I. Thesis
II. Body
A. Prehistoric Portraiture
1. Paleolithic Cave Painting
a. Chavet Cave, Ardèche France; Lion Panel
B. Ancient Egyptian Portraiture
1. Relief
a. Intkaes and Her Daughters, Limestone, Fitzwilliam Museum
2. Sarcophagi
a. Portrait of a Lady, encaustic on wood, J. Paul Getty Museum
3. Sculpture
a. Head of an Amarna Princess, Limestone, Fritzwilliam Museum
C. Ancient Greek and Roman Portraiture
2. Sculpture
a. Caesar Augustus, Marble, Vatican Museum
b. Portrait of a Lady, Marble, 90 A.D., Museo Capitolino
D. Byzantine Portraiture
1. Manuscript
a. Manuscript Illustration of Basil II. circa 1000 A.D. Constantinople.
2. Plaques
a. The Coronation of Constantine VII. circa 945 A.D. Constantinople.
E. Gothic Portraiture
1. Paintings
a. John II, the Good, circa 1350, The Lourve
b. Lippo Memmi, Podesta Nello dei Tolomei, 1317, Museo Civico
III. Conclusion
A. Summary
B. Concluding statement
IV. Notes:
A. The portrait is the direct representation of MAN through time so studying the portrait is to study man.
B. The tradition of portraying people with individualized features was of Roman origin, but apparently that came to a halt in the 6th century. However, the idea of representing a true likeness was taken up again in medieval sculpture and painting. (51, Baragli) [figures typically placed in religious settings with Saints]
Showing posts with label Outline. Show all posts
Showing posts with label Outline. Show all posts
Friday, November 20, 2009
Thursday, November 19, 2009
Babs' Outline
I. Intro:
a. Intro into the world of portraiture how its role drastically changes during the Modern Art Era.
- Shepherd Fairey
II. Body
a. Impressionism
1. Renior, Manet, Cassatt, Degas
b. Expressionism
1. Egon Schiele, Franz Marc, Edward Munch
c. The Fauves
1. Matisse, Derain
d. Abstract Expressionism
1. Picasso, Braque, De Kooning
e. Futurism, Cubism, Surrealism, Geometric Abstration
1. Portraiture is non-existent!
f. Pop Art
1. Andy Warhol
g. Pop Culture and Illustration
1. Rolling Stones
2. Contempary Illustrators (know for their Caricatures)
-Ralph Steadman, Steve Brodner, Philip Burke, Patrick Nagel
III. Conclusion
1. TBA
***please feel free to add/edit!
Friday, November 13, 2009
Michael's Outline
I. Introductory Paragraphs - To set the tone of the research, prepare the reader with a context, give them guiding language.
A. Introduction of Portraiture, definition and explanation of what it's contemporary significance is.
B. Thesis
1. Our point of view, what goals we are seeking, and how we will achieve them within this body of research.
II. Body Paragraphs - Seeking answers through extensive research, building an understanding of portraiture and it's significance through time. Proving our thesis through explanation.
C. - I. Pre-Historic thru Gothic
J. Early Northern Renaissance
1. Netherlandish painters, the van Eyck family
K. Early Southern/Italian Renaissance
1. Giotto, Massacio, Mantegna (the introduction of perspective, setting, the divergence from idealized religious portrait)
2. Humanism and rebirth of verisim, and subsequently portraiture
L. Northern Renaissance
1. Dürer, Holbein, influence of the south and it's mix with Gothic elements
M. High/Late Renaissance
1. Bellini as the defining portrait artist, religious content and ideals still prevalent in 2D imagery, verisitic sculpture definitive
N. Northern Baroque
1. Dutch Golden Age - Frans Hals, Rembrandt van Rijn, and Johannes Vermeer - upper class/domestic portraiture
2. Flemish Baroque - Anthony van Dyck and Rubens (who didn't do much portraiture)
O. Spanish Baroque.
1. Diego Velásquez and court painting
P. Italian/Southern Baroque
1. Caravaggio, chiaroscuro, and the self portrait as ideal
R. Neoclassicism
1. Jacque Louis David and Napoleon
Q. Romanticism
1. The lack of portraiture
R. Ingres
1. Simultaneously Neoclassical, Romanticist, Orientalist, and Baroque. He's sort of cray cray.
S. American Realism
1. Gilbert Stuart and the president's portraits
T. Realismé, Japonismé, and the American Painter in Europe
1. Manet, Sargent, Whistler
U. Pre- Raphaelite, Symbolist, Art Nouveau and Others
1. Millais, Mucha, Klimt, etc.
A. Introduction of Portraiture, definition and explanation of what it's contemporary significance is.
B. Thesis
1. Our point of view, what goals we are seeking, and how we will achieve them within this body of research.
II. Body Paragraphs - Seeking answers through extensive research, building an understanding of portraiture and it's significance through time. Proving our thesis through explanation.
