Questions and Topics We Can Help You To Answer: Assignment 3: Postmodern architecture Postmodernism in architecture came to the forefront in the 1970s. In recent years, postmodernism has made some sort of comeback. Describe in 1500 words what postmodernism in architecture is, where it came from and where it led to, and evaluate postmodernism’s significance for today’s architecture. Use the following texts from the reading list as a point of departure. Arthur Drexler, Introduction,Transformations in Modern Architecture, London (Secker & Warburg) 1980. Charles Jencks, Part Three, Postmodern Architecture, The Language of Post-Modern Architecture, London (Academy) 1977. Vincent Scully, How Things got the way they are now, in: The Presence of the Past: First International Exhibition of Architecture, Venice (La Biennale di Venezia) 1980. 5 Liane Lefaivre, Critical Regionalism, A Facet of Modern Architecture Since 1945 in Liane Lefaivre, Alexander Tzonis, Critical Regionalism: Architecture and Identity in a Globalized World, Munich (Prestel) 2003. Harold Kalman, Chapter 15 Modern Architecture and Beyond, A History of Canadian Architecture, Toronto/New York/Oxford (Oxford University Press) 1994.r Diane Ghirardo, Introduction, Architecture after Modernism, London (Thames & Hudson) 1996.
Questions We Can Help You To Answer THE HINDU GOD SHIVA WITH GODDESS PARVATI Introduction. Shiva is a Hindu god, among the most complex of the Hindu pantheon. He is recognized by the Hindu as the most complex and respected God; earning his shrine a position separate from the other gods in the temple (Chandrakant, 2007). Parvati is the beloved wife of Shiva, in myths she is often depicted as a daughter of the mountain and the Himalayan ranges (Storl, 2004). In most sculptures, they are often put together side by side as a symbol of the matrimonial union that is regarded as highly sacred (Laser, 2014). Shiva Alongside Brahma and Vishnu, they are members of the sacred trinity, ‘Trimurti’ of Hinduism (Wangu, 2009). Often visualized as a complex character, Shiva represents courage, goodness, kindness and is a protector of the realms for his believers (Storl, 2004). He also guarded the sacred texts, ‘the Vedas’. In one of the statues of Shiva, he is placed inside a circular ring that is a representation of his manifestation period. Shivas reign is endless; it is a belief that he regenerates every 2,160,000000 years. These numerous years are termed as cycles and at the end of every cycle, he destroys the universes leaving room for a new creation (Doniger, 2009). As a great ascetic, shiva avoided all forms of pleasurable absolutions and devoted a greater part of his time meditating and in deep concentration in an attempt to find and gain perfect happiness. It was during this era that he collected vast quantities of knowledge that gave him an understanding of the universe and its diverse forms of life (Dececco, 2014). On the contrary, it is believed that he had INTRO TO ART3 an affiliation with the dark forces, and it is believed that he was the lead of malicious men such as villains and ghosts (Handelman, 2014). This thought prevails since Shiva was known for his rage and short temper during moments of danger, risk and stress (Laser, 2014). Shiva met Parvati when she served him during his atonement, and it was during this time that they became engaged (Storl, 2004). Shiva became a complete family man. But that did not dissuade him from his norms as a solitary man: he relentlessly continued meditating and engrossing himself in lucid dreams filled with visions and revelations (Storl, 2004). Being a jolly man, he sometimes failed to shoulder responsibilities and this infuriated Parvati but being a caring wife, she always calmed down and reasoned with him eventually understanding him. Parvati’s empathy brought peace and stability to their marriage (Handelman, 2014). Parvati She is the great wife of Shiva and a reincarnate of ‘Sati’, the daughter of the god Daksha. She is the mother of all the creation and takes care of all the faithful (Storl, 2004). She is a goddess of affection, consecration and abundance. She is the goddess of divine power and gentle strength (Storl, 2004). Visual analysis. The authentic appearance of the god Shiva is also distinctive and different from other gods of other Hindu Deities. His hair is assembled at the top of his head in a bun roll. A glistening crescent is attached to his hair that falls around his head freely. In one of the statues a five-headed green cobra stays alert, the body of the serpent is coiled around his neck, and this is a representation of ‘Kundalini’ INTRO TO ART4 which is an empirical symbol of the spiritual energy of life (Wangu, 2009).
