Art

the paper should not cover everything the architecture ever did, but should instead focus on aspects of their work and/or philosophy that interests you. Entire paper must follow Chicago Manuel Of Style 16th edition formatting.

In a 500 word essay, describe the stylistic differences among three examples: the Greek Doryphoros, the Roman bronze portrait bust of Brutus, and the Portrait of Constantine the Great. How does each work address ideas concerning portraiture?

In a 500 word essay, compare one early Christian figurative illustration with one Islamic one. one art work for each Note differences in function (e.g. prospective audience), composition, and subject matter.

Please write three detailed and carefully edited essay statements (maximum of 1,000 words per statement). You should incorporate details of your academic and professional background, your strengths and challenges, and any unique aspects of your candidacy you want the Admissions Committee to consider:

Before viewing the theatre production, you must gather information about the play and the theater. Background information may include the credentials of the actors and the director, the history of the theater, the general plot of the play you will be watching, and so on. Gathering this information will help you get into the context of the play. Be prepared to take some notes while viewing the play. Evaluate what you see – pay attention to costumes, actors’ expressions, decorations, and lighting. Try to remember the most striking and distinctive visual images, and focus on them in your review. Evaluate music and other sound effects. Even if you don’t have a lot of experience with music, you can determine whether you like or dislike the music in the play. You do not need to be an expert in music to understand whether the music fits the play or not. Are the songs understandable? Do they advance the plot or allow you to get to know a character better? The performance of the actors/singers is the most critical part of a play. Are they professional or amateur? Is the director renowned? Pay careful attention to whether they manage to convincingly convey mood and emotions. As well, be mindful of whether the general idea of the play is clear and understood, whether the plot is intense and engaging, and so on. Next, evaluate the plot itself. Gaps in logic, messy narration, a weak or trivial main idea, and silly scenes which do not contribute to the plot, are aspects that all make the plot unbelievable. Is the plot easy to follow, or does it bore you? Does it have any ethical value? Does it raise essential and relevant questions? Do the plot and the events in the play affect you emotionally? You should try to answer these and other similar questions in your review. Is there something you would change in this musical? What would you do if you were the director? What did you like the most, and what did you dislike? Did the director and the cast manage to fulfill the task the plot set for them? Emphasis should be placed on your subjective opinion. Step 2: After watching the performance, you need to write a 300 word or less review of Into the Woods.  For more information on how to write a theatre review, click here  (Links to an external site.)  or here  (Links to an external site.) . When you have completed your review, upload it to this assignment as a .pdf.  Key Points to Consider Keep in mind that sometimes costumes may not fit the general setting of the musical. For example, you might be reviewing a contemporary remake of Shakespeare’s tragedy. Most likely, in a play like this, you will not see any traditional costumes, but rather something unexpected or avant-garde. Do not rush into judging it, claiming that such an approach spoils the play. Instead, try to figure out whether the adaptation affects the play, its mood, and its significance positively or negatively. You like the contemporary version more than the original. This also applies to decorations and other visuals. Try to be unbiased. You are reviewing a musical theatre performance, not a movie, so you should be aware of possible specifics. Actors and singers in a musical do not necessarily need to act realistically—their voices and intonations might also be mannered, extravagant, or somewhat histrionic. Do not think the play is terrible because actors do not speak as people would in real life. Try to understand whether it contributes to the general atmosphere of the play. Whether the acting is extravagant or not, you will know when it is just bad, and when it is done on purpose to emphasize something. Taking notes in a theater might be a hard task; most likely, you will not be able to write much down, and typing in your phone would take too much time (and its light would distract other people). Most likely, you are going to have to rely on your memory. If you can, try to view the play at least twice. Pay attention only to the most significant aspects; otherwise, you will get lost in details and miss something crucial. Write your review from an outline based on your notes and research. Then write a first draft, second draft, and a final draft. Edit your final draft at least two times. Grading Criteria The review should be thoughtful and well-written. Well written reviews will have a clear outline, be specific and use examples from the performance as evidence of your thoughts and ideas, and contain minimal grammatical errors. Please proofread and edit your work. Reviews that are creative, engaging, and provide evidence in support of your ideas, reference other course materials, and use learned vocabulary will receive higher grades. Please see the attached rubric for more information

Using these three eras, compare and contrast the approach each country/era uses to design its buildings, sculpt their kings/gods/athletes/citizens, and paint portraits, landscapes, animal hunts, etc. a. Discuss specific examples in detail and note in your paper what the differences are among these eras in these arts. b. Also, try to find similarities between eras and countries. For example, does Etruscan architecture shares design features from Greek buildings, and at the same time hint at what’s to come in Roman architecture? c. And think about (and discuss) this: do all the visual arts of one country demonstrate and support common goals of their respective cultures and eras in which they live? For example, do architecture, painting and sculpture in High Empire Rome reveal the prosperity and world-reaching goals of the largest culture of its time? Or does one of these art forms stray from the Empire’s “agenda”? Important instructions The paper will be submitted through SafeAssign system. Use Gardner’s Art Through the Ages: The Western Perspective, 4th Concise Edition as your primary source. I am submitting the files from the first three chapters. It should give you a lot of information on what you need. Wikipedia is not acceptable source of information. Spelling and grammar are important. The body of the paper should be mostly in your own words, with minimal direct quotes and paraphrasing. If you use direct quotes, use “ “ with a number behind it to identify the proper endnote. For endnotes in the body of your paper, all you need to do is put a number at the end of the sentence or paragraph to which a source applies. That number should be listed on the endnote page at the end of the paper on a separate page and be in this simple format: Endnote #, Author, Title, Publishing Company, Date, Website URL (if applicable), Page Numbers

