Description
I need to write a paper draft all the instructions are in the attachment also there is 3 attachments for paper drafts samples and one attachment for the examples
1
Staged Essay Assignment
First write two separate descriptive paragraphs (Visual Art & Music), each on a single work of art presented in
class. The first paragraph (one page) is to be on one work of visual art chosen from two works presented in the
2nd week of class. The second paragraph (one page) is on one work of musical art chosen from two works
presented in the 4th week. Each lecture presents two works of art, but write about only one of them. You must
write about the assigned works. No others are permitted. Your goal should be a clear and thorough description
of the artwork in a focused, unified, error-free paragraph.
Using these two works, assemble an essay by inventing a thesis statement about some trait they share. Use this
thesis in the introduction and conclusion (each about ½-page), and in transitions between paragraphs. The final
paper should be about 3 pages long. Double space, use 12-point Times type and 1-inch margins. The length
should be equivalent to a 3-page paper copy.
Check second page too!
2
FA 150 – Spring 2021
Visual Art Examples for Paper
(Choose one)
These are the complete names of each work. Use the
whole thing as the subject of your first sentence.
1. Benvenuto Cellini (Italian, 1500-1571), Saltcellar
(saliera) of Francis I, 1543, hammered gold, ebony
and vitreous enamel, 33.5 x 26cm, Kunsthistorisches
Museum (of Art History), Vienna, Austria.
2. Claude Monet (French, 1840-1926), Waterlilies, 192026, Oil on Canvas, 219 × 602 cm, Musée de
l’Orangerie, Paris.
How to List a Work of
Visual Art
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Creator (his/her dates)
Name of Work, its date,
Medium,
Dimension(s),
Location  Collection,
Location  City (Country).
Benvenuto
Cellini,
Saltcellar
(saliera) of
Francis I,
1543,
being
returned
to case
Benvenuto Cellini (Italian, 1500-1571), Saltcellar
(saliera) of Francis I, 1543, hammered gold, ebony and
vitreous enamel, (33.5 x 26cm), Kunsthistorisches
Museum (Art History Museum), Vienna, Austria.
Benvenuto Cellini, Saltcellar of Francis I, from above
Benvenuto Cellini, Saltcellar of Francis I, salt side
Benvenuto Cellini, Saltcellar of Francis I, salt boat detail
Benvenuto Cellini, Saltcellar of Francis I, pepper side
Benvenuto Cellini,
Saltcellar of
Francis I,
pepper temple
detail
Benvenuto
Cellini,
Saltcellar of
Francis I,
Ceres from
the back
Benvenuto Cellini, Saltcellar of Francis I, Allegories on base
Benvenuto Cellini, Saltcellar of Francis I, Allegories on base
A Wind or Season
Benvenuto Cellini (Italian, 1500-1571), Saltcellar
(saliera) of Francis I, 1543, hammered gold, ebony and
vitreous enamel, (33.5 x 26cm), Kunsthistorisches
Museum (Art History Museum), Vienna, Austria.
Benvenuto
Cellini,
Saltcellar
(saliera) of
Francis I,
1543,
being
returned
to case
Background & Description 1 – Cellini’s Saltcellar
Cellini’s gold and enamel container for salt and pepper was produced for the French King,
Francis I, whose great grandson, Charles IX, gave it to Archduke Ferdinand II of Tyrol in 1570;
it is now in Vienna.
On topâ€â€two main figures: Neptune, god of the sea, next to a small boat shaped like a
nautilus shell to hold salt, and Ceres, the goddess of earth, next to an Ionic temple in the form
of a triumphal arch to hold pepper. Ceres sits on two elephants, land animals; she holds her
breast with one hand and with the other, a cornucopia, symbols of nourishment and plenty.
Neptune sits on a scallop-shell chariot drawn by two seahorses and holds his trident and a
fish net, more symbols of plenty. Several motifs symbolize the king, including the elephant,
lilies (symbol of the French kingd) on the cloth below Ceres, and a salamander, François I’s
personal emblem.
François I employed Cellini from 1537 until 1545, and it was then that he made his first
sculptures. This is his only surviving work in gold. The work was stolen from the museum in
May 2003 and recovered by police in January 2006. From Web Gallery of Art
http://www.wga.hu/html_m/c/cellini/1/index.html/ Non-underlined information must be cited
in a footnote or bibliographic entry. Underlined information either was discussed in class
or is based on my own observations.
Background & Description – Cellini’s Saltcellar
Cellini’s gold and enamel container for salt and pepper was produced for the French King,
Francis I, whose great grandson, Charles IX, gave it to Archduke Ferdinand II of Tyrol in 1570;
it is now in Vienna.
