Thursday, August 27, 2015

Part 2: How to Write a Research Paper When There is No Info on the Artwork.

To write a well-rounded art history paper, you should start off with some general knowledge on the artist, the cultural climate, the art movement, the process of creating the artwork, and the symbols/meaning in the artwork. So what do you do when you know none of these things? Well, take a moment and look and the catalogue entry for your artwork. It is very unlikely that you have literally nothing to go on. You probably have a date and geographic location at the very least, which really is enough to get you started.

The Doctor's Visit
1. Writing about an Artwork with an “Unknown” Artist

Unless you go to school in a city with a large, popular art museum, your local museum will probably have dozens of “no-name” artists with the occasional headliner in each gallery.  Such was true for my paper on Hendrick Heerschop’s The Doctor’s Visit. While Heerschop is a known Dutch Golden Age painter, there are not many biographical analyses on him – at least not any that I could find. I also couldn’t find any information on the painting beyond the gallery label. However, doctor’s visits are a popular theme in Dutch genre paintings. And do you know who painted doctor’s visit scenes? Jan Steen, Samuel van Hoogstraten, and Gerard Dou – all well-known Dutch painters with detailed essays on their paintings. So for my essay, I looked at the paintings of these well-known artists and compared their more detailed symbolism to the fairly simple composition of Heerschop. By finding differences and similarities between Heerschop and the other painters, I was able to talk about Dutch doctor paintings as a whole rather than focusing on this one painting. As a bonus, Dutch Baroque art is so easy to write about because scholars already know a lot about the culture and how it was a catalyst for the changing art world at the time.

Your Take-Away:
  •  Find well-known artists with a similar subject or style to your artist and use them to compare/contrast to your artwork. 
    • Are you writing about a nativity scene? Find nativity scenes from the same area/time or from different areas/times to show the changes in depictions.
    • Is your artist obviously a Caravaggisti? Talk about all the elements borrowed from Caravaggio. 
  • Pick an artwork from a time of change in society – political, economic, and cultural turmoil or prosperity will always find a reflection in artwork.
2. Writing about a Mystery Artwork

In last week’s post I mentioned my research paper on the Byzantine mosaic Separation of Sheep and Goats. I chose this artwork even though I only knew it’s era, location, and the subject. I chose it because I had questions that I wanted to answer. Originally, I was concerned with the identity of the two angels and the obvious color choice made in the selection of their tiles. Then I decided I needed to find the original purpose of the moasic. Eventually, I expanded my research to include the symbolism of sheep and goats as inherently good and evil. So how did I begin?

I started by scouring the library for books on medieval angels – theology, iconography, you name it. I tried to identify the mosaic angels as archangels, but there was no symbolism to support that claim. But guess what? That search for information can still be used in your paper! Remember science class? I suggested my hypothesis, summarized my evidence, and stated my conclusion. In this case, I was wrong, and they were probably general angels to represent all angels. I did find that red and blue are attributed to certain orders of angels, and matched those attributes to the positions of the angels.

To find the original purpose of the mosaic I searched for similar mosaics in books of Byzantine art and read about the divisions of artwork in a Byzantine church. I learned that only certain themes were allowed at certain heights on church walls, and that there is only one recorded sheep and goats scene at the apse of a church. The size and proportions of the mosaic also helped me guess at its placement because the elongated figures lend themselves to a high wall or ceiling, which would correct the proportions when viewed from below.

To research the symbolism of the sheep and goats, I started by reading several analyses on the Biblical reading from Matthew. I was surprised to find an article examining the societal opinion towards sheep and goats during the time Matthew would have wrote this passage. This insight into his intended audience added something special to my paper. The paper would have been fine without it, but this was one of those “extra step” moments.  

        Your Take-Away:
  • Pick an artwork with questions that you can answer.
  • Start with what you know.
    • Jesus' purple robes and halo are a common representation that you should know from lecture classes.
    • Talk about the development of familiar symbols/iconography.
  • Don't be afraid to prove yourself wrong - state an idea, look for evidence, and conclude whether your statement was valid or invalid. If invalid, keep writing about more theories until you can support a valid hypothesis
  • Try to identify the original purpose/placement of your artwork. Look at the subject as well as the physical characteristics of the artwork to help you.
  • Research outside of the art-world. History, theology, culture, and more can open your eyes to relevant information.