Figure 1: The statue of Shiva immersed in water. In one of the prominent statues of Shiva, he is seated on a tiger skin. He is also presented while wearing a tiger skin that is wrapped around his body. Figuratively, the beast’s skin is a representation of the powers that Shiva control and this suggests that he is the regulator of all the authority of the Universe. He puts on the ‘Rudraksha’ which is a beaded ornament. His whole body is a smeared with holy ash (Handelman, 2014). Goddess Parvati. Often placed on the left-hand side of Shiva, she is carved with detail. Their offspring often escorts them and offer lotus sprouts to the deities at the middle (Doniger, 2009). The benefactors have their progenies by their flanks, so the offspring of Shiva and Parvati are revealed by the small symbol of Ganesh at the foot. He has a human body and an elephant head (Wangu, 2009).
Figure 2: Goddess Parvati Parvati's son, Ganesh is a god of better fortune and often believed to be a god of good luck. Faithful believers often invoke his presence before beginning any act that needs chance or luck to be achieved, or during critical activities such as businesses and celebration festivities. The symbol of Shiva is a phallus that is rigid; it is a symbol of procreative power in Mother Nature. During meditation periods in the mountains, he engaged himself in many adventurous events but he always came out unscathed and victorious, as a significant and distinguished god, he is a perfect model of a life well lived (Wangu, 2009). For instance, he emphasized INTRO TO ART5 the importance of self-sacrifice; when ‘Vasuki,' the sovereign of Serpents, threatened to spew snake venom across the broad oceans that the universe bordered. Shiva assumed the form of a giant tortoise or turtle and took all the venom in his palm and imbibed it thus saving the world with a great deed of self-sacrifice. After swallowing the poison, it severely burnt his throat and left a large blue gash that is still depicted in some of Shiva's statues. Shiva is often represented alongside a great bull, Nandi. During one of his sessions of meditation, a great bull, the mother of all the cows commenced giving birth to a large number of pure white cows (Handelman, 2014). She produced enormous amounts of milk that flooded the land around her with some seeping into Shiva's compound (Storl, 2004). Filled with great rage, Shiva struck the cows with supernatural flames from his third eye and brown patches were formed on the sides of the white cows. The other gods were concerned and pursued to calm him by offering him a great bull. Shiva accepted the gift, mounted it and rode off with great flamboyance. His beast, Nandi later became the caring protector of all animals (Chandrakant, 2007). Discussion. The general depiction of Shiva and Parvati brings out a perfect model of the Hindu gods of great virtue. Their compassionate marriage is a good example of how humans should live in matrimony. Parvati, who has the great understanding of her husband, often treats him well regardless of the situation (Doniger, 2009). It was Parvati that coerced Shiva to accept pleasure into his life; this leads him on to becoming the patron of INTRO TO ART6 arts. Shiva, who was a great conqueror of wars and great battles known for his gallant nature, became the lord of the dance (Doniger, 2009). Parvati also led Shiva to have regard for the world by asking his opinion on the issue of many matters that concerned the world at large. Shiva's knowledge was awakened and led him to utilize that knowledge for the sake of the universe. Shiva also realized that he had gathered much information during his meditation ritual and ascetic moments (Storl, 2004). Conclusion. In conclusion, Parvati is an excellent representation of a god that brings out spiritual satisfaction and encouragement. She strived hard at being the best wife for her husband, Shiva, and it is through this special moment and intense periods she managed to make a logical foundation for her marriage. She positively affirms that there are no boundaries to what a woman can achieve. Modern day believers can emulate her spiritual energy and wisdom to use it for the betterment of their lives (Wangu, 2009). Similarly, the faithful can also follow the boldness of Shiva and his strong will to achieve colossal greatness through meditation and constant prayer (Chandrakant, 2007). He also possessed a great virtue of accepting new ideas and sentiments from his dear beloved wife. One should be able to accept a new ideology that is positive to one’s life, and this would be beneficial. Shiva also maintained strong matrimonial ties with his wife and it was the basis of such a healthy marriage (Wangu, 2009).
Bibliography Chandrakant, K. (2007). Shiva Parvati. Mumbai: india Book House. Dececco, P. (2014). The Man Who Was a Woman and Other Queer Tales from Hindu Lore. . Doniger, W. (2009). INTRO TO ART7 The bedtrick: Tales of sex and masquerade. Chicago: University of Chicago Press. Handelman, D. (2014). One god, two goddesses, three studies of South Indian cosmology. Ollhoff, J. (2012). Indian mythology. Edina, MN: ABDO Pub. Co. Wendy, D. (March 03, 2014). The Submarine Mare in the Mythology of Shiva. Haule, J. R. (2010). Divine madness: Archetypes of romantic love. Hamilton, Ont.: Fisher King Press. Laser, I. (2014). Gods & goddesses of ancient India. Gods & goddesses of ancient India. Storl. (2004). Shiva: The wild God of power and ecstasy. Rochester: Vt: Inner Traditions. Wangu, M. B. (2009). Hinduism. New York:: Chelsea House Publishers.
