Discuss, in one paragraph, how artistic conventions were altered during the reign of King Akhenaten. Address what you feel may be an explanation for this deviation from the traditional style.

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DISCUSSION ESSAY

Here is what you are to do for this assignment:

  1. First, begin by searching the book or the Internet for two free-standing figures, two paintings, or two reliefs from ancient Egypt.  Carefully examine and study the pair.
    • As you are doing so, take note of the style qualities that were Egyptian conventions for 2-dimensional, 3-dimensional, or relief figures.  Compare the two for style similarities they share.  Remember to concentrate on style, not subject similarities in your descriptions.
  2. Then, in a substantial paragraph, discuss the style qualities the pair share and describe the style conventions as you see them.
    • How are humans rendered, and does the social status of the figure make a difference in the portrayal?
  3. Your next step is to introduce one work produced during the time of Akhenaten.  Analyze your sample for style.
    • Discuss, in one paragraph, how artistic conventions were altered during the reign of King Akhenaten.  Address what you feel may be an explanation for this deviation from the traditional style.

After reading through the posts of your peers, choose two, and respond with whether you agree with each peer’s analysis. Include why or why not.

Classmate 1 (Jonathan):

“During the Fifth Dynasty, many lifelike statues were created to represent less prominent figures such as scribes and butchers.  Unlike the statues of the King, these statues represented a less dominate figure that portrayed a realistic view of the daily servant.  The Seated Scribe and the Butcher both had realistic characteristics that depict a willingness to serve.  The Scribe had a likable face, attentive eyes, and sat cross legged.  The scribe looks as if he has never completed a demanding physical task and portrays a very clean look.  The body of the scribe was less athletic unlike the upper-class statues of the King.  The butcher is portrayed in an active pose engaging an ox with a knife and looking up to acknowledge the viewer.  Unlike the Scribe, the butcher looks as if he has been hard at work and appears to have more masculine features.  The artistic styles of the servant were the exact opposite of the upper-class figures.  The upper-class figures were less engaging and more stern with exotic features.

Akhenaten’s reign was a drastic and radical shift of the Egyptian culture.  This could have been due to Akhenaten identifying with a new religion and potentially the influence of his mother.  In many of the Amarna style pieces of Art, you can see many feminine characteristics which would suggest to me a woman’s influence in Art during this time.  “Akhenaten’s goals were actively supported not only by Nefertiti but also by his mother, QUEEN TIY (fig. 3–29). She had been the chief wife of the king’s father, Amenhotep III, and had played a significant role in affairs of state during his reign” (Stokstad, 2017)   When looking at the colossal figure of Akhenaten, you can see very soft lines, curved hips, protruding collar bones, luscious lips, and long and thin arms.  Prior to Akhenaten, the King was always seen as a superhuman with very masculine features that represent the dominance of his people.  It appears that  the future of Egyptian culture. “

 

 

Stokstad, M., & Cothren, M. W. (2017). Art History (6th ed.). Pearson Education (US). https://ecampus.vitalsource.com/books/9780134485058

 

Classmate 2 (Andrew Franklin):

“Ramose and his wife, which is from Ramose’s tomb at Thebes, is the first piece I have chosen to explore. It dates from the 18dynasty, which existed between 1375 and 1365 BCE. The second is Akhenaten and his family, also from the 18th Dynasty, dating from 1353–1336 BCE. These two pieces of art are painted limestone reliefs.

As with most ancient Egyptian artwork, people are shown in 2-dimensional shapes in both pieces. There is a focus on the family, and the humans are described as being young and energetic. These painted reliefs were used as decorations on the walls of tombs. Egyptian painters adhered to a fairly rigid set of conventions that they never deviated from. Egyptian art is conceptual and focuses on a lifelike portrayal of art, as opposed to drawing inspiration from what was observed in the natural world (Stokstad and Cothren, 2018).

Ancient Egyptian conceptual art reflected the belief in life after death, tales of the gods who oversaw the operation of the cosmos, and the king’s divinely bestowed authority to uphold order. All Egyptians recognized these concepts and aesthetic traditions visually through the country’s art (Watts, 1998).

