ARH 252 The University of Memphis Western Artwork Essay Write a visual analysis on ONE of the objects listed below*
Word count at least: 1650
Leonardo da Vinci, Last Supper, 1495-98, oil, tempera, fresco, 15′ 1″ x 29′ 0″, Santa Maria delle Grazie, Milan. [add URL from source].
Michelangelo, David, 1501-04, marble, 17 ft., Galleria dell’Accademia, Florence, [add URL from source].
Jan van Eyck, Portrait of a Man in a Red Turban (Self-Portrait?), 1433, oil on oak panel, 26 x 19 cm, The National Gallery, London, [add URL from source].
Albrecht Dürer, Adam and Eve, 1504, engraving, 24.92 x 19.21 cm, Minneapolis Institute of Art, Minneapolis, [add URL from source].
Artemisia Gentileschi, Judith Slaying Holofernes, 1620-21, oil on canvas, 162.5 x 199 cm, Uffizi Gallery, Florence, [add URL from source].
Rachel Ruysch, Flower Still Life, c. 1726, oil on canvas, 75.6 x 60.6 cm, Toledo Museum of Art, Toledo, Ohio, [add URL from source].
Jean-Honoré Fragonard, The Swing, 1767, oil on canvas, 81 x 64.2 cm, Wallace Collection, London, [add URL from source].
Bernard II van Risenburgh, Writing table (Table à écrire), c. 1755, oak veneered with tulipwood, kingwood, amaranth, mahogany, ebony, mother-of-pearl, stained horn; gilt-bronze mounts and modern velvet, 78.1 x 96.5 x 57.5 cm, The Metropolitan Museum of Art, New York, [add URL from source].
Antonio Canova, Paolina Borghese as Venus Victorious, 1804-08, white marble, 160 x 192 cm, Galleria Borghese, Rome, [add URL from source].
Henry Fuseli, The Nightmare, 1781, oil on canvas, 180 × 250 cm, Detroit Institute of Arts, Detroit, [add URL from source].
Format:
Your Name
Typed, 12pt. font, double-spaced, 1-in. margins
An image and full image citation [Artist’s Last name, First Name, title of the artwork, date, medium, size, name of museum or location, city, URL.]
3 pages of text, which include:
Formal Analysis
Historical Analysis
Contextual Analysis
MLA or Chicago Citations [more information/resources below]
Bibliography- minimum requirement is 2 sources [can both come from Moodle Book, but are not limited to the Moodle course]
Example:
View Example (see attached file)
Citations:
Citations Must be in either Chicago or MLA
There are example papers attached below listed as “Chicago Example Paper” & “MLA Format Example”
You can also view Citation Examples.pdf (attached below) this is a doc that I created to show the basics of using MLA or Chicago citations.
Grading:
see attached file Course Project 1: Visual Analysis
Illustration 3 from the Kashiwagi chapter (Kashiwagi III) of the Genji monogatari emaki. Heian
period, first half of the 12th century. Ink and color on paper; 8.5 x 18 in. Tokugawa Art Museum,
Nagoya.
Formal Analysis
In this depiction of a scene from the Kashiwagi chapter of The Tale of Genji, the artist
uses color, lines, balance, and movement – alongside traditional techniques, like Fukinuki Yatai
– to carefully craft an intimate and emotional scene.
As this was originally a part of a scroll, the image was meant to be unveiled slowly from
right to left as the as the parchment was unrolled. Viewing the image in this way, we would first
see railings, then the walkway that they are attached to, and then the wall of a room. The lines of
these all lay diagonally across the page, pointing upwards and to the right, creating a sense of
movement that effectively draws the eye back in the direction it just came from – away from
whatever could be hidden behind that wall. If we choose to continue along, we see that the wall
is decorated or covered with some sort of drapery from which a woman’s elaborate robes are
peeking out – our first hint that there may be people behind that wall. When the top of the wall
finally comes into view, it becomes clear that there is no roof, a particularly characterizing trait
of the Fukinuki Yatai (“blown-off roof”) technique. This immediately evokes an uncomfortable
sense of spying or peeking; what is happening in this room isn’t meant to be seen by common
eyes. Rather, it is being viewed from above, as though through the eyes of a higher being.
There are two prominent figures within this room: Genji himself, with a baby cradled in
his arms, and what looks to be a maid sitting below him. The maid appears to be working on
something unseen, and there are multiple red plates with bowls of food on them, both of which
imply that they are preparing for a ceremony. The maid is smaller than Genji in scale, signifying
that he is the one we’re meant to focus on, but he is curiously being pushed nearly out of frame.
