The Opium War

The Opium War

[WLOs: 1, 2, 4, 6] [CLOs: 1, 2, 3, 4, 7]

Write a two- to three-page paper discussing the origins and outcome of the Opium Wars between Britain and China, discussing all of the following items:

Links are at the bottom

· Explain the expansion of European imperialism in Asia and why it led to the British importing opium to China.

· Evaluate the origins of the Opium Wars from both Chinese and British viewpoints, and incorporate a well-defined argument of which country had a more valid claim.

· Analyze the consequences of the Treaty of Nanjing.

· Explain some of the lessons that we can take from the history of the Opium Wars.

The paper must

· Be two to three pages in length, not including title and reference pages.

· Be formatted according to APA style.

· Start with an introduction and provide a thesis statement.

· Contain at least one quote from the treaty of Nanjing.

· Contain one quote from one of the other sources listed.

· Cite sources in text and on the reference page.

Please use the following four sources and include them in your paper using citations when referred to. You may also add other scholarly secondary sources from the library.

First, in order to gain a better understanding of the Opium Wars, listen to the following radio program and review the following multimedia essay.

· The Opium Wars (Links to an external site.)

· The First Opium War: The Anglo-Chinese War of 1839 – 1842 (Links to an external site.)

Second, to undertake the research for this assignment, review the following treaty (primary source) and read the following newspaper article.

· Excerpts from the treaty of Nanjing, August 1842 (Links to an external site.)

· Field of dreams: A Remarkable Exhibition Sheds New Light on the Dark History of the Opium Business (Links to an external site.)

For information regarding APA samples and tutorials, and for using scholarly and primary sources, visit the Writing Center’s  Introduction to APA (Links to an external site.)  resource.

The Opium War paper

· Must be two to three double-spaced pages in length (not including title and references pages and formatted according to  APA Style (Links to an external site.)  as outlined in the  Writing Center (Links to an external site.) .

· Must include a separate title page with the following:

· Title of paper

· Student’s name

· Course name and number

· Instructor’s name

· Date submitted

For further assistance with the formatting and the title page, refer to  APA Formatting for Microsoft Word (Links to an external site.) .

· Must utilize academic voice. See the  Academic Voice (Links to an external site.)  resource for additional guidance.

· Must include an introduction and conclusion paragraph. Your introduction paragraph needs to end with a clear thesis statement that indicates the purpose of your paper.

· For assistance on writing  Introductions & Conclusions (Links to an external site.)  as well as  Writing a Thesis Statement (Links to an external site.) , refer to the Writing Center resources.

· Must provide a thesis statement.

· Must contain at least one quote from the Treaty of Nanjing

· Must cite any information used from the four required and any additional scholarly sources in APA style as outlined in the Writing Center’s  Citing Within Your Paper (Links to an external site.)  guide.

· Must include a separate references page that is formatted according to APA style as outlined in the Writing Center. See the  Formatting Your References List (Links to an external site.)  resource in the Writing Center for specification.

 

https://www.bbc.co.uk/programmes/b00776k9

https://visualizingcultures.mit.edu/opium_wars_01/ow1_essay01.html

https://www.independent.co.uk/news/world/asia/field-dreams-remarkable-exhibition-sheds-new-light-dark-history-opium-business-8636861.html

Exam Identifications, Essay Questions, And Rubric

Instructions

Part One: Identifications (10 points each; 200 points total)

This section requires you to write short answers to each identification question. There are 20 identification questions worth 10 points each for 200 points total. Each answer must address who, what, when, where, and why in the identification.

Each answer should be no more than one paragraph in length (4-5 sentences or 100-150 words), double-spaced with 1-inch margins using 12 point Arial, Calibri, or Times New Roman font. You are not required to include citations. Each answer must:

  • Identify the individual named, author, event, and other key individuals and groups (2 points)
  • Discuss what the identification term or name is about (2 points)
  • Describe when it occurred (2 points)
  • Describe where it occurred (2 points)
  • Explain why the individual, group, or event is significant for understanding African American Studies (2 points)

Listed below are twenty identification terms you will need to answer in Part One of the exam. You must answer all twenty terms to receive full credit. DO NOT copy and paste language from classroom resources or any other source. This is an act of plagiarism and is a violation of the academic integrity pledge you signed in Week 1.

