I will upload all the instructions in the word documents, thank you so much

Assignment Requirements

 

I will upload all the instructions in the word documents, thank you so much

STUDY GUIDE #5 for ROMANESQUE AND GOTHIC

——————————————-

 

1. TEXTBOOK ASSIGNMENT: pp. 196-211, 220-233

 

II. REQUIRED SLIDES (for identification on tests by period, artist, title, & date… plus, if architecture, location too):

 

Fig. 5.48, Romanesque, (architect unknown), Cluny Abbey III, ca. 1088-1157, Cluny, France.

Fig. 6.7, Romanesque, (artist unknown), Christ in Majesty with Angels, Symbols of the Evangelists, and Saints, from San Clemente, Tahull, Spain, ca. 1123.

Fig. 6.8, Romanesque, (artist unknown), Ste.-Foy Reliquary, ca. 980.

Fig. 6.10, Romanesque, (architect unknown), Sainte-Foy (nave), Conques, France, ca. 1080-1120.

Fig. 6.11, Romanesque, (architect unknown), Sainte-Foy (plan), Conques, France, ca. 1080-1120.

Fig. 6.12, Romanesque, (architect unknown), Sainte-Foy (exterior), Conques, France, ca. 1080-1120.

Fig. 6.14, Romanesque, (artist unknown), Last Judgment (from west portal, Ste.-Foy), ca. 1120.

Web Photo: Romanesque, (artist unknown), Enthroned Virgin and Child, ca. 1130-1140

http://www.aug.edu/augusta/iconography/metropolitan/cloisters/virginEnthroned.jpg

Fig. 6.22, Gothic, (architect unknown), St.-Denis (interior of east end), Paris France, 1140-1144.

Fig. 6.23, Gothic, (architect unknown), St.-Denis (plan), Paris France, 1140-1144.

Fig. 6.25, Gothic, (artist unknown), Madonna of Jeanne d’Evreux, 1339.

Fig. 6.27, Gothic, (architect unknown), Chartres Cathedral, Chartres, France (nave interior), 1145-70, 1194-1220, 1507

Fig. 6.28, Gothic, (architect unknown), Chartres Cathedral, Chartres, France (elevation of nave wall), 1145-70, 1194-1220, 1507

Fig. 6.29, Gothic, (architect unknown), Chartres Cathedral, Chartres, France (plan), 1145-70, 1194-1220, 1507

Fig. 6.30, Gothic, (architect unknown), Chartres Cathedral, Chartres, France (west facade), 1145-70, 1194-1220, 1507

WEB PHOTO: Gothic, (artist unknown), St. Theodore (from the South Transept jamb figures, Chartres Cathedral, France), ca. 1230.

http://www.bc.edu/bc_org/avp/cas/fnart/arch/gothic/chartres/chartres_sculp032.jpg (St. Theodore is the figure on the left.)

Fig. 6.33, Gothic, (artist unknown), Beau Dieu (from trumeau of central portal, west façade of Cathedral of Amiens, France), ca. 1225-1235.

Fig. 6.35, Gothic (artist unknown), Nôtre Dame de la Belle Verrière (from Chartres Cathedral), 1145-70, 1194-1220.

WEB PHOTO: Gothic, (artist unknown), La Vierge Dorée (from the South Portal of Amiens Cathedral, France), ca. 1250.

http://www.wga.hu/html/zgothic/gothic/2/03f_1249.html

WEB PHOTO: Gothic, (unknown architect), Ste.-Chapelle, Paris, France, ca. 1243-1248

Exterior: http://www.shafe.co.uk/crystal/images/lshafe/St_Chapelle_exterior.gif

Interior: http://hipparis.com/wp-content/uploads/2009/09/ste-chapelle11.jpg

III. TERMS, CONCEPTS, & PEOPLE: NOTE: “Terms, Concepts, & People” also include all artists and periods.

 

 

ROMANESQUE

penance

pilgrimage

Crusades (Pope Urban II, 1095

Council of Clermont)

Santiago de Compostela

Benedictine monasticism

Cistercian Reform

Cluny Reform

feudalism

relics/reliquary

radiating chapels

ambulatory

Romanesque nave elevation:

