Peer Review 3 There are three required peer reviews in this course. A peer review is associated with each Paper. Each peer review accounts to 2% of your overall course grade. The timeframe for completing the peer review is as follows: Wednesday - Posts your draft paper--this version should be a "complete draft" which is within the given word count, and not an outline or just notes. Friday - Deadline for completing two peer reviews. Note that the peer review must be thorough and follow the tips in the Resources folder. Saturday - Submit completed paper (revised according to the most helpful peer review comments you received). Please refer to the Peer Review instructions in the Resources folder for specifics on completing a peer review. Peer Review Instructions GRADING BREAKDOWN: Posted a quality draft by Wednesday: up to 40 points. Posted two quality peer reviews by Friday: up to 45 points. Mechanics, References, Structure Addressed: up to 5 points. Requirements of Assignment Addressed: up to 5 points. Paper Rubric Items Addressed: up to 5 points. Total: up to 100 points The draft of your paper is due to the Peer Review board by Thursday. Post 2 peer reviews are due by Saturday. Submit the final paper to the assignment by Sunday. Tips on doing a peer review: • Mechanics: Note APA errors. Note grammar/spelling errors. References: o Suggest two or three alternate references the student could use to strengthen his or her paper. Paper Structure: o Take a close look at the “flow” of the paper – does the end of one paragraph lead into the first sentence of the next paragraph. o Suggest ways to strengthen the Introduction and Conclusion. o o • • Ensure the draft meets the requirements of the assignment: • • • • • 750 words _ not counting title page and references APA – not – MLA – is used for citations and references Images: At least one image must be placed in the document, with a caption and citation or URL to its webpage. The “think about it” question is chosen from the correct chapters. At least one scholarly resource – like a journal - is used to answer the chosen question. • • • • • Title Page: should indicate the student's own thesis, along with the student name, date and course name. Think About it Question: The chosen "Think About It" question must be placed in quotation marks (" ") above the first paragraph of the essay with an in-text citation to its page number in the book. Organization: The essay requires an introduction that indicates the student's thesis statement; body paragraphs with one topic per paragraph; as well as a conclusion that sums up the main points. Citation Style: APA Document Style: MS Word (.doc or .docx) or .rtf. Ensure paper addresses elements noted in the rubric: • • • • Content (Thesis, Argument, Logic, Organization) Use of Examples (noting material data) Spelling, grammar and language usage Image with caption, and citation/ URL Paper 3 Answer any one of the questions asked in the "Think About It" sections at the end of chapter 30. Besides using your textbook, students are required to utilize at least one other outside scholarly source to answer their chosen question. Length: At least 750 words, not counting citations or the title page. Images: At least one image must be placed in the document, with a caption and citation or URL to its webpage. Format: The title page should have a title that indicates the student's own thesis, along with the student name, date and course name. The chosen "Think About It" question must be placed in quotation marks (" ") above the first paragraph of the essay with an in-text citation to its page number in the book. Organization: The essay requires an introduction that indicates the student's thesis statement; body paragraphs with one topic per paragraph; as well as a conclusion that sums up the main points. Citation Style: APA. Document Style: MS Word (.doc or .docx) or .rtf. Grading Rubric Content (Thesis, Argument, Logic, Organization): up to 75 possible points. Use of Examples (noting material data): up to 10 possible points. APA. Spelling, grammar and language usage: up to 10 possible points. Image with caption, and citation/URL: up to 5 possible points. TOTAL: 100 possible points. First Student – Miriam “Summarize some of the key stylistic traits of French Rococo art and architecture and explain how these traits relate to the social context of salon life. Then analyze one Rococo work from this chapter and explain how it is typical of the period style.” (Stokstad & Cothren, 2018, p. 977). French Rococo art and architecture is an artistic style that became popular in Paris during the 18th century. The word Rococo is a fusion of the Italian term "barocco" and the French word "rocaille” to describe the sophisticated and whimsical aesthetic that emerged around 1715, when the Duc d'Orléans, regent for the boy-king Louis XV, decided to move from Versailles to Paris (Stokstad & Cothren, 2018). With him, moved the Rococo style and it was popularized in France and, subsequently, the rest of Europe, primarily Germany and Austria (The Editors of Encyclopedia Britannica, 2019). When the French court relocated to Paris, courtiers constructed exquisite town residences, with social rooms that were smaller than those at Versailles but just as magnificently adorned. These locations, as well as the events that took place in them, were known as salons, and they were social hubs for wealthy noblemen. They permitted aristocrats to exchange witty comments, eloquent manners, and display their extravagant lifestyles devoted entirely to enjoyment, recreation, and