The twenty identification terms are drawn from Weeks 5-8 of the AASP 201 classroom resources. Please use your class readings first to answer the terms before resorting to outside sources.

1. Ethnic Studies

2. Black Studies

3. Civil Rights

4. Martin Luther King Jr.

5. Malcolm X

6. Black Panther Party

7. Angela Davis

8. March on Washington

9. NAACP

10. Niagara Movement

11. W.E.B. Du Bois

12. Montgomery Bus Boycott

13. Racism

14. Message to the Grassroots

15. National Association of Black Journalists

16. Kathleen Cleaver

17. Huey Newton

18. Racial Segregation in the military

19. Vietnam War

20. Black Power

Part Two: Essay (100 points)

You are required to answer one of three essay questions described below. The essay portion must be 4-5 pages in length, double-spaced, numbered, include 1 inch margins, use 12 point Arial, Calibri, or Times New Roman font.

Your essay must include a Works Cited page. The citation style of the Works Cited page may be either Chicago, APA, or MLA. The selected citations must be appropriate to the exam topic and the citations must support the assertions made in the exam.

Your essay will include three main parts—the Thesis/Introduction, Argument, and Conclusion.

The Introduction section should clearly state the thesis within the first 1-2 paragraphs. The thesis must be relevant and appropriate to the argument and demonstrate an accurate and complete understanding of the question. This section should make it clear which question you are answering, but it should do more than restate the question by offering a brief response and it should be free of grammar and spelling errors.

The Argument section (3-4 pages) should incorporate pertinent details from the assigned readings but you may also use outside readings. The section must provide relevant historical evidence to support the thesis and the key claims made in the argument as needed. It should maintain focus and avoid sidetracking. It should present your answer to the question clearly and concisely in an organized manner and it should be free of grammar and spelling errors.

The Conclusion section should be in the last part of your essay exam within the last 1-2 paragraphs. It should briefly restate the thesis and summarize the main points of the argument. It should also demonstrate insight and understanding regarding the question asked and it should be free of grammar and spelling errors.

A scoring rubric for the essay portion is included below. Please answer one of the essay questions below:

1. Examine the 10-point plan of the Black Panther Party. How can this plan impact the issues that impact society today?

2. Interrogate the use of music and art as a form of resistance during the Harlem Renaissance?

3. Identify and write your paper on one Civil Rights and Black Power leader. (Examples could be Malcolm X, Martin Luther King Jr, Rosa Parks, Bessie Smith, etc)

Discussion Board – The African Americans Into the Fire Documentary

Hi dear,

Can you help to finish this assignment with good quality and be on time please?

Please follow the instructor carefully.

Discussion Board – The African Americans Into the Fire Documentary

Discussion Board Instructions:

Important Note Regarding Discussion Boards: For all discussion board assignments, it is always a good idea to type discussion board assignments in a Microsoft Word document and regularly save your work to your hard drive so you do not lose any work if an unexpected power outage or disconnect from the internet occurs.

1. Watch the documentary African Americans: Into the Fire 1861-1898 https://www.youtube.com/watch?v=LhF9j7wwjRM located here and in this week’s module and answer the enumerated questions below.

2. To make this assignment easier, copy and paste the questions below into a Microsoft Word document and type the answers to the questions while you are watching the documentary African Americans Into the Fire 1861-1898. Pause the video when you are typing your answers since the questions follow the documentary chronologically.

3. For questions one through twenty-one answers should be one to two sentences in length with accuracy in answers.

4. For question twenty-two the answer must be a paragraph in length with a minimum of five sentences.

5. All answers should be composed in fully grammatically correct sentences which were proofread for grammar, spelling, typos, etc. before submission.