The image feels unbalanced with him tucked towards the top of the page, the physical border
forcing him to curl dramatically over the child in his arms, straining under an unseen weight.
While his robes and surroundings are painted with immaculate detail, his facial features
are comparatively very simple in a style known as Hikime Kagibana, where the eyes are
represented with simple slits and the nose with a hooked line. This would, supposedly, allow the
reader to project their personal image of the fictional character onto what is essentially a blank
slate. Still, his emotions are clearly displayed in the thickness and lowered tilt of his eyebrows,
set in a slight grimace.
Finally, the image evokes a very gentle and calm feeling through the use of soft, light
pigments and very thin, smooth lines. These techniques, in combination with the nature of the
scene – calm, private, and introspective – clearly identify it as an onna-e emaki. It is a strong
emotional beat in the narrative that encourages you to pause, closely observe what is happening,
and ruminate over the weight of the scene.
Historical Analysis
The Tale of Genji was written by Murasaki Shikibu during the Heian period (794-1185).
This period was aptly named after the new location of the capital, Heiankyō (“Capital of Peace
and Tranquility”), now known as Kyoto. This period was marked by an unprecedented, long
stretch of peace and political growth, which gave members of the aristocracy plenty of time to
focus on cultivating their own art and culture. Prior to this period, the Japanese had borrowed
heavily from Chinese culture of the Sui and Tang dynasties, but when they stopped sending
embassies to China, they effectively isolated their court from Chinese art and literature. As a
result, they were able to define and develop a culture that was distinctly unique to them. This
included their own style of script (kana), poetry (waka), novels (monogatari), and painting styles
(yamato-e), all of which are prevalent in The Tale of Genji (“Department of Asian Art”).
Contextual Analysis
Most of what we know about daily life in this period is in regard to the highest class of
aristocracy, as they were the ones with enough time and education to dutifully record their lives
to such an extent. The Fujiwara family, to which Murasaki Shikibu was born into, not only
controlled “the politics of this era, but they also dominated the cultural milieu… [and]
encouraged an aura of courtly sophistication and sensitivity in all of their activities, including the
visual and literary arts” (“Department of Asian Art”). This sense of refinement and sensitivity is
present throughout The Tale of Genji, which provides us with a window into the upper class life
of the time, as Murasaki closely observed the nuance and depth of emotion present in their daily
routines and dramatic episodes. In this environment, one particularly significant concept that all
aristocrats were expected to have a keen understanding of is that of mono no aware, or “the
pathos of things”. It is a term with no direct translation or particularly straightforward definition,
but can generally be said to “portray the beautiful yet tragic fleetingness of life [with] deep
connections to Buddhist philosophies, emphasizing the impermanence of things” (Hausler,
Aoyama). This feeling is thoroughly embedded in Genji’s Tale, which is rife with themes of
love, loss, and regret, among many other things.
Through texts such as the diary that Murasaki kept while living at the court (Reese), we
also know that court life was very rigidly hierarchical. One’s political power and social standing
all depended on their lineage or marriage to an important figure. In this setting, instances of
extramarital affairs and illegitimate children were quite common, the consequences (and perhaps
karmic retribution) of which are being illustrated in this particular scene of the Kashiwagi
chapter of the Genji Monogatari Emaki. In this scene, Genji is holding the infant Kaoru, born
between his wife and his nephew (Kashiwagi). In his youth, Genji had deeply disrespected his
own father in the same way, entering an affair with his father’s wife and impregnating her with
his own child – Reizei. Despite this, his father legally adopted and raised Reizei as his own son,
giving him the social status and opportunity to one day become the future emperor. Thus, now
finding himself on the other side of this recurring situation, Genji makes the same decision to
adopt and raise Kaoru as his own son. The decision is not an easy one to make, and its weight is
very clearly depicted in the illustration.
Bibliography
Begin Japanology – The Tale of Genji , YouTube, 2 Dec. 2013,
www.youtube.com/watch?v=SRDbdsz8Qn8.
Department of Asian Art. “Heian Period (794–1185).” In Heilbrunn Timeline of Art History.
New York: The Metropolitan Museum of Art, 2000–.
http://www.metmuseum.org/toah/hd/heia/hd_heia.htm (October 2002)
Green, John. Japan in the Heian Period and Cultural History, YouTube, 4 Mar. 2015,
www.youtube.com/watch?v=ZnZEoOJ-cxE.