sensuousness, which quite often disguised social uncertainty and insecurity (Stokstad & Cothren, 2018). Rococo architecture was used to design and construct these social rooms, and art pieces in this style were used to decorate them. A very dominant feature of Rococo art is whimsicalness. Unlike the Baroque style, which came before it, the Rococo style had a very soft color scheme. With pastel colors and great use of ivory-white, gold, and silver, this style of art and architecture successfully exudes a sense of playfulness and lightness, which made salons a great fit for wealthy men who were after that atmosphere (Art in Context, 2021). Another prevailing characteristic of Rococo art is the impressive use of curves that show off or mimic natural structures, which gave the art and architecture asymmetry. Examples of this are twisted scrolls, curved furniture, ornaments sculpted into the forms of shells and plants, and complete rooms designed in the shape of an oval (ThoughtCo, 2017). Additionally, Rococo art often depicted symbols of intelligence and sophistication, such as mythology. Similarly, symbols of beauty, sensualness, and courting were also generally displayed, and all of these fell right in with the interests of the aristocrats who frequented the salons (Art in Context, 2021). A piece of art that remarkably brings together the characteristics of Rococo art is Jean-Antoine Watteau’s painting, "Pilgrimage to the Island of Cythera," which was painted in 1717. He painted for Paris’s emergent bourgeoisie, who frequently bought paintings for their dwellings from local art merchants. Watteau was one of the most outstanding and creative artists of the eighteenth century and had a prolonged influence on the development of Rococo art in France and throughout Europe (The Met Museum, 2020). Pilgrimage to The Island of Cythera, Jean-Antoine Watteau 1717 https://www.artble.com/artists/antoine_watteau/paintings/embarkation_for_cythera (Links to an external site.) This piece is very typical of this period style because it skillfully combines the most striking features of the Rococo style into the iconic, timeless piece of art it is today. It depicts an idealistic view of the picturesque and sensual life of French noblemen in the 18th century, but with a somber underlying theme that alludes to the brevity of human happiness (Stokstad & Cothren, 2018). This is an indication of cleverness, which made it a great fit for social rooms because it corresponded with the aristocrats’ love for sophistication and intelligence. In Watteau’s fantasy land, finely clothed and gracefully positioned couples end their day's intimate dalliances on Cythera, the island devoted to Venus, the Roman goddess of love. These themes of sensuality, as well as the connection to mythology, are typical characteristics of Rococo art that Watteau demonstrated superbly. The couples are in the lush, green countryside, and Watteau used carefree, curved motions of the paintbrush to mimic the leaves on the tree. They are clad in magnificent silks, satins, and velvets, which are painted in pastel colors, and this fact exhibits an atmosphere of playfulness and lightness as well as the aristocrats' great wealth (Stokstad & Cothren, 2018). In conclusion, French Rococo artwork has many unique stylistic traits, which are emphasized above. This style of art has had a steadfast influence on Renaissance art all over Europe and is still highly revered today. It was especially appreciated in France in the 18th century, when salons or social rooms were popular locations frequently visited by aristocrats. Distinctive features of Rococo art were a result of the flamboyant and sophisticated lifestyles of the nobles who patronized the salons, and this was reflected in their extravagantly embellished ceilings and walls, their lascivious paintings, and their extravagantly eccentric furniture pieces (Stokstad & Cothren, 2018). References 1. Art in Context. (2021, February 26). Rococo Art - Looking at the Luxurious and LightHearted Rococo Period. Art in Context. https://artincontext.org/rococoart/#A_Brief_Introduction_to_the_Rococo_Style (Links to an external site.) 2. Stokstad, M., & Cothren, M. W. (2018). Art history. Volume 2. Pearson. https://bookshelf.vitalsource.com/reader/books/9780134485195/pageid/416 (Links to an external site.) 3. The Editors of Encyclopedia Britannica. (2019). Rococo | Definition, Art, Painting, & Characteristics. In Encyclopædia Britannica. https://www.britannica.com/art/Rococo (Links to an external site.) 4. The Met Museum. (2020). The Met Museum. Metmuseum.org. https://www.metmuseum.org/toah/hd/watt/hd_watt.htm (Links to an external site.) (2017). Rococo and the Elegant Designs of the Late Baroque Period. ThoughtCo. https://www.thoughtco.com/rococo-art-architecture-4147980 Second Student – Jayree “How did the political climate during Francisco Goya’s life affect his art? Focus your answer on a discussion of Third of May 1808 (FIG. 30-45).” (Stokstad & Cothren, 2018, p. 977) Francisco Goya, whose paintings, drawings, and engravings represented contemporary historical upheavals and influenced significant 19th- and 20th-century painters, was born on March 30, 1746, in Fuendetodos, Spain, and died on April 16, 1828, in Bordeaux, France. The Disasters of War (1810–14) is a progression of temperas that depicts the horrors of Napoleon's invasion. The Naked Maja, The Clothed Maja (c. 1800–05), and The 3rd of May 1808 in Madrid, or "The Executions" are among his masterpieces in painting (1814). (Enriqueta