Amazing intricacy of detail! A female nude reclines on the pepper temple, with two smaller
male nudes ocolumns at each end, and a figurehead and tail on the salt boat. The ebony
base is decorated with reclining figures. They symbolize the four times of day alternating with
four winds or seasons. Two times of day are modeled on Michelangelo’s Medici tombs in the
church of San Lorenzo in Florence: on Neptune’s right, on a blue ground, Michelangelo’s
male figure of Day, from the tomb of Giuliano de’ Medici; on Ceres’ left, on a red ground,
Michelangelo’s figure of Dawn, from the tomb of Lorenzo de’ Medici. The other two on the side
with Neptune on the right are looser adaptations of Michelangelo’s Night (right, on black) and
Dusk (left, on green). The winds (puffed-out cheeks) or seasons are more difficult to identify,
but they are probably: Boreas-North-Winter, Zephyrus-West-Spring, Auster or Notus-SouthSummer, Eurus-East-Autumn. Between the Winds/Seasons and Times of Day are other small
symbols of the substance above themâ€â€Ã¢â‚¬â€ With Neptune at the left, they may be an anchorleft, and crossed tridents-right. With Ceres at the left, they may be sickles-left, and weapons
(bow & arrow, shield)-right. The ends are less clear: under Ceres’ left–a shovel; on her right
maybe a flail. Under Neptune’s right– a sail; on his left, maybe an oar.
Claude Monet (French, 1840-1926), Waterlilies (Nymphéas), 1920-26,
Oil on Canvas, 219 × 602 cm, Musée de l’Orangerie, Paris.
Background – Earlier Waterlilies by Monet
Claude Monet
(French, 18401926),
Waterlilies, 189799,
Oil on Canvas, 81
x 100 cm, Galleria
nazionale d’arte
moderna, Rome.
(for comparison
only)
Background – Earlier Waterlilies by Monet
Claude Monet
(French, 1840-1926),
Waterlilies, 1907,
Oil on Canvas,
72 X 101.5 cm,
Collection of Israel
Museum, Jerusalem.
(for comparison only)
Background – Earlier Waterlilies by Monet
Claude Monet
(French, 18401926),
Waterlilies, 1922,
Oil on Canvas, 2
m (79.02 in) x
2.13 mm (83.98
in),
Toledo Museum
of Art, Toledo,
OH.
(for comparison
only)
Claude Monet (French, 1840-1926), Waterlilies (Nymphéas), 1920-26,
Oil on Canvas, 219 × 602 cm, Musée de l’Orangerie, Paris.
Background & Description – Monet’s Waterlilies – 1
All this information was either discussed in class or is based on my own observations–no citation is necessary.
Monet invented the Impressionist style. He did several image series: the cathedral of Rouen
(3 in the National Gallery, DC alone ), haystacks (one in the Minneapolis Institute), the
Japanese bridge in his garden at Giverny, and waterlilies–the largest series–over 250
paintings over several decades. Begin by looking at the series of four paintings I included, in
chronological order, to see how his style changed. In 1897-99, the flowers are realistic in
shape and color, if a bit rough around the edges in the Impressionist style. Over the next 30
years, there is more interest in the play of light, texture of brush strokes and brighter colors.
Although depth is still clearly perceptible, the design and texture of the flat surface become
increasingly prominent.
Some features of this flat surface design include: balanced colorings–lavender-blue shading
to green on the left and green shading to orange yellow on the right, balanced groupings of
flowers–large groupings above on the left and below on the right, with smaller groupings
below on the left and above on the right, contrasting background brushstroke directions on left
and right moderated by similar different patterns for the lilies. There are brilliant contrasting
colors throughout, almost beyond realism, and a rough prominence of the brushstrokes that
gives them a tactile quality that can almost be felt without actually touching.
Background & Description – Monet’s Waterlilies – 2
All this information was either discussed in class or is based on my own observations–no citation is necessary.
Waterlilies (Nymphéas), 1920-26, was one of Monet’s last paintings. It is one of a series of
paintings he did for elliptical rooms in the Orangerie museum especially renovated for large
expanses of his custom-painted waterlily murals. The artist retained the work in his
possession until his death, when it was moved to Paris and mounted in its intended place.
This work is painted on two adjoining canvases. The scene it depicts seems to be waterlilies
floating in two areas of his Giverny pond: on the left, over deeper water, with a predominant
blue color; on the right in shallow water among reeds with greens in the center merging with
oranges and browns on the far right. Both sections include reeds; on the left, in indistinct
diagonal rounded brushstrokes suggesting reflections; on the right, with clearer vertical
brushstrokes suggesting the actual reeds. The lily pads are done with rough circular or
elliptical brushstrokes in bright yellow, with highlights in white, lime green and orange. The
flowers are in red (most) and white (a few). Wonderful splashes of highlighting color appear in
all areas of the painting. In addition to those mentioned above, salmon and green appear in
the lily pads, while the water contains orange, violet and magenta. All of the brushstrokes are
rough, more suggestive than delineating; nevertheless the whole picture is very clear. The
style stretches the boundaries of Impressionism in the direction of Post-Impressionism, with
swaying waves of brushstrokes like those of Van Gogh, and a concern for the flat surface
design that rivals in importance the actual depiction in depth.
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