GCC Lot and His Daughters by Orazio Gentileschi Research Paper

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Glendale Community College

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This research paper should be on the "Lot and his Daughters" by Orazio Gentileschi.. I have already written some discussions on this artwork and they are attached below because they must be in the paper. Please make sure to include my written work, which is the file labeled "RESEARCH PAPER ESSENTIALS". Also, I have attached the professor's instructions and a sample research paper.


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RESEARCH FIVE TOPICS Research each topic by finding at least two sources. You many use Wikipedia and other encyclopedic sources, but not exclusively. The questions are suggestions for research and you do not have to answer them all. 1) DESCRIPTION: Write a topic sentence stating the title of the artwork. Then tell me what you see. If there are human figures what are they doing? How are they posed? What are they wearing? What are the expressions on their faces? Tell me about the non-human figures. Include relative sizes, positions and colors used as you describe each figure. 2) THE ARTIST or THE CULTURE: Tell me about the artist who created this artwork. Where did he or she live? Where did he study? What themes are common in his work? If the artist is not named, tell me about the people in the time and place it was created. What were the people like? Where did they live and how did they live? Who were the rulers and what building was done during the time when the artwork was made? 3) THE STYLE: Every artwork has a general classification or type. For example, works like The Hope Athena are Classical style, because they were made in ancient Rome. Works like Hagar and the Angel are Baroque style because they have elements popular in the 17th century. Discover the style of the artwork you have chosen. Tell me what the basic elements of the style are, and how the work of art embodies those elements. Give specific examples, and show how the artist was a proponent of that style. 4) THE SUBJECT: What mythological story does the artwork tell? Who are the characters in it, and what are they doing? Find original sources for the myth or story, and explain their importance to the culture that created them. Always include quotes from related literature to support your narrative. 5) THEME: What is the main idea the artwork brings to mind? Tell me why the theme is important to human life. Explain how the theme is present in your own life. SCROLL DOWN FOR MORE INFORMATION Tropf - 1 Student’s Name Teacher’s Name Course Name and Number (Humanities 115 - 1977) Due Date Title of Your Essay Double-space the entire essay. The margins must be one inch right and left and an inch and a half top and bottom. They are usually preset in MS Word. Use 12-point Times New Roman font. Do not use any other fonts or font sizes. In the header, write your last name in the upper right followed by the page number. Center your title above the first paragraph. Capitalize the first word. Capitalize the first letter of words except articles, which are words like a, an, the, and prepositions like on, in, of. Do not write the title in quotation marks, italics, all capital letters or in a different font or size. If you include the title of the artwork, write that in italics. Begin each paragraph by pressing the tab key. Do not add an empty space between the title and the first paragraph. Do not add an empty space between each paragraph. Do not include a cover page. Staple the essay in the upper left corner and hand it in. E-mail your paper to me as an MS Word document. If you use the words of another writer, you must present those words as a quotation. In this research paper, you may not quote more than one sentence each paragraph. Include open quotation marks at the start of the quote, punctuate the end of the quote with a period or comma and include close quotation marks after the punctuation. All quotes must be cited. The source must be a classical author or specific authority. No quotes from Wikipedia or other general sources. CREATING CITATIONS Please use narrative citations for the research paper. A citation is a way of telling me where you found the information you used to build your argument. Narrative citations are included as part of the story you are telling. They can be anywhere in a paragraph, not just at the end. Source names are always written in italics. Sources include ancient myths, books and websites. Websites like Wikipedia or Ancient History Encyclopedia have millions of articles. Include the article title in quotation marks. 1) If you create a citation from a work where the author is known, for example, from the book World Mythology by Donna Rosenberg, present your citation like this: According to World Mythology by Donna Rosenberg, Osiris was the god of fertility and ruler of the underworld. A citation like the one above should be used if you are using information from one of the essays written by Donna Rosenberg in the textbook, or if you are quoting Rosenberg. 2) If you cite one of the myths in World Mythology, you must include the title of the ancient source, like this: According to The Epic of Gilgamesh in World Mythology by Donna Rosenberg, Enkidu challenges King Gilgamesh to one-on-one combat. After the first time you write out the entire citation for World Mythology by Donna Rosenberg, you can then use a parenthetical: Similarly, in Osiris, Isis and Horus of Egyptian mythology, Horus challenges his uncle Set to one-on-one combat (Rosenberg 20). 