Research Paper Guidelines

Choose one of the following prompts and write a minimum 5 page (double spaced) research paper with at least 4 sources (2 of which must be listed in academic journals or books).

  1. Choose one art movement that we discussed in class, taking one work of art as an example and pointing out characteristics of that art movement within the painting/excerpt/musical composition/play &c.
  2. Compare and contrast two works of art (painting or otherwise) from a time period we have discussed and any other one (including contemporary music, graffiti art, or modern short stories &c.) providing a brief introduction to the art work and a description of the art movement to which it belongs.

Sources: 4 sources, 2 of which are academic

Rough Draft Due March 1st

I expect a hard copy on my desk and a soft copy in my inbox. All late copies will automatically be deducted 5 points per day (that means if I don’t get BOTH copies on the 1st, its 5 points off).

My primary concern in your rough drafts is that you’re meeting all of the requirements of the prompt and has a solid thesis that reasons your argument. I will point out all of your grammar/usage/structural and stylistic mistakes for you and expect them to be fixed in your final drafts to me.

La Camargo Dancing

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The painting above, La Camargo Dancing, was painted by Lancert Nicolas in 1730.  Niclolas Lancert was one of Antonite Watteau’s most talented followers. Like Antonie, Lancert was often inspired by the stage. In this case he was inspired by the female dancer Marie-Anne de Cupis Camargo, a ballet star of the Paris Opera.  Camargo was known to shorten her skirts and dresses and to wear ballet slippers( as shown by the picture) to make it easier to move around.

In this painting Lancert painted La Camargo dressed in a white gown with flowers all over it; this suggest a pastoral opera. Camargo’s grace and talent is shown by the way Lancert painted her; moving gracefully with her partner and the way her body is positioned. On the far left musicians are hidden amidst the trees, while across the canvas from left to right, arranged on an exaggerated S curve, stylishly dressed spectators have assembled in intimate groups to watch a couple perform a dance.  Lancert’s rococo style is shown in the picture by the bright colors that give the painting a dreamlike quality. It is also shown by the similar facial characteristics that most of the people in the painting have.

Madame Bergeret

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The oil painting above is called Madame Bergeret; this painting was painted by rococo artist François Boucher in around 1766. Francois Boucher painted more than a thousand portraits and only about twenty are portraits. His rococo style is obviously shown in many of his portraits. For example his use of bright colors, such as pink, red and green, give off a soft glow and soft feeling. Furthermore at the first glance the picture seems happy, but as you look closer into the picture you can see her calm somewhat sad expression.

Madame Bergeret is painted in a garden setting, dressed in a creamy silk gown, with puffed sleeves (portraying the fashion at the time) and blue ribbons. She is painted in a way to show her youth and beauty depicted in translucent whites. The most important symbol in this picture are the roses which are decorating her sleeves, hair, and arranged on the bench and on the floor. The rose is sacred to Venus and is a symbol well suited for a portrait of Bergeret’s beloved wife.

Embarkation of Cythera

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This painting was created in 1717 during the Rococo movement by Jean-Antoine Watteau. The embarkation of cythera is an allegorical love story at its finest. Cythera means a beautiful greek island of love. In the picture their are three couples that have the center of the attention. The theme of this piece cannot help but bring about a happy,peaceful mood. There is no sign of anguish or broken hearts. The cupids that are hovering over the boat show how they are even excited about the lovers journey.This picture can be described as a perfect fantasy. The brushstrokes of the painting are very light and airy. They have a hazy dream like affect. The color palette are very neutral nothing really stands out besides the colors of the peoples costumes. But even those are toned down. The artist has a very good way of drawing attention to his whole composition other than just one thing.    

Esther Before Ahasuerus (1622): Artemisia Gentileschi

 Esther Before Ahasuerus (1622) Oil on Canvas by Artemisia Gentileschi; Metropolitan Museum of Art, Gift of Elinor Dorrance

Esther Before Ahasuerus (1622) Oil on Canvas by Artemisia Gentileschi; Metropolitan Museum of Art, Gift of Elinor Dorrance

Artemisia Gentileschi was the talented daughter of Orazio Gentileschi, a follower of the Baroque painter, Caravaggio (1571-1610). Orazio taught his daughter to paint as he did. He allowed her to work with him on various projects and some of her work was confused with his, until recently. As a female artist in a male dominated society, Artemisia faced endless struggle and discrimination. Traumatic events early on in her life can still be seen in many of her paintings. Artemisia, however, is known to have protested the unjust treatment of women in the 17th century through her art pieces. Only thirty four of her paintings survive today and the majority of them are based on women in Christian, Jewish, mythological or allegorical subjects.

Esther Before Ahasuerus, painted in 1622, is a very large, simple painting, almost seven by nine feet. On the right side, Ahasuerus is seated on his throne which seems to be raised above all. He is depicted as a young, dashing king who is about to rise as Esther is passing out before him. Esther, depicted on the extreme left side, is being supported by two maidens. Esther’s arm is extended outwards and she is portrayed to be pleading for the king’s assistance. In my opinion, her conniving collapse is well calculated. While she might seem vulnerable to this king, she is in control of the situation since he is “bowing” in her presence.. Esther’s head is tilted at an angle, her eyes are closed, and her eyebrows are arched in a theatrical sort of fashion. Esther is manipulating the king to rise in her presence although he is greater in power than she is.

