Slide 1: Title Slide
– Title: “Art in Medieval Spain”
– Subtitle: An Exploration of Cultural and Artistic Expressions
– Your Name and Date
Slide 2: Introduction
– Brief overview of the medieval period in Spain (Dates, major events)
– Importance of art in reflecting the culture and society of the time
Slide 3: Historical Context
– Overview of the political, social, and religious landscape in medieval Spain
– Key rulers, kingdoms, and cultural influences
Slide 4: Religious Art
– Exploration of religious themes in medieval Spanish art
– Christian iconography in paintings and sculptures
– Influence of Islamic art on religious depictions
Slide 5: Illuminated Manuscripts
– Overview of illuminated manuscripts in medieval Spain
– Examples of illustrated religious texts and their significance
– Techniques and materials used in manuscript illumination
Slide 6: Mudejar Art
– Explanation of Mudejar art and its unique characteristics
– Influence of Islamic art and craftsmanship
– Examples of Mudejar architecture and decoration
Slide 7: Secular Art
– Exploration of secular art in medieval Spain
– Courtly love themes in literature and art
– Depiction of daily life through paintings and tapestries
Slide 8: jewish art
-Jewish art in medieval spain
Slide 8: Conclusion
– Summary of key points discussed
– Overall impact of medieval Spanish art on European artistic traditions
Several terms describe Islamic-type art in Spain, each of which has a particular meaning. The best-known term is “Moorish art,” which is sometimes used to refer to Islamic visual culture in general. The less well-known term, Mudéjar, refers to architecture carried out for Christian patrons by Muslim craftsmen. Mudéjar architecture uses most of the characteristic elements of Islamic art and architecture, including Arabic calligraphy and the horseshoe arch.
Moorish art is characterised by its intricate and complex geometry, floral motifs, and horseshoe arches as well as its use of shade and light as can be found in Alhambra, The Alcazar of Seville & The Giralda Tower among others.
Category: Art : Art History
FIELD NOTESName: This is an exercise in looking, recording thoughts
FIELD NOTESName:
This is an exercise in looking, recording thoughts and observations, looking, recording thoughts and observations, and looking, then, recording thoughts and observations. You may use bullet points, draw sketches and diagrams, or write complete sentences. These notes are for you: you don’t have to worry about grammar, spelling or handwriting in this part of the assignment. If you properly complete the field notes, you’ll earn full points. If you write very large, you will need to include extra paper for credit. If you write extremely small, practice writing with bigger print. Everyone is required to complete fully the field notes. Don’t leave blank lines, blank spaces, or try to fake it by writing really big and not attaching extra sheets. The textbook (eBook) has a short discussion of elements and principles in the Introduction that you may find helpful.
Do you want extra credit? Complete the field notes with great detail: Write MORE than what is required, use the margins, add extra sheets. Grading field notes is a bit of a judgment call: if you want full and/or extra credit, demonstrate that with visible effort.
Students enrolled in Art 140 Western Survey may visit in person or virtually:
• Timken Museum of Art (Balboa Park): Byzantine Icons only (not Italo-Byzantine)
• San Diego Museum of Art: Roman mosaics, Egyptian sculpture, Islamic Persian art (not Mughal Indian)
• Museum of Man: Egyptian Exhibit (call ahead to ensure the exhibit has reopened)
• The Getty Villa: all periods covered in class, such as Greek, Roman, Egyptian, Mesopotamian
• JP Getty Museum: Byzantine art, Medieval manuscripts, all periods covered in class.
• Los Angeles County Museum of Art, LACMA; Norton Simon Museum, Pasadena; Bowers Art Museum, Santa Ana – check the website for current and special exhibits that relate to course content.
• OR these museums: Metropolitan Museum of Art, The Louvre, or Oriental Institute at University of Chicago as long as the work you select is related to the styles covered in the class.
Students enrolled in Art 141 Western Survey may visit in person or virtually:
• Timken Museum of Art (Balboa Park): everything except for the Byzantine Icons
• San Diego Museum of Art: Renaissance, Baroque, European art of the 18th and 19th-centuries
• JP Getty Museum: European and American art from ca. 1350 to 1900, all periods covered in class.
• Los Angeles County Museum of Art, LACMA; Norton Simon Museum, Pasadena; Huntington Museum and Gardens, San Marino – check the website for current and special exhibits that relate to course content.
• OR these museums: Metropolitan Museum of Art, The Louvre, or The Prado, or the Chicago Art Institute as long as the work you select is related to the styles covered in the class.
