Thursday, May 20, 2010
Final Test
Please refer to the latest study guide posted on the blog, because this will be the information that will be on the exam. As I said before, the test will be mainly slide identification, but I will also have a couple of questions in addition to the slide identification as well. The extra questions will be from material would have been discussed in class.
Compare and Contrast Paper Due May 25
Compare and Contrast Essay - Two Works of Art
When writing your essay paper, you are to compare and contrast two works of art by two different artists that you have learned about in this class and while reading your text, Art Through the Ages. The length of the paper needs to be between three and five pages and double-spaced. Your name and the name of two of the artists you are writing about should be at the top of your paper as well.*
First describe the two works of art you will be writing about before you talk about their likenesses and differences. Also make notations using the visual language of art: Color, Medium, Subject, Line, Figure/Ground, Focal point, Scale and so on.
You may want to read the information written on the below sites, about writing an art comparison essay, before you begin your paper. You may need to do research using the Internet for added information about each of the artists you select as well.
The paper is to be due May 25.
http://www.ehow.com/how_5848427_write-art-comparison-essay.html
http://arc.academyart.edu/writing/essay.html
http://customessayblog.com/essay-writing/sample-compare-and-contrast-essay
When writing your essay paper, you are to compare and contrast two works of art by two different artists that you have learned about in this class and while reading your text, Art Through the Ages. The length of the paper needs to be between three and five pages and double-spaced. Your name and the name of two of the artists you are writing about should be at the top of your paper as well.*
First describe the two works of art you will be writing about before you talk about their likenesses and differences. Also make notations using the visual language of art: Color, Medium, Subject, Line, Figure/Ground, Focal point, Scale and so on.
You may want to read the information written on the below sites, about writing an art comparison essay, before you begin your paper. You may need to do research using the Internet for added information about each of the artists you select as well.
The paper is to be due May 25.
http://www.ehow.com/how_5848427_write-art-comparison-essay.html
http://arc.academyart.edu/writing/essay.html
http://customessayblog.com/essay-writing/sample-compare-and-contrast-essay
Wednesday, May 19, 2010
San Jose Museum of Art Field Trip
San Jose Museum of Art
110 South Market StreetSan Jose, CA 95113
(408) 271-6840
We will meet for the field trip at 1:45 at the side entrance to the museum. I will have a sign in sheet at the admission counter for you to sign in. The cost is $5.00 with your student body card. If you are unable to make it to the art exhibition you will be required to write a paper after attending at another time about your thought about it. The paper should be two pages long and typed.
Study Guide for Final
The following images will be on the test. I will also have a couple of other questions as well, but the following will be the projected slide images for identification. Study them well.
Test Questions
Figure 24-8 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
Figure 24-17 CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.
Figure 24-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.
Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.
Figure 25-1 JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.
Figure 25-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
Figure 25-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid.
Figure 25-29 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris.
Figure 25-38 SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England, 1675–1710.
Figure 25-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680.
Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris, France, 1667–1670.
Figure 29-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London.
Figure 29-16 THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection).
Figure 29-1 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.
Figure 29-24 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.
Figure 30-11 FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).
Figure 30-8 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’ 4”. Louvre, Paris.
Figure 30-15 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.
Figure 30-18 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.
Figure 30-23 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).
Figure 30-22 JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4’ 3” x 6’ 2”. National Gallery, London.
Figure 30-21 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4". Nationalgalerie, Staatliche Museen zu Berlin, Berlin.
Figure 30-25 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National Museum of American Art, Smithsonian Institution, Washington, D.C.
Figure 31-5 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877. Oil on canvas, 6’ 9” x 9’ 9”. The Art Institute of Chicago, Chicago, (Worcester Fund).
Figure31-7 BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation, Los Angeles.
Figure 31-15 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6’ 9” x 10’. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-17 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
Figure 31-14 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4’ x 4’ 7”. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection).
Figure 31-10 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum, Glasgow (Burrell Collection).
Figure 31-21 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-33 AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6” deep. Musee Rodin, Paris.
Figure 31-27 EDVARD MUNCH, The Scream, 1893. Tempura and pastels on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.
Figure 31-18 PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.
Figure 31-8 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay, Paris.
Figure 31-9 ÉDOUARD MANET, Bar at the Folies-Bergère, 1882. Oil on canvas, 3’ 1” x 4’ 3”. Courtauld Institute of Art Gallery, London.
Figure 31-2 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.
Figure 31-38 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.
Test Questions
Figure 24-8 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.
Figure 24-17 CARAVAGGIO, Conversion of Saint Paul, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.
Figure 24-20 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.
Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.
Figure 25-1 JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.
Figure 25-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
Figure 25-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1 1/4”. Museo del Prado, Madrid.
Figure 25-29 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”. Louvre, Paris.
Figure 25-38 SIR CHRISTOPHER WREN, new Saint Paul’s Cathedral, London, England, 1675–1710.
Figure 25-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680.
Figure 25-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris, France, 1667–1670.
Figure 29-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London.
Figure 29-16 THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection).
Figure 29-1 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.
Figure 29-24 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.
Figure 30-11 FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).
Figure 30-8 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’ 4”. Louvre, Paris.
Figure 30-15 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.
Figure 30-18 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.
Figure 30-23 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).
Figure 30-22 JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4’ 3” x 6’ 2”. National Gallery, London.
Figure 30-21 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4". Nationalgalerie, Staatliche Museen zu Berlin, Berlin.
Figure 30-25 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National Museum of American Art, Smithsonian Institution, Washington, D.C.
Figure 31-5 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877. Oil on canvas, 6’ 9” x 9’ 9”. The Art Institute of Chicago, Chicago, (Worcester Fund).
Figure31-7 BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation, Los Angeles.
Figure 31-15 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6’ 9” x 10’. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-17 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
Figure 31-14 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4’ x 4’ 7”. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection).
Figure 31-10 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum, Glasgow (Burrell Collection).
Figure 31-21 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
Figure 31-33 AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6” deep. Musee Rodin, Paris.
Figure 31-27 EDVARD MUNCH, The Scream, 1893. Tempura and pastels on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.
Figure 31-18 PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.
Figure 31-8 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay, Paris.
Figure 31-9 ÉDOUARD MANET, Bar at the Folies-Bergère, 1882. Oil on canvas, 3’ 1” x 4’ 3”. Courtauld Institute of Art Gallery, London.
Figure 31-2 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.
Figure 31-38 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.
Tuesday, May 18, 2010
Warhol Painting Sold -- $32.5 Million at Sotheby's
Friday, May 7, 2010
William Hogarth Paper
Many of William Hogarth’s artworks could be described as Satirical Artwork. The book says that he saw himself as “translating satire into the visual arts”.
Write a one page document about his series of paintings that commented on marriage within English society and its newly prosperous middle class. Describe how he used satire to visually talk about his views about the bourgeoisie. You may use the painting “Marriage a La Mode 1745” as an example.
Write a one page document about his series of paintings that commented on marriage within English society and its newly prosperous middle class. Describe how he used satire to visually talk about his views about the bourgeoisie. You may use the painting “Marriage a La Mode 1745” as an example.
Saturday, April 24, 2010
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