Part 1: Chapters 15-17 Choose and respond to 7 prompts from Part 1. Make sure that your responses are written in full sentences and respond in detail to the prompts. I will be looking for responses that demonstrate understanding of the course material and its application to artworks you view at the museum. *Make sure to number your responses to correspond to the prompt numbers. Do not include the prompt text with your responses. 1) Locate the Winged Genius from Nimrud in Gallery 240. Compare the appearance and purpose of this demi-god image with that of the human-headed winged lion (lamassu) on page 326 of your textbook or the Lion Hunt panel on page 327. 2) In gallery 250, locate the Casket and cartonnage of Lady Tashat. Compare the painted images that decorate the cartonnage with the Fragment of a wall painting on page 331 of your textbook. 3) In Gallery 241, locate the Cycladic Female figure. Considering the artistic culture and style of the Cycladic period, compare this object with the Statuette of a woman on page 335 of your textbook. 4) Also in Gallery 241, locate the Black-figured Hydria. Compare the representation of human and animal forms that decorate this hydra with the decoration of the Krater pictured on page 337 of your textbook. 5) Using the Roman Matron and the Doryphoros examples, comment on the differences between the styles of sculpture from Classical Greece and Rome. Neither statue is currently on view in a gallery, so you will need to search for these by title. 6) In Gallery 343, locate the Madonna and Child Enthroned with Saints painted by Bernardo Daddi. Compare the techniques and elements this artist used to depict a holy figure with the same seen in Cimabue’s Madonna Enthroned, pictured on page 53 of your textbook. 7) In Gallery 342, locate Virgin and Child in a Landscape (c. 1492-98). Considering the techniques this artist used to define pictorial space (review pages 103-111 in your textbook), compare with the same as seen in Madonna and Child with St. Anne by Leonardo Da Vinci, pictured on page 372 of your textbook. 8) In Gallery 330, locate Salome with the Head of Saint John the Baptist by Onorio Marinari. Discuss what exactly that you see in this painting that makes it distinctly Baroque. 9) Locate Rembrandt’s Lucretia in Gallery 311. Using this painting as an example, comment on how the Dutch Baroque style of Rembrandt differed from the Italian Baroque of Caravaggio or Artemisia Gentileschi. 10) In Gallery 309, locate a painting titled The Asparagus Vender. Considering the content of Chapter 3 of your textbook and Johannes Vermeer’s Woman Holding a Balance depicted on page 67 of your textbook, comment on genre subjects in Dutch painting of the 17th century. 11) Enter Gallery 318 and look around you. Comment on how this Grand Salon period room is representative of the Rococo style architecture. 12) In Gallery 307, locate the sculpture titled Ganymede and the Eagle. Comment on how its Danish sculptor adhered to the style and subject matter of Neoclassicism. Part 2: Chapters 18-20 Choose and respond to 7 prompts from Part 2. Make sure that your responses are written in full sentences and respond in detail to the prompts. I will be looking for responses that demonstrate understanding of the course material and its application to artworks you view at the museum. *Make sure to number your responses to correspond to the prompt numbers. Do not include the prompt text with your responses. 13) In Gallery 243, locate a rectangular tile from Iran (13-14th century). Considering the buildings depicted on page 414 of your textbook, use this object to comment on the use of blue-glazed tile to decorate mosque architecture and the significance of calligraphy in Islamic art. 14) In Gallery 236, locate the beaded Yoruba crown (c. 1920). Considering figures 18.12 and 18.13 in your textbook, comment on the original function of the crown on display at the Minneapolis Institute of Art. 15) In Gallery 254, locate a terra-cotta head from the Nok culture (1000 BCE-300 CE). Considering how this object may have originally appeared, compare it to the Nok head depicted on page 418 of your textbook. 16) In Gallery 254, locate the Sande mask. Considering this mask and figure 18.17 in your textbook, comment on how masks and masquerading function in many African cultures. 17) In Gallery 254, locate the Dogon Male Figure (17th-18th century). Considering this sculpture and figure 18.14 in your textbook, comment on the role of abstraction in Dogon sculpture. 18) Locate a wooden Maori House Panel in Gallery 256. Considering figure 20.5 in your textbook, comment on where the house panel in the Minneapolis Institute of Art originated and its function/meaning. 19) In Gallery 256, locate Bark Painting with Suns, Fish and Plants from Australia. Considering the function/meaning of this object, compare it to figure 20.1 in your textbook. 20) In Gallery 200, you will see several depictions of the bodhisattva Avalokiteshvara (Guanyin) in sculpture and painting. Choose one and compare its appearance and iconography to the Guanyin sculpture depicted on page 441 of your textbook. 21) In Gallery 210, locate Uma-Maheshvara (10th-11th century). After reviewing pages 232-234 of your textbook, consider the use of iconography in Hindu art. 22) In Gallery 218, locate Plum, Narcissus and Rock (1679) by Wang Wu. After reviewing pages 442-444 of your textbook, comment on Wang Wu as a scholar painter. 