Visual Analysis | homework crew



Your Museum paper will be a visual analysis of an American work of art in the permanentcollection of the Cleveland Museum of Art. It can be a painting, photograph, or sculpture –whatever appeals to you. The paper will be around 7 ½ pages, typed, and double-spaced(12-point font, Times New Roman). The assignment will be graded on form as well as contentso that spelling, punctuation, grammar, and syntax are to be considered with care. Pleaseinclude a reproduction of the work discussed with your paper.PART 1, formal analysis:This part of the paper requires a detailed description of the formal qualities of the art object(formal as in “related to the form,” not a black-tie dinner). In other words, you are looking at theindividual design elements, such as composition (arrangement of parts of or in the work),color, line, texture, scale, proportion, balance, contrast, and rhythm. Your primary concernin this part of the assignment is to attempt to explain how the artist arranges and uses thesevarious elements.Usually you have to go and look at the object for a long time and then write down what you see.As you will quickly see from the page length of the assignment, I expect a highly detaileddescription of the object. You might struggle with this assignment because it is hard to translatewhat you see into words– don’t give up, and take more notes than you might think you need.Iwant you to look, and look carefully. Think of the object as a series of decisions that an artistmade. Your job is to figure out and describe, explain, and interpret those decisions and why theartist may have made them. In writing a formal analysis, focus on creating a logical order so thatyour reader does not get lost. Do not ever assume that because your reader has seen the work,he or she knows what you are talking about. Here are a couple of options:-Summarize the overall appearance, then describe the details of the object-Describe the composition and then move on to a description of the materials used (acrylic,watercolor, plaster, etc.)-Begin discussing one side of the work and then move across the object to the other side-Describe things in the order in which they draw your eye around the object, starting with thefirst thing you notice and moving to the next-Then comment on the significance of what you have observedPART 2, stylistic analysis:Now look at your object and talk about style. Please discuss how your object fits into a particularstylistic category— for example, realism, abstraction, luminism, etc. You will still focus on theformal qualities of your object, but now you are expected to make a conclusion about thefollowing:-How does the work fit the stylistic category? Please explain by discussing at least three worksof art that we have talked about in our course.-And/or how does the work not fit the stylistic category? Please explain by discussing at leastthree works of art that we have talked about in our course.-How do different American works with the same type of content look totally different from eachother: For example, because of the style (for example, a painting may be a still life, but differentexamples show diverse approaches to three-dimensionality, etc.)A stylistic analysis will acquaint you with some of the larger historical trends and forces inAmerican culture and how they influence the development of Art.My Chosen Artwork:William Sidney Mount, The Power of Music, 1847.Artists and Their Works that My Class Has Discussed:William Sidney Mount, The Painter’s Triumph, 1838George Caleb Bingham, The Jolly Flatboatmen in Port, 1857James Audubon, Golden Eagle Female Adult, 1833-34Robert Scott Duncanson, Blue Hole, Little Miami River, 1851Carlton E. Watkins, Best General View, Mariposa Trail, 1862Martin johnson Heade, Thunderstorm on Narragansett Bay, 1868Moses Jacob Ezekiel, Stonewall Jackson, 1909Winslow Homer, Snap the Whip, 1872Winslow Homer, The Cotton Pickers, 1876Hiram Powers, The Greek Slave, 1843Thomas Eakins, Willian Rush Carving his Allegorical Figure of the Schuylkill River,1876-7James Abbot McNeill Whistler, Arrangement in Grey: Portrait of the Painter, 1872Frederic