4-5 pages, double-spaced, 1-1.25 margins, 12 point font, standard font. Spellcheck and proofread in Chicago style.
For this paper assignment you will be writing a focused comparison of two works - one by Caravaggio and one by a Caravaggisto(a) (an artist directly influenced by Caravaggio). Suggested comparisons are listed below.
The paper should focus on a visual analysis of the two works in a comparative light. you will also want to address interpretative issues in your paper such as meaning or the treatment of subject matter. Such considerations should emerge out of the visual analysis rather than replace the visual analysis. Interpretative comments must also be supported with specific references to visual evidence. You should also consider the way the second artist reflects and responds to Caravaggio's style and whether they also express a unique artistic voice. A larger argument about the two images should emerge from your comparison. Your argument could focus on visual issues, the relationship of the Caravaggist work to Caravaggio, or the treatment of subject matter.
Your analysis should be structured as a paper and contain an introduction with thesis statement/argument and concluding paragraph. The body of your paper should contain a detailed, focused visual analysis that is strutted by an overarching argument. This paper does not require any outside reading, but rather asks you to spend time thinking carefully about your image comparison. If you choose to use outside sources they must be properly cited. You are also expected to be aware of what constitutes plagiarism and to avoid it.
Suggested Comparisons: Caravaggio, David and Goliath (1601-02) vs Gentileschi, David with the Head of Goliath (1610). Caravaggio, Annunication (1608-10) vs Gentileschi, Annunication (1630). Caravaggio, Salome Receives the Head (1607). vs Gentilecshi, Judith and Maidservant (1625). Caravaggio, St. Jerome (1608) vs Ribera, St. Jerome (1640-50). Caravaggio, Denial of St. Peter (1610) vs Terbrugghen, Denial of St. Peter (1628).
I will attach an Image to this order. Write a paper analyzing the image. Basically writing everything you see, the colors, the structure etc. The name of the painting is "The Problem We All Live With" is a 1964 painting by Norman Rockwell, and a biography on the painter Norman Rockwell at the beginning of the paper.
It is a comparison and analysis of two works of art. It does NOT require a visit to a museum as art is everywhere! Art is everywhere!!
Address the following in your paper:
1) Identification – Provide Identifying details for each work (10 points = 5 points for each work): ◦ Artist: Who was the artist? ◦ Title of the work: What is the title of the work? ◦ Date: When was the work created? ◦ Media: How/with what was the work created? ◦ Location: Where is the work from your area displayed? For the work from your text, please also include the page number.
2) Description – What does each work look like? (100 points = 50 points for each work): ◦ Describe the subject matter of each work, in detail, using terms from the “How Do We Talk About Art?” section of the Introduction chapter of our text. Identify and discuss 5 formal elements of art (line, shape, color, balance, texture) in detail, for each work. For instance, don’t just tell me there were lines in the work, tell me what kind (straight, curved, horizontal, diagonal, thick, thin, implied, etc.) and tell me how they affect the composition.
3) Compare and Contrast the two works (70 points): ◦ Compare and contrast the work to a similar one in your text. For example, if you choose a portrait of a leader, find one in your text; if you choose a building, like a church, find one in your text to compare. ◦How are the works similar and how are they different? Is the message or function the same? Is the intended audience different? Do they look alike or not? ◦Discuss such things as subject, symbolism, message, purpose (aesthetic, social commentary, propaganda, etc.) and effectiveness of the works.
Important Guidelines
Format ◦ Organize this material into a 4-5 page paper. ◦ The paper should be double-spaced with a 1” margin and type size should not exceed 12 pts. ◦ Art History, as a discipline, utilizes the MLA style.
