Final Essay Guidelines
Using the outline you created for the last lesson, Writing About Art, write a critical
essay in which you describe, analyze, and interpret the work of art you select.
Include the title of the work, the artist who created it, and the page number on
which it appears in the textbook. Your essay should be a minimum of 1000 words
long.
Assessment criteria
In assessing your writing assignment, we will be looking for evidence that you
understand the components of art criticism (description, analysis, and
interpretation) and you can apply these components in a critical essay on a
single work of art. The criteria we will use to grade your assignment are:
v You discuss one work of art. Focus on only one work of art to thoroughly
discuss in your essay. The artwork that you choose should be the same as
the artwork you used in your outline.
v Your essay includes a description, analysis, and interpretation of the work
you chose. Discuss the work using the techniques we have covered
throughout the semester. Thoroughly describe the work’s expressive
qualities, subject matter, and purpose. Elaborate on the cultural narratives
and the cultural context that are present within the work. Thoroughly
analyze its formal qualities and the materials, tools, and processes that
were used to create it. And give a thorough interpretation of the works’
meaning, based on your description and analysis.
v You use the vocabulary from the whole course. You do not have to use
every word that appears in bold type in the text/commentary, but use a
minimum of 8 of the words to demonstrate that you understand what they
mean. Make sure that you bold the vocabulary in your text so that we
know which words you are targeting for your discussion. You will lose
points from your grade if you do not bold the vocabulary.
v You include a citation for the work of art you select. Please use MLA style.
Include citations within the text of the essay as well as in a reference page,
and use quotation marks around any direct word for word quotes. Include
at least three sources outside of the textbook. Please see the Purdue
OWL Handout found on Canvas under the Academic Integrity Folder for
information on how to go about doing this properly.
v Your essay is at least 1000 words and has been checked for spelling and
grammatical errors. An essay less than1000 words is unlikely to
demonstrate an understanding of the concepts in this lesson.
Submission of the assignment
Submit your assignment to the drop box for your grading team in the Final
Assignment folder. Make sure you use the proper drop box since a misplaced
essay could mean that the essay will go ungraded or that you will have points
deducted from your final grade. Because this is your final assignment, you
may not submit it late for any reason. Any attempts to submit late work will be
severely penalized or the work will go ungraded. Make plans to submit early and
do not wait until the last minute. If you have any technical problems that can’t be
resolved in time, then send the essay to your Team Leader in Canvas
immediately so that there is no question about whether or not you completed the
work on time.
Grading Rubric:
Points
Possible
Description of Materials, Tools and Processes
0-50 pts.
Analysis
0-40 pts.
Use of vocabulary
0-40 pts.
Writing Mechanics: Spelling, grammar, etc.
0-20 pts.
Citation included for each work of art and all external sources
0-20 pts.
A well constructed essay that includes a good description of the work chosen,
a clear discussion about the work and a thoughtful conclusion.
0-30 pts.
Description of Materials, Tools, and Processes (0-50 points)
40-50 points
The chosen work is thoroughly described. Several expressive visual qualities
within the work are included and explained. The cultural narratives and cultural
context of the work is thoroughly described. In depth explanations of several
visual symbols and icons as well as contextual information demonstrate an
extensive use of sources of information other than just the textbook. Several
formal qualities of the work are thoroughly described. The medium of the work is
named. The materials, tools, and processes used to create the work are
thoroughly described. The visual qualities that are characteristic of the medium
are thoroughly described.
30-39 points
The work is somewhat described. A few expressive visual qualities within the
work are included and explained. The cultural narratives present in the work and
cultural context of the work is somewhat described. In depth explanations of a
few visual symbols and icons as well as contextual information demonstrates an
adequate use of external sources of information in addition to the textbook. A few
formal qualities of the work are thoroughly described. The medium of the work is
named. The materials, tools, and processes used to create the work are briefly
described. The visual qualities that are characteristic of the medium are briefly
described. Or, one section might be missing.
20-29 points
The work is poorly described. A few of the expressive visual qualities within the
work are included and explained. The cultural narratives and/or cultural context
of the work are poorly described or demonstrate an incorrect reading of the work.