I. Artwork Identification from the Museum Label or Website (use your best guess if information is not provided)
Museum:
Artist (if known):
Title:
Style: Date:
Medium:
Acquisition number and/or location on display:
II. General Style: Naturalistic, Abstract, Realistic, Stylized, Figurative, Gestural, Idealized? (Art 140 & Art 141 students can choose to discuss period style here.)
III. Subject and Composition
Describe the scene or object. Imagine describing it for someone who isn’t there with you.
Line: Identify and analyze actual and implied lines; describe with specific examples.
Form: Discuss the composition’s forms: shape, volume, mass – implied or actual. Describe with examples.
Texture: Describe the actual and implied textures with examples from the artwork.
Color, Value, Light: Analyze and describe with examples one or all of the topics.
Depth & Space: Analyze and describe with examples the artist’s use of implied depth – or lack of it. For sculpture, consider negative space and installation environment.
Time and Motion: Is there implied or actual motion? A continuous narrative or a brief moment? Moving parts or a suggestion of movement? Describe with examples.
Focal Point and Emphasis: Identify and analyze with examples.
Balance: Identify the type of balance and analyze with examples.
Proportion and Scale: Analyze ratios of parts to the whole; Size of artwork to the viewer.
Unity and Variety: How is cohesion achieved? Visual interest? Describe the examples.
Rhythm and Pattern: Analyze the visual accents and identify the rhythm – identify it and describe. And/or describe surface patterns and what they contribute to the artwork.
Write two to four headlines or captions for this work:
IV. Why did you choose this artwork? What do you like about it? What would you like to know more about? Did you enjoy the challenge of this assignment? Explain.
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The outline will be minimum 300 words long written in paragraphs not bullet poin
The outline will be minimum 300 words long written in paragraphs not bullet points, and will
include:
A proposed title
An introduction of your topic of interest (What are you researching on and why?)
Your (so-far) thesis statement; this can be based on a question and it is what you
ultimately the main message/idea you want to convey through your research
How you are planning to conduct your research, analysis/interpretation: outline
two/three main ideas that relate to your thesis statement; say what you will include
(artists? artworks? theories?)
Refer to at least one reading which contributes to your thinking and understanding of
your topic
Reflect on how your own auto-ethnographic dimension contributes to understand the
chosen topic, include a few sentences on your video and its message.
Conclude by saying what your research helps understanding and contributes to
(referring back to the thesis statement)
Add a reading list of at least three useful sources you are using in your research.
Aim at reliable academic sources and use a proper referencing format (see Chicago 17th Edition
Author-date style).
Include images as needed with proper captions and sources
Use the objects I put in the document additional sources Symbols of power: lux
Use the objects I put in the document
additional sources
Symbols of power: luxury textiles from Islamic lands, 7th–21st century’ by Louise W. Mackie
I need an outline for a research paper. This course is about Women and Food in
I need an outline for a research paper. This course is about Women and Food in Art. The outline should include the following:
• A proposed title
• An introduction of your topic of interest (What are you researching on and why?)
• Your (so-far) thesis statement; this can be based on a question and it is what you ultimately the main message/idea you want to convey through your research
• How you are planning to conduct your research, analysis/interpretation: outline two/three main ideas that relate to your thesis statement; say what you will include (artists? artworks? theories?)
• Refer to at least one reading which contributes to your thinking and understanding of your topic
• Reflect on how your own auto-ethnographic dimension contributes to understand the chosen topic, include a few sentences on your video and its message.
• Conclude by saying what your research helps understanding and contributes to (referring back to the thesis statement)
Add a reading list of at least three useful sources you are using in your research.
Aim at reliable academic sources and use a proper referencing format (see Chicago 17th Edition Author-date style).
Include images as needed with proper captions and sources.
research.
Counihan , Carole M. 2018. The Anthropology of Food and Body : Gender, Meaning and Power. Links to an external site.
Boca Raton, FL : Routledge.
I need an outline for a research paper. This course is about Women and Food in
I need an outline for a research paper. This course is about Women and Food in Art. The outline should include the following:
• A proposed title
• An introduction of your topic of interest (What are you researching on and why?)
• Your (so-far) thesis statement; this can be based on a question and it is what you ultimately the main message/idea you want to convey through your research
• How you are planning to conduct your research, analysis/interpretation: outline two/three main ideas that relate to your thesis statement; say what you will include (artists? artworks? theories?)
