VIS 22 Final Exam Study Guide

VIS 22 Final Exam Study Guide - Fall Quarter 2008...

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Unformatted text preview: Fall Quarter 2008 Instructor: Prof. Norman Bryson Head Teaching Fellow: Chanda Carey ( Teaching Fellows: Lara Bullo ck (lbullo Orianna Cacchio ne (ocacchio Matthew Jarvis ( Kristen Raizada (kbr aizada@ucsd. edu) Formations of Modern Art VIS 22 – Introduction to Modern Art and Visual Culture: 1660 to 1900 Study Guide for Final Exam Friday, Dec 12, 11:30-2:30, in Peterson 110 Section A: 1 hour During the first part of the Exam you will be asked to ident ify a total o f 20 works, giving the artist’s surname, the tit le, and date. Slides will remain on screen for 1 minut e each. You will also be shown 2 pa ired images for you to compare and contrast in terms o f aspects that you find striking and revealing. Each slide pair will be shown for 20 minutes. Section B Two 1-hour essays Please answer two questions, allowing equal t ime (one hour) for each essay. 1) Discuss the paint ings of Francisco Goya in terms of the fo llowing quest ions: What are Goya’s values? What is his visio n of human life like? How does he represent the human body? 2) Write an essay on the work of Caspar David Friedr ich, using as your starting point these two questions: How does Friedr ich portray the natural world? How does he portray human societ y? 3) Explore what seem to you the most interesting differences between the fo llowing works, in the way that each work visualizes the cultures that lie beyo nd the edge of Europe: Gros, Napoleon visiting the Plague Victims of Jaffa, 1803; Girode t, Mutiny at Cairo, 1810; Ingres, La Grande Odalisque, 1814; Delacroix, The Death of Sardanapalus, 1827; Gérôme, The Snake Charmer, 1880; Gauguin, Manao Tupapao (The Specter Watches over Her), 1892. NB: Please discuss at least four paintings from this group. 4) Write a detailed account of Géricault ’s The Raft of the Medusa. You may want to consider aspects such as: narrative; symbo lism; communit y and non-communit y; order and disorder; beaut y and disgust. 5) Compare and/or contrast the work of Chardin and Seurat, paying particular attention to the way their paint ings relate to bourgeois values, such as labor, discipline, leisure, and/or subjectivit y. 6) Drawing on materials fro m class and fro m T.J. Clark’s essay "Olympia's Cho ice," discuss the ways in which the context and content of the nude changed in mid-19th-centur y France. Examine in detail paint ings by at least three of the fo llowing artists: David, Ingres, Courbet, Manet, Seurat, Gauguin. 7) Manet, Degas and Seurat all portrayed scenes invo lving urban entertainment or performance. What do you regard as the most interesting differences between them, in their handling of this subject? 8) Discuss the representation of urban experience in the work of at least three of the fo llo wing art ists: Reno ir, Cassatt, Caillebotte, Degas, Manet, Seurat. You may want to address such issues as: spectacle, leisure, social cohesio n or alienation, class, gender, int imacy, distance. 9) Examining in detail at least two works by each artist, discuss the ways in which Gustave Courbet and Jean-François Millet represented life and work in rural France. On what points do the artists agree? How do they differ? (Note: you may wish to refer to T.J. Clark’s essay on Millet, recent ly added to the Documents sect ion of the course website). 10) What kind of world is the world of the Orient, as represented in French pa int ing of the nineteenth centur y? Please discuss in detail at least four paint ings by Gros, Girodet, Ingres, Delacroix, Gérôme. ...
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