It depicts Ramose wearing the vizier’s robe, with his followers seated behind him and his wife, for Ramose and his wife. This demonstrates Ramose’s riches and his social standing as a person in authority (Tomb of Ramose, 2009). Akhenaten appears in most works of art depicting him with a sun disk over his head. This is an image of the sun deity Aten. Since Akhenaten worshipped Aten and there was no longer any notion that pharaohs were gods in their own right, he attempted to make Aten the only deity in the sky and destroy all evidence of previous gods (Winters,2015). This was a departure from the custom of worshiping pharaohs as gods and representing them as such in art.

The enormous statue of Akhenaten from the Gempaaten temple appeared in another work of art from the Akhenaten era. Because painters typically alter the physical attributes of kings and queens while creating sculptures, this work deviates from traditional Egyptian art and customs. The statue displays a drooping belly, bulging collarbones, swollen thighs, spindly arms, and a stylized neck. In Egyptian art, facial features were twisted in order to convey an emotion that cannot be expressed in a 2-dimensional manner.”

 

Ramose and his wife 

(Maciek67, 2017)

Akhenaten and his family

(Winters, 2015)

 

Egyptian Monuments (2009). Tob of Ramose. Retrieved from

Tomb of Ramose (TT55)

(Maciek67, 2017). Scene from the east wall of the ancient tomb ramosa presenting the. . . iStock. https://www.istockphoto.com/photo/scene-from-the-east-wall-of-the-ancient-tomb-ramosa-presenting-the-image-of-owner-of-gm646981808-117385395Links to an external site.

(Watts, E. W., & Watts, E. A., 1998). Art of Ancient Egypt A Resource for Educators. Metropolitan Museum of Art.

(Winters, R. 2015). Ancient Origins. The Art of Amarna: Akhenaten and his life under the sun. https://www.ancient-origins.net/ancient-places-africa/art-amarna-akhenaten-and-his-life-under-sun-002587

 

 

 

For each work of art, write a full paragraph (minimum 4 sentences) highlighting the significance of each work of art.

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Art History

Below is a list of 10 works of art, all taken from the image lists posted in blackboard. For each work of art, write a full paragraph (minimum 4 sentences) highlighting the significance of each work of art.

1) Simone Martini, Annunciation
2) Masaccio, The Tribute Money
3) Michelangelo, David
4) Raphael, The School of Athens
5) Leonardo, Mona Lisa
6) Giotto, Madonna Enthroned
7) Fra Filippo Lippi, Madonna and Child with Angels
8) Botticelli, The Birth of Venus
9) Titian, The Venus of Urbino
10) Brunelleschi, The Dome of the Florence Cathedral

When writing your paragraphs, make sure to think about the art historical period of each work of art. Think about more than just HOW the work is made but consider the much larger and more interesting question of PURPOSE. What societal role did the work(s) play and how do they reflect the culture or art historical period from which they come?

Explain the significance of landscape as a subject of genre paintings in the Dutch Baroque period. Explain the prominence of the sky and the significance of the church on the horizon.

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Art History

Italian Baroque
Watch/read and respond to the following:
1) Bernini: How do Bernini’s two sculptures (David and Ecstasy of Saint Teresa) express the goals and aims of the Counter-Reformation in Italy?

2) Caravaggio: Identify and explain 2 (two) elements in the painting of the Calling of St. Matthew Caravaggio uses to draw the viewer’s eye to Matthew and Christ?

3) Caravaggio: From what famous painting by what famous artist does Caravaggio take the gesture of Christ pointing to Matthew? Why do you think the artist is quoting this particular gesture by this specific artist? What point is he trying to make?

4) Gentileschi: Recount the narrative of Judith and Holofernes; based on the description of the Italian Baroque in the introduction of Baroque Art linked below, how is this painting an example of baroque style?

5) Gentileschi: From the video and the article, how is Gentileschi’s version of the subject similar to Caravaggio’s? How is it different?

6) Gentileschi: Judith is sometimes referred to as Gentileschi’s “alter-ego;” explain this using both the subject of the painting and the painter’s biography.

