Marsden hartley paints cheap essay online writing services

Visit one of the following exhibitions at the Huntington Library, Art Collections, and Botanical Gardens in San Marino (near Pasadena)

More American Art
OR
Your Country Calls! Posters of the First World War
OR
Highlights of American Drawings and Watercolors from The Huntington’s Art Collections

Check for museum hours, address, etc. by going to the website www.huntington.org. The Museum is closed on Tuesdays and is free on the first Thursday of the month with advance tickets (October 2nd) . Tickets for students with full-time ID are $12 on weekdays and $13 on the weekend.
-OR-
Visit Marsden Hartley: The German Paintings 1913-1915 at The Los Angeles County Museum of Art. Check for museum hours, address, etc. by going to the website www.lacma.org. The Museum is closed on Wednesdays. Admission is $10 for students with ID and free after 3 p.m. for all Los Angeles County residents. It’s also free on the second Tuesday of each month (September 9th & October 13).

As confirmation that you visited the museum (NOT the website) you must attach a jpeg of the admission or parking ticket to your paper.

You should plan to go to the museum and spend a significant amount of time ‘looking’ before you select two works on which to write. This is a project that will require some thought and possibly a second trip to the museum. Therefore, I recommend that you plan your trip to the museum well in advance of the due date.

Begin your critique by giving the title of the show and stating the name of the museum where you saw the exhibition. Your critique should describe the artworks on view and the theme of the exhibition. You must specifically analyze and discuss at least two works, which exemplify the theme of the show. Be sure to include your own observations and ideas about each work. Although the museum’s literature and gallery wall labels may help you to understand each work, do not rephrase or quote excessively from their literature. If you must quote or you chose to use key information taken from the gallery wall label be sure to cite it correctly (see below)! Most importantly, relate the artist/s or artworks to other American artists or movements that have been studied over the course of the semester. Lastly, give your opinion of the exhibition. How successful is the artist’s work in addressing a theme? How was it installed? How might it have been improved upon?

The paper should be three- pages in length and must be typed and double-spaced. Papers with more than one-inch margins or a font size less or greater than 12 points will not be accepted. Please note that titles of artworks should be italicized or underlined.

Proofreading is also essential as spell check does not catch everything (i.e. their/there, peace/piece). The essay needs a thesis sentence, proper agreement of nouns and verbs, verb tense agreement, correct spelling, correct punctuation, and a conclusion. You also should demonstrate your ability to use specific art history terms when necessary. If you need help expressing your ideas you can go to the Tutoring Center for technical advice on grammar, format, etc. Needless to say, any plagiarism from printed texts or the internet will result hi an “F” on the assignment. Any two essays that are significantly similar also will receive an “F”.

You must use proper Chicago Manual of Style footnote citation format for all of your sources (see the paper citation guidelines) and include a bibliography that lists at least two sources in addition to your textbook.

What to footnote? Historical facts, definitions of terms or anything that can be considered common knowledge does not need to be cited. For example, Columbus landed in the Bahamas in 1492 is a known fact and does not need a footnote. However, an interpretation that is not fact but one person’s opinion must be cited. Since an interpretation is debatable and not a provable fact you must cite the author as the originator of this idea. Give credit where credit is due. Observations, IDEAS, opinions or interpretations that are taken from another source EVEN if you put those ideas into your own words MUST be footnoted in the same way as a direct quote. Footnotes should appear at the end of the sentence (not the paragraph) that includes the cited information.[1] For subsequent footnotes that draw from the same source, the author’s name and page number will suffice.[2] If the subsequent footnote is a reference to the same author and the same page number as the one that came immediately before then the term ibid is used.[3]

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Answering Art questions cheap essays online

Reading Response Cover Sheet (Week 2)

Due in-class on Tuesday, October 28

 

Assigned Readings:

Grabar, Oleg. “Introduction.” In: The Illustrations of the Maqamat, 1-6. Chicago and London: The University of Chicago Press, 1984.

Randall, Francis B. “The Goofy in Art.” British Journal of Aesthetics 11 (1971): 327-340.

Wood, Ramsay. Miscellaneous Stories (The Carpenter’s Monkey; The Fox and the Drum; The Lion and the Hare; Chitchat Turtle and the Geese).  In: Kalila and Dimna: Fables of Friendship and Betrayal, 72, 77, 115-120, and 177-180. London: Saqi, 2008.

 

Questions:

  1. Your name
  2. There are numerous gaps in previous scholarship on al-Hariri’s Maqamat. According to Oleg Grabar, in what ways will his book The Illustrations of the Maqamat contribute to existing scholarship? Please list three of these proposed contributions.
  3. Do you agree with Francis Randall’s assessment and explanation of goofy elements in some art? If you agree explain why (what part of his argument was most compelling to you). If you do not agree, explain why not.
  4. After reading all four of the assigned Kalila and Dimna stories, which one do you think is most frequently illustrated (i.e., lends itself easily to illustration). Why? Explain in 2-3 sentences.
  5. Which Kalila and Dimna story did you find most amusing? Dissect and explain the story’s humorous appeal in 100 words. If the story speaks to a particular life experience of your own you may include that in your explanation as well.

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Jan Steen, The Effects of Intemperance, 1663-65 cf cf. El Greco, Burial of he Count Orgaz, 1586-88

You will be required to write a compare and contrast essay.

Extra research on these works, you NEED to include a bibliography in the Chicago Manual Style.

You should review the Writing Primer section on Compare/Contrast Essays.  One of the things that I want to stress is that a good compare and contrast essay goes beyond the visually obvious and notes the significance of the similarities and differences of each work.   Typically, this will involve noting how each work is representative of the period, culture or artist who made it.   An essay that just answers each question as if it was a survey is NOT a good essay.  In most cases, you might consider a question and then not include that information in your essay because you consider it insignificant. (Yes, part of writing well is NOT saying everything that enters your mind.)  Make sure you consider other aspects of the work that might be applicable and add them if you think they make the comparison more interesting.