3) On the Internet, the website is the source. Write the website name in italics. Write the title of the article in quotation marks. If the author’s name is available, include that, too. According to “Perseus” by Mark Cartwright at The Ancient History Encyclopedia, the goddess Athena favored the hero Perseus. If the author’s name is not available, use the article title and the website name. According to “Perseus” on the website Wikipedia, Perseus was rewarded with a golden bridle, which he used to tame the winged horse Pegasus. Never include any part of a web address. Do not include the prefix “http://www” or the URL, which is “dot com” or “dot org.” 4) The museum card is a publication. The information can be used, but must be cited. Use the title of the artwork as the article title written in quotes. The museum is the source. According to “Hagar and the Angel” at LACMA, the painting Hagar and the Angel was created in 1650 by the artist Francesco Maffei. 5) When repeating a source’s information word for word, you must cite the source and use quotation marks. The quote must support something of your own narrative, and cannot be from a general source like Wikipedia. You can quote a classical author: When Achilles hears that Hector has killed his friend Patroclus, he decides to return to the fighting even though a prophecy has said he will die. Achilles blames himself for Patroclus’s death, saying, “I now realize at what great price I sat uselessly by my ships,” according to The Iliad of Homer (Rosenberg 143). Or, you can quote a specific authority whose credentials can be verified, as long as the quote supports something you have explained in your own words: The Greeks wrote many stories of gods and heroes, and their myths have been copied by many cultures. Mark Cartwright, in “Iliad” at Ancient History Encyclopedia, says, “The Iliad is universally acclaimed as a truly great story.” NO QUOTES FROM WIKIPEDIA OR OTHER GENERAL SOURCES. YOU CAN QUOTE ARTICLES WHERE THE AUTHOR’S NAME IS LISTED, OR A CLASSICAL SOURCE LIKE HOMER’S THE ILIAD. 6) The bible is a collection of books, and each of book is considered a source. Always use the King James Version when citing or quoting the bible. Do not include “the bible” or “King James Version” in your citation, because it is accepted that you are using the KJV. Write the title of the bible book out fully the first time you use it. Always include the chapter and verse numbers: According to The Book of Genesis 2:18, God created a woman as an help meet for Adam. After you write the book title out completely the first time, you can shorten it every time after that: The woman was tempted to disobey God by a serpent. When Eve tells the serpent they are forbidden to eat from the Tree of Knowledge the serpent says, “For God doth know that in the day ye eat thereof, then your eyes shall be opened, and ye shall be as gods…” (Genesis 3:5) WORKS CITED PAGE Include a list of works cited, also called a bibliography 1) It must be on a separate page, after your final paragraph on theme. 2) Works cited must be in alphabetical order, based on the author’s last name if it is available. 3) If there is no author’s name, use the article title followed by the source name. On the Internet, the source name is the website where you found the information and the article title is the name of the page where the information is located. 4) If there is more than one author’s name, use the first name listed followed by et. al. It is an abbreviation for a Latin phrase that means “and the rest.” 5) Follow the title with the edition number or version number 6) Follow the title or edition number with the publisher’s name 7) The last thing is the copyright date or publication date The bible is cited by the version first, which for this paper will always be The King James Version. The book name follows and chapter number. Verse numbers are not included here, only in the narrative citation. Classical sources list the author’s name first, the title of the work, the translator, then the publisher and publication date (if available). Source names, website names and book titles are always written in italics and the only things written in italics. EXAMPLES “Aphrodite Loves 2” Theoi Greek Mythology “King David” New Advent – The Catholic Encyclopedia Kevin Knight, Editor, 2017 King James Version, the Bible, The Book of Matthew Chapter 17 Biblegateway Ovid, The Metamorphosis, Book 6, Translated by Sir Samuel Garth, et. al. The Internet Classics Archive P. Wootton, et. al. “Carving Imperial Reliefs at Rome,” The Art of Making in Antiquity Rosenberg, Donna World Mythology 3rd Edition, McGraw-Hill 1999 Tropf - 1 Ralph Tropf Professor John Doe Humanities 115 May 04, 2017 George de la Tour’s The Magdalene with the Smoking Flame One of the most hauntingly beautiful works on permanent exhibition at LACMA is George de la Tour’s The Magdalene with the Smoking Flame. In this early Baroque masterpiece, the artist captures the biblical figure of Mary Magdalene in a contemplative moment. No gospel passage corresponds with the scene the artist imagines in the painting, but the youth of the figure and symbols included indicate a moment after the crucifixion in which a companion of Jesus reflects on His death and resurrection. The painting features a woman reminiscent of Da Vinci’s Mona Lisa: in her early twenties, she has a high forehead and dark hair that falls to her waist. Like Mona Lisa, she has no eyebrows; it may have been a fashion of the Renaissance for women to shave them, according to “Beauty Through the Ages – The Renaissance” by Charlotte Kutchinsky at Beauty Biz. The resemblance ends there, for Mona Lisa is chaste and Magdalene quietly voluptuous. Most of her face is angled away from the viewer. Her chin rests on her left hand as she stares at a burning liquid in a clear glass vessel on the table before her. She wears a white shirt with puffy sleeves that falls