Edwin Church, Niagara, 1857Winslow Homer, The Life Line, 1884Anonymous, Elizabeth Freake and Baby Mary, c. 1671-4Anonymous, John Freake, 1671-4Thomas Smith, Self-Portrait, c. 1690Justus Englehardt Kuhn, Henry Darnell III as a Child. C. 1710John Smibert, Dean George Berkeley and his Family (The Bermuda Group), 1729Joshua Reynolds Lady Sarah Bunbury Sacrificing to the Graces, 1765John Singleton Copley, Watson and the Shark, 1778Charles Wilson Peale, General George Washington at Battle of Princeton, 1779Gilbert Stuart, George Washington (Vaughn Portrait), 1795Gilbert Stuart, George Washington (Lansdowne Portrait), 1796Jean-Antoine Houdon, George Washington, 1788Edward Savage, The Washington Family, 1789-96Anonymous. Probably from New England, George Washington and His Family, c. 1810Charles Wilson Peale, Artist in His Museum, 1822James Peale, Still Life: Apples, Grapes, Pear, 1822-5Margaretta Angelica Peale, Still-Life with Watermelon and Peaches, 1828Charles Bird King, The Poor Artist’s Cupboard, 1815John Lewis Krimmel, Fourth of July in Center Square Philadelphia, 1810-12William Sidney Mount, Bargaining for a Horse, 1835William Sidney Mount, Eel Spearing in the Setauket, 1845George Caleb Bingham, Fur Traders Descending the Missouri, 1845Howard Chandler Christy, The Signing of the Constitution of the United States,1940Thomas Cole, The Oxbow, 1836Timothy O’Sullivan, Ancient Ruins in the Canyon de Chette, Arizona, 1873Nathaniel Jocelyn, Cinque, 1839Theodor Kaufmann, On to Liberty, 1867John Rogers, The Fugitive’s Story, 1869John Singleton Copley, Mrs. Thomas Boylston, 1766John Singleton Copley, Paul Revere, c 1769Benjamin West, The Death of General Wolfe, 1770Lily Martin Spencer, Still-Life with Berries and Currants, c. 1859-60Lily Martin Spencer, Kiss me and You’ll Kiss the ‘Lasses, 1856David Gilmore Blythe, Art versus Law, 1859-60John Vanderlyn, Murder of Jane McCrea, 1803-4Charles Bird King, Young Omahaw, War Eagle, Little Missouri, and Pawnees, 1822George Catlin, Mah-To-Toh-Pa (Four Bears), Mandan Chief, 1832-34John Froelich, The Adoption of the Constitution, 1935George Catlin, The Last Race, Part of Okipa Ceremony (Mandan), 1832Seth Eastman, Lacrosse Playing Among the Sioux Indians, 1851Thomas Moran, Grand Canyon of the Yellowstone, 1872Asher B. Durand, Kindred Spirits, 1849Joseph Turner, The Slave Ship, 1840Thomas Cole, The Course of Empire: The Pastoral or Arcadian State, 1834Frederic Edwin Church, Heart of the Andes, 1859Albert Bierstadt, The Rocky Mountains, Lander’s Peak, 1863Fitz Hugh Lane, Boston Harbor at Sunset, 1850-5George Inness, Sunny Autumn Day, 1892Richard Caton Woodville, Old ’76 and Young ’48, 1849Richard Caton Woodville, War News from Mexico, 1848Emanuel Leutze, Westward the Course of Empire Takes its Way (Westward Ho!),1861-2Robert S. Duncanson, Uncle Tom and Little Eva, 1853John Rogers, Slave Auction. 1859Eastman Johnson, A Ride for Liberty: The Fugitive Slaves, c. 1862-63Matthew Brady, On the Antietam Battlefield, 1862Matthew Brady, General Robert Potter and Staff, Matthew Brady Standing By ATree, 1865Winslow Homer, Prisoners from the Front, 1866Winslow Homer, Long Branch, New Jersey, 1869Winslow Homer, Fox Hunt, 1893Winslow Homer, Right and Left, 1909Thomas Eakins, Max Schmidtt in a Single Scull, 1871Thomas Eakins, The Gross Clinic, 1875Thomas Eakins, The Pole Vaulter, 1884Thomas Eakins, Nude Woman Wearing a Mask, c. 1866Thomas Eakins, Walt Whitman, 1887Photography of Amelia van Buren, by Thomas Eakins, 1891Thomas Eakins, Miss Amelia Van Buren, 1889-91Henry O. Tanner, The Banjo Lesson, 1893Henry O Tanner, The Thankful Poor, 1894Henry Ossawa Tanner, Resurrection of Lazarus, 1896Edmonia Lewis, Forever Free, 1867Edmonia Lewis, Hagar, 1875James Abbot McNeill Whistler, Symphony in White No. 1: The White Girls, 1862James Abbot Mc.Neill Whistler, Symphony in White No 2: The Little White Girl,1864James Abbot McNeil Whistler, Arrangement in Grey and Black: the Artist’sMother. 1871Homer, Breezing Up, 1876James Abbot McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket,1875William Merritt Chase, In the Studio, c. 1898

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