Your essay will typically end up being 3-5 pages of text (750-1000 words without bibliography or images).  DO include images and details of images that make your point more clear.  I also recommend that you refer to other artwork to demonstrate points about a period or artist's style.  You also need to include a bibliography and footnotes, if appropriate.

FYI:  cf. means compare to (as in compare and contrast this to)

These are the instructions as listed from the teacher. I wasn’t to be clear that the writer understands these fully and is able to write an excellent compare and contrast essay.

The topic of my essay that you will be comparing and contrasting is:

Jan Steen, the Effects of Intemperance, 1663-65 cf cf. El Greco, Burial of the Count Orgaz, 1586-88

Some additional information that you may need is the book that I am using which is:

ART ACROSS TIME,V.II Author ADAMS

Edition 4TH 11

ISBN 9780077353711

You will need to 2 use other books for reference on these works of art they can be whichever you choose but do not forget to include them in the bibliography.

The writing Premier section listed above in the teacher’s instructions is just a website that will give you a better understanding of how to write a compare and contrast essay. I will paste this information below but since you are a professional writer I doubt you will need this.

Here is the Writing Premier just for information DO NOT USE THIS INFORMATION FOR WRITING MY PAPER it is just an example of one essay in particular that my teacher presented:

Why Compare and Contrast:

You might question what such comparisons have. Art historians have found them useful for many things. A very good comparison helps you understand each individual work better and instructors often pick specific works to draw out this greater grasp on the material. Comparisons are also useful when you have to figure out who did a work of art. They are the basis of a stylistic analysis. In my case, a generalized comparison helped me understand the underlying point of the story, “Eigenkleid”. (See below or Stories page).

________________________________

Dore’s dress is consistently called an Eigenkleid, a term that was coined to refer specifically to a garment that was designed by its wearer to suit her own figure, colouring, and tastes. Clearly, however, Dore did not design her own dress; it was the work of a distant artist (probably from Munich) and there is no indication in the story that it was a unique garment rather than one that was sold to other women who, like Dore, shopped by mail. The underlying moral of the story relies upon a conflation of two types of Artistic Dress. Dore’s small-town life is nearly destroyed by wearing the dress because the townsfolk read the garment as a sign of cosmopolitan pretension and as a rejection of traditional feminine mores. To cast Artistic Dress in such a light, the author had to conflate two distinct camps of Artistic Dress. The “dream of a dress” that Dore wears is clearly based on the ones made by Art-Nouveau-inspired designers. The best-known garments designed by these artists were luxurious and associated with wealthy cosmopolitan patrons of avant-garde arts. This style of Artistic Dress, much more so than the others, embraced traditional ideals of femininity, as it linked women to interiors (See Gesamtkunstwerk page) and configured them as beautiful objects (See Gender and the Gaze page) . Dore’s “deep blue dress that shimmered with silver embroidery” was based on this visually adventurous but ultimately socially conservative style of Artistic Dress. The description of how the dress fit Dore—“Nowhere was there tightness or shapelessness, there was nothing but loose, soft lines”—echoes descriptions of the most publicized example of Artistic Dress, van de Velde’s reception dress of 1902.

Rather than being associated with luxury or traditional femininity, true Eigenkleider—of the type of Artistic Dress promoted by Muthesius and developed by women associated with Art and Design schools for their own use—were often read as declarations of female independence, and indeed, “Eigenkleid” begins by describing Dore as an independent, artistic, self-supporting woman. Her lifestyle was apparently acceptable in her small town as long as she wore cheap department store blouses or overly tight (i.e., fashionable corset-based) dresses purchased from the village dressmaker. It is likely that even if she had actually worn a real Eigenkleid, that is, an economical simple garment that she had designed and made herself she would have roused little or no ire. What sets the town against Dore is a garment that never really existed—a dress that combines the luxury, beauty, and finery of Art Nouveau-based Artistic Dress with the declaration of female independence associated with the true Eigenkleid.  Significantly, although Dore departed from traditional feminine norms by selling her art for a living, she had not resigned herself to fulfilling the stereotype of the independent female artist, who was pictured in the popular press as either unattractive or amateurish or both. Dore, in her luxurious Eigenkleid, purchased from the big city with her own funds, was not a cowering, unattractive painter. Instead, she inadvertently attempted a new path, that of a woman who embraced both beauty and independence. However, the townsfolk could not accept this combination of attributes, so she abandoned her quest for beauty. At the end of the story, Dore wears English and princess-line dresses, two styles often associated with Reform Dress. This adoption of Reform Dress was often read as a signal of a woman’s renunciation of any attempt to be attractive.

Thus in the Jugend story, two types of Artistic Dress are conflated to cast Dore as a young woman who is unable to successfully navigate gender norms, and the adoption of Reform Dress is used to signal her sense of defeat. The fictional story of Dore provides some insight into why most women rejected Artistic Dress. As Ann Tracy Allen has noted, there is ample evidence to suggest that satirical journals like Jugend played an “active role in the formation and spread of new attitudes, images, and stereotypes.” The story of Dore and the many Witzblätter cartoons about Artistic Dress can be viewed as warnings to the women who read them not to adopt Artistic Dress of any sort, whether luxurious or simple, lest they be thought ridiculous or unfeminine.

Ann Taylor Allen, Satire and Society in Wilhelmine Germany:  Kladderdatsch &  Simplicissimus 1890-1900 (Lexington, KY: University Press of Kentucky, 1984),

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