C. - I. Pre-Historic thru Gothic
J. Early Northern Renaissance
1. Netherlandish painters, the van Eyck family
K. Early Southern/Italian Renaissance
1. Giotto, Massacio, Mantegna (the introduction of perspective, setting, the divergence from idealized religious portrait)
2. Humanism and rebirth of verisim, and subsequently portraiture
L. Northern Renaissance
1. Dürer, Holbein, influence of the south and it's mix with Gothic elements
M. High/Late Renaissance
1. Bellini as the defining portrait artist, religious content and ideals still prevalent in 2D imagery, verisitic sculpture definitive
N. Northern Baroque
1. Dutch Golden Age - Frans Hals, Rembrandt van Rijn, and Johannes Vermeer - upper class/domestic portraiture
2. Flemish Baroque - Anthony van Dyck and Rubens (who didn't do much portraiture)
O. Spanish Baroque.
1. Diego Velásquez and court painting
P. Italian/Southern Baroque
1. Caravaggio, chiaroscuro, and the self portrait as ideal
R. Neoclassicism
1. Jacque Louis David and Napoleon
Q. Romanticism
1. The lack of portraiture
R. Ingres
1. Simultaneously Neoclassical, Romanticist, Orientalist, and Baroque. He's sort of cray cray.
S. American Realism
1. Gilbert Stuart and the president's portraits
T. Realismé, Japonismé, and the American Painter in Europe
1. Manet, Sargent, Whistler
U. Pre- Raphaelite, Symbolist, Art Nouveau and Others
1. Millais, Mucha, Klimt, etc.
Friday, November 6, 2009
Evan's Outline
I. Thesis - The driving force of portraiture, over the span of history, is to make a statement about the societal displacement of power within a culture.
a. This power structure and its terms of favor may change throughout history, from society to society. Whether that person be a noble court member, a member of a royal family, a commoner, or even a peasant or the homeless, these portraits accurately convey socio-economic structure, and the significance of power within that society.
b. Our research will follow cultures and nations through their societal development and how that determines the significance and importance of portraiture in depiction.
Topic's covered will include: - Power and it's displacement in culture, and how it's evidenced in portraiture - Portraiture as status statement or publicity - Importance of subject matter, between religious, political, societal, or otherwise
II. Body
A. Prehistoric Portraiture
1. Paleolithic Cave Painting
a. Chavet Cave, Ardèche France; Lion Panel
B. Ancient Egyptian Portraiture
1. Relief
a. Intkaes and Her Daughters, Limestone Fitzwilliam Museum
2. Sarcophagi
a. Portrait of a Lady, encaustic on wood, J. Paul Getty Museum
3. Sculpture
a. Head of an Amarna Princess, Limestone, Fritzwilliam Museum
C. Ancient Greek and Roman Portraiture
2. Sculpture
a. Caesar Augustus, Marble, Vatican Museum
b. Portrait of a Lady, Marble, 90 A.D., Museo Capitolino
D. Byzantine Portraiture
1. Manuscript
a. Manuscript Illustration of Basil II. circa 1000 A.D. Constantinople.
2. Plaques
a. The Coronation of Constantine VII. circa 945 A.D. Constantinople.
E. Gothic Portraiture
1. Paintings
a. John II, the Good, circa 1350 ,The Lourve
b. Lippo Memmi, Podesta Nello dei Tolomei, 1317, Museo Civico
III. Conclusion
A. Summary
B. Concluding statement
IV. Notes:
A. The portrait is the direct representation of MAN through time so studying the portrait is to study man.
B. The tradition of portraying people with individualized features was of Roman origin, but apparently that came to a halt in the 6th century. However, the idea of representing a true likeness was taken up again in medieval sculpture and painting. (51, Baragli) [figures typically placed in religious settings with Saints]
a. This power structure and its terms of favor may change throughout history, from society to society. Whether that person be a noble court member, a member of a royal family, a commoner, or even a peasant or the homeless, these portraits accurately convey socio-economic structure, and the significance of power within that society.
b. Our research will follow cultures and nations through their societal development and how that determines the significance and importance of portraiture in depiction.
Topic's covered will include: - Power and it's displacement in culture, and how it's evidenced in portraiture - Portraiture as status statement or publicity - Importance of subject matter, between religious, political, societal, or otherwise
II. Body
A. Prehistoric Portraiture
1. Paleolithic Cave Painting
a. Chavet Cave, Ardèche France; Lion Panel
B. Ancient Egyptian Portraiture
1. Relief
a. Intkaes and Her Daughters, Limestone Fitzwilliam Museum
2. Sarcophagi
a. Portrait of a Lady, encaustic on wood, J. Paul Getty Museum
3. Sculpture
a. Head of an Amarna Princess, Limestone, Fritzwilliam Museum
C. Ancient Greek and Roman Portraiture
2. Sculpture
a. Caesar Augustus, Marble, Vatican Museum
b. Portrait of a Lady, Marble, 90 A.D., Museo Capitolino
D. Byzantine Portraiture
1. Manuscript
a. Manuscript Illustration of Basil II. circa 1000 A.D. Constantinople.
2. Plaques
a. The Coronation of Constantine VII. circa 945 A.D. Constantinople.
E. Gothic Portraiture
1. Paintings
a. John II, the Good, circa 1350 ,The Lourve
b. Lippo Memmi, Podesta Nello dei Tolomei, 1317, Museo Civico
III. Conclusion
A. Summary
B. Concluding statement
IV. Notes:
A. The portrait is the direct representation of MAN through time so studying the portrait is to study man.
B. The tradition of portraying people with individualized features was of Roman origin, but apparently that came to a halt in the 6th century. However, the idea of representing a true likeness was taken up again in medieval sculpture and painting. (51, Baragli) [figures typically placed in religious settings with Saints]
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