This lavishly painted masterpiece is bleak in its simple composition. It’s dramatic lighting pays attention to many of the minute details presented. Artemisia has matched Esther’s jeweled belt and the fabric of her gown to the gold laced, satin robe the king is wearing. We can also notice that the bottom of the king’s throne is very well decorated. Overall, Artemisia Gentileschi has stunned us all with this magnificent painting.

Le Déjeuner

Francois Boucher was a Rococo painter of 18th century France before the French Revolution. He was known for having painting that had themes from the classics, allegory, and beautiful paintings of pastures and landscape.

In this picture, there is a French middle-class family of the early 18th century sitting around a table. As you can see, there is some fine decoration in the background. There is a decorative clock in the background. There is also pots, toys and books. There is also mediocre dishware on the table. The artwork greatly reflects on rococo artwork. It is has extremely vibrant and vivid colors throughout this painting. The painter painted combined various colors such as red, white, brown, green, blue, etc. The painting also looks very lively. There is a young mother playing with one of her children. There is also another woman who could perhaps be a family friend or relative. There is also a young boy who is playing with dolls and other toys. There is a man who looks like he serving tea to the women. This person would most likely be a servant because the head of the household (the male during this time) would not do such a “lowly task”. A major theme of this painting is a nice, homey household. The family is rich enough for them to have  a servant. The women are having tea and playing with their children. The house itself looks a little extravagant and prim. In general this house looks cozy and warm.

Les Charmes de la Vie (The Music Party)

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By: Jean Antoine Watteau

 Jean Antoine Watteau is known for his use of music, specifically the guitar and violin, in his artworks. Watteau’s art was based on everyday scenes and the natural movements of people. In Les Charmes de la Vie (The Music Party), you are able to clearly look at Watteau’s work as an everyday scene.

The main focus of the painting is at the middle, where the man is playing a guitar. On the right of the man, there is a sleeping dog and a young African boy who seems to be busy doing his daily chores. If you look at his face closely, you notice that he is looking in the opposite direction at the white people. He might be thinking about how simple life would be in their place because of how carefree they look. The people on the left of the picture are the people the man in the middle is playing music for, though not much emotion is shown on their faces. The man, all the way on the left, looks like he is really trying to focus on the music. The children on the other hand, seem to not care at all.

The background of the picture is not a main focus in the picture and seems to be there only for the sake of making the painting look more detailed. The detail is shown by the trees, clouds and houses in the back. The light blue cloudy sky gives the painting a happier vibe that the characters fail to show with their expressions. If you look deeper into the background, you see about ten people facing their backs to the people in the front. This could mean that they are all watching something together.

Miranda The Tempest

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Miranda is one of the principal characters of William Shakespeare’s The Tempest. Miranda is the daughter of Prospero, one of the main characters of William Shakespeare’s The Tempest. She was banished to the Island along with her father at the age of three, and in the subsequent twelve years has lived with her father and their slave, Caliban, as her only company. She is openly compassionate and unaware of the evils of the world that surrounds her, learning of her father’s fate only as the play begins.
The painting is very emotion and has a deep feeling of emotion from the first sight of it. The painting itself is painted with dark colors; even the shade of yellow used on the edges of the waves is dark, not bright. Miranda herself looks very innocents and young. Her had is positioned on her heart as if she is thinking of a loved one or something has happened to a loved one. The waves look as if it’s very windy and so does her hair, because it’s flowing. Her dress is a deep blue and is painted very carefully and vividly, as you can see each crease and flow of the dress clearly. The most vibrant color in the painting is her reddish hair. The picture is level as in all almost at the same height, even the farthest mountain looks about the height of the ship. And the ship is not that far off from the length of the stone she is sitting on. It can be inferred that she is brave because while the ship is crashing in front of her and you can see a piece of the ship infront of her to the left, she doesn’t seem scared or worried, yet she seems sympathetic.

The Church of the Fourteen Saints

By Johann Balthasar Nuemann

The Church of the Fourteen Saints was also known as The Basilica of the Holy Helpers, or Basilica Vierzehneiligen. It was a masterpiece of late Baroque and early Rococo design. Balthasar Nuemann died several years before the construction of his masterpiece could be completed in the year 1772. Balthasar Nuemanns architechture was known for its detailed interior which consisted of a rich array of statues, gold columns, stucco, creating an intense display of color and texture.
The first picture shows the outside of the Church . The first thing I noticed  when  looking at it was the symmetry it had. If you look closely at the church, you can see five statues on the top of the church, and two at the middle. My guess is that these statues are some of the fourteen saints or holy helpers.
 
 The second picture shows the interior of the Church . The walls and columns in his buildings are opened up to create startling and often playful effects while also retaining a sense of symmetry and harmony, just like
the outside. Neumann made use of domes and barrel vaults to create sequences of round spaces. The elegance is highlighted when the daylight  streams in through huge windows. The liveliness is shown by a lavish use of decorative celling and wall art and statuary.