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?
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