Humanities
Comparison of Dutch and French Baroque Art Discussion

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Art made during the Baroque period in Europe took many forms. Today, we will look at the various styles and/or genres of art made in different parts of Europe at this time.[30 mins] Compare and contrast the examples of painting or architecture. Each example will be assigned to specific class members. Read over the examples and use formal/contextual analysis processes to compare/contrast the works. Submit a typed, double-spaced paper to the drop box (U3CP2) by March 25. Please use the following template to format your paper.

Rubens and Rembrandt (last name A–I)

Answer the following questions for each work

Painting–What does this image depict? What is being emphasized? How does the artist use color and/or light? What are the social, political, economic, or religious factors that are important to understanding this work?

Smarthistory | Peter Paul Rubens, The Presentation of the Portrait of Marie de’ Medici https://smarthistory.org/rubens-the-presentation-of-the-portrait-of-marie-de-medici/

Smarthistory | Rembrandt, The Night Watch

https://smarthistory.org/rembrandt-the-night-watch/

Versailles and St. Peter’s (last name S–Z)

Architecture–Where is this located: palace, church, capitol, other? For whom was this structure made? What past architecture influenced the design? What are the social, political, economic, or religious factors that are important to understanding this structure?

Louis le Vau, André le Nôtre, and Charles le Brun, Château de Versailles – Smarthistoryhttps://smarthistory.org/chateau-de-

versailles/

The Metropolitan Museum of Art | Panoramic View of the Palace and Gardens of Versailles

https://www.metmuseum.org/toah/works-of-art/52.184/

The Metropolitan Museum of Art | The Papacy and the Vatican Palace

https://www.metmuseum.org/toah/hd/pope/hd_pope.htm

Giovanni Paolo Panini | Interior of Saint Peter's, Rome | The Met

https://www.metmuseum.org/art/collection/search/437246

Films on Demand | Rembrandt: Great Artists (Series 1)

https://www.metmuseum.org/toah/works-of-art/52.184/

Comparison of Dutch and French Baroque Art Discussion
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1 inch from top Assignment Title Course Number and Name Your First and Last Name Date Indent 1/2 inch Assignment Title Center Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit 1 inch from in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat sides non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Appropriate typeface–Adobe Carlson Pro Appropriate typeface–Baskerville Appropriate typeface–Century Schoolbook Appropriate typeface–Garamond Appropriate typeface–Georgia Appropriate typeface–Times New Roman Inappropriate typeface–Chalkboard Inappropriate typeface–Comic Sans Inappropriate typeface–Papyrus Use these! 7 Don’t use these! T Double space text CONTEXTUAL ANALYSIS HANDOUT Contextual analysis can be helpful in understanding how a work of art is part of its time. Using contextual analysis, an art historian examines how a work of art was perceived or received in its time, how it is perceived today, or at any other time in history. Art is not made in a vacuum. It is often influenced or affected by social, political, economic, and religious circumstances. Art can be both the result of change and an agent of change within that same culture. It is important to consider parties involved in the creation, use, and viewing of the work—which can include artist, patron and viewers. Works of art should also be considered according to their intended and eventual use or placement. It is also important to consider our own assumptions about art. Questions to consider asking when using contextual analysis 1. Creation, use, and viewing of the artwork—the patron, artist, and viewers: o Who were the patron(s), artist(s), viewers? o What sorts of records did the artist leave about the creation of this work? Did the artist say anything about his her intentions in creating the work? Were other artists or workshop assistants involved? o What were the patron’s motives in sponsoring this work? To what extent did the patron participate in its creation? What does the contract for the work or correspondence about it reveal? Was the patron acting individually, or on behalf of an institution? o Who was able to see the work? Under what circumstances? What was the response of contemporary viewers to this work? 2. Addressing the physical work of art, its location, and use: o When was the work made? o Where was it originally located? o In what rituals was this work used or seen? o Does the work make use of rare and/or costly materials? Does it include materials that have either a ritual or symbolic value? Are they new or innovative in some way? o Are the artist’s techniques new or innovative in some way? Was there any particular significance in the choice of techniques? Revised 20200313 3. Larger social issues presented by the work of art: o What is the subject? Why would the artist, patron, or viewer be interested in a depiction of this subject? o Was this a new or innovative subject, or a new treatment of a familiar subject? If so, what prompted the change? If not, what was the motivation for conservatism? o What political, religious, and/or social messages are being conveyed through the subject matter or artistic style of this work? o Was this a new or innovative artistic style? If so, what prompted the change? Revised 20200313 FORMAL ANALYSIS HANDOUT “Formal analysis doesn’t mean simply describing what you see in a work of art, although description is part of it. It means looking at the work of art and trying to understand what the artist wants to convey.” D’Alleva, Look!, p. 27 Elements of Art LINE • The path of a moving point made by a tool, instrument, or medium as it moves across an area.2 COLOR • The visual response to different wavelengths of sunlight identified as red, green, blue, and so on having the physical properties of hue, intensity, and value.2 ü hue: chromatic distinctiveness of color ü intensity: saturation or purity of color, pure color, or mixed with a neutral or other color ü value: relative light or dark of color SPACE • The interval, or measurable distance, between points or images; can be actual or illusionary.2 SCALE • The association of size relative to a constant standard or specific unit of measure related to human dimensions. 2 Other terms that can be useful when analyzing a work of art formally: SHAPE • An area that stands out from its surroundings because of a defined or implied boundary or because of differences of value, color, or texture.2 VALUE • The relative degree of lightness or darkness. The characteristic of color determined by its lightness or darkness of the quality of light reflected by the color.2 TEXTURE • The surface character of a material that can be experienced through touch or the illusion of touch.2 Revised 20190402 Principles of Design BALANCE • The design or arrangement of parts in a whole grouping that creates a feeling of equilibrium or equality. 1 EMPHASIS • Dominance: A condition that occurs when one or more compositional elements within a visual field is emphasized and becomes more visually prominent than the others. 1 • Focal Point: A compositional device emphasizing a certain area or object to draw attention to the piece and to encourage closer scrutiny of the work. 3 Questions to consider asking when using formal analysis • • • • • • • • • What is being emphasized? How is it being emphasized? What does the artist use to create emphasis? Line, shape, color? How does the artist use color? Is there a pattern or rhythm to the work of art? Is there an overall harmony or unity to the work? Do the elements seem connected or disconnected? Does the work evoke an emotion? How does the artist achieve this effect? What is the format of the work, vertical or horizontal? Is it a large- or small-scale work? What type of texture is seen in the work of art? Does the work seem rough or smooth? What indication of space is inherent in the work of art? Does the artist create an illusion of depth in the work? How is this achieved? 1 Basic Visual Concepts and Principles, Allschlaeger and Busic-Snyder, 1 ed. 2 Art Fundamentals: Theory and Practice, Ocvirk, et al. 11 ed. st th Revised 20190402 ...
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Running head: COMPARISON OF DUTCH AND FRENCH BRAQUE ART

Comparison of Dutch and French Baroque Art
Name
Institutional Affiliation

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COMPARISON OF DUTCH AND FRENCH BRAQUE ART

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Comparison of Dutch and French Baroque Art
Baroque art has some characteristics, which makes it one of the renowned paintings in
the world. In most cases, baroque is grandeur, sensuous, is abundant, contains drama, displays
dynamic, shows movement, has tension, is emotional, and has a tendency to blur distinctions
between the different arts (Kroulek, 2017). Additionally, baroque was a style characterized to
give precise details in the production of architecture, painting, drama, literature, dance, and
music, among others. This paper will have a detaile...

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University of Virginia

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