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Write a 750 word critical analysis. Follow APA style. Please use Citations and references.

From the following choices, select one sculpture. Evaluate the sculpture using the critical analysis example at the conclusion of Chapter 3 as a guide (see below). You will need to do some research on the piece you choose in order to give the historical background, artist (if known), context, technique, etc. You will also want to refer to Chapter 3 and the accompanying PowerPoint for the technical terms and concepts necessary in the analysis(power point attache). Be sure to include all points of the outline (minimum one full page in length). Choose one of the following for this assignment:

Click here to see the sculptures before you visit the web pages. Be sure to include a convincing, inclusive conclusion at the end of your critical analysis and a bibliography of at least two sources that you used to prepare your analysis, one of which may be the class text. Do not use and cite Wikipedia. Instead, visit the Excelsior College Library to learn about academic sources. The page on Evaluating Information Evaluating Information (Links to an external site.)Links to an external site. includes helpful sections on "Print vs. Web Resources," Evaluation Criteria," Evaluation Scenarios," and "Media Literacy."

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Module 3 Lecture Outline Sculpture Introduction Sculpture has been defined as art in three dimensions. This means that, added to length and width, is the dimension of depth. WHAT IS IT? Sculpture may take many forms: • Sculpture that is non-objective • Sculpture which represents a person, animal, plant or other object. WHAT IS IT? Sculpture may be used in many contexts (as decoration, memorial, object of interest, record, etc.) and for a variety of purposes (instructional, inspirational, thought-provoking, etc.) HOW IS IT PUT TOGETHER? Dimensionality • Full Round HOW IS IT PUT TOGETHER? Dimensionality • Relief HOW IS IT PUT TOGETHER? Dimensionality • Linear HOW IS IT PUT TOGETHER? Methods of Execution • Subtraction (mass is removed from the original material) HOW IS IT PUT TOGETHER? Methods of Execution • Construction (mass is added to the original material) HOW IS IT PUT TOGETHER? Methods of Execution • Substitution (the original material is replaced) HOW IS IT PUT TOGETHER? Methods of Execution • Manipulation (the original material is reconfigured) HOW IS IT PUT TOGETHER? Elements of Composition: • Mass. Sculpture takes up space and has density. • Line and form. By definition, the sculpture has form which is made up of lines in all three dimensions. HOW IS IT PUT TOGETHER? Elements of Composition: • Color. Either the natural color of the material is highlighted, or color is applied for desired effect. • Texture. The surface is rough or smooth. HOW IS IT PUT TOGETHER? Principles of Composition: • Proportion. The relationship of shapes and forms to one another. • Repetition. Rhythm, harmony, variation and unity within the composition. HOW IS IT PUT TOGETHER? Other Factors in Composition: • Articulation. The separation of the various parts of the composition. • Focal areas. How the artist indicates how and where the eye should see distinct parts within the composition. HOW IS IT PUT TOGETHER? Other Factors in Composition: • Found materials. Materials not created by the artist, but which the artist uses for their aesthetic effect. HOW IS IT PUT TOGETHER? Other Factors in Composition: • Ephemeral materials. Sculpture which is purposefully designed to be temporary. HOW IS IT PUT TOGETHER? Other Factors in Composition: • Interactive compositions: meant to be touched or manipulated by the viewer. HOW DOES IT STIMULATE THE SENSES? • Touch. Is it abrasive, smooth, dry, wet? • Temperature. Is it cold or warm? • Age: Does it appear old, new or weathered? HOW DOES IT STIMULATE THE SENSES? • Dynamics. Does it simulate movement or direct the eye in a particular direction? • Size. Is it large or small, or does it seem large or small due to perspective? HOW DOES IT STIMULATE THE SENSES? • Lighting. What role does light play in displaying the work or emphasizing something about it? • Environment. What role does the setting play in displaying the work or emphasizing something about it? Write a 750 word critical analysis. Follow APA style. Please use Citations and references. From the following choices, select one sculpture. Evaluate the sculpture using the critical analysis example at the conclusion of Chapter 3 as a guide (see below). You will need to do some research on the piece you choose in order to give the historical background, artist (if known), context, technique, etc. You will also