Humanities Instructor: Sean William Doyle HUMANITIES MODEL PROSPECTUS Aseel Beerm Prospectus Hum 102-002 Sean Doyle 06-25-13 I. Introduction The Topic I chose to do is a famous piece of art “Starry Night” by artist Vincent van Gogh. (1889) A. Question- I will be covering the meaning of the painting. For example, what the colors in the painting represented. B. I chose Starry night because it’s now one of the most talked about paintings in society today, but the fact that it wasn’t noticed in his time period.
The Mayan Wall Painting uses violence and hostility as well; it uses this through Lord Chan Muwan and his army’s conquer over his victims. The Mayan culture often portrays violence and cruelty in its art for reasons such as sacrifice or bloodshetting, which is common in their culture. The Bayeux Tapestry uses violence and hostility to depict the major conflict of who will inherit the throne to England: William the Conqueror or Herald. The main scene of violence and hostility is contained in the Battle Hastings and is shown in many ways in that battle. The Battle of Hastings is an energetic and chaotic battle scene.
The author goes to describe the building boom of the 1300s, the arrival of the Black Plague, and the war against “the new duke of Milan, Filippo Maria Visconti” (King 120). While all these events did directly affect Brunelleschi’s life, from building the dome to falling ill to the plague and to assisting the army during the war, King’s inclusion of this information gives the reader a biography of Florence, not just of Brunelleschi. For a young reader like myself, the construction of a dome may at first come off as unimportant. However, after reading Brunelleschi’s Dome and seeing just how many obstacles were overcome to complete the dome, one can see that this
Week 2 Assignment 2 Web Quest The Bhanjo Lesson (1893) by: Henry Ossawa Tanner Tanner, Henry Ossawa. Hampton University Museum, VA. A graduate of the Pennsylvania Academy of Fine Arts, African-American painter Henry Ossawa Tanner based his painting, The Banjo Lesson (1893), on a poem by Paul Lawrence Dunbar. Convinced that his race would inhibit his career in the United States, Tanner moved to Paris in 1895, where he enjoyed a successful career as a painter, primarily of religious scenes. This is one of the most beautiful and simple paintings and most popular of Tanner. In this painting above, we can notice the simplistic color value and the rough texture that is concealed inside the shapes.
Art 101 Final Essay Duccio, Annunciation of the Death of the Virgin, from the Maesta Altarpiece (Pg. 86) and Leonardo da Vinci, The Last Supper (Pg. 87) are both drawn with one-point linear perspective. However they are different in the aspect of the one-point linear perspective. Duccio’s was painted before linear perspective was fully understood while Leonardo da Vinci’s was painted when linear perspective was understood and the system was successfully employed.
They have different types of pots but the Panathenaic amphora was the most common design. The Panathenaic amphora used method of style of painting was black-figure pottery paintings, after the Panathenaic amphora is created, the artist uses a dark black paint to draw the main figure of the painting and then the artist uses brighter colors like reds and whites to detail the figure. The painting on the Panathenaic amphora was all done before baking it to insure a strong bond between the paint and ceramic, as well as to bring out the color. 3. Descriptive Analysis The Panathenaic amphora style is a very recognizable; as we can see they all followed a normal shape of an oval becoming wider at the top and slanted down to a skinner bottom with a flat base as a support.
It now hangs in The Art Institute of Chicago. Renoir was born on February 25th, 1841 in Limoges, France. He began his career as a porcelain painter but decided to become a full-time painter around 1858. He practiced his technique by copying great master paintings at the Louvre Museum. The style is Impressionist and the size of the painting is 39.6 inches high by 31.9 inches wide.
Ferdinand Victor Eugene Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. Delacroix's use of expressive brushstrokes and his study of the optical effects of color profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish writer Walter Scott and the German writer Johann Wolfgang von Goethe. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on color and movement rather than clarity of outline and carefully modeled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic.
I know every time I attempt to draw a pair of eyes, one is always excessively larger than the other. So when I look at a painting and see great emotion behind someone’s eyes, it takes my breath away. While closing my eyes, I can see the encounter taking place: the man is charging into war, completely taken off guard by this being of Peace, protecting her with his shield, and staring at her in bafflement. But it’s what happens next that keeps me hooked. Will he keep running to perform the task that he so often practices?
Rosie Wahlers Masterpieces of Western Art James-Jacques-Joseph Tissot (1836-1902) Edgar Degas (1867-8) Paris, France 39.161 Aura of an Artist The Metropolitan Museum of Art boasts an impressive array of work by the 19th century French Masters– according to its website, “the most important collection of large-scale painting by these masters outside of France.” The gallery “Manet and Impressionism” is populated by titillating portraits: there are proud matadors and elegant women, a crucified Christ, a vibrant bouquet of flowers beside an elderly lady. But there is one that really tempts my eye: a portrait of a serious man dressed in a dark suit. It is Jean-Jacques-Joseph Tissot by Edgar Degas (1867-8). It is a portrait of a painter who is surrounded by paintings, one of which is another portrait. Tissot, a friend of Degas’s, is seated sideways across a wooden chair in his art studio.