Brief explanations of visual symbols and icons as well as contextual information
demonstrates an inadequate use of external sources of information in addition to
the textbook. One or two formal qualities of the work are described. The medium
of the work is named. The materials, tools, and processes used to create the
work are poorly described. The visual qualities that are characteristic of the
medium are poorly described. Or, several sections may be missing.
0-19 points
The work is not described. One or two expressive visual qualities within each
work are included and explained. The cultural narratives and/or cultural context
of the work are not described, are poorly described, or demonstrate an incorrect
reading of the work. There is a poor explanation or no explanation of visual
symbols, icons, and contextual information demonstrating a sole reliance on
textbook and the absence of external sources of information. No formal qualities
of the work are described. The materials, tools, and processes used to create the
work are not described or are incorrectly described. The visual qualities that are
characteristic of the medium are not described.
Analysis (0-40 points)
30-40 points
Each visual quality that is mentioned is shown to characterize the subject matter.
Cultural narratives and cultural context of the work is thoroughly connected to the
interpretation of the work. Direct and insightful relationships are shown between
each formal quality and the meaning of the work. Direct and insightful
relationships are shown between the materials, tools, and processes used to
create the work and the content and meaning of the work.
20-29 points
There is little mention of how the visual quality that is mentioned is shown to
characterize the subject matter. Cultural narratives and cultural context of the
work is loosely connected to the meaning of the work. Loose relationships are
shown between each formal quality and the meaning of the work. Loose
relationships are shown between the materials, tools, and processes used to
create the work and the content and meaning of the work.
0-19 points There is no mention of how the visual qualities characterize the
subject matter of the work or the cultural narratives and cultural context of the
work. No relationships are shown between the formal qualities of the work and
the meaning of the work. No relationships are shown between the materials,
tools, and processes used to create the work and the content and meaning of the
work.
Use of vocabulary from the lesson (0-40 points)
30-40 points
Eight or more of the vocabulary words are properly used throughout the essay.
Their usage demonstrates a thorough and accurate understanding of their
definitions. All targeted vocabulary is bolded within the text.
20-29 points
Five to seven vocabulary words are properly used in the essay and bolded
within the text. Their usage demonstrates a thorough and accurate
understanding of their definitions.
0-19 points
Less than five vocabulary words are used in the essay, or vocabulary words are
improperly used. Their usage demonstrates a lack of understanding of their
definitions or no vocabulary words are bolded within the text.
Writing Mechanics: Spelling, grammar, etc. (0-20 points)
15-20 points
Absence of mechanical errors: careful editing / proofing, correct use of writing
mechanics, and sophisticated sentence structure.
10-14 points
Several mechanical errors are present. Sentence structure still communicates
effectively.
0-9 points
Mechanical errors are present likely due to oversight but may compromise the
author’s ability to effectively communicate.
Citations (0-20 points)
15-20 points
Citations are included within the text of the essay and in a reference page for
each image used from the textbook as well as any external sources that were
used. All directly quoted material appears in quotation marks. Citations are in
MLA style and all appropriate information is cited within the text. There is at least
one source listed and used in addition to the text.
10-14 points
Citations are included within the essay and in a reference page for each image
used from the textbook as well as any external sources that were used, but
contain minor errors.
0-9 points
Some citations are missing within the essay or from the reference page, or there
are major errors in the citation that hinders the reader from finding the original
source material. Or, there are no citations.
A well constructed essay (0-30 points)
20-30 points
The essay includes good descriptions of the works chosen, is well organized,
follows all of the required criteria and has a clear and thoughtful conclusion.
10-19 points
The essay includes partial descriptions of the works chosen, is somewhat well
organized, somewhat follows the required criteria, and/or has an incomplete
conclusion.
0-9 points
The essay does not include clear descriptions of the works chosen, does not
follow the required criteria, is unorganized and has no clear conclusion.
Remember that this essay is a reflection of what you have
learned throughout the semester. It is a cumulative document
where you must apply all that you have learned to one work of
art. Draw upon previous writing and research for inspiration and
show that you are able to apply and reflect upon what you have
learned. This is your final for the course and you will not have a
chance to improve on it if you do poorly.