(arcade, gallery, clerestory)

barrel vault (tranverse arches)

compound piers

Romanesque portal (same components in Gothic portal):

archivolts   jambs

tympanum     trumeau

lintel

 

GOTHIC

Franciscans/St. Francis of

Assisi

Dominicans/St. Dominic

chivalry

Cult of Virgin Mary

Abbot Suger

chevet

Gothic/ribbed vault

(ribs, webbing)

round vs. pointed arch

exterior/flying buttress

 

pilier cantonné/cluster pier

stained glass

tracery

“disappearance of the wall”

“mass replaced by light &

line”

Gothic nave elevation:

arcade, (gallery),

triforium, clerestory

(see architectural terms, pp.

228-229)

 

 

Art History Introduction: Prof. Meadows-Rogers

2nd Essay Assignment

Due: Thursday, 19 June 2014

essays

Two essays of four-to-five pages each will be due on Thursday, 6/6 and Thursday, 6/20. Each will involve a trip to one of the museums in Manhattan and will focus on an analysis of a work of art or a comparison of works in the museum. I will distribute the instructions for the essays at least a week before the due date. (NOTE #1: This paper is not intended to be a research paper, but an essay in visual and historical analysis, based on the knowledge gleaned in class and from the textbook. NOTE #2: To receive credit for the papers, the student must attach a dated receipt for the museum’s admission fee to each paper.)

 

 

To write this essay you will need to visit the Cloisters, where the Metropolitan Museum has installed a large portion of its medieval collection. The Cloisters stands at Manhattan’s northern tip, in Ft. Tryon Park, not at the main 5^th-Avenue building. (See information about the Cloisters below.)

 

At the museum, locate the following works:

(1) A Romanesque apse fresco, attributed to the Master of

Pedret, depicting the Virgin and Child, with the archangels Michael and Gabriel and the three Magi (accession # 50.180a-c). This work, which dates ca. 1100, comes from the Church of the Virgin, near Tredos, in Catalonia, Spain. The museum has permanently installed the fresco within the very-late-Romanesque apse of the Church of San Martin, Fuentidueña, Segovia, Spain, ca. 1175-1200. (The Fuentidueña Chapel, Gallery 002, accession # L58.86.) You should focus especially on the fresco, while also noting the relevant characteristics of the apse’s architecture and sculpture, which resemble the fresco’s original setting and whose elements accord well with the fresco’s general style. (Note that, as a setting for the Romanesque apse and fresco, the Museum constructed a new nave, in the Romanesque style, but with an exposed-timber ceiling.) — For brevity’s sake, you should simply title the fresco as the Virgin and Child with the Adoration.

 

(2) A pair of adjacent stained-glass panels from a Gothic

chapel in the castle of Ebreichsdorf, Austria, ca. 1390. These represent, in the first panel, the Three Magi sighting the Star of Bethlehem, which appears in the second panel, above the Holy Family. (Accession #s 1986.285.1 and 1986.285.2.) These panels comprise part of a stained-glass ensemble in the Gothic Chapel, Gallery 009, which the Museum constructed to accommodate Gothic sculpture and stained glass. Its components match many of the Gothic architectural features that we discussed in class.) As with the fresco, you should focus on the stained glass panels, but you should also note the ways in which the architecture accommodates and befits the stained-glass ornamentation. (You should title this work the Ebreichsdorf Adoration.)

 

 

After you have closely studied these works, both of which include the iconography of the Adoration of the Magi, write an essay of ca. five pages in which you discuss how they illustrate the changes in Western European culture, style, and religious values between the Romanesque and Gothic periods. In other words, what changes in the fortunes and religious devotion of Europe and what coordinate changes in artistic style account for the similarities and differences between the two works? — You should support your analyses by comparing the works to parallel works that you have encountered in the textbook and in class.

 

In your essay, along with general considerations of historical, cultural, and stylistic development, you should also consider such specific issues in the art works as:

— the relevance of the different media.

— the treatment of human anatomy, drapery, and posture.

— the ways in which the figures in each work relate to

each other and to the viewer.

— the compositional format of each work.