• Refer to at least one reading which contributes to your thinking and understanding of your topic
• Reflect on how your own auto-ethnographic dimension contributes to understand the chosen topic, include a few sentences on your video and its message.
• Conclude by saying what your research helps understanding and contributes to (referring back to the thesis statement)
Add a reading list of at least three useful sources you are using in your research.
Aim at reliable academic sources and use a proper referencing format (see Chicago 17th Edition Author-date style).
Include images as needed with proper captions and sources.
research.
Counihan , Carole M. 2018. The Anthropology of Food and Body : Gender, Meaning and Power. Links to an external site.
Boca Raton, FL : Routledge.
The Votive Statue of Gudea illustrates the Neo-Sumerian style of monumental mode
The Votive Statue of Gudea illustrates the Neo-Sumerian style of monumental models. This style was characterized by emphasizing realistic facial features and anatomically accurate numbers. It was also notable for its intricate and detailed busts. In addition, the Neo-Sumerian period was characterized by its use of monumental form, used to recognize autocrats and divinities, and frequently used as a form of votive immolation.
The painting is Girl Before A Mirror, 1932 by Pablo Picasso Why do you like this
The painting is Girl Before A Mirror, 1932 by Pablo Picasso
Why do you like this painting? What draws you in? What emotions do they evoke? What about the work do you find provocative? Use at least 3 different adjectives describing your response to each of the paintings (wild, gentle, scary, mysterious, grand, etc.)
a.
b.
c.
Once you have a good idea of what effect the paintings have on you — the viewer — (this will be part of the thesis statement of your essay), you can proceed to analyze the techniques (the causes) the artist used to produce this (emotional) effect on the viewer. For each painting, try to answer the questions below in as much detail as possible. Keep in mind that you are analyzing WHAT the artist did, and WHY.
1. Size or orientation of the canvas. How does this orientation enhance your understanding of the subject matter? How large is the artwork? Larger than your body? What is the effect of the size?
2. Scale: Note the scale used by the artist and its relation to the viewer. For example: if there is an insect in the artwork, is the insect the same size as in the natural world? Or is it larger (or smaller?) What effect does the scale have? What does it make you do? Get closer or move away? Why did the artist choose this scale? What is the effect?
3. Viewpoint: What is the artists’ viewpoint? Was the artist looking down (bird’s eye view) or was he/she looking up? From the side? From the front? What effect does this have?
4. Composition. Look at the artwork from a distance, squint a bit so you don’t see all the details. Describe the large forms you see. For 2-D work: How are they distributed on the canvas? Can you imagine dividing the canvas in half? Thirds? Quarters? Draw the picture and show the different sections.
5. Unity and balance. How do the different sections you described above relate to each other? Does one segment balance the other? How? Does the division reveal what’s important?
6. Lines. Trace the lines in the artwork with your mind’s eye. Painters often use architecture to create strong horizontal and vertical lines. Diagonal lines can often be found in the poses of the figures in the artwork and in furnishings. Draw the lines in a sketch.
7. Effect of Lines. What effects do the lines produce? Remember, straight vertical and horizontal lines tend to have a calm or static effect. Swirling and diagonal lines do the opposite. Long diagonals are calmer visually than lots of short diagonals.
8. Color Describe the artist’s color choices. Are the colors warm or cool? Bright or muted? How do the colors unify the artwork? What expressive effect does the artist’s color choices have on the artwork overall?
9. Light. How is the artist using light? Where is the light coming from? Is there a single light source? Or is the light source not obvious, and the artwork is clearly lit without shadows? To what effect is light used? Is it bright or soft? To what effect are shadows used? What is the interplay between the two?
10. Highlights. If your artwork has a single light source that creates highlights and deep shadows, spend some time looking at these. To what effect is the artist using the highlights?
11. Space. Is there great depth (can you look into the far distance?), or is the eye stopped quickly? How are the forms configured in this space? Are they upfront or further back? What is the relationship between the space within the artwork to the viewer? Does the viewer feel included? Excluded?
12. Relationship between forms observed and the emotional effects. Consider your initial response (your adjectives) to the artwork in the context of the formal elements you observed in this assignment. How are the two related?
Please respond to the following questions after reading chapters 14 and 15. You
Please respond to the following questions after reading chapters 14 and 15. You can do it in notation form. You do not have to use complete sentences here, but provide examples from the reading.
Name four ways Surrealist visual artists use the unconscious in their art. Please be specific and use examples to support your claims.
Who is Arthur Stieglitz? What is his contribution to art in the United States? Please be specific and use examples to support your claims.