23) In Gallery 205, locate the Haniwa of a Female Shrine Attendant (6th century) from Japan. Compare the style and function of this object to the haniwa horse depicted on Page 445 of your textbook. 24) In Gallery 222, locate the locate the pair of panel screens called Hawks by a Stream (mid 17th century). Compare the style and media of these screens to the same seen in figure 19.33 of your textbook. 25) In Gallery 226, choose one woodblock print that interests you. Then, comment on how it represents imagery that would have been of interest in Edo Japan. 26) In Gallery 260, locate a painted Bowl (c. 800-1200 CE) from the Maya. Considering the iconography seen in figure 20.10 in your textbook, theorize what or who you think may be depicted on the Mayan vase at Mia and what may have been the function of this object. 27) In Gallery 259, locate the Dakota Cradle Board Cover (c. 1880). After reviewing pages 466-467 of your textbook, comment on how objects such as this cradle board imbued “arts of daily life” with meanings beyond practical function. 28) In Gallery 261, locate the Transformation mask carved by Richard Hunt in 1993. After reviewing page 470 of your textbook, use this object to comment on the role of masks in Kwaukiutl ritual. Part 3: Chapter 21 Choose and respond to 6 prompts from Part 3. Make sure that your responses are written in full sentences and respond in detail to the prompts. I will be looking for responses that demonstrate understanding of the course material and its application to artworks you view at the museum. *Make sure to number your responses to correspond to the prompt numbers. Do not include the prompt text with your responses. 29) In Gallery 357, locate the painting View of Tangier by Eugène Delacroix (1852-1853). What qualities does this painting have that make it Romantic? 30) In Gallery 355, find The Smoker (1866) by Édouard Manet. Then, venture over to Gallery 306 to locate Union of Love and Friendship (c. 1793) by Pierre-Paul Prud’hon. Using these two paintings as examples of Realism and Academic art, explain their differences in subject matter and painting technique. 31) In Gallery 355, find Grainstack, Sun in the Mist (1891) by Claude Monet. Using this painting as an example, explain where Impressionist artists painted and what their artistic goals were. 32) In Gallery 355, locate Olive Trees (1889) by Vincent Van Gogh and Tahitian Landscape (1891) by Paul Gauguin. In what ways are both of these paintings examples of Post Impressionism? 33) In Gallery 371, view London: St. Paul’s Cathedral seen from the Thames (1906) by André Derain. In what ways does this painting illustrate Fauvism? 34) In Gallery 371, locate Seated Girl (Fränzi Fehrmann) by Ernst Ludwig Kirchner and Study for Improvisation V (1910) by Vassily Kandinsky. Using these paintings as examples, explain the differing tendencies of the Die Brücke and Der Blaue Reiter Expressionist groups in Germany. 35) In Gallery 367, locate Table and Fruit (1909) by Fernand Léger. In what ways does this painting demonstrate Léger’s interest in the experiments of his contemporaries, Georges Braque and Pablo Picasso? 36) In Gallery 376, view The Scholar’s Playthings (1917) by Giorgio de Chirico. What qualities of Metaphysical Painting does this painting share with The Disquieting Muse by Giorgio de Chirico pictured on page 491 of your textbook? 37) In Gallery 376, locate Gift (1921) by Man Ray. How is this object representative of the ideas of the Surrealist Movement? 38) In Gallery 377, find Composition with Blue, Red, Yellow, and Black (1922) by Piet Mondrian. After reviewing pages 496-497 of your textbook, explain what Mondrian was trying to achieve with this painting. 39) In Gallery 378, locate Marcel Breuer’s Armchair (AKA the Wassily Chair). How does this chair, in regard to form and materials, illustrate the principles of the Bauhaus school of design?

The purpose of this discussion is to highlight how things from the arts converge with aspects of faith. This week you will explore a unique period in the history of the Arts ~ the Baroque period. This period is the result of the Catholic Church’s response to the Reformation, which shaped the arts in specific ways. As you learn about this period of the arts, think about ways the arts intersect with and form your own religious or spiritual practices and traditions. Step 1: Watch the videos in this week’s modules and complete the assigned reading. Step 2: After engaging with the online content, share with the class about an experience you have of engaging with the arts in a worship setting. The experience does not have to be at a church you regularly attend or even part of your spiritual practice. Be specific in your description of which areas of the arts were part of this experience. How do you think the arts helped to shape this experience?

In a 325 word essay, discuss the transformation of the step pyramid design into the better known smooth-sided version. What changes in the culture and the pharaoh’s job description caused changes in the design?

In a 300 word essay discuss how the Palette of King Narmar establishes both visual and iconographic conventions that will guide Egyptian art for centuries. Provide specific examples of works that demonstrate this influence.