the processing being married.
2. If Hall is correct, that the two are pledging to get married in the future, then there is a thirteen-year period of engagement, which does not seem likely either.
Jan van Eycks Double Portrait Paper
II. Marriage and Betrothal Revived — The painting depicts an unknown wife of either Giovanni di Arrigo Arnolfini or Giovanni di Nicolao Arnolfini, both of whom were merchants living in Bruges and both of whom were from Lucca. In this case, the couple may be getting married, or they may be participating in a betrothal ceremony. The later, a betrothal ceremony, appears more likely than the former, a marriage ceremony.
Jan van Eycks Double Portrait Paper
As Hall argues, such a clandestine domestic marriage was considered mortally sinful, was strictly forbidden by the church, would warrant the excommunication of those involved, and is not the kind of thing in which such prominent members of society as the bride, groom and painter would have been associated. Further, the couple are not joined by right hands but are merely touching. There is no bridal crown. There is no official present. There is no indication of a ring ceremony.
Jan van Eycks Double Portrait Paper
III. Conferring the Ability to Conduct Business? — As Margaret Carroll argues, the man may be conferring upon the woman the ability to conduct business transactions in his absence. Carroll assumes the man and woman are Giovanni de Arrigo Arnolfini and Giovanna Cenami, and in this she appears incorrect. Again, they were not married until fourteen years after the painting.
Jan van Eycks Double Portrait Paper
Carroll’s theory, however, could apply to an unknown wife of either Arrigo Arnolfini or Nicolao Arnolfini. Carroll finds in Arnolfini’s raised right hand a “gesture of oath-taking known as fidem levare” and in his conjoined left hand, “a gesture of consent known as fides manualis,” both gestures confirming in good faith Arnolfini’s willingness to abide by his wife’s decisions (Margaret D. Carroll, “In the Name of God and Profit”: Jan van Eyck’s Arnolfini Portrait,” Representations, No. 44 [Autumn, 1993], p. 105). Carroll’s interpretation, of course depends upon the couple being married, but she argues that the woman in the portrait “wears the appropriate headdress of a married woman” (p. 101). An unwed woman would wear her hair long, flowing, unbound.
Jan van Eycks Double Portrait Paper
IV. Tribute to a Deceased Wife? — The couple represented are Giovanni di Nicolao Arnolfini and his former wife, Constanza Trenta, who died in 1433, just a year before the painting. The painting is a memorial painting commissioned by Giovanni for the purpose of honoring his deceased wife and demonstrating his undying love for her. She may be dead, but his love for her is not. Margaret Koster adheres to an inventory description of the painting dating to 1516 which describes “’alarge picture which is called Hernoul le Fin [Arnolfini] with his wife in a chamber.’” Koster believes the wording to reflect a title given to the painting by Jan van Eyck himself and inscribed upon a long lost frame.
If it is a painting of Arnolfini with his wife (not the woman he is marrying or his wife to be), then Nicolao Arnolfini and his deceased wife, Constanza Trenta, are viable candidates. Koster points to one lit candle, burning during daytime, behind Arnolfini and to the remains of a burnt-out candle behind Constanza. The lit candle was meant to indicate that Arnolfini is still alive, and the burnt-out candle behind Constanza indicates her demise. Further, Koster suggests that the scenes in the roundels of the mirror point to a memorial portrait.
Jan van Eycks Double Portrait Paper
“Beginning at the bottom and moving clockwise, we have the Agony in the Garden, the Arrest of Christ, Christ before Pilate, the Flagellation, Christ Carrying the Cross, the Crucifixion [at the top], the Descent from the Cross, the Entombment, the Harrowing of Hell and the Resurrection.” Note that the scenes relating to Christ’s life are on the left side of the mirror behind Giovanni while the scenes relating to Christ’s death and resurrection are on the right side of the mirror behind Constanza (Koster, Margaret L., “The Arnolfini Double Portrait: A Simple Solution,” Apollo, September 1, 2003).
One of my favorite paintings in the world is the small and somber Arnolfini Portrait painted by Jan van Eyck in 1432.
Jan van Eycks Double Portrait Paper
Rich with detail, it is a wonderful early example of the Northern Renaissance artists’ mastery of oil painting and their obsession with the behavior of domesticated fabric. But while it may look like a straightforward double portrait, the Arnolfini is one of western art history’s greatest riddles.
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