Talk about a famous architect from the Middles Ages or Romanesque period. Imagine you are interviewing this architect for a
magazine article about his work.
Identify a building designed by this architect. Include an image of the building with as much identifying information as
you can in caption format beneath each image.
How are geographic (and ideological) boundaries made visual? What are the conventions of landscape painting that communicate civic values? What role do artworks play in legitimating concepts of belonging? What is the future of this form of visualization? How are images used to imagine new worlds?
Compare and contrast two artworks or buildings. the two artworks/buildings should be from different chapters (for instance choose one artwork from chapter 2 and the second artwork from chapter 5 and then compare/contrast both of them).
How did this influence the art being made in Northern Europe at that time? Be specific.
What influence did the concepts and techniques being used during the Italian Renaissance have on art in Northern Europe? Be specific.
1 paragraph, 5-7 sentences for each picture
Use references and intext citations from links below:
Discuss the effect and influence of the Bauhaus Movement on American art, architecture and culture.
Describe the art piece by performing a formal analysis.
Use this art piece: https://www.metmuseum.org/art/collection/search/42725
The Revolutions of 1848 rocked Europe and almost overthrew the conservative regimes. Using at least two nations as examples, show how the revolutions began and ultimately why they failed.
1. What are the important differences between visual representation and picturing?
2. Assuming that painters engage in imitation, Plato observes that you can make images of “yourself and the other animals, manufactured items, plants, and everything else” by holding up a mirror. What is the relationship between the mirror image and what it shows? Does Plato’s point demonstrate that the ability to make pictures is a trivial accomplishment?
3. An architect is designing a building. Why does the architect construct a three-dimensional model of the building as a supplement to a series of drawings of it? How does the activity of model building suggest ways in which picturing is a unique mode of visual representation? Architects frequently use so-called “3D” computer software to create simulated movement through their designs. To what degree can these videos replace three-dimensional models?
4. Choose a visual artwork that pictures a recognizable subject. Explain the difference between accounting for this relationship in terms of recognitional and in terms of experiential resemblance.
For this question, choose a painting or non-photograph depicting something from every day life, such as a still life of fruit, flowers, or other collection of items, or a landscape, seascape, or city scape. How does your experience of the painting differ from looking what is being shown in real life?
5. Does an artist’s intention to portray one person rather than another impose a standard of correctness for interpretation of the resulting portrait? Are paintings and photographs different in this respect?
6. Are there any artworks that lack historically emergent properties, such that their appreciation does not require knowledge of the work’s historical origins? As a test of this idea, select several examples of visual art and then decide whether their meanings would change if they came from different cultures or were created in different historical eras.
Some good historical artworks to choose from might be:
Washington Crossing the Delaware by Emmanuel Leutz
Liberty Leading the People by Eugene Delacroix
The Raft of the Medusa by Theodore Gericault
The Death of Marat by Jacque-Louis David
The Bulls and the Bears by William Hobrook Beard
The Death of General Wolfe by Benjamin West
Can you think of any ways in which Kant’s belief that true beauty must be completely separated from utilitarian function may have harmed the way art history has been written? (Prof. Domenic is going to giving you hints in class but be sure to do some follow up research on those hints).
Conversely, is there any way in which this view may help the arts in general? (Again, Prof. Domenic will give you some prompts to follow up on).
Following Hume’s belief that some of us have better taste than others, can you think of ways in which this may have helped or harmed art history?
Should all art and music be judged by the same criteria? In other words, should we use the same criteria that we might use to critique an opera singer be the same as for a hip hop artist? Should we judge a painting by Picasso the same as we would a painting by Leonardo da Vinci?
Can you think of some instances where it might be more important for a work of art to not be beautiful? What would those be? Can you think of a work of art that is not beautiful, but because of the message it conveys, it is considered to be important?
Alternative Media: Conceptually Speaking
Conceptual art concentrates on ideas, and artists who create installations consciously arrange an environment for the viewer to engage with. These types of artworks celebrate the perceptions and understanding of those who respond to them as much as the skills of the artists who made them. In your three-paragraph discussion on conceptual art and alternative media, focus on the following:
How do these practices compare with “traditional” media such as painting, sculpture, and drawing? What are your feelings about these “alternative” art forms?
How are these different from “traditional” art forms?
Which, if any, artworks from this chapter do you have trouble understanding? Why?
Which, if any, do you find refreshing or inspiring? Why?
Have you experienced being the viewer or participant in any of these alternative art forms? If so, which, and what was your experience like? If not, would you like to view or participate in any of these art forms? Why or why not?
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