prosses art paper

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in the attachments you will find the first part of this paper I need you to fix the mistakes then complete on it for the second part. you have to follow the instruction and also the rubric be sure to follow it any missing part will bring my final grade done

prosses art paper
prosses art paper
prosses art paper
ARH2000 Art & Culture Museum Report, PART TWO (Final Submission) Due: 06/22/18 6 points / 6% of final grade Submit your essay via the link provided in CANVAS Your work will be checked via TurnItIn, the University’s plagiarism detection service. IMPORTANT: The Museum Report is a process paper, to be completed in two (2) stages. The instructions that follow are for Part Two. You must wait for feedback from your instructor/grader on Part One before final submission. In this second and final stage of your Museum Report paper, you will both revise and expand upon your Part One essay using feedback provided by the instructor/grader. In addition to making revisions based on feedback, you will also add an examination of the work using one of the following: contextual, iconographic, feminist, or stylistic analysis. Use the instructions on the following pages. FORMAT AND SUBMISSION GUIDELINES: Use this checklist to ensure your essay is organized correctly.  Part Two of the Museum Report paper should be at least 4-5 full pages in length, no less than 1600 words. This is not 1600 new words – the word count includes any previously written material from Part One. Include a word count at the bottom of your essay.  Your essay should include fully developed introduction and conclusion paragraphs. Revise these as necessary to conform to your underlying thesis and findings in Part Two.  Use MLA guidelines when composing your paper. Use 12-point font, Times New Roman, one inch margins and indent the first line of each new paragraph. Double-space your paper. Italicize all artwork titles. Writing in first person is acceptable.  Since this paper will be submitted via TurnitIn, do NOT include your name or student ID within the paper or as a header. Replace your name with “Student.” Do not include a title page.  Submit in a Word document (.doc, .docx) or convert to .pdf. Any other formats are NOT accepted and will result in a zero (0) grade. Corrupt files or incorrect documents will also result in a zero (0).  Proofread your paper before submission. You must use correct grammar, punctuation, and spelling.  Utilize the resources provided by the Writing Studio at USF. They offer online resources in addition to in-person appointments. Another good online resource is the Purdue Online Writing Lab.  Proof of Attendance (POA) should remain attached to your paper. Instructions continue below. Page 1 of 3 ARH2000 Art & Culture INSTRUCTIONS I. Revise/Edit your previously completed formal analysis (where necessary): Review any feedback from the instructor/grader in regards to your visual analysis in Part One. Revise or edit as requested. Consider the following:  General Writing, Grammar, and Mechanics: For further help, see resources on page one.  Content: If you needed to elaborate or correct issues related to content, remember to review course material in Module 2, including the chapters in Part 2 of the textbook.  Introduction, Thesis, and Conclusion: Because you will be adding new content to this paper, your introduction, thesis, and conclusion will be revised to appropriately include the new developments in your analysis. Be clear about your thesis. Your thesis may concern one aspect of the artwork or consider it as a whole, in context. It may consider how the artwork communicates a certain message or evokes a specific response. II. Further Analysis: To further understand your artwork beyond strictly visual attributes, select an alternative type of analysis from the list below. An overview of each is provided in chapter 1.10. Although your examination of the work in this section will be briefer than your formal analysis, it will help you understand the work more fully. When utilizing any secondary sources, remember to cite correctly.  Choose one (1) of the following and discuss your artwork. The questions below are meant to prompt your thought process. Clearly identify which type of analysis you have chosen.  Stylistic analysis: What is it about the artwork makes it distinctive to the artist (e.g. technique, form, subject matter)? Are characteristics of the work shared by a group of artists and/or is the work of art part of a particular art movement? How so? Is it representative of a particular place or time period?  Iconographic analysis: Are there things in the work that you can interpret as signs or symbols? For example, is there anything that suggests a religious meaning, or indicates the social status of somebody depicted in the work? Labels often provide good information about iconography.  Feminist analysis: Is the role of women in the artwork important? Is the artist commenting on the experience of women in society? Is the artist a woman?  Contextual analysis: Would you understand the work better if you knew something about the history of the era in which it was created, or about religious, political, economic, and social issues that influenced its creation? The following are specific ways you may approach a contextual analysis: o Biographical: How might information about the life of the artist may help you to interpret the work? Labels are often a good source of biographical detail. In some museums volunteer docents are available to answer questions about an artist’s life and works. o Religious: How is the artwork related to the religious context in which it was made? Are there narrative, symbolic elements, or important persons related to a religious/spiritual context? o Historical/social: Consider historical events, and the way they appear in the work. IV. Interpretation: Now that you have examined your artwork from a variety of perspectives, reflect upon your findings as a whole. Your discussion should demonstrate that you understand the visual elements, content, and context of the artwork and how they work together to produce significant meaning. This is the part of the paper where you go beyond description and offer your own informed opinion about the work. In your concluding paragraph, reiterate important points that you made. Consider leaving the reader with something further to contemplate – artworks sometimes leave more questions than answers. Page 2 of 3 ARH2000 Art & Culture Rubric The rubric below is a general guide. A rubric with points and specific grading criteria is attached to the assignment in Canvas and will be used in evaluation. Museum Report, Part Two – Grading Rubric POINTS out of 6 SUPERIOR WORK GOOD A B AVERAGE – BELOW AVERAGE C PROOF OF ATTENDANCE ONE DAY LATE? POOR D, F Remains attached One day late: minus 1.2 points Identification, Description, Interpretation & Analysis Followed all directions. Provided an exceptionally detailed, insightful and accurate analysis throughout. Multiple instances of precise use of key terms. Exceptionally critical, relevant and consistent commentary on connections made between use of elements/principles, subject matter and meaning. Followed all directions. Proficient description of work with ample observations but more elaboration and insight is needed. Needs further use of key terms to show full understanding of course concepts. Consistent connections made between use of elements/principles, subject matter and meaning. Followed most but not all directions. Descriptions somewhat clear but discussion lacks sufficient detail. Omits important elements/principles/detail but does include several accurate observations. Demonstrates adequate understanding of elements/principles but lacks sufficient detail. Did not follow direction. Lacks many important details. Limited or inaccurate use of terms. Little or no discussion of how the artist expressed his/her idea/concept or no analysis of how the artist used technique & elements/principles. Lack of in-depth analysis. Organization Exceptionally clear, logical, eloquent, thorough development of ideas. Excellent transition between paragraphs. Plenty of evidence provided for support. Provides identifiable and effective introductory and concluding paragraphs. Clear and logical flow of ideas. Good transitions between paragraphs with only a couple of rough patches. Good points, observations, insights made but not entirely fleshed out. Introduction/conclusion identifiable but a little awkward. Somewhat clear and logical development but many observations need elaboration/development. Attempts to use transitions between ideas and paragraphs but still reads like a rough draft. Needs more supporting detail/elaboration to flesh out key points. Introduction/conclusion very unclear. Paper lacks clear and logical development of ideas, organizational structure confusing. Weak or no transition between ideas and paragraphs. Did not provide an introduction and/or conclusion. Language Conventions Concise, clear, with flawless or near-flawless grammar, spelling and paragraphing. Eloquent style Clear with mostly proper grammar, spelling and paragraphing. A few awkward phrases but not enough to confuse meaning Some errors in grammar, spelling. Paragraphs not unified. Level of language approaches a college level, but imprecise word choice Inconsistent or bad grammar, incorrect spelling, haphazard or no paragraphing. Level of language below college level Page 3 of 3