sensuously down her arm baring one shoulder, her creamy skin exposed. Her skirt, a provocative rust red, falls to just above her knees revealing naked calves and bare feet. In comfortable isolation, she does not concern herself with modesty. Magdalene’s belly is swollen, perhaps in pregnancy. There is no biblical reference to Mary Magdalene having any kind of sexual Tropf - 2 relationship with Jesus, but De la Tour intriguingly provokes the question centuries before Dan Brown’s The DaVinci Code. The rope-like belt across her belly enticingly indicates restraint. Her right hand rests on a human skull in her lap. The symbolism of the skull is subtly evident: death looms in this woman’s life. It may be the recent death of Jesus or the inevitable death of every person. Death was a constant concern in the artist’s day. According to The Dead and Living in Paris and London 1500-1670 by Vanessa Harding, the Bubonic Plague, which had killed 70% of the population of Europe in the fourteenth century, had recently resurfaced in provincial France where de la Tour created the painting. The fear of the plague’s devastation would have been on the artist’s mind. Also, in the year the painting was begun, a fire had destroyed the artist’s early works, according to “Biography of Georges de la Tour” at The National Gallery of Art website. The Magdalene with the Smoking Flame was his first attempt to rebuild his legacy. The skull represents the ephemeral nature of both art and life; ars may be longa but the artist’s personal canon had been made brevis. Other items include a wooden cross lying lengthwise on the table, beside the candle. It is painted using the foreshortening technique, in which linear perspective is used to make an object appear to be thrusting toward the viewer. Two leather-bound books lie atop the cross. The most intriguing element other than the woman is the “smoking flame” of the title. A wick burns suspended in fluid, a kind of open-topped oil lamp. The bright yellow flame has dark fumes rising ominously. It is the only illumination in the painting. This is an example of the “night scene,” a style that would Tropf - 3 soon become popular among Northern painters, especially Rembrandt and Gerrit Von Honthorst, whose The Mocking of Christ is also on display at LACMA. Georges de la Tour spent his entire career in the province of Lorraine, France near the German border, according to “Biography of Georges de la Tour” at The National Gallery of Art website. Never having studied in Rome or Florence, de la Tour’s work bears a distinctly northern influence. There is no hint of the muscular figures of Michelangelo or the wrenching humanism of Donatello’s Penitent Magdalene. While not rigidly Gothic, de la Tour’s painting exhibits the style’s morose quality. The strongest influence on de la Tour, as with many painters of his day, was his contemporary Michelangelo Merisi Caravaggio. According to “What is Baroque?” at Art in the Picture, Caravaggio pioneered the Baroque style with several radical elements: he chose to portray highly dramatic moments from biblical sources, placed the main figure of his paintings off-center leaving the canvas with a great deal of negative space, created sharp contrasts of light and dark, a technique known as tenebrism, and invented the aforementioned foreshortening. Many of these elements are evident in The Magdalene with the Smoking Flame. The candle brightly illuminates Magdalene’s face, chest and lap while the rest of her body is in deep shadow. There is little outside the circle of light creating the feeling of isolation within a vast, negative space. The cross is presented foreshortened. A young woman staring at a candle might not be considered “dramatic” compared to Caravaggio’s The Crucifixion of St. Peter. In Caravaggio’s work, a muscular Peter, nailed to a beam, strains to see the workmen who place the cross headfirst into the earth. Still, The Magdalene has a quiet intensity that remains dramatic in its own right. Tropf - 4 For his subject de la Tour imagines a scene not found in the bible. Mary Magdalene appears, briefly but significantly, in each of the four Gospels. In the 27th chapter of The Book of Matthew, Magdalene is present at the crucifixion. With her is another Mary identified as the mother of James, Joses and others, who is possibly Jesus’s mother. In Matthew 28, the two Marys approach Jesus’s tomb to witness an earthquake and the appearance of an angel, “His countenance was like lightening, his raiment white as snow,” according to Matthew 28:3. The angel informs them that Jesus has risen from the dead and instructs them to inform the disciples. She plays a similar role in The Book of Mark, where she and another woman approach the grave bearing “sweet spices,” mostly likely for an anointing ceremony, and instead of an angel they meet a “young man” sitting in the tomb. Mark adds an intriguing detail: returning later alone, Magdalene sees the risen Jesus who appears first to her rather than to his disciples. Mark identifies Magdalene as a woman “out of whom he had cast seven devils,” according to Mark 16:9. The Book of Luke repeats the identification of Magdalene as a bedeviled woman, in chapter 8 verse 2. He also reports that the two Marys witness two men who “stand by them in shining raiments,” in Luke 24:4. The Book of John has the most provocative version of the story. Magdalene is present at the crucifixion along Mary, this time clearly identified as Jesus’s mother in John 19:25. In Chapter 20, Magdalene approaches the tomb alone, finds it open and runs to inform the disciples. Returning with them, she sees two men in bright raiments that the disciples are apparently unable to perceive. Turning, she sees Jesus himself but fails to recognize him. In John 