6. Regarding a response to one student, specifically address a fellow student’s response to question twenty-two. Additionally, replies require a substantive response at least a paragraph in length (five sentences is the minimum length in a paragraph). Please refer to the Discussion Board Instructions Overview download which describes a substantive response. All students must remain academically professional and respectful at ALL TIMES when responding to classmates.

Documentary Questions:

1. What daring escape did the slave Robert Smalls attempt on May 13, 1862?

2. What did Union Major General Benjamin Butler declare the three runaway slaves as and what did this Contraband Act lead to for other slaves?

3. What did Mary Peake feel was equally important as freeing the body and ultimately what was she trying to accomplish for the slaves?

4. At the beginning of the Civil War what was Abraham Lincoln’s original objective and how did that start to change by the summer of 1862 because of runaway slaves?

5. On September 22, 1862, what bold plan did Lincoln propose to his cabinet?

6. Did the Emancipation Proclamation free all the slaves everywhere in the United States?

7. How did slaves interpret the Emancipation Proclamation and approximately how many slaves fled to find freedom?

8. Even though the Emancipation Proclamation gave male African Americans the right to fight did it provide them equal treatment by white Union soldiers and in general?

9. What did Confederate soldiers do to 255 African American soldiers who were trying to surrender at Fort Pillow, Tennessee?

10. After the war was over, what did former slaves want most and was the promise of “40 acres and a mule” kept by President Andrew Johnson after Lincoln died?

11. Did economic opportunity avail itself easily to former slaves or did some have to go back to picking cotton on plantations, sometimes even for their former masters, and did the masters pay them a living wage?

12. What was the unique accomplishment that Benjamin Montgomery was able to do and what did he have to do in order to stay prosperous when it came to whites’ reaction to his prosperity in the South?

13. What did the 14th Amendment state?

14. What did the 15th Amendment state?

15. Were African Americans elected to political office during the Reconstruction era and how many held a political office from 1868 to 1876?

16. What was Southern whites’ reaction to the increasing political power and economic success of African Americans?

17. What was the final betrayal of African Americans in 1876 and what were the long-term political and societal ramifications for African Americans in the South?

18. According to the documentary, how often did lynchings occur?

19. Why did Isaiah Montgomery of Mound Bayou decide to vote in favor of literacy tests as a requirement for voting and how did literacy tests affect the ability of male African Americans with their right to vote for decades to come?

20. What new strategy did Homer Plessy use on June 7, 1892 and what goal was he trying to accomplish?

21. What did the Plessy v. Ferguson Supreme Court decision state and because of upholding segregation in Louisiana, what status did this relegate all African Americans to in United States society for over the next half century?

22. What were most significant implications for African Americans moving forward into the 20th century from these events described in the documentary?

Thank you

DISCUSSION BOARDS OVERVIEW

• Students are required to follow the instructions for discussion board activities noted in the “To-Do” List for each week and each individual discussion board assignment instructions. All original posts and reactions should be carefully planned, cleanly composed, clearly communicated, and educational in orientation following the Written Assignment Checklist.

• Posts are due by Monday, 11:59 p.m. each week they are assigned. Check Syllabus Semester Schedule or Canvas for exact due dates. Each student must have one original post and one response to another student by this time to receive credit for the discussion board. Submissions that do not respond to at least one other student will receive reduced points. Submissions that do not follow all instructions in the discussion board prompt will receive additional reduced points.

• To train the class in the work of historical writing, students must provide historical evidence (i.e. “the proof”) in discussion board posts. Historical evidence should be taken from Brinkley’s American History: Connecting with the Past textbook, primary documents from the America Firsthand text by Marcus, or college level internet websites (No Wikipedia or Answers.com should be used). Citations of all evidence used is a must and should be done in footnotes reference format.

• Original student posts and replies to other students must involve critical thinking and academic maturity to get full credit (in other words, everyone is entitled to their opinions, but those opinions need to be supported with legitimate credible evidence to receive full credit). The post needs well-thought out ideas. “This was really cool!” or “I agree with what Susan says” are not valid comments that illustrate critical thinking or academic maturity in their answers. If nothing substantive is written, then you will not receive any points.