want to refer to Chapter 3 and the accompanying PowerPoint for the technical terms and concepts necessary in the analysis(power point attache). Be sure to include all points of the outline (minimum one full page in length). Choose one of the following for this assignment: • • • • • • Pieta (Links to an external site.)Links to an external site. by Michelangelo Buonarroti Context of Pieta, Rome: St Peter Basilica light streams (Links to an external site.)Links to an external site. (Links to an external site.)Links to an external site.Trajan addressing his troops (Links to an external site.)Links to an external site. (Aldocutio) by Apollodorus of Damascus: Context of Trajan’s Column (Links to an external site.)Links to an external site., Rome The Spoils of Jerusalem (Links to an external site.)Links to an external site. (from Arch of Titus) Context of Arch of Titus (Links to an external site.)Links to an external site., Rome Terracotta soldier: Soldier Horse (Links to an external site.)Links to an external site. Context of soldier, Lintong District, Xi’an, China: 1 terracotta army 2011 (Links to an external site.)Links to an external site. Click here to see the sculptures before you visit the web pages. Be sure to include a convincing, inclusive conclusion at the end of your critical analysis and a bibliography of at least two sources that you used to prepare your analysis, one of which may be the class text. Do not use and cite Wikipedia. Instead, visit the Excelsior College Library to learn about academic sources. The page on Evaluating Information Evaluating Information (Links to an external site.)Links to an external site. includes helpful sections on "Print vs. Web Resources," Evaluation Criteria," Evaluation Scenarios," and "Media Literacy." Write a 750 word critical analysis. Follow APA style Critical Analysis example Sample Outline and Critical Analysis The following very brief example illustrates how we can use some of the terms explained in the chapter to form an outline and then develop a critical analysis of a work of art. Here is how an outline might appear regarding Michelangelo’s sculpture, David (see Fig. 3.8). Outline Critical Analysis Dimensionality full round Michelangelo’s David is a full round work standing 18 feet above the floor. Its larger-than-life size contributes to its sense of heroic grandeur. Much of its effect depends on the bulging muscles, exaggerated rib cage, heavy hair, undercut eyes, and frowning brow, all of which seem intended to allow the work’s details to be seen from a distance. Method of execution: subtraction Using a subtractive method, Michelangelo carved the work out of marble, a metamorphic rock that provided a workable basis for the finely polished finish and carefully executed details. As a result, the stone has Texture the smooth texture of skin—of real flesh stretched over taut but pliable musculature. Each detail has a subtlety and smoothness that seem to breathe. Scale The size (scale) and proportions of the work give it great mass, which in turn creates a sense of awe in the viewer, compared to the same work were it life size. Michelangelo’s use of line provides a complex set of stimuli in which the work seems to be self-contained while at the same time wanting to escape its space. The downward stare of the eyes directs the viewer to the hand containing the sling, which drapes over David’s back. Then the viewer’s eye travels down the arm and pauses at the elbow, perhaps not sure if it wants to move back into the space occupied by the statue or off into the adjacent space where Goliath awaits. The same can be said of the work’s line as it moves down the body’s left leg to the ground and either off into space or back to the right leg along the rocky ground. The positioning of the right arm, with the hand canted in to the thigh, again sets up a circular direction, keeping the viewer’s attention inside the space of the statue. The line moves across the lower thigh across the incidental negative space between the legs and seems to engage an implied line moving from the extended elbow that takes the viewer’s eye upward to the focal point of the work—David’s heroic face. The statue appears full of dynamic tension, and yet seems comfortably stable. Mass Line Negative space Focal point Write a 750 word critical analysis. Follow APA style. Please use Citations and references. From the following choices, select one sculpture. Evaluate the sculpture using the critical analysis example at the conclusion of Chapter 3 as a guide (see below). You will need to do some research on the piece you choose in order to give the historical background, artist (if known), context, technique, etc. You will also want to refer to Chapter 3 and