Week 8 assignment: essay – interrelationships reflection apa format | Applied Sciences homework help
- Prices for art soared enormously beginning in the 1980s. The highest recent price paid at auction for a work of art was $170 million for Amedeo Modigliani’s nude, Nu Couché (Sleeping Nude) (Figure 3-9). How does its money value affect its artistic value?
This painting surprised the art world by selling for $170 million to a Chinese collec- tor, a taxi driver who became a billionaire. It took nine minutes to sell this painting via an international telephone call. Examine this painting in terms of descriptive, interpretive, and evaluative criticism. How does it compare with the nudes in Chapter 2? Why would any information regarding its sale or the price paid for it affect our sense of the artistic value of the painting? What is your judgment of Nu Couché’s artistic value? FIGURE 3-9 Amedeo Modigliani, Nu Couché (Sleeping Nude). 1917–1918. Via Christies. ©Christie’s Images/Bridgeman Images 56 jac16871_ch03_042-057.indd 56 12/8/17 8:12 PM 57
BEING A CRITIC OF THE ARTS
arts is designed to do just that—to give some help about what kinds of questions a serious viewer should ask in order to come to a clearer perception and deeper un- derstanding of any specific work. With the arts, unlike many other areas of human concern, the questions are often more important than the answers. The real lover of the arts will often not be the person with all the answers but rather the one who asks the best questions. This is not because the answers are worthless but because the questions, when properly applied, lead us to a new awareness, a more exalted consciousness of what works of art have to offer. Then when we get to the last chap- ter, this preparation will lead to a better understanding of how the arts are related to other branches of the humanities. jac16871_ch03_042-057.indd 57 12/8/17 8:12 PM 58 ©Universal History Archive/Getty Images P art 2
T H
E A
R T
S Chapter 4
PAINTING
Our Visual POwers Painting awakens our visual senses so as to make us see color, shape, light, and form in new ways. Painters such as Siqueiros, Goya, Cézanne, Gentileschi, Neel, and virtually all the painters illustrated in this book make demands on our sensitiv- ity to the visual field, rewarding us with challenges and delights that only painting can provide. But at the same time, we are also often dulled by day-to-day experience or by distractions of business or study that make it difficult to look with the inten- sity that great art requires. Therefore, we sometimes need to refresh our awareness by sharpening our attention to the surfaces of paintings as well as to their overall power. For example, by referring to the following Perception Key we may prepare ourselves to look deeply and respond in new ways to some of the paintings we con- sidered in earlier chapters. PERCEPTION KEY Our Visual Powers 1. Jackson Pollock, The Flame (Figure 3-3). Identify the three major colors Pollock uses. How do these colors establish a sense of visual rhythm? Which of the colors is most intense? Which most surprising?