• You should have completed all readings by the date of your original submission. It is always clear when someone is talking about a topic where they have not read the materials.

• PLEASE FEEL FREE TO EXPRESS YOUR PERSEPCTIVES BASED ON THE EVIDENCE FROM THE SOURCES ASSIGNED for that week on the discussion board. All viewpoints related to the subject material are welcome. However, personal attacks against classmates, and/or the professor, are not permitted, and any such inappropriate attacks will be removed (without being given credit) and are cause for further disciplinary action. Profanity of any kind is also not permitted. Please go to the following website for comprehensive information on “Netiquette” and also SDCCD Netiquette Guidelines.

 

 

http://www.albion.com/netiquette/
https://www.sdccdonline.net/students/resources/NetiquetteGuidelines.pdf
  • DISCUSSION BOARDS OVERVIEW

Art

USING THE 4 CATEGORIES OF FORMAL ANALYSIS (IN YOUR BOOK) WHICH ARE LISTED BELOW, COMPLETE A FORMAL ANALYSIS.  MAKE SURE YOU DO YOUR RESEARCH ON THE ARTIST, THE MEANING OF THE PAINTING,  THE FIGURES IN THE PAINTING (NUDE WOMAN, BLACK WOMAN, AND CAT).  FIND OUT WHY THEY ARE ALL IN THE PAINTING?  LOOK INTO THEIR BACKGROUNDS AS REAL PEOPLE AND NOT JUST CHARACTERS IN THE PAINTING.  THE FORMAT OF THE ANALYSIS SHOULD BE AS FOLLOWS:

DESCRIPTION:

ANALYSIS:

EVALUATION:

INTERPRETATION:

GO TO YOUR BOOK AND/OR LOOK AT THE LECTURES TO FIGURE OUT WHAT GOES INTO EACH OF THOSE CATEGORIES.

Chapter 4: Describing Art

Formal Analysis, Types, and Styles of Art

LEARNING OUTCOMES

• Employ a vocabulary of art specific terms and critical approaches to conduct a formal analysis of works of art.

 

• Identify different types of art based on the degree of representation or nonrepresentation a work displays.

 

• Distinguish between variations of representational qualities within a work of art.

 

• Identify characteristics that relate an individual or group of works to a cultural style, stylistic movement or period, or an individual artist’s style.

 

Elements and Principles of Design

Line – expressive, implied

Shape – organic, geometric, hard- or soft-edged

Volume has three dimensions: length, width, and height

 

Mass is the quantity of matter, often meaning its weight

 

Texture – actual or implied

 

Color – saturation, brightness, primary, secondary, scheme

(complementary, analogous, monochromatic)

Perspective – linear, atmospheric

 

Unity/Variety

Balance – symmetrical, asymmetrical

Emphasis/movement

Rhythm/repetition

Formal or critical analysis

A formal of critical analysis an examination of …

 

the elements and principles of design

present in an artwork and

 

the process of deriving meaning from

how those elements and principles are used

 

the ways the visual artist attempts to communicate a

concept,

idea, or

emotion

Representational or Non-representational

Representational art is a visual reference to the experiential world. The range of representational art is labeled as

naturalistic,

idealized, or

abstract

 

Non-representational or Non-objective is art that does not attempt to present an aspect of the recognizable world. Instead of suggesting a narrative by depicting objects meaning in non-objective art is communicated through shapes, colors, textures, and other elements and principles of design.

Style

can refer to the general appearance of a work or a group of works that were created in accordance with a specific set of principles about form or appearance.

 

can refer to the art as a whole that was made during a particular era and within a certain culture.

 

does the artwork belong to a more specific stylistic movement? Italian Renaissance? Realism? Abstract Expressionism?

 

can also refer to how elements and principles of design are employed by an individual artist: the visual features of that artist’s work and their characteristics when using a given medium.

Four Aspects of a Formal Analysis

Description – describe the use of visual elements.