20:15 he asks, “Woman, why weepest thou? Whom seekest thou?” Magdalene speaks to him, the first person to do so after the crucifixion, asking if Tropf - 5 he has taken the body. He calls her by name, she recognizes him and calls him “Rabbi.” Jesus then admonishes her not to touch him. She informs the disciples of what she has seen and heard, and then vanishes from the biblical account. Nowhere is Magdalene identified as a prostitute, a profession popularly attributed to her. Some claim her to be “the woman taken in adultery” whom Jesus rescues in The Book of John Chapter 8, but there is no biblical credence to this claim. Magdalene’s origin and identity, save as a companion of Jesus, will forever remain a mystery. Magdalene’s significance in Christianity is simple but profound: as the first to witness the risen Jesus, she is proof of the importance of women in Christian life. If a woman once possessed by “seven devils” can achieve redemption, all women can. George de la Tour’s The Magdalene with the Smoking Flame remains mysterious as well. There is no image in the painting to identify her as the biblical Mary Magdalene, only the title. Perhaps the flame represents a figure in “shining raiment,” or perhaps the eternal love promised by the life and resurrection of Jesus. De la Tour intriguingly offers the swollen belly and the skull as additional questions that remain unanswered. Magdalene herself, facing away from the viewer, casually attired and unaware of our presence, quietly maintains the mystery. ARTIST/CULTURE The artwork I have chosen is ​Lot and his Daughters​ by ​Orazio Gentileschi.​ This piece of art was created in 1622. Orazio Gentileschi was a painter from Italy. Born in Tuscany, he started his career in Rome, painting in a mannerist style, much of his job of painting the figures in other artists ' ornamental arrangements. The tale of Lot and his daughters is one of the most shocking episodes in the Bible. As recounted in Genesis 19, the story begins with the visit of two angels to the wicked city of Sodom. In February 1639, Gentileschi died in London, then was buried in the Queen's Chapel at Somerset House. The article I used to find this information is "​Human Drama and Psychological Insight: Rubens's ​Lot and His Daughters​" on ​The Met. ​Here is the link: Link HISTORY The artwork I have selected is ​Lots and His Daughters ​by Orazio Gentileschi. Gentileschi was born in Pisa, Italy 1562 and deceased in London, England 1639. Gentileschi came under the influence of Caravaggio in the first years of the 17th century, in Rome. The birth of Gentileschi in Italy from 1545 to 1563 was one of the most important ecumenical conferences of the Roman Catholic Church, now recognized as the embodiment of the Counter-Reformation, the Catholic Revival period that started in reaction to the Protestant Reformation. Gentileschi's painting style is Baroque, affected by the Baroque era from around 1600 to 1750, which took place during the Gentileschi period. The Baroque era began in Rome, Italy, which is crucial to Gentileschi's career because he lived in Rome around this time, so it was very crucial to his art job. A few years before the artist's birth in 1577, his dad, Jan, was in the midst of a sex scandal that troubled European politics and almost cost him his life. Jan Rubens fell in love with his employer, who ultimately gave birth to his daughter, serving as the lawyer to the Princess of Orange, whose husband was the leader of the Netherlands revolt. The article’s I used to find this information on is called "Human Drama and Psychological Insight: Rubens's ​Lot and His Daughters​" on ​The Met ​and “Orazio Gentileschi” on ​Encyclopaedia Britannica. H ​ ere are the links: ​Link (Links to an external site.)​ ​Link (Links to an external site.)​ (Links to an external site.) STYLE The artwork I chose is called ​Lot and His Daughters​ by Orazio Gentileschi. This artwork's style is Baroque. Baroque has exaggerated detail and this exaggerated detail is used to produce drama. The paintings of the Baroque period are also very appealing to the emotions of its audience. This painting, in particular, is full of emotion and dramatic detail because they believed they were alone in keeping the human race alive. The article I used to find this information is "The Baroque Period" by ​Lumen​. Here is the link:​Link SUBJECT The artwork I have chosen is​ Lot and his Daughters​ by Orazio Gentileschi. The subject is more biblical and it has to do with the story of lot and his two daughters. The city, Sodom, was burning and they all thought they would be alone in the reproduction of the human race. Therefore, they seduced their father and had his children. It’s in the Bible, Genesis 19. I found this information on the article “Lot and His Daughters” on ​Getty.edu. Here is the link: ​Link (Links to an external site.) THEME The theme in ​Lot and his Daughters​ by Orazio Gentileschi is erotic. Lot's daughters seem to be absorbed by an event that takes place beyond the boundaries of the painting. God's annihilation of Sodom's city, burning away. Believing that they survive alone to perpetuate the human race, the girls plucked alcohol from their dad to help their incestuous seduction of him. In Europe of the seventeenth century, depictions of Lot and his daughters were common because they offered a just background in which to demonstrate a cultural tabou. The topic is often viewed as a pure pretext for performers to interact with an sexual motif, but in this picture, the lack of nudity or palpable sensuality indicates otherwise the motives of Gentileschi. I found this information on the article “​Lot and His Daughters​” on Getty.edu. Here is the link:​Link
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Explanation & Answer

