11/13/2018 Assessment 5 Context Print Assessment 5 Context Widespread use of high-powered steam engines during the nineteenth century, along with perfection of processes for the manufacture of steel and the emergent application of electricity for commercial purposes, resulted in the rapid development of industrial progress. European powers expanded their colonial empires in order to secure the necessary raw materials, and even at home, the divide between "haves" and "have-nots" grew alarmingly. As downtrodden workers began to revolt, Karl Marx and Friedrich Engels addressed the situation directly with an earnest critique of the capitalist economic system as a whole. Fiction writers like Dickens, Tolstoy, Flaubert, and Ibsen drew attention to the practical consequences of social inequality for the dispossessed, especially the working poor and women. In the Romantic era, the appreciation of nature and elevation of heroic individuals were the focuses of artists including Constable, Turner, and Goya. These themes were largely abandoned in a new wave of realism from artists like Honoré Daumier and Edouard Manet in France and Winslow Homer and Thomas Eakins in the United States. Their efforts to faithfully record events from ordinary life, however, soon gave way to the use of photographic equipment that could capture such moments technologically. Painting, on the other hand, soon moved away from this kind of objectivity by employing new chemical pigments to portray light and color in a less-formal style that came to be known as Impressionism. Claude Monet used muted but contrasting colors to focus on visual perception of surfaces. Pierre-Auguste Renoir employed similar techniques to those used by Monet to capture spontaneous glimpses of life. American Mary Cassatt portrayed domestic scenes with vivid color and light. Henri de Toulouse-Lautrec pictured Parisian dancers and prostitutes on dramatic posters. Seurat's pointillism and Cézanne's abstraction further flattened perception of the visual surface. During the twentieth century, painters explored a variety of options, from the social realism of Diego Rivera to the bizarre choice of colors by Henri Matisse. The dominant figure of this period was Spaniard Pablo Picasso. After early efforts in representational painting and reliance on a restricted palette, especially in muted tones of blue and rose, Picasso created an entirely new approach that came to be known as Cubism, the often disjointed separation of figures into abstract planes. Picasso also introduced the practice of assembling collages that added a third dimension to painted surfaces. In the generations that followed, other artists pursued even more disruptive challenges to tradition: abstract expressionism, dada, surrealism, and pop art. The entire history of the fine arts has provided us with a rich vocabulary with which to analyze and interpret the significance of visual perceptions, which can be applied to natural objects and photographs as well as to paintings in a variety of styles. By studying art, we learn to speak of line, shape, form, color, texture, framing, and design. In our own lives, we see these same elements combined in lively fashion for commercial purposes as well. Advertisements in magazines, newspapers, and Web sites—as well as movies and television—incorporate the same variety of styles and aesthetic principles. The twentieth century brought remarkable upheaval to human civilization. Two world wars devastated Europe economically and brought death to millions of its inhabitants and included a determined but unsuccessful effort to exterminate the Jewish population altogether. Political revolutions in Russia and China—along with nationalistic movements in other countries around the world—often failed to produce any relief from the social instabilities they sought to address. Intellectual developments were no less disruptive. Planck, Einstein, and Heisenberg thoroughly upset older views of the physical world, while Freud, Adler, and Jung did the same for study of psychology. In the humanities, this era ushered in Modernism, a movement that sought to abstract essential form out of the quotidian expression of values by more traditional means: Pound, Eliot, and Yeats wrote poetry conveying intellectual content in highly compressed language. https://courserooma.capella.edu/bbcswebdav/institution/HUM-FP/HUM-FP1000/180700/Course_Files/cf_assessment_5_context.html 1/2 11/13/2018 Assessment 5 Context Proust, Kafka, Joyce, and Woolf introduced stream-of-consciousness to works of fiction. Wells, Huxley, Orwell, and Clarke drove speculation with their fiction about the social implications of our scientific future. Kandinsky, Mondrian, and Calder advanced the visual abstraction pioneered by Picasso and Matisse. Dali, Magritte, Miró, and Kahlo pushed these developments even further with their surreal art. The International Style of architecture used new materials to fashion starkly functional buildings at every scale. Even the performing arts were influenced by this movement: The plays of Eugene O'Neill, Bertolt Brecht, and Samuel Becket combined classical elements of drama with self-conscious acknowledgement of the artificiality of the medium. Films by Sergei Eisenstein, Leni Riefenstahl, Jean Cocteau, and Federico Fellini used extravagant visual imagery to evoke direct emotional engagement with their audiences. Musical works by Igor Stravinsky and Arnold Schoenberg departed from traditional tonalities with inventive twelve-tone and aleatoric music. Worthy of special mention is the growing influence of American culture during the twentieth century. Although Aaron Copeland employed some of the modernist compositional techniques, he also made extensive use of melodies from distinctive American religious and folk traditions. In New Orleans, Memphis, and Chicago, charismatic performers drew on African, Caribbean, and Spanish influences to develop the syncopated, improvisational style of music known as jazz, which had its golden age in the works of Louis Armstrong, Charlie Parker, "Duke" Ellington, and Miles Davis. In literature, writers like Zora Neale Hurston, Langston Hughes, W. E. B. DuBois, and Alain Locke gave vivid expression to the experience of African-Americans in what has come to be known as the Harlem Renaissance. https://courserooma.capella.edu/bbcswebdav/institution/HUM-FP/HUM-FP1000/180700/Course_Files/cf_assessment_5_context.html 2/2 11/13/2018 Visual Arts Scoring Guide Visual Arts Scoring Guide CRITERIA NON-PERFORMANCE BASIC PROFICIENT DISTINGUISHED Describe how the visual arts developed in the 17th through 20th centuries. Does not describe how the visual arts developed in the 17th through 20th centuries. Does not describe how the visual arts developed in the 17th through 20th centuries. Describes how the visual arts developed in the 17th through 20th centuries. Explains how the visual arts developed in the 17th through 20th centuries; explanation cites key movements, artists, influences, dates, and changes. Explain the aesthetic principles expressed in the visual arts. Does not explain the aesthetic principles expressed in the visual arts. Lists aesthetic principles expressed in the visual arts. Explains the aesthetic principles expressed in the visual arts. Analyzes the aesthetic principles expressed in the visual arts; analysis persuasively links traditional design elements to contemporary images. Illustrate the use of visual arts in commercial design. Does not illustrate the Describes the use use of visual arts in of visual arts in commercial design. commercial design. Illustrates the use of Assesses the use of visual visual arts in arts in commercial design. commercial design. Assess how visual images in advertising influence our buying habits. Does not assess how visual images in advertising influence our buying habits. Explains how visual images in advertising influence our buying habits. Assesses how visual images in advertising influence our buying habits. Analyzes how visual images in advertising influence our buying habits; analysis persuasively links design elements to marketing messages. Write coherently to support a central idea in appropriate format with correct grammar, usage, and mechanics. Does not write coherently to support a central idea in appropriate format with correct grammar, usage, and mechanics. Writes in support of a central idea with inconsistent attention to format, grammar, usage, and mechanics. Writes coherently to support a central idea in appropriate format with correct grammar, usage, and mechanics. Writes coherently, using evidence to support a central idea in a consistent format with correct grammar, usage, and mechanics. https://courserooma.capella.edu/bbcswebdav/institution/HUM-FP/HUM-FP1000/180700/Scoring_Guides/u05a1_scoring_guide.html 1/1
Purchase answer to see full attachment