In 1401, a competition among artists took place in Florence

In 1401, a competition among artists took place in Florence, Italy. The winner would be given the lucrative and extremely prestigious commission to create a complete set of large bronze doors for the Baptistery of San Giovanni (St. John the Baptist), located in front of the great cathedral, Santa Maria del Fiore.

Each competing artist had to sculpt an original art work as a demonstration piece. To insure each competitor had an equal chance, certain requirements were made of the submissions. The sculpted submission had to be new, created especially for the competition. The submission had to depict the Biblical story of the sacrifice of Isaac (Genesis 22). Each submission had to be cast in bronze with gilt (a thin layer of real gold) applied to the surface. And finally, each submission had to be contained, or framed, within a geometric shape called a quatrefoil.

Eventually the field of entries narrowed to two semi-finalists. And one of the semi-finalists was ultimately chosen as the winner. This competition is considered by many scholars the beginning of the Renaissance.

The Assignment:

You will write a stylistic analysis/critical evaluation about each of the two submissions from the semifinalists in the above-mentioned competition. Ignoring which of the two actually won the competition (it is irrelevant to this assignment), your stylistic analysis/critical evaluation will involve deciding, based on hard evidence, which of the two art works best achieve the purpose of the piece.

To make this determination you will examine each work in three separate ways –process, compositional elements, and context. For this you must conduct thorough research about bronze casting with gilt, how artists use compositional elements to achieve the purpose of the work, and of critical importance the context of these submissions at that particular place and moment in time.

Regarding each viewpoint (process, compositional elements, and context), note how each artist used the medium and composition to achieve the purpose of the work and how the time and place would have affected the way these submissions might have been created.

Again, don’t be influenced by which artist actually won. Your grade will not be affected by who actually won, only by the reasons for your choice of which artwork best serves the purpose of the piece. To that end, be sure you fully understand the purpose of the work before you get too far into the project. I would determine the purpose of the artwork first. And be careful to avoid thinking the purpose was to win the competition. In order to win the competition, the art work was going to have to achieve a much more compelling purpose. Think about what is depicted. Make sure you understand that thoroughly, first.

Your stylistic analysis/critical evaluation should be a minimum of 2,000 words, composed on a computer, using clearly-stated complete sentences and correct English grammar, spelling, and punctuation. Your stylistic analysis/critical evaluation supporting your decision about which work best achieves its purpose must include full descriptions of all art works mentioned (particularly the two works by the semifinalists), appropriate art-related vocabulary, appropriate art-related processes, compositional elements, compositional organization, and context.

Statements made supporting your choice MUST be backed-up by scholarly, authoritative sources, either from your pre-class research notes or other independent research. Describe nothing without explaining why, in terms of art, the choice is the best choice. 1) Refer to these scholarly, authoritative sources throughout your written description (example: “according to …”) and 2) supply a list of works cited per MLA style separately, at the end of your submission. Remember -sources MUST include the title of the source, full publishing information, and an author’s full name. No author = no source.

Note: The ICR/Syllabus is still quite clear that while Pre-Class Research notes are quite acceptable for use in this project, as long as the sources are good, you must remember in-class notes and related postings in Supplemental Class Notes are NOT acceptable sources for this Stylistic Analysis/Critical Evaluation.

Tip: keep in mind we are talking about the beginning of the Renaissance. Based on what we’ve covered so far in class, what would that mean to the people of Florence at the time and how might that have influenced their decision one way or the other?

Remember, the finished stylistic analysis/critical evaluation must be written in your own words, using your own voice. Any submission worded similarly to published sources will be regarded suspiciously and might be disqualified as plagiarism.

This stylistic analysis/critical evaluation is due May 1 and will count for 35% of the semester grade (see the revised ICR/Syllabus for the new breakdown of evaluation percentages in light of the COVID 19 campus closures).

Excellent quality photographs and details of the two semi-finalist works will soon be posted in Blackboard Supplemental Notes.

Feel free to contact me via email (john.phillips@my.tccd.edu) with any and all questions you may have about this project. Check Blackboard Announcements for tips about writing a stylistic analysis/critical evaluation, MLA style citations, and writing about art in general.

Posted by: John Phillips

Posted to: 2020SP-ARTS-1301-41740 Art Appreciation

TIPS FOR WRITING ABOUT ART
Posted on: Sunday, March 22, 2020 3:23:50 PM CDT

STYLISTIC ANALYSIS/CRITICAL EVALUATION –KEY POINTS

Writing a Stylistic Analysis/Critical Evaluation involves gathering facts, examining those facts, and then deciding what those facts may or may not mean. In an academic context, such as college-level art appreciation, such analysis and evaluation must be supported by statements from scholarly, authoritative sources. And such sources must list the author’s full name, the title of the source, appropriate page numbers, and complete publishing information, all of which must be cited per guidelines of The MLA Handbook for Writers of Research Papers.

