Week 8 assignment: essay – interrelationships reflection apa format | Applied Sciences homework help
- Compare the traditional fresco of Michelangelo’s Creation of Adam with Leonardo’s experimental fresco of the Last Supper (Figure 3-1). To what extent does Michel- angelo’s use of the medium help you imagine what Leonardo’s fresco would have looked like if he had used Michelangelo’s technique?
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PAINTING
FIGURE 4-8 Wang Yuanqi, Landscape after Wu Zhen. 1695. Hanging scroll; ink on paper, 42¾ × 20¼ inches. Metropolitan Museum of Art. Bequest of John M. Crawford Jr. Typical of many of the great Chinese landscape scrolls, Wang Yuanqi uses his brush and ink prodigiously, finding a powerful energy in shaping the rising mountains and their trees. The presence of tiny houses and rising pathways to the heights places humanity in a secondary role in relation to nature and to the visual power of the mountain itself. Source: Bequest of John M. Crawford Jr., 1988/The Metropolitan Museum of Art jac16871_ch04_058-090.indd 67 12/11/17 11:22 AM 68
CHAPTER 4
eleMenTs Of PainTing The elements are the basic building blocks of a medium. For painting they are line, color, texture, and composition.* Before we discuss the elements of painting, con- sider the issues raised by the Perception Key associated with Frederic, Lord Leigh- ton’s painting Flaming June (Figure 4-9). PERCEPTION KEY Goya, Leighton, and Cézanne 1. Goya used both closed and open lines in his May 3, 1808 (Figure 2-3). Locate these lines. Why did Goya use both kinds? 2. Does Leighton use both closed and open lines in Flaming June? 3. Identify outlines in Cézanne’s Mont Sainte-Victoire (Figure 2-4). There seem to be no outlines drawn around the small bushes in the foreground. Yet we see these bushes as separate objects. How can this be? PERCEPTION KEY Flaming June The subject matter of this painting is sleep itself. But it is also a painting with intense sensuous content. We respond to it partly because it is so vivid in color. 1. What powerful ideas does sleep imply? 2. What does the painting tell us about the pleasures of watching a beautiful woman sleeping? How difficult is it for you to imagine this a nymph rather than a living woman? 3. Comment on the color in this painting. In most visions of sleeping figures the tones are dampened, sometimes dark, as one would expect in a nighttime vision. In what ways does the astounding contrast between sleep and the brilliance of the color affect your sense of what the subject matter is? How does it contribute to your efforts to decide on the content of the painting?