FA 150 University of North Dakota Art Questions

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Noqhy1773

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FA 150

University of North Dakota

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Choose ONE of the two art works here to write your paragraph description. Begin the first sentence with the full name of the work — use it as the subject —

For example, "Vincent Van Gogh (1853-1890), Thatched Cottages at Cordeville, 1890, oil on canvas, 73 x 92 cm, Musée d’Orsay, Paris, is a beautiful painting that powerfully expresses the artist's personaltiy."

This powerpoint presents all of the details you will need (probably more than you need), so your job is to organize them. This is the first paragraph for the body of the paper due on February 4. See the outline on page 7 of the syllabus that shows how the paper is to be put together.

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FA 150 – Spring 2021 Visual Art Examples for Paper (Choose one) These are the complete names of each work. Use the whole thing as the subject of your first sentence. 1. Benvenuto Cellini (Italian, 1500-1571), Saltcellar (saliera) of Francis I, 1543, hammered gold, ebony and vitreous enamel, 33.5 x 26cm, Kunsthistorisches Museum (of Art History), Vienna, Austria. 2. Claude Monet (French, 1840-1926), Waterlilies, 192026, Oil on Canvas, 219 × 602 cm, Musée de l’Orangerie, Paris. How to List a Work of Visual Art • • • • • • Creator (his/her dates) Name of Work, its date, Medium, Dimension(s), Location — Collection, Location — City (Country). Benvenuto Cellini, Saltcellar (saliera) of Francis I, 1543, being returned to case Benvenuto Cellini (Italian, 1500-1571), Saltcellar (saliera) of Francis I, 1543, hammered gold, ebony and vitreous enamel, (33.5 x 26cm), Kunsthistorisches Museum (Art History Museum), Vienna, Austria. Benvenuto Cellini, Saltcellar of Francis I, from above Benvenuto Cellini, Saltcellar of Francis I, salt side Benvenuto Cellini, Saltcellar of Francis I, salt boat detail Benvenuto Cellini, Saltcellar of Francis I, pepper side Benvenuto Cellini, Saltcellar of Francis I, pepper temple detail Benvenuto Cellini, Saltcellar of Francis I, Ceres from the back Benvenuto Cellini, Saltcellar of Francis I, Allegories on base Benvenuto Cellini, Saltcellar of Francis I, Allegories on base A Wind or Season Benvenuto Cellini (Italian, 1500-1571), Saltcellar (saliera) of Francis I, 1543, hammered gold, ebony and vitreous enamel, (33.5 x 26cm), Kunsthistorisches Museum (Art History Museum), Vienna, Austria. Benvenuto Cellini, Saltcellar (saliera) of Francis I, 1543, being returned to case Background & Description 1 – Cellini’s Saltcellar Cellini's gold and enamel container for salt and pepper was produced for the French King, Francis I, whose great grandson, Charles IX, gave it to Archduke Ferdinand II of Tyrol in 1570; it is now in Vienna. On top—two main figures: Neptune, god of the sea, next to a small boat shaped like a nautilus shell to hold salt, and Ceres, the goddess of earth, next to an Ionic temple in the form of a triumphal arch to hold pepper. Ceres sits on two elephants, land animals; she holds her breast with one hand and with the other, a cornucopia, symbols of nourishment and plenty. Neptune sits on a scallop-shell chariot drawn by two seahorses and holds his trident and a fish net, more symbols of plenty. Several motifs symbolize the king, including the elephant, lilies (symbol of the French kingd) on the cloth below Ceres, and a salamander, François I's personal emblem. François I employed Cellini from 1537 until 1545, and it was then that he made his first sculptures. This is his only surviving work in gold. The work was stolen from the museum in May 2003 and recovered by police in January 2006. From Web Gallery of Art http://www.wga.hu/html_m/c/cellini/1/index.html/ Non-underlined information must be cited in a footnote or bibliographic entry. Underlined information either was discussed in class or is based on my own observations. Background & Description – Cellini’s Saltcellar Cellini's gold and enamel container for salt and pepper was produced for the French King, Francis I, whose great grandson, Charles IX, gave it to Archduke Ferdinand II of Tyrol in 1570; it is now in Vienna. Amazing intricacy of detail! A female nude reclines on the pepper temple, with two smaller male nudes ocolumns at each end, and a figurehead and tail on the salt boat. The ebony base is decorated with reclining figures. They symbolize the four times of day alternating with four winds or seasons. Two times of day are modeled on Michelangelo’s Medici tombs in the church of San Lorenzo in Florence: on Neptune’s right, on a blue ground, Michelangelo's male figure of Day, from the tomb of Giuliano de’ Medici; on Ceres’ left, on a red ground, Michelangelo's figure of Dawn, from the tomb of Lorenzo de’ Medici. The other two on the side with Neptune on the right are looser adaptations of Michelangelo’s Night (right, on black) and Dusk (left, on green). The winds (puffed-out cheeks) or seasons are more difficult to identify, but they are probably: Boreas-North-Winter, Zephyrus-West-Spring, Auster or Notus-SouthSummer, Eurus-East-Autumn. Between the Winds/Seasons and Times of Day are other small symbols of the substance above them—— With Neptune at the left, they may be an anchorleft, and crossed tridents-right. With Ceres at the left, they may be sickles-left, and weapons (bow & arrow, shield)-right. The ends are less clear: under Ceres’ left–a shovel; on her right maybe a flail. Under Neptune’s right– a sail; on his left, maybe an oar. Claude Monet (French, 1840-1926), Waterlilies (Nymphéas), 1920-26, Oil on Canvas, 219 × 602 cm, Musée de l’Orangerie, Paris. Background – Earlier Waterlilies by Monet Claude Monet (French, 18401926), Waterlilies, 189799, Oil on Canvas, 81 x 100 cm, Galleria nazionale d’arte moderna, Rome. (for