— the kind of emotional content, if any, that the works

— the setting that each work provides for the ostensible

— the influence of previous cultures/styles on each work.

— the devotional and religious purpose, as well as the

architectural setting, of the works.

Information for the Cloisters

 

Hours:

Mondays-Sundays (seven days/week), 10:00 a.m.-5:15 p.m.

Admission:

Adults $25 (but you may pay what you wish)

Students/Seniors $12 (but you may pay what you wish)

Location: In Ft. Tryon Park, northern Manhattan.

For directions by bus, subway, or car, go to:

http://www.metmuseum.org/visit/visit-the-cloisters/getting-to-the-cloisters

Note: To get to the A train and M4 bus, which the Cloisters directions mention, take the BX12 (Limited/Select) west to 207^th & Broadway in Manhattan (its last stop). The entrance to the A train is next to the bus stop. Take the A train downtown to 190^th St./Ft. Washington Ave. At 190^th, take the elevator up and walk the few stairs up to the street level. You will see the entrance to Ft. Tryon Park on your right, across the traffic circle. Take the right hand entrance to the park and follow the road (Margaret Corbin Drive) until it ends, right in front of the Cloisters Museum (a 10-minute walk or so)… or take the #4 bus into the park, which stops at the A subway entrance and which stops directly in front of the Museum entrance.

 

Instructions for Writing and Formatting Your Essay

 

— You must include your museum admissionreceipt to receive

   credit for your paper. You should staple your receipt to

   your paper.

— You should plan an essay of ca. five pages, due on

Thursday, June 19, at the beginning of class. Please submit your essay as a hard copy. Do not email it to me as an attachment.

— Your essay should be typed and double-spaced, with one-inch

   margins, 12-pointCourier font, and stapled pages. (No

   binders or clips of any kind, please!) Your last name and

   the page number should appear in the header of each page,

   justified to the right margin.

— I will evaluate your essay on the basis of

• imaginative content,

• clarity of expression,

• logical organization of ideas,

• accuracy of information, and

• correct spelling, grammar, and syntax.

• All of these criteria will require that you revise and

proofread your writing carefully and thoughtfully.

GUIDELINES FOR WRITING

 

— Use the spell-check feature!!!

— Avoid passive-voice constructions, which lead to

convoluted and wordy syntax. For example, compare the two sentences: “I am trusting because he is honest.” VS. “I trust his honesty.”

— Overly-long sentences and paragraphs, many commas, and

lots of semicolons and conjunctions point to convoluted syntax.

— Avoid awkward constructions. (It helps to read aloud

paragraphs and sentences whose construction you question.)

— Watch out for subject/verb agreement; singular nouns

and pronouns require singular verbs, while plural nouns and pronouns require plural verbs, and vice versa.

— Be careful about sentence fragments; i.e., do not treat

as sentences, with capitalized first words and periods, constructions that do not contain a subject and a predicate. Sentence fragments also include the use of dependent clauses as sentences, such as, for example: “While I thought otherwise.”

— Watch out for consistency of tense and number. Do not

shift between present tense and past tense in the same sentence or paragraph. Likewise, do not switch between singular and plural nouns/pronouns in the same sentence or paragraph, unless, of course, you mean to refer to different subjects:

Incorrect: “No one should use lose their class notes.”

Correct: “Students should not lose their class notes.” OR

“No one should lose his or her class notes.”

— Place subjects and verbs as closely together as possible.

— Make sure that pronouns have clear antecedents.

— Do not split infinitives. Correct = “to walk carefully.”

Incorrect = “to carefully walk.”

— Do not end sentences with prepositions.

— Do not begin sentences with “And….” or “But….”

—“It’s” = “it is.” “Its” = possessive form of “it.”

— “Their” is the possessive form of “they.” “There” is

an adverb. “They’re” = contraction for “they are.” However, avoid contractions (“can’t,” etc.) in a formal essay.

— Italicize or underline foreign words and phrases (e.g.,

contrapposto).

— Write out numbers, other than dates, addresses, and numbers of more than two digits.

— Underline or italicize the titles of paintings and sculptures, but not the names of buildings.

 

 

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