 

Analysis – how are the elements arranged, describe the artist’s use of the principles of design.

 

Interpretation – the combination of what an object symbolizes to the artist and what it means to the viewer.

 

Evaluation – judging whether a work of art is successful given what you have understood from your description, analysis, and interpretation. Using steps 1-3 above can you justify your emotionally response (joyful, disturbing, calm, energetic) to the artwork?

J.M.W. Turner, Snow Storm: Steam-Boat off a Harbor’s Mouth, oil on canvas, 1842.

Mood created by …

Colors

Lines

Shapes

Brushstroke

Scale and proportion

 

8

Mary Cassatt, Lady at the Tea Table, 1883-85, oil on canvas.

Contrast – color

 

Unity/variety – shapes

 

Balance – organization

of composition

 

Contrast – color

 

Unity/variety – shapes

 

Balance – organization

of composition

 

 

 

 

9

Representational or Abstract Art

Generally, if the work has visual reference to the phenomenal

world, we consider it to be representational.

 

Art that shows purposefully simplification, distortion, or

fragmentation of the visual world is referred to as abstract art.

 

Representational to abstraction is a continuum.

 

Rosa Bonheur, Ploughing the Nevers, 1849, oil on canvas.

Bonheur’s cows are naturalistic in appearance.

She aims to make them an accurate depiction of the cows she portrays.

 

Edward Hicks, The Residence of David Twining, 1846, oil on canvas, gold leaf.

Hicks had no training as an artist and

visual accuracy was not his primary

goal for his paintings.

 

Exact proportions are exchanged

for simplified shapes in order to

express themes of community.

 

12

Franz Marc, The Yellow Cow, 1911, oil on canvas.

If we think of representational

and abstraction as a continuum,

at which end does this work rest?

 

 

 

13

Theo van Doesburg, Composition (The Cow), c. 1917, gouache, oil, and charcoal on paper.

Theo van Doesburg reduces the

linear forces of a cow’s form to

the three forms he thought were

essential components;

vertical, horizontal, and diagonal.

 

This was his process to create a

strongly abstract picture that titled

Composition VIII (The Cow).

 

14

Theo van Doesburg, Composition VIII (The Cow), c. 1918, oil on canvas.

Discuss how you see the

cow in this ‘composition’.

 

Where is the head,

hooves, tail?

 

15

Statue of Menkaura and Queen Khamerernebty II, 2490-2472 B.C., graywacke.

The subject matter of this Ancient Egyptian sculpture is

a pharaoh and his queen.

 

A canon is a set of rules, principles, or norms, used to

represent human beings, often gods or rulers. These

principles determine proportions, stance, garments,

as well as other aspects of the human figure.

 

Idealization is a form of representational art that follows

given canon for the representation of special persons in

a culture.

 

Marble statue of a kouros, c. 590-580 B.C., marble.

 

The Ancient Greeks paid great attention to developing their

own idealized male figure sculpture based on their

cultural ideal of man is the “measure of all things”.

 

In what ways is this sculpture representational? Abstract?

 

 

 

17

Polykleitos, Doryphoros from Pompeii, 440 B.C., marble.

In this sculpture the Ancient Greeks developed what they

believed was the epitome of naturalism in the artistic

depiction of the male figure.

 

We will examine four figures from the ancient Greek styles

Archaic period (800-480 BCE),

to the Early Classical (c. 480-450 BCE),

and then the High Classical period (c. 450-400 BCE),

 

18

Marble statue of a kouros, c. 590-580 B.C., marble.

The Kroisos Kouros,

c. 530 B.C., marble.

The Kroisos Kouros, c. 530 B.C., marble.

Kritios Boy,

c. 480 B.C.,

Marble.

Contrapposto is the term for the representation of the weight shift of the knees and hips that occurs when standing with one leg at ease or walking.

 

This pose places the figure’s weight on

one foot, setting off a series of adjustments to the hips and shoulders that produce a subtle S-curve; a stance many of us use everyday.