the accompanying PowerPoint for the technical terms and concepts necessary in the analysis(power point attached). Be sure to include all points of the outline (minimum one full page in length). Choose one of the following for this assignment: • • • • • • Pieta (Links to an external site.)Links to an external site. by Michelangelo Buonarroti Context of Pieta, Rome: St Peter Basilica light streams (Links to an external site.)Links to an external site. (Links to an external site.)Links to an external site.Trajan addressing his troops (Links to an external site.)Links to an external site. (Aldocutio) by Apollodorus of Damascus: Context of Trajan’s Column (Links to an external site.)Links to an external site., Rome The Spoils of Jerusalem (Links to an external site.)Links to an external site. (from Arch of Titus) Context of Arch of Titus (Links to an external site.)Links to an external site., Rome Terracotta soldier: Soldier Horse (Links to an external site.)Links to an external site. Context of soldier, Lintong District, Xi’an, China: 1 terracotta army 2011 (Links to an external site.)Links to an external site. Click here to see the sculptures before you visit the web pages. Be sure to include a convincing, inclusive conclusion at the end of your critical analysis and a bibliography of at least two sources that you used to prepare your analysis, one of which may be the class text. Do not use and cite Wikipedia. Write a 750 word critical analysis. Follow APA style Critical Analysis example Sample Outline and Critical Analysis The following very brief example illustrates how we can use some of the terms explained in the chapter to form an outline and then develop a critical analysis of a work of art. Here is how an outline might appear regarding Michelangelo’s sculpture, David (see Fig. 3.8). Outline Critical Analysis Dimensionality full round Michelangelo’s David is a full round work standing 18 feet above the floor. Its larger-than-life size contributes to its sense of heroic grandeur. Much of its effect depends on the bulging muscles, exaggerated rib cage, heavy hair, undercut eyes, and frowning brow, all of which seem intended to allow the work’s details to be seen from a distance. Method of execution: subtraction Using a subtractive method, Michelangelo carved the work out of marble, a metamorphic rock that provided a workable basis for the finely polished finish and carefully executed details. As a result, the stone has Texture the smooth texture of skin—of real flesh stretched over taut but pliable musculature. Each detail has a subtlety and smoothness that seem to breathe. Scale The size (scale) and proportions of the work give it great mass, which in turn creates a sense of awe in the viewer, compared to the same work were it life size. Michelangelo’s use of line provides a complex set of stimuli in which the work seems to be self-contained while at the same time wanting to escape its space. The downward stare of the eyes directs the viewer to the hand containing the sling, which drapes over David’s back. Then the viewer’s eye travels down the arm and pauses at the elbow, perhaps not sure if it wants to move back into the space occupied by the statue or off into the adjacent space where Goliath awaits. The same can be said of the work’s line as it moves down the body’s left leg to the ground and either off into space or back to the right leg along the rocky ground. The positioning of the right arm, with the hand canted in to the thigh, again sets up a circular direction, keeping the viewer’s attention inside the space of the statue. The line moves across the lower thigh across the incidental negative space between the legs and seems to engage an implied line moving from the extended elbow that takes the viewer’s eye upward to the focal point of the work—David’s heroic face. The statue appears full of dynamic tension, and yet seems comfortably stable. Mass Line Negative space Focal point Write a 750 word critical analysis. Follow APA style. Please use Citations and references. From the following choices, select one sculpture. Evaluate the sculpture using the critical analysis example at the conclusion of Chapter 3 as a guide (see below). You will need to do some research on the piece you choose in order to give the historical background, artist (if known), context, technique, etc. You will also want to refer to Chapter 3 and the accompanying PowerPoint for the technical terms and concepts necessary in the analysis(power point attached). Be sure to include all points of the outline (minimum one full page in length). Choose one of the following for this assignment: • • • • • • Pieta (Links to an external site.)Links to an external site. by Michelangelo Buonarroti Context