If you need help with your writing consult your on campus writing center. If you
do not have access to an on campus writing center please use the World Campus
Online Writing/Tutoring resource.
http://student.worldcampus.psu.edu/student-services/tutoring-technologyresources#tutoring
Surname 1
Gabriella Ivaldi
Penn State University
“The allegory of painting” by Jan Vermeer
Introduction
The world of art by Henry M Sayre is valuable since it assists people to think critically
about the art that surrounds them. It encompasses the drawing, “The Allegory of painting” by Jan
Vermeer. To begin with, he was born in Circa October 1632, in Delft, Netherlands. He joined
the Delft painters' guild in 1652 and served as its dean from 1662 to 1670. One of his earliest
notable paintings were "Girl asleep on the table," and as he gained more experience, he painted
"Little secret" and "View of Delft.” The level of his expertise is still celebrated in his paintings
even today although a large part of his life remains enigmatic. It is unknown if he was a student
of art, but he had developed a close bond with Delft painter Leonard Bramer.
Experts argue that Rembrandt through one of his students inspired his work. However,
Caravaggio’s influence is witnessed in Jan Vermeer’s works such as “Diana in her companions”
and religion in “Christ in the House of Mary and Martha.” He got married to a Catholic lady,
Catherine Bones on condition that he was to abandon his Dutch upbringing and become a
Catholic. During his sunset days, he suffered financially due to the economic crisis that had hit
Dutch. He died in Delft circa December 16, 1675, as a broke man. His works are still celebrated
around the globe even though he left only small works.
Expressive qualities of the work
Jan Vermeer, “The Allegory of painting” had a significant impact on his life since he
refused to get rid of it. From the painting, it is evident that it measures 4 ft. By 3 ft and it is made
of canvas. It is unique since it encompasses Vermeer’s ideas on the skill of painting. The scene
in the canvas appears as if it was placed there deliberately. For instance, a curtain is pulled back
to the left as is it is exposing a stage play. When you look beyond the curtain, the scene looks
like a brightly lit studio whereby a woman is seated as an artist draws her. Furthermore, the
setting exposes the ancient Dutch life since there is a presence of a golden chandelier and a tiled
floor. The room does not appear as an ordinary studio since it oozes extreme elegance and
ambiance.
It can be deduced that the person painting the image is Vermeer himself although he has
painted the backside. This can be affirmed since Jan Vermeer lived a private life where he did
not like to be seen. The chandelier in the study portrays symbols of the “House of Habsburgs, the
imperial double eagle.” Furthermore, the model holds a trumpet and a book, a solid indicator of
glory, fame, and knowledge. She also has a crown in her head, a symbol of glory and power. The
map at the back of the model indicates Netherland's position, 17 provinces, and important cities.
The model’s dress depicts her as the muse Clio, one of the highest standards of art in
ancient Greek. The painter himself looks simple since he is clad in an ancient historical outfit.
Ancient poets and philosophers dressed like the man in the image, therefore, revealing that
painting was at the same level as poetry and philosophy.
Surname 2
Cultural Narratives Present in the Work
The painting reveals the ancient Dutch Culture whereby it is evident in the dress code of
the painter and the model. During the fifteenth century, people dressed in full clothing whereby
the dress code was supposed to show allegiance to the Dutch crown (Blanc, 234). It is evident
that in the chandelier there is a symbol of a double-headed eagle. This was an indicator that the
painting was made during the Hapsburg dynasty. The painter is presumed to be Jan Vermeer
himself since during his time he was seen as a person who liked to lay low. The map behind the
model indicates the ancient Dutch empire whereby it encompasses the 17 provinces.
Additionally, the setting in the painting reveals that it was an excellent neighborhood.
This is evident in the marble tiles whereby during this time it was the popular building style. The
model in the painting is seen wearing a crown thus affirming that she was from a wealthy setup.
During this context, the crown wielded a lot of power as it was a symbol of authority.
Furthermore, she is holding a trumpet, therefore, revealing that in the 16th century it was a
symbol of victory.
Formal Qualities of the Work
The portrait, which is a celebration of the art masterpiece, is roughly 4 feet length and 3
feet width. The scenes in the painting have a theatrical quality as highlighted by the curtain pull
back which reveals a stage play. When one looks beyond the parted curtain, there is a brightly lit
studio and in it an artist who is sitting while painting a model who is facing away from the
painter. The artist workshop is elegant with expensive marble floor tiles, fine furnishings, and
golden chandelier(Shimamura, 200). The painter’s outfit is historical and old-fashioned. The
painting represents imagined or visual manifestation of the world especially with the use of
chiaroscuro and linear perspective which fools the eye into viewing of an image that is in solidify
form and in three-dimensional depth.