 

Kritios Boy, c. 480 B.C., Marble.

Kritios Boy, c. 480 B.C., Marble.

Polykleitos,

Doryphoros from

Pompeii,

440 B.C., marble.

Polykleitos, Doryphoros from Pompeii, 440 B.C., marble.

Idealized?

Representational?

Naturalistic?

 

23

Non-Representational or Non-Objective Art

Non-Representational or Non-Objective Art are two terms

that are used interchangeably.

 

Each term describes, or is a label for, art that does not

attempt to represent or refer to the visible world.

 

To avoid confusion we will use the term non-objective art.

Wassily Kandinsky, Blue Mountain, 1908-09, oil on canvas.

Is Kandinsky’s painting Blue Mountain

an example of non-objective art?

 

25

Wassily Kandinsky, Angel of the Last Judgement, 1911, oil on cardboard.

Do you think that Kandinsky was

able to use color, line, shape,

unity and variety to communicate

something of human emotion in

this painting?

 

26

Wassily Kandinsky, Red Spot II, 1921, oil on canvas.

Style

The three main categories of artistic style are:

 

Period styles that derive their characteristic structure from the culture prevalent

during a particular time period.

 

Regional styles that reflect the influences of the culture prevalent in a particular place.

 

Formal styles are used to denote an individual or group of artists working with

the elements and principles of design to reach similar goals and are not necessarily characteristic of either one place or one time.

Style is the term used for characteristic, or a number of characteristics, that we can identify as constant, recurring, or coherent with a particular group, or culture, or with an artist’s work at a specific time.

 

Regional or Cultural Style

Art is a product of its time and place.

 

 

Cultural style combines period and regional style in a unique and distinctive way.

 

 

SUPPLEMENT: Map of the Middle and Near East

Standard of Ur, 26th century B.C., “War” panel, 2600 B.C., shell, limestone, lapis lazuli, bitumen.

This stone panel is one example of the cultural style of the Ancient Near East.

 

A composite view represents portions of the body shown in profile and other parts of the body in frontal view.

Music Stele, c. 2100 B.C., limestone.

This stele, or stone slab, depicts Gudea with

attendants in one register, or horizontal band of space,

and musicians below.

 

composite view

 

 

32

Sargon II and dignitary, 722-705 B.C.E, limestone.

Hierarchical proportion is the use of different sizes of figures to indicate each figures importance. The larger the figure, the greater the importance.

 

Acropolis of Athens.

Cultural Style:

Ancient Greece and Rome

 

The height, or what was once considered the ‘best’ or pinnacle, of Ancient Greek art is referred to as Classical.

 

Today, most Ancient Greek scholars no longer think of one sub-style being “better” than another.

 

An acropolis is the highest point in an ancient Greek city and houses sacred buildings.

The most famous is the Acropolis in Athens, Greece.

Ancient Greek art has many stylistic sub-divisions, including:

 

Geometric (900-700 BCE)

Orientalizing (700-600BCE

Archaic (600-480 BCE)

Classical

Early Classical (480-450 BCE),

High Classical (450-400 BCE),

Late Classical (400-323 BCE)

Hellenistic (323-31 BCE)

SUPPLEMENT MAP: Greek stylistic sub-divisions

Praxiteles, Apollo Sauroctonus, c. 350-340 B.C., marble.

The Late Classical style of Ancient Greek art

represents the human figure as more dynamic,

more expressive, more emotional, more dramatic

than the earlier High Classical style.

 

 

Comparatively one figure can be seen as calm and the other more dynamic.

Discuss the choices made by the artist to create those different expressions for each sculpture.

 

37

Glycon of Athens, Hercules Farnese, c. 216 AD, marble.

The Hercules Farnese is an example the Roman Republican

style of art.

 

 

The dates of this style overlap with Ancient Greek art,

but it’s geographical location, the Roman Empire,

influenced the artists to work in a different style.

 

Anti-idealized representation has a frank and

unvarnished study of individuals that are often older,

more mature citizens.