of Pieta, Rome: St Peter Basilica light streams (Links to an external site.)Links to an external site. (Links to an external site.)Links to an external site.Trajan addressing his troops (Links to an external site.)Links to an external site. (Aldocutio) by Apollodorus of Damascus: Context of Trajan’s Column (Links to an external site.)Links to an external site., Rome The Spoils of Jerusalem (Links to an external site.)Links to an external site. (from Arch of Titus) Context of Arch of Titus (Links to an external site.)Links to an external site., Rome Terracotta soldier: Soldier Horse (Links to an external site.)Links to an external site. Context of soldier, Lintong District, Xi’an, China: 1 terracotta army 2011 (Links to an external site.)Links to an external site. Click here to see the sculptures before you visit the web pages. Be sure to include a convincing, inclusive conclusion at the end of your critical analysis and a bibliography of at least two sources that you used to prepare your analysis, one of which may be the class text. Do not use and cite Wikipedia. Write a 750 word critical analysis. Follow APA style Critical Analysis example Sample Outline and Critical Analysis The following very brief example illustrates how we can use some of the terms explained in the chapter to form an outline and then develop a critical analysis of a work of art. Here is how an outline might appear regarding Michelangelo’s sculpture, David (see Fig. 3.8). Outline Critical Analysis Dimensionality full round Michelangelo’s David is a full round work standing 18 feet above the floor. Its larger-than-life size contributes to its sense of heroic grandeur. Much of its effect depends on the bulging muscles, exaggerated rib cage, heavy hair, undercut eyes, and frowning brow, all of which seem intended to allow the work’s details to be seen from a distance. Method of execution: subtraction Using a subtractive method, Michelangelo carved the work out of marble, a metamorphic rock that provided a workable basis for the finely polished finish and carefully executed details. As a result, the stone has Texture the smooth texture of skin—of real flesh stretched over taut but pliable musculature. Each detail has a subtlety and smoothness that seem to breathe. Scale The size (scale) and proportions of the work give it great mass, which in turn creates a sense of awe in the viewer, compared to the same work were it life size. Michelangelo’s use of line provides a complex set of stimuli in which the work seems to be self-contained while at the same time wanting to escape its space. The downward stare of the eyes directs the viewer to the hand containing the sling, which drapes over David’s back. Then the viewer’s eye travels down the arm and pauses at the elbow, perhaps not sure if it wants to move back into the space occupied by the statue or off into the adjacent space where Goliath awaits. The same can be said of the work’s line as it moves down the body’s left leg to the ground and either off into space or back to the right leg along the rocky ground. The positioning of the right arm, with the hand canted in to the thigh, again sets up a circular direction, keeping the viewer’s attention inside the space of the statue. The line moves across the lower thigh across the incidental negative space between the legs and seems to engage an implied line moving from the extended elbow that takes the viewer’s eye upward to the focal point of the work—David’s heroic face. The statue appears full of dynamic tension, and yet seems comfortably stable. Mass Line Negative space Focal point ...
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School: UIUC

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Running head: MICHELANGELO’S PIETA

1

Michelangelo’s Pieta
Name
Institutional Affiliation

MICHELANGELO’S PIETA

2
Historical Background

The Pieta sculpture is an artistic expression style which depicts Mary mother of Jesus
Christ holding her son’s body, after it was removed from the cross. It is one of the most common
forms of carving or sculpture. Michelangelo Buonarroti was only 23 years old when the French
Cardinal, Jean Bilheres de Lagraulas approached him in 1497 to create the sculpture, as he was
extremely talented in art (Barnes, 2017). Michelangelo started working on the task in 1498, after
going to Italy to collect the Carrara marble that was needed to make it. This renaissance art is
today known as Michelangelo’s Pieta. Cardinal Jean de Bilheres wanted the sculpture placed in
his mausoleum at the Santa Petronilla Chapel. However, it was later moved to its current
location, at St. Peter's Basilica in Vatican City, Rome, around the ...

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