Harris-Frankfort, n.d.) Additionally, the Peninsular War began in 1808 when French forces invaded Spain. Goya, sickened by the war's crimes, created a series of frightening prints known as the Disasters of War, in which he examined the folly and savagery of human nature. Despite the grandeur of being a famed royal painter, Goya's life was perilous due to unpredictable movements in political power accompanied by reigns of terror. Some labeled him a traitor because of his paintings of the invading French monarchy, which was a very serious charge. Part of the reason for his enormous and iconic history paintings The Second of May 1808 and The Third of May 1808 was to show his support for the restored Spanish monarchy. Goya commemorates the popular rebellion against Napoleon's occupying soldiers in these paintings. (Charles McQuillen, 2016) The Third of May 1808 is a radical departure from historical painting traditions. The Third of May 1808 depicts the military as an occupying army destroying a defenseless civilian populace, rather than celebrating military officers fighting for a noble cause. Goya concentrates on the ferocity and gore of combat, as well as the emotional misery and anguish of its victims, rather than giving a sanitized, bloodless vision of warfare. Goya's hero is summarily executed on his knees with his comrades cowering around him, rather than bravely surrendering his life in a noble gesture. Goya also deviates from the practice of portraying Christian martyrs by honoring the sacrifice of commoners at the hands of other humans. (Charles McQuillen, 2016) The 3rd of May 1808 in Madrid, or "The executions" - the collection. The Collection - Museo Nacional del Prado. (n.d.). https://www.museodelprado.es/en/the-collection/art-work/the-3rd-of-may-1808-inmadrid-or-the-executions/5e177409-2993-4240-97fb-847a02c6496c (Links to an external site.) Goya's artwork has been praised for its clever reworking of Christian symbolism as well as its moving depiction of man's inhumanity to man. The painting's primary man, who is clearly a lowly laborer, stands in for the crucified Christ, giving himself for the welfare of his country. The only source of light in the image is the lantern that rests between him and the firing squad, and it dazzlingly illuminates his body, bathing him in what appears to be spiritual light. His expression, which conveys agony rather than terror, reflects Christ's petition on the cross, "Forgive them, Father, for they know not what they do." Stigmata, which refers to the marks made on Christ's body during the Crucifixion, can also be seen on the victim's right hand. (Christine Zappella, n.d.) In addition, Goya had a clear bias in the Spanish French conflict, but his point of view adds to the conversation. A well-rounded historian should be able to supplement information with the subjective accounts of those who were present at the time. As an aspiring journalist, I believe this is the path I should go as well. Six years after the event, Francisco de Goya painted "Third of May 1808" in 1814. Nicéphore Niépce will invent the first known camera two years later, in 1816. In 1839, photography became a common practice. (Pitargue, 2018) As a result, Goya's contribution to the evolution of art became even more important as the production of images underwent a new development so soon after this painting was completed. The impressionists, who absorbed Goya's technique and composition to create soulful pieces of art that differed from pictures, rose to prominence in modern art. Goya, on the other hand, inspired a humanistic approach to engaging historical events from a journalistic stance. As journalists, we're destined to see unpleasant things, and it's vital, like Goya, to face these situations full on. (Pitargue, 2018) In conclusion, Goya was clearly a revolutionary artist because of his rebellious personality and brutal conduct. Moreover, Goya body of work was extremely diverse, they all included sketches, engravings, and paintings which referred to almost every element of current life. Each one of his pieces depicts the political and social changes of the time. His works were admired and studied by Expressionists, Surrealists, and others in the 20th and 21st centuries, and his many original achievements profoundly impressed later 19th-century French artists—Eugène Delacroix was one of his great admirers—who were leaders of new European movements, from Romanticism and Realism to Impressionism; and his works were admired and studied by Expressionists, Surrealists, and others in the 20th and 21st centuries. References: Pitargue, A. (2018, December 9). A journalist's reflection on Goya's "the third of May 1808". Medium. https://medium.com/@apitargue/a-journalists-reflection-on-goya-s-the-third-of-may-1808a5f092036f53 (Links to an external site.) Stokstad, M., & Cothren, M. (2018). Art history (Vol. volume 2). Pearson. The 3rd of May 1808 in Madrid, or "The executions" - the collection. The Collection - Museo Nacional del Prado. (n.d.). https://www.museodelprado.es/en/the-collection/art-work/the-3rd-of-may-1808-in-madrid-or-theexecutions/5e177409-2993-4240-97fb-847a02c6496c (Links to an external site.) Encyclopædia Britannica, inc. (n.d.). Francisco Goya. Encyclopædia Britannica. https://www.britannica.com/biography/Francisco-Goya (Links to an external site.) Khan Academy. (n.d.). Goya, third of May, 1808 (article) | Spain. Khan Academy. https://www.khanacademy.org/humanities/becoming-modern/romanticism/romanticism-inspain/a/goya-third-of-may-1808
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