  • Baroque Art, an Introduction https://smarthistory.org/a-beginners-guide-to-baroque-art/
  • Bernini’s David https://smarthistory.org/bernini-david-2/
  • Bernini’s Ecstasy of Saint Teresa https://smarthistory.org/bernini-ecstasy-of-st-teresa/
  • Caravaggio Calling of St. Matthew https://smarthistory.org/caravaggio-calling-of-st-matthew/
  • Artemisia Gentileschi https://smarthistory.org/gentileschi-judith-slaying-holofernes/

Dutch Baroque
Read and watch and respond:
1) Read the following article and explain the differences between the Dutch approach to art and the Italian approach to art in the Baroque period (following the Protestant Reformation).

2) View the following video and suggest the meaning or intention of Vermeer in his painting, The Allegory of the Art of Painting.

3) Define “vanitas” painting and identify at least three references to death in Kalf’s Still Life with a Silver Ewer.

4) Explain the significance of landscape as a subject of genre paintings in the Dutch Baroque period. Explain the prominence of the sky and the significance of the church on the horizon.

5) Read and Watch the following video and article and answer the following: a) What is the subject of Rembrandt’s The Night Watch? b) How did Rembrandt paint his subjects differently than his contemporary painters? c) Rembrandt was influenced by an Italian painter; who was that painter and what do we see in the painting that shows this influence?

6) Watch the following video on Rembrandt’s Self-Portrait. Write a short paragraph describing how Rembrandt paint’s himself differently than Vermeer in his The Allegory of the Art of Painting?

  • Baroque Art, an Introduction https://smarthistory.org/a-beginners-guide-to-baroque-art/
  • Vermeer’s Allegory of the Art of Painting https://smarthistory.org/johannes-vermeer-the-art-of-painting/
  • Willem Kalf, Still Life with a Silver Ewer and a Porcelain Bowl https://smarthistory.org/kalf-ewer/
  • Jacob van Ruisdael, View of Haarlem https://smarthistory.org/ruisdael-view-of-haarlem/
  • Frans Hals, The Women Regents https://smarthistory.org/hals-women/
  • Rembrandt’s Night Watch https://smarthistory.org/rembrandt-the-night-watch/
  • Rembrandt’s Self-Portrait (1659) https://smarthistory.org/rembrandt-van-rijn-self-portrait-1659/
  • Rembrandt’s Self-Portrait (1659) https://smarthistory.org/rembrandt-self-portrait-kenwood/

In a well-crafted essay of approximately 900-words, using a legible 10 to 12 pt. font, respond to the following discussion prompt.

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DISCUSSION ESSAY

In a well-crafted essay of approximately 900-words, using a legible 10 to 12 pt. font, respond to the following discussion prompt:

The renown curator, Ian Jenkins who worked at the British Museum, stated that “Religion is the mother of art.” From the earliest cave paintings in Western Europe to the temples of Deogargh in India, humankind has created works of art and architecture to honor beings they believed to be more powerful and awe-inspiring than themselves. Using examples from the chapters we have covered in this class, compare and contrast three works of art and/or architecture that are evidence of this reverence for the divine. Remember to discuss both FORMAL and ICONOGRAPHIC elements!

You must also include both an opening and a closing paragraph, in addition to the body content.

Three pieces of art:

  • Tridad Shaka
  • discobolus
  • Terra Cotta Warriors

How is the work reflective of its culture, and what purpose did it serve in its original context? Consider, if the artwork is taken from its site without a record of its original location, what do we lose in terms of historic knowledge?

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Discussion ART 101a:

Assignment: Have a classmate utilize the following questions when they analyze their chosen artwork:

  • Is what you are describing the subject, or is it style?  Why?  Stay with the subject matter here.  There is not always a clear-cut division between subject and style.
  • How is the work reflective of its culture, and what purpose did it serve in its original context?
  • Consider, if the artwork is taken from its site without a record of its original location, what do we lose in terms of historic knowledge?

