Art

Simply answer the questions Robert Smithson’s Spiral Jetty, 1970 earthwork project 1. Analyze this an earthwork project from Chapter 12 Sculpture and explain how it uses both additive and subtractive processes. 2. What are some other interesting comments to be made from the following video that this important earthwork? https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/smithson-jetty

https://youtu.be/DDP0qBpuDr0 Watch this move to it’s end. Research one of the women artist mentioned in the documentary: 1. Maria Sibylla Merian 2. Judith Leyster 3. Joanna Koerten 4. Clara Peeters 5. Artemisia Gentileschi 6. Sofonisba Anguissola 7. Plautilla Nelli 8. Propertia De Rossi 9. Lavinia Fontona Choose an artist above to research. The final paper that you will turn in must be between 400 – 600 words. You need at least one other resource other than the movie for your bibliography. (The bibliography does not count for the word count. No plagiarism. Please watch the video the link is above.

I have a research paper on western art history due at midnight this evening and I need three credible sources with a minimum of 1100 words Times new Roman 12 PTS and I was just wondering what a quote would be to have a paper done for me And can I have Chicago turbian style footnotes

Write on FOUR of the following topics. Be comprehensive and give specifics to support your assertions. Answers should be a minimum of 150-250 words. Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. Explain how the design of the Stele of Naram-Sin makes claims about the special power of this Akkadian ruler How did the Egyptians’ beliefs about the afterlife influence their art and architecture? What is the relationship between early stupas in India and later pagodas in China? Build your answer on a discussion of two specific examples, a stupa and a pagoda. 5. Trace the developing features that characterize Classical Greek art and architecture. Discuss how Roman emperors used public monuments as imperial propaganda, focusing your discussion on two specific examples included in this chapter. Explain how the use of pictorial space is different in Byzantine art when compared to traditional Greek and Roman art. Select an Islamic building that is influenced by Roman or Byzantine art. Discuss which forms are borrowed from the earlier culture and how they are transformed in their new Islamic context.

I call this week’s drawing the “Four Hour Value Drawing” because when we do this assignment in the face-to-face class we spend approximately that long on the drawing. You are welcome to spend more than four hours on this drawing of course, but try to work for at least four hours. . This will be a very highly developed drawing. You will spend quite a bit of time on it, trying to push the drawing to the point where the value is described in great detail. . You can use either of the techniques we discussed last week: tonal drawing or crosshatching. . You can use either graphite or charcoal. However, pick one. Don’t mix graphite and charcoal. It’s either a graphite drawing or it’s a charcoal drawing. . Below I’ve posted a series of four videos that describe the step-by-step procedure for the drawing. . Materials: you will need the 9×12 sketch book, the 18×24 sketchpad, all charcoal or all graphite, erasers, and blending stumps. . Step #1: Set up your Still Life. Use 4-6 objects. Try to use objects of different shapes and sizes and local values. Make sure you have a light shining on the still-life to create a contrast between light and shadow. I discuss setting up a still life in the first video. Step #2: Begin in you 9×12 sketchbook. You will draw 3-4 preliminary sketches to work out a compositional plan for your drawing. This is also covered in the first video. Step #3: Switch to your 18×24 sketchpad. This is what you will use for the four hour value drawing. Start with establishing the gesture drawing. In this stage you are just establishing the composition of your drawing. Use your chosen preliminary sketch as a guide. Try to establish the basic size, shape, and placement of each object on the page. Don’t draw in great detail. Simplify/generalize the shapes. This is covered in video #2. Step #4: Once the gesture drawing is established, go through the sighting process to look for mistakes and make corrections. Use both the measuring technique and the mapping technique. Begin to draw the objects in greater detail. You want to have an accurate drawing in place before you move on to value description. This is all covered in video #2. Step #5: Begin to describe the values. This is covered in video #3. You want to use a full range of values throughout your drawing. You want to show differences in local value. You want to eliminate outline from the drawing. You want to describe the values in every part of the composition, not just the objects. This step will take the longest. Spend a long time describing the values. Really push yourself.