Hausler, Rebecca, and Tomoko Aoyama. “Guide to the Classics: The Tale of Genji, a 1,000Year-Old Japanese Masterpiece.” The Conversation, 17 Sept. 2018,
theconversation.com/guide-to-the-classics-the-tale-of-genji-a-1-000-year-old-japanesemasterpiece-99848.
Reese, Lyn. “Murasaki Shikibu.” Female Hero: Murasaki Shikibu (Women in World History
Curriculum), www.womeninworldhistory.com/heroine9.html.
Criteria
Art as a physical object
Objects and Information
Visual Evidence
Proficient
Nearing Proficiency
Not Proficient
Not Evident
N/A (6 Points)
Provides specific identifying details
(title [in italics], artist, date/historical
period, location, materials,
dimensions) of chosen object. (6-5
Points)
Provides 50% or more required
identifying details, but format is
incorrect. (4 Points)
Provides less than 50% of required
identifying information. (3-1 Points)
Does not provide identification of
object according to guidelines. (0
Points)
N/A (8 Points)
Provides appropriate visual evidence Provides some of the required visual Provides visual evidence which does
as defined by the project guidelines. evidence, but not all pertain to the
not pertain to the project guidelines. Does not provide visual evidence. (0
(8-7 Points)
project guidelines. (6-5 Points)
(4-1 Points)
Points)
Meets “Proficient” criteria, and
demonstrates a sophisticated
awareness of the effects of the
Elements and Principles on the
object. (25-23 Points)
Formal analysis of the object is
detailed and well-organized with
specific references to the Elements of
Art and the Principles of Design. (2220 Points)
References specific aspects of the
Elements of Art and Principles of
Design in relation to a Formal
Analysis, but references or aspects
are unorganized or unexplained. (1917 Points)
Description of work is present but
lacks specific reference to the
Elements of Art and Principles of
Design. (16-1 Point)
Does not reference specific aspects
of the Elements of Art and Principles
of Design in relation to a Formal
Analysis. (0 Points)
Historical Analysis
Meets “Proficient” criteria, and
provides examples demonstrating
sophisticated understanding of the
cultural traditions, ideologies, and
historical context of the object’s time
period. (25-23 Points)
Describes the cultural traditions,
ideologies, and historical context of
Describes the cultural traditions,
the object’s time period and then
ideologies, and historical context of
determines how they influenced the
the object’s time period and then
object, using examples to support the
determines how they influenced the response, but examples are
object, using examples to support the unorganized and unexplained. (19-17
response. (22-20 Points)
Points)
Doesn’t give specific reference to
object time period and lacks specific
description of the cultural traditions,
ideologies, and historical context of
the object’s time period. (16-1 Points)
Does not describe the cultural
traditions, ideologies, and historical
context of the object’s time period or
how they influenced the object. (0
Points)
Contextual Analysis
Contextual analysis of the object
explains how it represents its
Contextual analysis of the object
particular social, historical, and
explains how it represents its
cultural climate, considering subject
particular social, historical, and
matter, iconography, and the function
Meets “Proficient” criteria, and
cultural climate, considering subject of the object, using examples to
provides references to specific formal matter, iconography, and the function support the response, but examples
details and their relation to their
of the object, using examples to
are unorganized and unexplained.
cultural context. (25-23 Points)
support the response. (22-20 Points) (19-17 Points)
Doesn’t give specific reference to
how object represents its particular
social, historical, and cultural climate,
subject matter, iconography, or
function. (16-1 Points)
Does not provide a contextual
analysis of the object explaining how
it represents its particular social,
historical, and cultural climate. (0
Points)
Articulation of Response
Submission is free of errors related to
citations, grammar, spelling, syntax,
and organization and is presented in
a professional and easy to read
format. (11-10 Points)
Submission has some major errors
related to citations, grammar,
Submission has no major errors
spelling, syntax, or organization that
related to citations, grammar,
negatively impact readability and
spelling, syntax, or organization. (9-8 articulation of main ideas. (7-6
Points)
Points)
Submission has major errors related
to citations, grammar, spelling,
syntax, or organization that
negatively impact readability and
articulation of main ideas. (5-1
Points)
Submission has critical errors related
to citations, grammar, spelling,
syntax, or organization that prevent
understanding of ideas. (0 Points)
Total Points
(“A+” to “A”) 100 – 93
(“B+” to “B”) 89-80
(“D-” to “F”) 60-6
(“F”) 0
Art as a visual experience Formal Analysis
Art as a cultural artifact
Exemplary
(“C” to “D”) 74-66
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