 

38

Togatus Barberini, first century AD, marble.

 

 

SUPPLEMENT: Examples of Roman Republican period sculpture.

Veristic,

or verisimilitude,

means the artist strives

to make a truthful

rendition of a person’s

likeness.

 

Augustus of Prima Porta, 1st century AD, white marble.

This work dates to the Early Imperial era (27 BCE-197 CE)

 

Idealization of the human figure is used for representation of rulers like Emperor Augustus and emphasizes a mental conception of beauty, a standard of perfection.

Early Imperial era (27 BCE-197 CE)

 

Idealization of the human figure is used for representation of rulers like Emperor Augustus and emphasizes a mental conception of beauty, a standard of perfection.

 

Overall, Roman art is, using broad terminology, naturalistic.

 

41

The Tetrarchs, 300 AD, porphyry.

Tetrarchy means ”the rule of four”.

 

This sculpture represents the four co-ruling

emperors, or tetrarchs, who worked together

to rule the four divisions of the vast Roman Empire.

 

 

SUPPLEMENT MAP

Marble portrait head of the Emperor Constantine I, c. 325-370 A.D., marble.

SUPPLEMENT: Indian Subcontinent Maps

Elephants on North Torana, Sanchi, India.

Stupas are dome-shaped shrines used to house Buddhist relics.

 

Yakshi are female nature figures and are represented at the entrance gates to a stupa.

 

 

Standing Bodhisattva Maitreya.

A bodhisattva is a being in Buddhism who has achieved enlightenment but chooses to remain in this world to help others advance their spirituality.

 

Maitreya is derived from the Sanskrit word for “friend.”

 

Buddhism is a religion and philosophy that developed from the teachings of the Buddha (Sanskrit: “Awakened One”), a teacher who lived in northern India between the mid-6th and mid-4th centuries BCE.

Located in Gandhara, known today as Pakistan.

 

47

Period Styles

Period styles derive their characteristic structure from the culture prevalent

during a particular time period or era.

 

 

 

SUPPLEMENTAL MAP: Romanesque and Gothic Eras in Europe

The term Romanesque means

Roman-like and identifies European

art and architecture from 1000 CE to 1000 CE.

 

Gothic is the term for the art and

architecture of Europe, especially northern Europe, from 1100 CE – 1300 CE.

Romanesque and Gothic Eras in Europe SUPPLEMENTAL: Gothic Cathedral floor plan

Christianity is one of the world’s major religions and stems from the life, teachings, and death of Jesus of Nazareth (the Christ, or the Anointed One of God) in the 1st century CE.

 

A portal is a doorway.

 

Gislebertus, Last Judgement, 1130-45, stone.

A tympanum is the semicircular area above the doors of a cathedral.

Gislebertus, Last Judgement, 1130-45, stone.

Saints Martin, Jerome, and Gregory, c. 1220-1230, stone.

These Gothic sculptures from a cathedral portal

show greater naturalism than the Romanesque

tympanum figures in the Last Judgment.

 

54

Masaccio, Holy Trinity, 1425, fresco.

A renaissance is a re-birth or re-awakening.

 

The Italian Renaissance was a conscious and purposeful revival of the ideals of Greece and Rome, especially humanism.

 

Humanism is the belief in the value of humans and their endeavors. Artists of the Italian Renaissance sought ways to express themselves as individuals in their art.

 

Orthogonal lines

 

Linear perspective

 

Raphael, Madonna and Child Enthroned with Saints, c. 1504, oil and gold on wood.

Humanism of the Italian Renaissance both

celebrated human intellectual and creative

accomplishments and embraced and

emphasized the humanity of Christ.

 

Titian, Madonna and Child, c. 1508, oil on wood.

Formal Style Stylistic Periods or Movements

 

We will look at examples of stylistic periods;

 

Realism

 

Expression(ism)

 

Abstract Expressionism

 

 

 

 

Formal Style: Realism

Naturalism and Realism mean two different ideas when used in the context of the visual arts.

