Art History Questions and Responses (Coursework Sample)

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Art History Questions and Responses
Section A
Question 4: In what ways does the iconography in Bernini’s David differ from Michelangelo’s David?
The Baroque period of the 17th century incorporated and rejected the renaissance ideals of their paintings and arts. The skills designed and produced deliberately considered the emotional response from viewers and targeted audiences during the renaissance despite making natural, humanistic, and natural networks. Such works' intent is characterized by visual colors, diagonal and composition movement in space, and lighting qualities. The differences between classical and dramatic art are understandable by comparing two statutes of David made by Michelangelo Giannlorenzo Bernini in 1501 and 1623.
Michelangelo's statue of David portrayed a strong and confident young man in its muscular nudity. In Michelangelo's case, David embodied an athlete male nude's antique in a relaxed position with a slingshot over his shoulder. The emotional view and part of David's statue in Michelangelo's case are illustrated the concentrated gaze embodied in the statute. The battle ahead of David is clear from Michelangelo's choices of designing the figure while knitting his brow while starring into space. According to () Michelangelo’s David statue is peaceful to view and admire because it has a powerful visual language that creates curiosity in its viewers' eyes. Michelangelo's David Statue is about controlled emotions, confidence, and focus.
On the contrary, Bernini's David Statue was made with a three-dimensional (3-D) composition that appears as a forceful thrust in the viewer’s space. The David in Bernini’s case appears as a young man with a bent waist; the statue is twisted to one side to symbolize David's willingness and readiness in throwing a stone at Goliath. In Bernini's case, David's statue is different from Michelangelo's because it looks more mature based on the physical conditions depicted in the body. Bernini's David has a lean body with straining muscles and a tightly clenched mouth that pictures the statute's level of maturity. The defining features in Bernini's case indicate the determination, tension, and action of David in handling Goliath on the battlefield. Bernini’s David is about dramatic action and determination.
Question 10: How is Ingres’ Grande Odalisque an example of Orientalism?
The Grande Odalisque is an art by Jean-Auguste- Dominique Ingres. The artwork shows a reclining nude, which looks at the viewer with different intentions. The art is an example of orientalism based on the peacock feather fan and the colorful turban. The hashing pipe held at her feet, the drapery and bedding put beside the naked woman in the artwork put the woman within an oriental setting that depicts the European nude of Frank eroticism. The art is an example of orientalism since it indicates the acceptance of European nudity based on Ingres's exotic content in the design and production of the art. The art symbolizes and references Giorgione's Dresden Venus and Titian's Venus of Urbino of 1510 and 1534.
Orientalism is evident in the art based on its anatomical distortions drawings that reveal viewers' erotic gaze on the paintings commissioned by Caroline Murat of Naples. Ingres portrayed the naked woman as having an extended right arm than the left one and an exaggerated spinal curvature that can only apply in the real world if the woman had several extra vertebrae. As such, the Grande Odalisque art is an example of orientalism since it employs the exquisite Neoclassical line and high finish to create a sense of precise observation. Odalisque is an example of orientalism because it is an element of subsequent art and, at the same time, a flashpoint for contemporary feminism. The viewership of Grande Odalisque, both as a feminist and subsequent art component, connects the powerful visual language of the to its audiences.
Section B: Question 2
The Connection between Patronage and Architectures
Patronage and architecture are two close practices that people often confuse. However, the strong connections between the two individuals can be understood by comparing art histories during the renaissance and the modern-day artistic works and designs. Getka-Kenig (83) highlights that patrons played a crucial role in building, supporting, and shaping art during the renaissance. Patrons involve people who purchased or instead paid for images and paints created during the renaissance. Likewise, the modern world art and image design are linked to architectures that are viewed as the primary foundation for constructions and buildings. The two professions (patronage and architecture) strongly connect because they support art and painting through empowerment and compassion coordination of artistic works (Getka-Kenig 87). Patrons directly influence and provide opportunities for the complex processes involved in producing art and architectural designs and paintings. Architect and patrons' roles and responsibilities are similar and connect because all the practices encountered in the two instances revolve around the support of artistic productions.
Art of Historical Analysis
The introduction to art historical analysis simplifies understanding the concept and strong connections between patrons and architectures. The architecture reflects its patron's authority in producing powerful visual languages through a projection that reflects how people present themselves across the earth's landscape. According to Raaphorst et al. (127), architectural skills and reflections change with styles, technologies, and cultural adaptations that influence patrons in paying for the images and arts. Architects act like middlemen in the art industry in connecting artists and patrons; the quality of paintings and arts created sell highly when architects are involved in the design and construction of particular images and drawings. The close connections between patrons and architecture lean on architects' visual ability in exploring and explaining the constituents of visual languages (Mukerji 517). The interpretation of arts by architects persuades patrons to pay for skills made and designed by artists.
Fine Arts Domain
The architecture reflects its patron's authority to produce a powerful visual language through the fine arts domain. The profession incorporates the essential elements of evaluating and examining the richness of visual language in artistic design and culture. Architecture campaigns for broad awareness regarding visual images; therefore, the awareness created by such professionals results in creating strong visual languages that support and patronage and the roles of patrons in paying for images and paintings (Getka-Kenig 92). The growth of the art industry depends on the value of patrons in paying for more images. The string connection between patronage and architecture facilitates such dreams in the current and future business environments associated with paintings and arts.
The Art and Architecture of Louise XIV at Versailles
The analysis and evaluation of the history of art and architecture of Louise XIV at Versailles illustrate the significance of architecture in creating visual languages for patrons and society at large. The architecture reflects its patron's authority in producing powerful visual languages by centralizing the value of arts in the community. Louis XIV used architecture and arts in the service of monar