Written stylistic analysis/critical evaluations must also explore (as best as facts allow) the following points whenever they apply directly to the topic:

Description

Artist

Title

Date

Dimensions

Medium

In-situ? (original location vs. present location)

Context (Who, what, when, where, why, and how?)

Compositional Elements

Line

Shape (organic vs. geometric)

Color

Value

Light (real light vs. the portrayal of light, if any)

Texture (real vs. implied)

Space/Volume/Depth (positive shape vs. negative space and the use of perspective, if any)

Balance (symmetrical vs. asymmetrical)

Unity

Variety

Rhythm

Movement (real vs. implied)

Emphasis (or focal point), if any

Audience viewpoint, if any

STYLISTIC ANALYSIS/CRITICAL EVALUATION –SOME DEFINITIONS

Description -artist, title, date, dimensions, medium, present location (in situ?), original location.

Purpose –the context of the work (who, what, when, where, why, how), and was it made as a means to promote/affirm (religious, political), to create an illusion, to emphasize reality, made for permanence, made to be temporary, created to challenge, or made with no purpose?

Elements -shapes (organic, geometric, implied), lines (vertical, horizontal, diagonal, curved, implied), color (primary, secondary, tertiary, complimentary, tint, shade, etc.), light (real, implied, source), value (beyond color, the relative light and dark of the work), texture (real, implied).

Space/Volume –depth (real, implied through linear and/or atmospheric perspective).

Viewer Experience -point of view (real, implied by a line of sight).

Composition –balance (symmetrical, asymmetrical), unity (arrangement of elements to lead the eye), variety (arrangement of elements, often repetitively but with variety, to make the image interesting), rhythm (how the artist uses the visual elements to create beats, similar to that of music, only visually), movement (real, implied), emphasis (focal point, if any).

Also: is the work an example of two-dimensional, three-dimensional, process, installation, performance, temporary, permanent, site specific, interactive, collaboration, earth work, and/or conceptual art?

STYLISTIC ANALYSIS/CRITICAL EVALUATION –SOME DEFINITIONS

Description -artist, title, date, dimensions, medium, present location (in situ?), original location.

Purpose –the context of the work (who, what, when, where, why, how), and was it made as a means to promote/affirm (religious, political), to create an illusion, to emphasize reality, made for permanence, made to be temporary, created to challenge, or made with no purpose?

Elements -shapes (organic, geometric, implied), lines (vertical, horizontal, diagonal, curved, implied), color (primary, secondary, tertiary, complimentary, tint, shade, etc.), light (real, implied, source), value (beyond color, the relative light and dark of the work), texture (real, implied).

Space/Volume –depth (real, implied through linear and/or atmospheric perspective).

Viewer Experience -point of view (real, implied by a line of sight).

Composition –balance (symmetrical, asymmetrical), unity (arrangement of elements to lead the eye), variety (arrangement of elements, often repetitively but with variety, to make the image interesting), rhythm (how the artist uses the visual elements to create beats, similar to that of music, only visually), movement (real, implied), emphasis (focal point, if any).

Also: is the work an example of two-dimensional, three-dimensional, process, installation, performance, temporary, permanent, site specific, interactive, collaboration, earth work, and/or conceptual art?

STYLISTIC ANALYSIS

I. Description

A. Artist

B. Title

C. Date

D. Dimensions

E. Medium

F. Original location

G. Present location

H. Purpose

II. Compositional Elements

A. Line

1. Identify any use of the four major types of line (vertical, horizontal, diagonal, and curve) and determine why such lines are present

2. Implied line

B. Shape

1. Organic shape

a. Identify the nature of these shapes

2. Geometric shape

a. Identify the geometric composition

3. Implied shape

C. Space

1. Determine the presence, if any, of linear perspective and/or atmospheric perspective.

2. Point of view

a. If linear perspective is present, deconstruct the image to find the line of sight and thus the eye level of the viewer. Describe the viewer’s point of view based on such.

D. Light

1. In the case of two-dimensional work, determine whether the piece depicts a light source. If so, determine the location of the light source based on the imagery of the work itself. In the case of three-dimensional work, decide how light may have been used to affect the piece.