 

Naturalism means of or pertaining to the appearance of nature, without idealization. The artist strives to make the appearance of the objects represented corresponds to nature, … to how the subject of the artwork looks in the natural world.

 

Realism refers to artworks that relay information or opinions about the underlying social or philosophical reality of the subject matter. These works may look naturalistic, but they have a societal component as well.

 

 

Gustave Courbet, A Burial at Ornans, 1849-50, oil on canvas.

The École des Beaux-Arts was the nationally institutionalized body in control of training and exhibition of art in France.

Gustave Courbet, The Stone Breakers, 1849, oil on canvas.

Ilya Repin, Barge Haulers on the Volga, 1870-73, oil on canvas.

Realism, vs. realism is a stylistic movement that appears across the western world during the 19th century.

This work is an example of realism from 19th-century Russia.

 

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Wilhelm Leibl, Three Women in Church, 1878-82, tempera on mahogany.

Wilhelm Leibl’s painting of rural peasant women

is an example of realism from 19th-century Germany.

George Bellows, Cliff Dwellers, 1913, oil on canvas.

Edward Steichen, Moonlight: The Pond, 1904, platinum print with applied color.

 

Gum bichromate is photographic

print process which requires

gum Arabic and bichromate

to be brushed on the surface

of the light-sensitive paper and

allows manipulation of the

final image.

 

Lucas Samaras, Transformation, 1973, manipulated polaroid SX-70 print

Lucas Samaras used his fingers and a

stylus to rub and smear the image on

a self-developing polaroid print, thereby

manipulating the photograph to

and create his final image.

 

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Expression(ism)

Expressionism in the visual arts gives up a measure of naturalism in favor of emotional content.

 

Unknown artist, The Great Goddess Durga Slaying the Buffalo Demon, c. 1750, opaque watercolor and gold and silver colored metallic paint on paper.

Pieta Liebieghaus, c. 1390, walnut, remnants of original polychromy.

Andachtsbilder is the German term for devotional images used to aid prayer.

 

SUPPLEMENT: Expressionism in Germany Neue Sachlichkeit, or New Objectivity

George Grosz, Fit for Active Service, George Grosz, The White General, 1919,

1916-17, pen and ink. pen and ink.

Abstract Expressionism

Abstract Expressionism was a stylistic

movement that emphasized the

physical properties of the medium used

as opposed to pictorial narrative.

 

 

 

Clyfford Still, Untitled, 1957, oil on canvas

 

Jackson Pollock, The Deep, 1953

Mark Rothko, No. 61 (Rust and Blue), 1953

Individual Style

A catalogue raisonné is a detailed, comprehensive list of the artist’s work.

Johannes Vermeer, The Geographer, 1669, oil on canvas.

Thirty-four paintings have been attributed to Vermeer.

 

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Vermeer, Woman in Blue Reading a Letter, c. 1662-3, oil on canvas.

Vermeer, The Milkmaid, c. 1657,

oil on canvas.

Vincent van Gogh, Wheat Field with Cypresses, 1889, oil on canvas.

Vincent van Gogh, Wheat Field with Cypresses, 1889, oil on canvas.

Impasto is the thick

application of paint.

Summary

We outlined a structured approach to understanding an artwork by using

description, analysis, interpretation, and evaluation to help recognize how works of art can carry meaning.

 

We established representational and non-objective as the two broadest categories of the style of an artwork.

 

We confirmed that the degree of abstraction in a representational work is relative, on a continuum, and that idealization is an off-shoot of representational work that shows an adjustment of accuracy toward a

mental conception of beauty, a standard of perfection.

 

Summary

We recognized three broad categories of style as

regional, period, and personal style.

 

Cultural or Regional examples we examined were form the ancient Near East, Ancient Greece and Rome, and the Indian sub-continent.

 

Period styles we examined included the Romanesque and Gothic periods of Europe and the Italian Renaissance.

 

19th-century Realism (Germany, Russia, and the United States) and Expressionism (Germany and the United States)

Édouard Manet, Olympia (article) | Realism | Khan Academy