Respond to two or more peers. When responding, take a peer’s subject analysis, and provide the style analysis for his/her work.  This is a discussion, so feel free to contribute brief subject and style observations to multiple posts.  Many eyes produce more insights.

Is there depth? Is there clarity and order, or is the image chaotic? Think about whether the style conforms to conventions of the time period. Much can be said about style, but it takes some looking.

 

Classmate 1 post (Heather)

  • Title: Cave Painting of a Rainbow Serpent

Culture: Aboriginal (Australia)

Date: 6000 BCE

Material/Medium: Rock, white ochre, red ochre

Present Location: Mount Borradaile, Western Arnhem Land, Australia

The above work depicts a rainbow serpent, a renown creature in Aboriginal mythology associated with their stories of creation. It is about 6 meters long, the largest of many snakes like it in the region, (National Museums Scotland, n.d.). Its serpentine body is white, outlined in red ochre with well defined body segments, one of which sports a fin-like appendage. Its imposing head with open mouth displays large teeth while another set of fin-like structures connect the head to the rest of the body. In Aboriginal mythology the rainbow serpent is thought to be associated with human creation and the creation of the earth during the Dreamtime, the mythological period of the creation of the natural world (Encycolpedia Britannica, 2020). As one rainbow serpent story goes, the world during the Dreamtime (or the Dreaming) was frigid and featureless, void of life and when the time came the rainbow serpent came up out of the ground creating all the features of the earth like mountains and valleys and perhaps most importantly, water (Linklater, 2022). The rainbow serpent is a deity commonly associated with life-giving waters and rain, but also with floods and storms (Stokstad & Cothren, 2018). Rainbows are said to be the serpent moving from one water source to the next (Taçon et al., 1996).

Images of the rainbow serpent begin to emerge in 6000 BCE (Stokstad & Cothren, 2018) after the end of the last Ice Age when the climate stabilized and sea levels rose (Taçon et al., 1996). The earliest rainbow serpents are thought to have been modeled after ribboned pipefish that begun to appear in the coastal waters of Australia around this time (Linklater, 2022). The appearance of this previously unknown animal with the change in climate may have indeed fueled the first rainbow serpent stories. While there are many different depictions of rainbow serpents in Aboriginal art, some with more crocodilian and even dragon-like features, the pipefish as a reference for the rainbow serpent art may also explain the segmented body frequently depicted and perhaps even the fin-like appendages.

The purpose of the rainbow serpent at Mount Borradaile may have been ceremonial in nature as the serpent takes center stage in rituals concerning fertility, abundance, death and regeneration. It is also located in a site which was (and remained) uninhabited, yet easily accessible and close to habitated surrounding areas (Stokstad & Cothren, 2018), suggesting special placement separate from daily life. As with most prehistoric art, the true nature and purpose of this particular rainbow serpent may be beyond us, but the rainbow serpent continues to be revered in Aboriginal culture and their meanings and stories may be the closest we get to the truth.

 

References: 

Dozier, M. (n.d.) Cave painting of a rainbow serpent [Photograph]. Art History.

Encyclopedia Britannica. (2020). The dreaming: Australian Aboriginal mythology. In Encyclopedia Britannica. Retrieved from https://www.britannica.com/topic/the-Dreaming-Australian-Aboriginal-mythology)

Linklater, S. (2022, May 19). Rainbow serpent in aboriginal art & culture. Artlandish Aboriginal Art. Retrieved from https://www.aboriginal-art-australia.com/aboriginal-art-library/rainbow-serpent/

National Museums Scotland. (n.d.). Australia’s rainbow serpent. Retrieved from https://www.nms.ac.uk/explore-our-collections/stories/global-arts-cultures-and-design/mythical-creatures/mythical-creatures/australias-rainbow-serpent/

Stokstad, M. & Cothren, M.W. (2018). Art History (6th ed.). Pearson.