E. Value

a. Identify the relative light and dark of the work and determine the artist’s intent relative to such

F. Color

1. Identify the presence of primary, secondary, and/or complimentary colors and determine why the artist used such

2.

G. Texture

1. Real texture –visible brush strokes, thick paint, wood grain, chisel marks, anything indicating the touch of the human hand or lack of such.

2. Implied texture –representations of real objects.

F. Balance

1. Symmetrical

2. Asymmetrical

G. Variety

1. Use of line, shape, color, texture, value, etc., often repetitively but with variety, to make the image interesting

H. Rhythm

1. Determine the placement and arrangement of line, shape, color, texture, value, etc. to create a visual rhythm, something similar to a musical rhythm.

I. Movement

1. Determine whether there is a sense of movement, whether real or an illusion, its purpose and how it is achieved.

J. Unity

1. Determine the placement and arrangement of line, shape, color, texture, value, etc. to create a composition designed to move the viewer’s eye around the image.

K. Emphasis

1. Determine the focal point, if any, of the work and how the artist achieves the sense of such.

CHECKLIST –WRITING ABOUT ART

Title (of the written work)

Does the title of the written work make readers what to continue?

Is the main theme (topic) and overall purpose of the written work worded precisely as assigned? For instance, if the topic is “Lightening Field” by Walter de Maria, does the heading (title) read, “‘Lightening Field’ by Walter de Maria”?

Does the title explain precisely what follows?

The First Paragraph

Does the first paragraph succinctly establish the main theme (topic) and overall purpose of the written work?

Is the main theme (topic) and overall purpose of the written work worded precisely as listed or assigned? For instance, if the topic is “Lightening Field” by Walter de Maria, is “‘Lightening Field’ by Walter de Maria” placed in the first sentence of the first paragraph?

Does the first paragraph make the reader want to continue?

The Art Work(s)

Wherever possible are art works fully identified with respect to artist, title, medium, dimensions, date, original location, and present location?

Wriiten Text: Style

Are paragraphs organized relative to the main theme (topic) and overall purpose?

Does each paragraph make some unifying reference to the main theme and purpose?

Are paragraphs linked by effective transitions?

Is the writing composed of clearly stated, complete sentences, using correct English spelling, grammar, and punctuation?

Written Text: Fact vs. Opinion

Are statements truly factual?

Are statements composed of opinions instead of true facts?

Are factual statements well-documented and supported by scholarly, authoritative sources?

Do factual statements shed light on each topic?

Do factual statements expand one’s knowledge?

Are factual statements actual relevant to the main theme (topic) and overall purpose of the piece?

Written Text: Scholarly, Authoritative Sources

Are scholarly, authoritative sources of factual statements cited per guidelines of the MLA (Modern Language Association of America) Handbook for Writers of Research Papers?

Have you completely avoided using blogs, social networks, travel websites, and Wikipedia for research?

Have you avoided using sources with no author’s name?

Have you completely avoided using information from the Daily Notes postings in Blackboard as source material? (Consult the TCC Southeast library. Not only is the library full of hard-copy books, periodicals, and other excellent, scholarly source material, its filtered databanks are the best place to start when using online resources.)

Written Text: Proper Names

Have you completely avoided referring to the main theme (topic) and any proper name associated with such as “he”, “she”, “it”, etc., unless the topic has already been well-established earlier in the text? (NEVER refer to human subjects by first name only, for instance “Diego”, when the topic involves the name, Diego Velasquez. Always use the subject’s full name when first mentioned and then by last name only thereafter. The exception to this would be if the person is known to us (or widely referred to) by a one-word name only. Referring to Michelangelo simply as, “Michelangelo”, is appropriate. Even though the artist’s full name is Michelangelo Buonarotti, the subject is almost universally referred to as “Michelangelo”. But such is rare. Diego Velasquez, for instance, MUST be mentioned first by the full name, “Diego Velasquez,” and thereafter by the last name only, “Velasquez”.)

Works Cited Page: Scholarly, Authoritative Sources and MLA Style

Is the works cited page complete and composed per guidelines of the MLA Handbook for Writers of Research Papers?

Again, consult the TCC Southeast library for help with scholarly, authoritative sources. Not only is the library full of hard-copy books, periodicals, and other excellent, scholarly source material, its filtered databanks are the best place to start when using online resources.

And for more on style, consult the MLA Handbook for Writers of Research Papers. Also, if you need help with reading and/or writing (particularly with respect to the above Written Research Assignments), contact the TCCD Southeast Campus Reading and Writing Resource Center, ESEE 2227A, 817-515-3808 and 817-515-3818. They are there and ready to help.