Monday, April 30, 2012

Discussion and Video: Romanticism Part 2 Walpole Ruskin Turner Goya Gericault

The entire course ($25) with additional texts
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1) How do these two paintings express similar ideas?  What are some of these ideas?  What iconography do they share?

2) In your opinion is Goya a Romantic or simply an independent painter that art historians try to group with the Romantics?  Why do you think so?

3) What are some ideas that this print expresses that could be considered Romantic themes?

4) What is the Gothic Revival and how is it expressed by these two structures?

Saturday, April 28, 2012

Discussion: Romanticism Part 1

1) How does these painting reflect some of the ideas people held about spirituality in the 19th century? How might it relate to the excerpts out of Frankenstein or other 18th and 19th century novels such as Dracula or Jane Eyre or Wuthering Heights?

2) How might the iconography of these two works be similar?

3) How might Blake's work relate to earlier traditions concerning Byzantine and Gothic Art and the traditions surrounding illuminated manuscripts?

4) How does this painting relate to the poem and musical piece the Erlkonig?

Franz Schubert 1797-1828 Wav file

ERLKÖNIG - J.W. von Goethe Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm.
Mein Sohn, was birgst du so bang dein Gesicht?--
Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron und Schweif?--
Mein Sohn, es ist ein Nebelstreif.--
«Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel ich mit dir;
Manch bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand.»
Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?--
Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind.--
«Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein.»
Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?--
Mein Sohn, mein Sohn, ich seh es genau:
Es scheinen die alten Weiden so grau.--
«Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch ich Gewalt.»
Mein Vater, mein Vater, jetzt faßt er mich an!
Erlkönig hat mir ein Leids getan!--
Dem Vater grausets, er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not;
In seinen Armen das Kind war tot.
English translation by Natalia MacFarren Who rides through the night o'er woodland wild?
It is a father with his young child;
The boy lies folded, close in his arm
He holds him steady and safe from harm..
"My son, thou hidest thy face as in fear?"
"The Erl King father, see he is near!
With Crown and Sceptre and snow white shroud"
"My son, 'tis but a passing cloud."
"My gentle boy, Oh come with me;
I'll sport and play the day long with thee
And wondrous flowers shalt thou behold
And a garment shalt thou wear all of Gold."
"My father, my father, Oh dost thou not hear
What Erl-King whispers so soft in mine ear?"
"Nay, fear not, it is nothing my child,
The leaves but rustle sharp o'er the wild."
"Thou gentle boy wilt thou with me go
My daughters all pretty pastimes know,
My daughters nightly their gay revels keep,
They'll dance and they'll sing and they'll rock thee to sleep.
They'll dance and they'll sing and they'll rock thee to sleep."
"My father, my father, I feel sore afraid
See Erl-King's daughters in yon dark shade!"
"My son, my son, I see it full well;
The grey knotted willows bend to the gale."
"I love thee, child, in vain wouldst thou now be perverse,
For if thou'rt not willing, I'll take thee by force"
"My father! My father! His cold hand I feel
Erl-King has hurt me; With grasp of steel"
The fa-ther shudd'ring; gives spur to his steed,
Holds fast his darling and groans in his need,
He reached his home in doubt and dread,
Within his fond arms the child lay dead.

Friday, April 27, 2012

A Summer Arts Opportunity in San Francisco

This sounded cool so I thought I would post it here:

Teaching Artists!
Southern Exposure

San Francisco, CA

SoEx Seeks THREE Lead Teaching Artists, THREE volunteer Artist Assistants, and ONE intern for Mission Voices Summer 2012!
MVS is a five-week intensive summer arts program.  It gives young people the opportunity to exercise leadership skills and participate in their community by exploring relevant social and personal issues through visual arts. The program is a collaboration between Southern Exposure's Artist in Education program and community-based youth organizations in San Francisco. The program bridges neighborhoods and cultures by pairing local artists with teens from the Bay Area.

Three Teaching Artists, along with Southern Exposure's Artists in Education Program Manager, and three Volunteer Assistants, will collaborate and teach approximately 30 teenagers this summer to produce an art environment based on a socially relevant theme. The program will culminate with a final project and exhibition, on view August 8 - 25, 2012.

Artists are responsible for teaching three times per week for the entire five-week program (Monday, July 9 - Wednesday August 8, 2011), plus pre-program curriculum planning for four weeks starting June 6, as well as extra time to install and de-install the final exhibition by August 29.  Classes run at Southern Exposure for three hours and take place on Mondays, Wednesdays, and Thursdays from 1-4 pm.

To apply:
  • Your resume and a cover letter
  • Work Samples: a CD or flash drive with no more than 15 images; for video work, submit a DVD with no more than 5 minutes of work. Please include a descriptive list describing each sample. If you would like your work samples returned to you, please include a SASE.
  • A brief description of your ideas for the program (no more than one page) and one sample thematic and skill oriented lesson that addresses materials needed, the objective of the lesson and skills learned (no more than one page).