When one looks close to the golden chandelier, there is a double head eagle that
symbolizes the dynasty of Australian Habsburg who was the Holland former ruler. Moreover, the
chandelier is a symbol of the Catholic faith. The lack of candles on the chandelier signifies
domination of the Protestant faith. In addition, the light is a symbol of God's presence (Viera,
110). The rear wall of the studio is covered with a torn map, which symbolizes the division
between the Northern and Southern province. Moreover, the map symbolizes the painters’
journey towards fame of being recognized in Dutch as the best painter. The furnishing and
fittings symbolize the prosperity of the talented painters. The color in the painting plays a
significant role by showing Vermeer’s character who seems to be fond of natural ultramarine
cool blue hue. The color pigments that the painter uses were the most expensive as of 1672. In
addition, the artist used bright colors and lightings which made his reputation to grow
significantly.
Two or Three Dimensional Materials and Processes
Surname 3
When a person looks at the painting, they can see that the painting has two characters that
is the painter who is a man and his subject who is a woman. In addition, the title of the painting
introduces the artist with his dressing that is described as Cleo. The lady is being painted at the
studio of the painter. The painting shows a large background map with a window. Furthermore,
the studio is filled with numerous objects such as the chandelier, a map, and a tapestry just to
mention a few. Moreover, the painter is dressed in black slippers; white boot horse, red horse,
and a black jacket that makes him look elegant. The painter is looking at his model that is facing
away on the direction of the window. The painters face is not visible, and only her subject can be
viewed. A person can also be able to see the light that is streaming through the studio’s window.
Clio is the subject of history muse as shown by the fact that she is carrying a book,
holding a trumpet, and wearing a laurel wreath. The muse of history is placed at the center of the
painter allegory that emphasizes in the significance of visual art in history. The double-headed
eagle symbolizes the dynasty of the Holland rulers. The rulers of Holland adorn the golden
chandelier which is at the center. The map at the back that is ripped symbolizes the division
between the Habsburg and Dutch Republic. The mask that sits at the table next to the painter
represents Habsburg monarch ineffectiveness. The use of light in the painting demonstrates the
artist prowess as shown in textural effects that it brings to the rear of the studio. The light is also
reflected on the chandelier, the map and the two subjects in the painting reflecting their actual
appearance that a person can be able to relate with.
Conclusion
Discuss what you have learned about this work and artist through this process. A one or
two sentence conclusion will not be enough. Really think about what you have learned.
How did your ideas about the work of art change as you learned more about it?
I have learned quite a lot from the Unit and the painting. To begin with, the painting
brings us back to the past when there were dynasties in many places. Every object in the painting
symbolizes something that a person can be able to understand about the people of that time. The
painting has a history with the painter who was attached to it up until the time of his demise. The
painting is a masterpiece in which a person is able to understand the artist character and the way
he was portraying the age of the Golden Dutch. The painting was done in the 17th century. I was
also able to understand the different types of techniques that are used to come up with an original
painting. The expensive paints used by the artists also show the importance of using quality
paints to paint portraits which are not only presentable but can store for long years without
getting distorted. I was also able to learn the importance of lighting as they assist in depicting the
feeling of an object which the viewer of portrait can be able to identify with. Every object in a
painting signifies a hidden message that is a symbol of something.
Surname 4
Works cited
Blanc, Jan. "Works in Progress: Painting and Modelling in Seventeenth‐Century Holland." Art
History 39.2 (2016): 234-253.
Sartori, Andreza, et al. "Who's afraid of itten: Using the art theory of color combination to
analyze emotions in abstract paintings." Proceedings of the 23rd ACM international
conference on Multimedia. ACM, 2015.
Vieira, Vilson, et al. "A quantitative approach to painting styles." Physica A: Statistical
Mechanics and its Applications417 (2015): 110-129.
Shimamura, Arthur P. "Seeing, Knowing, and Understanding: Intersecting Paths Between Art
and Science." (2016): 200-203.
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