comparison only) Background – Earlier Waterlilies by Monet Claude Monet (French, 1840-1926), Waterlilies, 1907, Oil on Canvas, 72 X 101.5 cm, Collection of Israel Museum, Jerusalem. (for comparison only) Background – Earlier Waterlilies by Monet Claude Monet (French, 18401926), Waterlilies, 1922, Oil on Canvas, 2 m (79.02 in) x 2.13 mm (83.98 in), Toledo Museum of Art, Toledo, OH. (for comparison only) Claude Monet (French, 1840-1926), Waterlilies (Nymphéas), 1920-26, Oil on Canvas, 219 × 602 cm, Musée de l’Orangerie, Paris. Background & Description – Monet’s Waterlilies - 1 All this information was either discussed in class or is based on my own observations–no citation is necessary. Monet invented the Impressionist style. He did several image series: the cathedral of Rouen (3 in the National Gallery, DC alone ), haystacks (one in the Minneapolis Institute), the Japanese bridge in his garden at Giverny, and waterlilies–the largest series–over 250 paintings over several decades. Begin by looking at the series of four paintings I included, in chronological order, to see how his style changed. In 1897-99, the flowers are realistic in shape and color, if a bit rough around the edges in the Impressionist style. Over the next 30 years, there is more interest in the play of light, texture of brush strokes and brighter colors. Although depth is still clearly perceptible, the design and texture of the flat surface become increasingly prominent. Some features of this flat surface design include: balanced colorings–lavender-blue shading to green on the left and green shading to orange yellow on the right, balanced groupings of flowers–large groupings above on the left and below on the right, with smaller groupings below on the left and above on the right, contrasting background brushstroke directions on left and right moderated by similar different patterns for the lilies. There are brilliant contrasting colors throughout, almost beyond realism, and a rough prominence of the brushstrokes that gives them a tactile quality that can almost be felt without actually touching. Background & Description – Monet’s Waterlilies - 2 All this information was either discussed in class or is based on my own observations–no citation is necessary. Waterlilies (Nymphéas), 1920-26, was one of Monet’s last paintings. It is one of a series of paintings he did for elliptical rooms in the Orangerie museum especially renovated for large expanses of his custom-painted waterlily murals. The artist retained the work in his possession until his death, when it was moved to Paris and mounted in its intended place. This work is painted on two adjoining canvases. The scene it depicts seems to be waterlilies floating in two areas of his Giverny pond: on the left, over deeper water, with a predominant blue color; on the right in shallow water among reeds with greens in the center merging with oranges and browns on the far right. Both sections include reeds; on the left, in indistinct diagonal rounded brushstrokes suggesting reflections; on the right, with clearer vertical brushstrokes suggesting the actual reeds. The lily pads are done with rough circular or elliptical brushstrokes in bright yellow, with highlights in white, lime green and orange. The flowers are in red (most) and white (a few). Wonderful splashes of highlighting color appear in all areas of the painting. In addition to those mentioned above, salmon and green appear in the lily pads, while the water contains orange, violet and magenta. All of the brushstrokes are rough, more suggestive than delineating; nevertheless the whole picture is very clear. The style stretches the boundaries of Impressionism in the direction of Post-Impressionism, with swaying waves of brushstrokes like those of Van Gogh, and a concern for the flat surface design that rivals in importance the actual depiction in depth. Fine Arts 150 - Paper Drafts (optional part for 2nd draft in red) Introduction (about 1/2 page, 12-point, double-spaced) For a theme, develop a thesis that unifies the descriptive paragraphs. Thesis idea can also be used in transitions. -Transition to next paragraph- -Transition from previous paragraph, Visual Art Paragraph (about 1 page) Must use one of the two art works presented in class. -Transition to next paragraph, -Transition from previous paragraph, Music Paragraph (about 1 page) Must use one of the two musical works presented in class. -Transition to next paragraph -Transition from previous paragraph- Optional Extra Credit Theater or Dance Paragraph -new in 2nd draft if added (about 1 page). Must use one of the four videos presented in class. -Transition to next paragraph- -Transition from previous paragraph, Conclusion (about 1/2 page) Summary, related to the thesis/theme from Introduction.
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Art Questions

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Art Questions
Introduction
The disposition of art helps in the depiction and embodiment of human skills and
appreciation of artistry interaction. Pieces of arts included in the course discussion are
decrypted in the works of different artists with intention to convey the subject matters as well
as a fostering the appreciation of humanity creativity to lead in outlining issues in the society.
To that purpose it posits human ingenuity which offers a path to demystify our existence and
interaction with the surroundings. In performance, visual and graphic art there is a mutual
relationship in the exposition of social information made by different designers and artists
fronting the production of creative works and displaying impressive arts. Principles in art is
accorded recognition through exhibitions artists who exhibit an open and creative mind
drawing concept from the surrounding and other complementing disciplines (Schwartz,
2017).
Extensively, the ...


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