a formal analysis of the painting below. Write about how the seven elements of art: line, color, shape, form, value, texture, and space function in the painting. Write about what you see, and not what you think it might mean. BE OBJECTIVE. I have included a previous student example to help you. I expect some detailed and creative writing. The painting is the “Henri Rousseau Exotic Landscape with Lion and Lioness in Africa” you can find it if you search it up and here is a writing example for another painting which is the “Forensic Report on Nude in the Bath and Small Dog” PRELIMINARY INFORMATION: The painting in question is dubbed Nude in the Bath and Small Dog. Believed to have begun in 1941 and completed in 1946. It appears to be the work of French post-impressionist Pierre Bonnard. LINE: The use of lines in this painting appear roughly divided into three vertical sections. The top section contains straight lines (or rather slightly skewed rendering of straight lines) arranged into rows. More “straight” lines run between the aforementioned rows, staggered into a brick-like formation. The bottom section contains many criss-crossed diagonal lines except in the center. There are much less linear patterns in the middle than on the top and bottom sections although there are some vertically-running lines to the right. SHAPE: As described, the lines of the top section of the painting are arranged in a brick-like formation although they are not perfectly straight. This gives the impression of a distorted brick background. This whole background bends sharply near the center-left in what might be a corner in a wall. The diagonal criss-crosses of the bottom section form a kind of tile, although there is a patternless square shape in the center with what appears to be a dog inside. The middle section has less consistent patters. The section is mostly represented by an enclosed curve, a supine human figure within. FORM: The painting does not make any attempt to fool the viewer into percieving any three-dimensional shapes. That said, the viewer does get a sense of all three dimensions. The top section is a brick wall, marking the furthest the viewer can see. The left of the top section is seen as another brick wall. This second wall is mostly to the side of the viewer but within peripheral vision. The two walls meet at about a right angle. Closer to the viewer, at the bottom of the first wall, is a human in a bathtub. Closer still (and and at a lower height still than the tub) is a tile floor with a dog on a towel on it. SPACE: The painting gives the sense of a cube-like space between the viewer (who is probably meant to be standing upright based on the perspective) and where the main brick wall meets the tile floor. The point at which the floor meets both walls is off a little to the left. The bathtub with the human figure seems pushed against the meeting and is in the center of the field of vision. The dog on the towel is directly below. The viewer stands about as far from the tub as the distance between the floor and the highest the main wall can be seen. In between is empty space. COLOR and VALUE: The hue of the paintings is mostly blue and grey. These blue is of a deep shade when viewed from afar (in detail there are many component shade but the aggregate shade is deep. The grey, which fills the middle section as well as the very left of the top section almost appears as a less “confident” blue with less value. There is an interest piece a sharp contrast in the top right. The color scheme goes from grey and deep blue to yellow-orange and deep red. TEXTURE: The overall texture of the painting is imaginary. Viewed from a reasonable distance, almost everything, be it truly hairy (like the dog) or truly smooth (like the tub) appears uncharacteristically “bumpy.” Everything seems made up of tiny waves with crests perpendicular to the viewers line of sight.

Jean-Michel Basquiat’s Charles the First Basquiat’s painting is filled with personal, ambiguous imagery that he summed up as “royalty, heroism, and the streets.” Cite some motifs that illustrate each of these concepts, in positive or negative ways, in the painting.

The template of the outline l have already attached. The article is: “Get out of your room” “Make some friends!” I usually heard these shouted at me through my closed door because my parents were worried I was too antisocial. And yeah I guess I didn’t have many friends and I believed that if you wanted something done right, you had to do it yourself so I refused to work with people on group projects but that’s not a problem right? Eventually, I admitted to myself that maybe it was a problem so I looked around for the fastest and easiest way to fix it. I decided to pick up a basketball because only social people play basketball right? I like watching basketball, how much harder can playing be? Yeah, that was a rude awakening. I joined my class team for our intramural sports competition and promptly got whupped at practice because I had zero teamwork skills. “Pass the ball, pass the ball! On your left, are you blind?” My teammates afterward told me “You’re pretty good technically but you just won’t pass the ball! Even if you’re Kobe you can’t win playing by yourself!” It was rough at first because I hated trusting other people to take a shot, but I also couldn’t shoot the ball halfway across the court. So eventually I gritted my teeth and passed to whoever was shouting loudest so that I wasn’t permanently benched. To my immense shock, it actually worked, and we won. That’s when I realized, playing a team sport means you have to be a team player. Even if you’re a superstar on your own, you can only go to the next level by trusting your team and working with them. That realization changed everything, the idea that I could be better when I worked with other people. I still have to fight my instinct to go it alone every day but now that I have reached enlightenment it’s much less of a fight than it used to be. I also don’t avoid group work anymore and even enjoy it sometimes. Who would have thought?