Sources ◦ Always cite your sources! ◦ Please read the document, “NO PLAGIARISM”
The Spanish painter Diego Velasquez is in many ways characteristic of the radical naturalism of the Baroque period, which turned away from the idealized, classical figures of the Renaissance. Read Gombrich’s description of the figures on Michelangelo’s Sistine Ceiling (pp. 307-310) and the figures in Diego Velasquez’s The Water Carrier (p. 406). Gombrich describes both artists as geniuses, but their stylistic approaches are very different. For the last several weeks we have studied the Renaissance and in many ways Michelangelo represents the climax to the story of the Italian Renaissance. But for contemporary critics, Michelangelo also represented some of its potential criticisms. How do Michelangelo and Velasquez characterize the changing artistic and cultural values between the Renaissance and Baroque periods? Use specific examples from the images. Please cite Gombrich in supporting your answer.
Chapter 16 has been uploaded and if you need the color pictures please let me know
Week Eight Discussion #1: Classical and Medieval West
In Chapter 16, we explore art and architecture from ancient Greek and Roman times through the art of the Middle Ages: a time period of approximately 1700 years!
Choose one of the following pairs of works of art from our Artforms text. Please note the titles of the artworks you selected in the Subject Line of your post so that other students will know which pairs of artworks have already been selected.
• Compare/Contrast the two images: • Who made these two works of art? • When were they made? • How were they made? • What materials were used? • Why were they made? What original purpose did they serve? • How are the works of art the same? How are they different? • When you describe your two examples, do not simply repeat what is already stated in the text. • Please put your comments in your own words. • Please do not copy and paste from Wikipedia or another source • If you simply restate what is written in the text (without using your own words, opinions, thoughts, etc.) you will not receive credit for the discussion. • Be specific and original: Do not repeat what other students have already stated. • Note: Round Tray on Conical Stand (page 270) is a fascinating object that does not really belong in Chapter 15. It is not from Europe (it is from Kazakhstan) and it is not from the Middle Ages (it is from 5th-3rd century BCE). If you choose to compare the Round Tray on Conical Stand, you will need to do outside research, because our text does not have enough information to make a meaningful post about this object. This website might be a good place to start: Round Tray on Conical Stand at the Institute for the Study of the Ancient World
Image List: • Kouros (page 256) and Venus de Medici (page 259) • The Parthenon (view from the northwest, page 258) and Notre Dame de Chartres (page 273) • The Spear Bearer by Polykleitos (page 257) and The Laocoon (page 260) • Pantheon (interior)(page 263) and Sheikh Lutfallah Mosque (page 276) • Chartres Cathedral Rose Window (page 274) and Sheikh Lutfallah Mosque (page 276) • The Spear Bearer by Polykleitos (page 257) and the Icon of the Old Testament Trinity (page 269) • The Laocoon Group (page 260) and the Old Testament Prophet, Kings, and Queen (page 275) • The Parthenon (view from northwest, page 258) and The Colosseum (page 261) • The Spear Bearer by Polykleitos (page 257) and Portrait Head of an Old Man (page 261) • The Spear Bearer by Polykleitos (page 257) and Venus de Medici (page 259) • Venus de Medici (page 259) and Empress Theodora (page 267) • Empress Theodora (page 267) and Madonna and Child on a Curved Throne (page 269) • The Parthenon (view from the northwest, page 258) and the Pantheon (page 262, top image) • The Colosseum (page 261) and Notre Dame de Chartres (page 273) • Head of Constantine (page 265) and Venus de Medici (page 259) • Head of Constantine (page 265) and Christ as Pantocrator with Mary and Saints (page 268) • Chi-Rho Monogram from the Book of Kells (page 271) and Chartres Rose Window (page 274) • Chi-Rho Monogram from the Book of Kells (page 271) and Round Tray on Conical Stand (page 270) • Round Tray on Conical Stand (page 270, extra research necessary; see above Note) and Purse Cover (page 271) • Round Tray on Conical Stand (page 270, extra research necessary; see above Note) and Euphronios Krater (page 256) • The Pantheon (page 262, top image) and Notre Dame de Chartres (page 273) • The Pantheon (page 262, top image) and San Vitale (page 267, top image) • San Vitale (page 267, top image) and Chartres, West Front (page 274) • Christ of the Pentecost (page 272) and Chartres Rose Window (page 274) • The Laocoon Group (page 260) and Icon of the Old Testament Trinity (page 269) • Venus de Medici (page 259) and Madonna and Child on Curved Throne (page 269) • Portrait Head of an Old Man (page 261) and Head of Constantine (page 265)