Taçon, Paul S. C., Wilson, M. & Chippindale, C. (1996). Birth of the rainbow serpent in Arnhem Land rock art and oral history. Archaeology in Oceania, 31(3), 103-124. https://doi.org/10.1002/j.1834-4453.1996.tb00355.x

 

Classmate 2 post (Andrew)

Hello class,

The title of the work I discovered when researching on line is Winged Human-Headed Bull. The culture of the piece is Assyrian and the date is 883-859 BC. The material of the piece is gypsum alabaster and its current location is at the Louvre, Richelieu wing, Ground floor, Mesopotamia, Room 4.

The Winged Human-Headed Bull is a large statue carved from a single block, standing and impressive 13 ft tall and 4m wide. It depicts a human headed winged bull, with express eyes, thick eyebrows and a long beard. The creature has five legs, to show a solid stance from the front but portray a stride when looked at from the side with large outstretching wings on each side. They had horned caps to signify divinity and belts that signified power. These statues were placed at gates and doorways at the palace of Dur Sharrukin (present day Khorsabad). They were meant to be guardians of the palace and had inscriptions that threatened to put a curse on anyone who wanted to do the King harm. The theme of this piece portrays is protection, strength, and power. There is no mystery about the purpose or meaning of this work, they were created to be guardians and protectors. It’s impressive size and stature were built so large to intimidate and bring fear to anyone entering the palace. They were also meant to display the greatness of the king.

 

 

LdV was often referred to as the true “renaissance man.” What does this mean? Why did LdV dissect and study cadavers and why did the church reject this practice?

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Art History

Instructions: After watching the videos and articles linked below, answer the following questions in a single document (.docx, .pdf etc). Please answer each question.
High Renaissance in Italy

1) About Leonardo:
a) Which different Renaissance rulers (in Italy and beyond) commissioned works from LdV?
b) LdV was often referred to as the true “renaissance man.” What does this mean?
c) Why did LdV dissect and study cadavers and why did the church reject this practice?

2) Leonardo’s Mona Lisa:
a) Who is believed to have commissioned the Mona Lisa?
b) Describe the 3/4 portrait and define sfumato.
c) Leonardo never delivered this portrait to the individual who commissioned it but instead took it with him to France. Speculate as to why she might never have been given over to the family that paid for the portrait? (go wild, there are no rules here, let’s hear your ideas)

3) Raphael School of Athens:
a) How can we as viewers identify Plato and Aristotle? What are the contrasting philosophies of the two men?
b) How are the rest of the figures in the fresco organized?
c) Name two famous Italian Renaissance artists represented by Raphael in this fresco?
d) Identify the two sculptures in the background and describe what they represent in this context.
e) Suggest the overall meaning and significance of the equality Raphael suggests between Plato and Aristotle or more generally of the Sacred and Secular as it relates to the Renaissance.

4) Michelangelo’s David:
a) Explain 2 aspects of the sculpture that embody the Renaissance concept of reviving the “heroic nude” from antiquity.
b) The narrators of the video claim that Michelangelo had “surpassed the Ancient Greeks and Romans.” What do they mean?

5) Michelangelo’s Studies for the Libyan Sibyl
a) Michelangelo’s model for this female figure was a young man. How do see this in the drawing? Give two points of evidence.

6) Titian’s Venus of Urbino
a) Titian is a Venetian artist who becomes well-known for his beautiful nudes. Describe briefly (1-2 sentences) his technique of glazing used for painting this work.
b) Was Titian an influential artist? Why or why not?

  • About Leonardo https://smarthistory.org/about-leonardo/
  • Leonardo’s Last Supper https://smarthistory.org/leonardo-last-supper/
  • Leonardo’s Mona Lisa https://smarthistory.org/leonardo-mona-lisa/
  • Raphael School of Athens https://smarthistory.org/raphael-school-of-athens/
  • Michelangelo’s David https://smarthistory.org/michelangelo-david/
  • Michelangelo’s Studies for the Libyan Sibyl https://smarthistory.org/michelangelo-studies-for-the-libyan-sibyl-recto-studies-for-the-libyan-sibyl-and-a-small-sketch-for-a-seated-figure-verso/
  • Sistine Chapel https://smarthistory.org/michelangelo-ceiling-of-the-sistine-chapel/
  • Titian’s Venus of Urbino https://smarthistory.org/titian-venus-of-urbino/

Describe the cultural and any visual influences that pertain to 2 Los Angeles homes. Describe how these cultural influences and homes relate or remind you of your own personal experiences?