1 Museum Report: Formal Analysis of the Art Work The red figure handless lautrophoros is a formal water object which is implanted in the museum. The red figure handless lautrophoros was developed in the museum of Tampa which deals with art works. This art was developed originally by the White Sacco Painters in Apulian who are located in South Italian. The red figure handless lautrophoros was developed during the year 1987. The sculpture was then gifted to Mr. and Mrs. Charles Salman. The red vessel figure handless lautrophoros encompasses a group of sea beings and fish band moving across. The ritual water vessel is primarily designed to express the upper and the lower scene. The upper scene shows women in the water basin whilst the lower one expresses the faint house. Thus, the red figure handless lautrophoros expresses impressive images which related directly to the water body. Unlike the vibrant water vessels, the red figure handless lautrophoros do not have handles according to Benjamin, Walter, and James. However, the red figure handless is quite big and grand in gage. Notwithstanding, the red figure handless lautrophoros bases has got perforation which renders it quite nonfunctional. Perhaps, the perforation are meant to discharge grave libations. When observed keenly, the neck resembles that of a noble female. The red figure handless lautrophoros features are mostly observed ion funereally Apulian vessels arts of the museum. Consequently, the water allusions in bands figure are attributed to be concerned mostly with rites conducted at 2 mortuary instead of day to day water body’s life existence. Thus, the red figure handless lautrophoros death rituals more compared to water life. The red figure handless lautrophoros depicts more deep aspects meaning through the incorporated images greater than the physical figure definition. That is, the figure predisposition assists in expressing the mortuary rituals in real life contexts. Again no exact border which can be drawn between the extensions and intrinsic figure parts. The sculpture emphasis on amenability of picture representation which shows essential ritual analogies. The image advocates for adoption of appropriate standards when conducting certain aspects. Thus, assists in boosting sculpture awareness and image denotations. The red figure handless lautrophoros is ovoid based vessel with no handles and long neck region. These features brings meaning to different things which needs to be undertaken when conducting mortuary rituals. The vessels can be traced in the museum which exposes water relations. The term lautrophoros is incorporated to mean it is a modernized shape and antiquity which resembles various vessels used to carry water. The red figure handless lautrophoros suggests the vessels settings which were originally applied in funerary and marriage rituals. The excavated appearances and vessels shape greatly tends to support these ritual contexts. The red figure handless lautrophoros has also been modified to meet the present Athenian commentaries. The Athenian shaped the red figure handless vessel into different vessels. Line, shape and color are the leading formal arts elements. The red figure handless lautrophoros began it life primarily as a line drawing. This element encompasses the descriptive, implied and dimensional art setting. Space moving art was enacted when drawing the red figure handless lautrophoros. The shape encloses how the figure looks like especially the outwards physical appearance. The red figure handless lautrophoros is shaped into a water vessel like shape although it portrays handles inefficiencies. The two dimensional red figure encompasses width, height and depth with flat bottoms. The red figure is ovoid shaped where 3 it encompasses many features in the middle, female face at the top and bottom. The ovoid shape assists in featuring the most crucial aspects where sea like beings can be noticed at the middle conducting certain rituals which are mostly inclined to be commentary. The red figure handless lutrophoros is labeled red. The red color formal element has got the greatest impact on our inner emotions. The incorporated red color assists in creating mortuary environment mood and feelings. The color also incorporates the artwork atmosphere when we get to observe the sculpture. The red figure handless lautrophoros applies the color to depict mood, contrast, symbol, movement, form, pattern, tone and light. The red color exposes sorrowful environmental mood. Whilst it assists in contrasting the live sea creatures from other things and aspects incorporated in the drawings. The red color also symbolizes sorrowful feelings being encountered by those beings undertaking the ritual. The color also assist in expressing different patterns incorporated in the red figure handless figure. Again it is this coloring that gives the red figure form which helps in polishing the ovoid structure. The red sculpture appears to be more bright compared to the black lautrophoros images. The white labeling brings out the labeling value. Whilst we still have the gray color which assists in blending the two extremes so that these figure can best fit the occasion branding expectations. The space incorporated in the red figure handless lautrophoros exhibits the negative issues related to the occasion which assists in achieving the art work in bringing out the best features. The sculpture portrays low intensity where the color seems dull and faint. However, the appearance value adjusts greatly when the color brightness is adjusted. Therefore, these formal elements are the main building blocks of these impressive sculpture. The balance, contrast and pattern are the main principles governing the development of the red figure handless lautrophoros. The balance depicts the visual elements weight and composition. The red sculpture is labeled appropriately which assists in making sure that the sculpture looks stable and right. Symmetry is exposed where all similar elements attracts 4 same colors in which both composition sides portrays some extents of resemblances. The radial symmetry is also exposed where we have different element spaced equally around the middle. For example, we have one head at the top and bottom and two similar creatures on different sides in the middle section. Asymmetry is exposed where the creature siting at the middle seems more inclined to the left. Additionally we have a very long neck at the top and minimal space at the bottom. Contrast on the other side is exposed where we have differences in elements composition in the sculpture like that making elements much stronger compared to their counterparts. For example, when the water creatures are placed together this assists in drawing observers attention. The red sculpture contrast application assists in drawing the viewer’s mindset towards the images which assists in deriving the deep meaning. The juxtapositions of the elemental arts assists in achieving contrast. The incorporated negative and positive space it is also among the leading contrast aspects. The grey, reddish and black colors in the red figure handless lautrophoros assists in differentiating different sculptural elements. Lastly, the sculpture also incorporates the patterns which portrays the information repetition of the art. The red figure has changed many things like of creatures, heads and lines into observable patterns through repetition. The red figure pattern likewise derives rhythm through the repletion of the works of art elements. Although, the derived rhythm depends on assortment of things such as the drawings variety. Thus, the sculpture pattern assist in making the object unified which helps in bringing out the anticipated messages. Ideally, these arts elements and formal principles assists in making the red figure handless sculpture more impressive. Therefore, these arts of elements and designing principles were the most vital aspects in development of this commentary ritual sculpture. 5 6 Works Cited Benjamin, Walter, and James Amery Underwood. The work of art in the age of mechanical reproduction. Vol. 10. London: Penguin, 2008. words : 1255