Attached.

Lot and His Daughters
I.

One of the most expressive and beautiful artworks on permanent exhibition in Loss Angeles
County Museum of Art (LACMA) is "Lot and His Daughters” by Orazio Gentileschi

II.

The painting features almost coincides with the Noah incidence as narrated in Genesis 9: 2124 by King James Version.

III.

On the backside, the woman who is holding Lot on the waste line in a seductive manner.

IV.

According to Lot and his daughters on the website Wikipedia, lots and daughters’
masterpiece was created in 1622 by Orazio Gentileschi, who was a painter from Italy

V.

According to the Baroque Period by Eastlake by Charles, and Joseph, Orazio Gentileschi
Orazio chose to use a Baroque style in his artwork.

VI.
VII.

For the subject, Orazio chooses characters in the bible.
In the Lot and his two daughters, Orazio Gentileschi, brings an erotic theme.


1

Name
Institutional Affiliation
Date
Lot and His Daughters
One of the most expressive and beautiful artworks on permanent exhibition in Loss
Angeles County Museum of Art (LACMA) is "Lot and His Daughters” by Orazio Gentileschi.
This masterpiece was created in 1922 by Orazio Gentileschi. In this early Baroque artwork,
Orazio Gentileschi portrays the scripture figures of Lot and his daughters after freeing from
Sodom. The biblical passage corresponds to this painting, and the artist is moved by his
creativity or impressions created a portrait that reflects the scenario in genesis chapter 19. The
artwork brings an intriguing scenario after Lot and his family escaped God anger upon the city of
Sodom. The figure and the symbols reflect a problematic moment after all the entire city and its
occupants were destroyed by God and the Lot and his two daughters were the only remnants.
The painting features almost coinc...


Anonymous
Excellent resource! Really helped me get the gist of things.

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