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Journal Questions:

Describe the cultural and any visual influences that pertain to 2 Los Angeles homes.

Describe how these cultural influences and homes relate or remind you of your own personal experiences?

This film often refers to the homes as being unfriendly and or the product of someone that was disturbed. Do you share the same views? Explain why or why not.

 

Do you agree that “The new generation of young people are trained and already very used to interactive and dynamic communications. They expect this interaction, whether it is with their smart phones, their TV, or from the art they encounter in public places”? And what are the benefits or detriments of public art being instant and interactive?

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DISCUSSION ESSAY

Now read and consider this article, The Development of Public Art and its Future Passive, Active and Interactive Past, Present and Future by Ralfonso Gschwend

Links to an external site.. The article is tied to Art and Artist’s role in society (communication), 3D art forms. Pay particular attention to the reasons why the author believes in the importance of kinetic and interactive sculpture. Enlarge images to get a good look at their interactive qualities.

Consider:

  1. How can interactive public art change a viewers art viewing experience and do you think it’s valuable?
  2. Do you agree that “The new generation of young people are trained and already very used to interactive and dynamic communications. They expect this interaction, whether it is with their smart phones, their TV, or from the art they encounter in public places”? And what are the benefits or detriments of public art being instant and interactive?
  3. How do you think this new art form is of value that can enrich and inform our lives?

Hit reply to enter your responses into this discussion by due date. Then reply to two others within 24 hours of the due date.

This article explores modern public 3D art forms and aligns with the learning objective of this unit:

  1. Articulate and analyze how society influences the interpretation and message of a work of art.

 

Discuss how the 2 artworks are different both visually, thematically, and in their mediums/use of materials. Discuss what makes the 2 artworks similar.

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COMPARE & CONTRAST

Documentary films of varying lengths are being used in place of a textbook. Before beginning your submission, it is expected that all of the films that pertain to this assignment be viewed, and these have all been labeled as Compare/Contrast Film.

Comparing & Contrasting:

  1. Use 2 separate documentary films. Choose 1 artwork from each film.
  2. Make sure the 2 artworks are completely different mediums. Some examples: paint, graphite/pencil, charcoal, clay/ceramic, marble, bronze, glass, wood, etc.
  3. Make sure the 2 artworks are not of the same type, meaning you cannot discuss 2 paintings despite one being acrylic and another oil, or 2 sculptures despite one being bronze and the other marble, etc. The idea is to discuss 2 artworks that obviously seem different at first glance.
  4. Discuss how the 2 artworks are different both visually, thematically, and in their mediums/use of materials.
  5. Discuss what makes the 2 artworks similar.

Do not go to Google for answers to the questions or supporting information. The comparing & contrasting experience is rooted in observation and comprehension. Some helpful tips while considering/discussing your chosen artworks from the documentary films may include: What is it you are seeing? What is it that is being said about the artworks? Despite being different, how might you bridge a connection?

 

Select a disaster or event of your choice. Then do a BIA on that topic you have selected. In detail provide the name, and a description of the disaster or event you have taken.

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DISCUSSION QUESTION

This assignment must consist of 1200+ words with 3 Scholarly Sources, the below reference must be used as one source .

  1. Select a disaster or event of your choice. Then do a BIA on that topic you have selected.
  2. In detail provide the name, and a description of the disaster or event you have taken.
  3. Next identify which processes and computer applications are important to the survival of the organization selected.
  4. Third, develop an understanding of how interdependencies between functions or organizational units, process will affect continuity management.
  5. Fourth, identify critical resource requirements of the organization.
  6. Fifth, how would you gain support from upper management.
  7. Sixth, how would you increase management awareness of issues and satisfy regulatory requirements?

Textbook and Reference is attached below:

Broder, J. & Tucker, E. (2012). In Risk Analysis and the Security Survey. 4th Edition. Butterworth-Heinemann. Waltham, MA.