    Mail or deliver all materials to:
    Aimee Shapiro, Artists in Education Program Manager
    MVS Teaching Applications
    Southern Exposure
    3030 20th Street
    San Francisco, CA 94110
**no original artworks, email or fax submissions will be accepted.

Contact:Aimee Shapiro

Deadline: 05-07-2012

Wednesday, April 25, 2012

Discussion and Video: Impressionism Degas and Color Theory

1) Compare and contrast the two paintings above in terms of their form. Be sure to use as much of the following vocabulary as you can, perspective, illusionism, realism, chiaroscuro, hue, value, intensity, primary, secondary, tertiary, non-local, local color, optical mixing. 

2) Come up with a thesis and compare and contrast the points of view of each of these artists.

"I Sit and Look Out" by Walt Whitman portrait of Whitman by Eakins

I Sit and Look Out 
Walt Whitman
I SIT and look out upon all the sorrows of the world, and upon all oppression and shame; I hear secret convulsive sobs from young men, at anguish with themselves, remorseful after deeds done; I see, in low life, the mother misused by her children, dying, neglected, gaunt, desperate; I see the wife misused by her husband—I see the treacherous seducer of young women; I mark the ranklings of jealousy and unrequited love, attempted to be hid—I see these sights on the earth; I see the workings of battle, pestilence, tyranny—I see martyrs and prisoners; I observe a famine at sea—I observe the sailors casting lots who shall be kill’d, to preserve the lives of the rest; I observe the slights and degradations cast by arrogant persons upon laborers, the poor, and upon negroes, and the like; All these—All the meanness and agony without end, I sitting, look out upon, See, hear, and am silent.

Tuesday, April 24, 2012

Discussion and Video: Neoclassical Art


1) What style of painting is this? How is this style a break from past traditions? What kinds of things is this painter borrowing from past styles? Names some of the periods/styles that this artist is referencing. How is detail used as a kind of rhetorical or pursuasive element? How does the iconography of this painting reflect some of Jean-Jacques Rousseau’s ideas about society? 

2) Describe how this painters use of classical humanism and classicism in general is a break from earlier uses of classicism during the Renaissance. How does this style incorporate elements from Caravaggio’s and Velasquez’ paintings? 

3) How is this painter using references to classicism in a different way then other artists? How does the iconography of this painting reflect some of Jean-Jacques Rousseau’s ideas about society? 

4)Both of these works are based on a treatises by two famous architects. Name both architects who wrote and or republished treatises and discuss these architects influence on these two buildings. Make sure you discuss how this architect has affected both the iconography and form of these structures.

Monday, April 23, 2012

Some Wash Drawings

I love pen and ink wash drawings so I've been doing a bunch and selling them on Etsy for about $25 each.  If you like one please visit my shop:

Similar blog posts about technique and the use and misuse of art history:


Sunday, April 22, 2012

The Changing Face of Homelessness: A Collection of Portraits by Santa Clara University Photography Students

I'd like to invite you to attend an exhibit of photographs by students from Santa Clara College.

The exhibit, The Changing Face of Homelessness: A Collection of Portraits by Santa Clara University Photography Students
is in the 

Louie Meager Art Gallery of the Smith Center at Ohlone College, 43600 Mission Blvd. Fremont, California 94539
Reception Saturday April 28th from 6-8PM.

There will food, a jazz musician and Ohlone's Annual Dance Recital begins at 8:00pm in the Jackson Theatre across the hall.

This exhibit is open to all!

Here's a bit more about it:

The Changing Face of Homelessness features a collection of portraits created by Santa Clara University students who enrolled in the course Exploring Society through Photography, taught by Renee Billingslea from 2006-2011. In addition to learning camera function and examining ethics in photography, students visited local shelters and got to know individuals and families experiencing extreme poverty. Midway through the quarter, students held a "portrait day" and everyone living in the inn was invited to have their portrait taken free of charge. Later, they were given copies of the photographs.

Students haven taken great care to ensure that individuals are shown in a positive light as a continuing process of breaking down stereotypes perpetuated by our society. Oftentimes, the difference between the homeless population and ourselves is circumstance.

Prof. Kenney Mencher
Department of Art and Art History
Director Louie Meager Art Gallery
Ohlone College, 43600 Mission Blvd.
Fremont, California 94539

Saturday, April 21, 2012

Discussion and Video: French Academic and Romantic Painting and the substyle Orientalism


1)  How did Ingre's painting evolve from Poussin's?  Do they use classical themes in the same way?

2)  How does Ingres use Raphael painting as his schema?  What does he change and why?

3) Do an iconographic analysis of this work. How might some of the iconography relate to the ideas expressed in the “Imaginary Orient” by Linda Nochlin?

4) How might this paintings express that support racist and or political views?

Discussion and Video: History Painting

What style of painting is this? How is this style a break from past traditions?

How does West's painting incorporate elements from Caravaggio’s and Velasquez’ paintings?