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School: University of Virginia

Please let me know if there is anything needs to be changed or added. I will be also appreciated that you can let me know if there is any problem or you have not received the work. I will be also appreciated that you can let me know if there is any problem or you have not received the work Good luck in your study and if you need any further help in your assignments, please let me know Can you please confirm if you have received the work? Once again, thanks for allowing me to help you R P.S: Studypool is facing high level of traffic which may delay the downloading process. MESSAGE TO STUDYPOOL NO OUTLINE IS NEEDED

Report: 20180621000940museum_report8888 (1)

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Report: 20180621000940museum_report8888 (1)

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Last Name 1


Museum Report: Formal Analysis of the Art Work

The red figure handless loutrophoros is a formal water object implanted in the
museum. The Greek Apulian created the red figure handless loutrophoros. This piece of art
basis its point of origin in Italy. Experts in the field of art believe that the red figure handless
loutrophoros created between the years 350 and 330 BC. Mr. and Mrs. Charles Salman then
gifted the sculpture. This paper acts, therefore, as a form of analysis of the art in this context.
Getty Villa, located on the eastern side of Malibu coast, stands out as an educational museum.
The museum offers a wide range of pieces of historical and also cultural art obtained from
diverse areas of the globe. Specifically, the museum dedicates its time and resources to
deliver history and culture of the art in areas such as Greece, Etruria and also the ancient

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Rome. The first...

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