Week Eight Discussion #2: Renaissance and Baroque Art • Please select one of the following artists listed below. • If possible, select an artist who has not previously been selected. • Please note the name of the artist you selected in the subject line of your post, so that other students will know which artists have already been selected. • Provide a brief biography: Where and when did the artist live? • Is the artist you selected from the Renaissance OR the Baroque period? • For what is this artist most famous? • Why did you select this artist? • Do you think this artist is important in the history of art? If so, why? • Select one work of art by this artist. You may discuss a work of art that is not included in our textbook. • Please note the title and date for the artwork you selected. • Please provide a link to the artwork if it is not included in our textbook. • Briefly describe the artwork you selected. • NOTE: Italian Renaissance art is described in our text on page 281; with "High Renaissance" described on page 284. • Northern European Renaissance is described in our text on page 288. • Baroque art (in general) is described on page 292 in our textbook. • There is another section on Baroque art in northern, Protestant European countries (such as Netherlands, England, parts of Germany) on page 295. • Please do not repeat what another student has already said. • Please write your comments in your own words. Please do not copy and paste information from Wikipedia or another source. Thank you! List of Artists • Giotto • Masaccio • Donatello • Botticelli • Leonardo da Vinci • Michelangelo • Raphael • Van Eyck • Bruegel • Palladio • Veronese • Caravaggio • Gentileschi • Bernini • Rubens • Velazquez • Vermeer • Rembrandt • Juan van der Hamen • Jules Hardouin-Mansart
Choose an artwork, from any genre, that we’ve confronted in the course—or one we haven’t—and write a one- to two-page analysis of it, based on one or more of the evaluative criteria you now possess. With the paper, submit an image of the work you’ve analyzed.
For your written project, you will analyze an advertisement that employs a work of western art dating from the Ancient Greek through the Gothic periods.
Advertisement Project
Analyze ONE of the advertisements listed below, all of which are illustrated in the Cartoon/Advertisement Project Images file.
• Fendi (multi page ad; pictured in Vogue, March 2012)
• Karlie Kloss in a Nina Ricci “Slip Dress” (pictured in Vogue, June, 2013)
• Romana Sambuca (pictured in Time, 2007)
Find a picture of the actual work (or works) of art/architecture which the advertisement employs. Make a printout or photocopy of the picture to hand in with your assignment.
Answer the following questions regarding your advertisement:
1. Identify the artwork (or type of artwork) illustrated in your advertisement by artist (if known), title, style period (i.e. Archaic, Early Classical, Early Roman, etc...), and date. If more than one work of art/architecture is depicted, try to identify as many of the works as you can.
2. Provide a short history of the artwork. Why was it created? Why was the work important or significant in its own time period?
3. Describe how the work of art relates to the context of the advertisement. (i.e. How is the artwork functioning in the scene? How does the artwork make the advertisement funny or effective?)
4. Is the work of art accurately depicted or has it been altered in some way? If the work has been altered from the original explain how. Be specific! Discuss the relevance of the changes to the advertisement. Do the changes heighten the humor of the advertisement or make the advertisement for effective, and, if so, how? Do these changes alter the original context of the work? Do the changes make the artwork more relevant to the product being advertised and, if so, how?
5. Does the advertisement contain any accompanying text? If so, does the text relate to the artwork and, if so, how?
6. Would you have understood the advertisement before you took ARH 141? That is, does the advertisement require the viewer to be knowledgeable about ancient art/culture or not?
** Other advertisements may be used subject to my approval. Advertisements must incorporate a work of western European art from a style period covered in this course (i.e. Ancient Greek through Gothic).
Project Format Advertisement Projects:
You may structure your paper either as a continuous essay, or you may number your responses to correspond with the questions as they appear here. Your assignment should be typed, double-spaced, employ 12 point font, 1” margins, and be free of spelling and grammatical errors. Your paper should include no less than two and no more than four pages of text (excluding pictures). Presentation, grammar, spelling, quality and specificity of analysis and paper length will all be taken into consideration when grades are calculated.
Please be sure to address all the questions as completely as possible, as you will lose points for questions omitted.
Please remember also to include the required picture of the artwork—or type of artwork—used in your cartoon/advertisement. Projects missing this required image will lose points.
You MUST turn in a hard copy of your project. Projects submitted on-line will lose points!
This website is owned and operated by PFS Limited.
Company Registration office is at:
2875 NE 194st St 404, Miami, FL 33180
Edudorm.com provides writing and research services for limited use only. All the materials from our website should be used with proper references and in accordance with Terms & Conditions