The most important tip with any research paper is to have lots and lots of sources from diverse scholarly opinions. Your professor might require three non-internet sources,but can you guess my average number of sources on a research paper? Eleven sources. All of which were books or articles that I had to manually search through for information - no ctrl+f in a hardcover. And that’s just my credited sources! I probably read twenty or more books and articles with some being completely useless and others only reiterating what I already read. It is a lot of work, but it is so worth it when you find that single sentence nugget of information that drives your whole thesis home. Of course, it helps to be interested in your research, and I’m a pro at turning a seemingly dull assignment into an interesting project. Join me next week as I share my secrets in Part 3: How to Write About Whatever You Want.

Thursday, August 20, 2015

Essay Tips Part 1: How to Choose a Research Topic

Presenting my senior thesis at the
 Memorial Art Gallery
.
Believe it or not, school will be starting up again soon, and even though I’m gone and graduated, I still feel the buzz of a new school year. For an art history student, a new semester means (at least) one thing – a new research paper. I will admit that I was (am) a huge nerd and loved researching and writing papers. Just think about it – why else would I start a blog - aka assign myself a weekly essay? So, to help you prep for the start of school, I am going to write a three-part blog on writing research papers. 

And here we go:

Part 1: How to Choose a Research Topic

It is always best to go to a museum to select your research topic. You should already know that I believe that there is a huge difference between seeing an artwork in person and on a computer screen. Searching through a museum will help you find an artwork that stands out to you, which always makes for a more interesting paper. The geographical and chronological divisions of most museums will help you find related artworks to compare and contrast to your subject simply by scanning the room. Investigating an artwork in person will also help you give a more detailed/accurate description of the artwork’s size, texture, aging, etc. But be careful, a research paper is not a mere visual description of a piece.

If you don’t live near a museum, or the selection at your museum is scarce, it is ok to search online collections to find a research topic. Better to find something that interests you than to be bored researching a topic you could care less about. If you’re bored doing the research, your audience (your professor) will be bored reading your paper. Most museum websites have easy collection navigation that let you filter your search by geography, era, object, culture, artist, and so on. Don’t pick the first artwork you find just because it fits your professor’s criteria. Choose a couple options and then determine which will make the best paper. Always consider your thesis – will you be able to connect this artwork to a bigger picture?

Indonesian Shadow Puppet
Here are some ways to pick an artwork:

1. By Aesthetics
In this case you are choosing an artwork because it looks pretty to you. This is a good way to gauge what initially catches your eye, but you cannot base an entire essay on looks. For my Asian Art paper I was drawn to the elongated arms of this Indonesian Shadow Puppet. As a mostly flat artwork, it stood out against the stone deities inhabiting the majority of the MAG’s Asian Art gallery. I lucked out because this shadow puppet had a detailed gallery label with plenty of leads to start my further research.



The Doctor's Visit
2. By Interest
I think that this is the best way to choose a research topic. Your artwork should stimulate you intellectually so that you are motivated to conduct your research and organize a well-written paper. If you read A Short Guide to Writing About Art, you will learn about the different methods of art history, such as iconography, social history, gender studies, etc. One of my favorite methods is iconography because the development of symbols will often play into the other methods. Dutch genre paintings are rich with iconography, so for my Baroque paper I chose The Doctor’s Visit from my local museum. Religious Renaissance paintings are also filled with iconography, which means a lot of information to write about. Remember your thesis – you need to reach that page requirement without blabbering on with filler!


3. By Popularity
Bernardo Campi Painting Sofonisba Anguissola
Most “famous” paintings will have a lot of scholarly work already written about them. You are sure to find many articles and essays on Leonardo’s Mona Lisa and The Last Supper. This is great if you are being asked to compare two or more schools of thought on an artwork because there will be several perspectives for you to write about. Popular artworks are also a good choice for your first paper while you are learning research skills. I wrote my first paper on Sofonisba Anguissola’s Bernardino Campi Painting Sofonisba Anguissola because I could find a ton of information on both the painting and the artist, allowing for a well-rounded analysis.

On the other hand, you are unlikely to make any new connections and might just be regurgitating the same tired information your professor has read again and again. If you spent a long time on an artwork in lecture – you probably don’t want to write a paper about it. A research paper is the chance for you to become a mini-expert on an artwork so that you can teach your classmates something new and different from what you learned in class.


Separation of Sheep and Goats
4. By Mystery
This is similar to choosing an artwork because of interest, but in this case your goal is to answer a question. In my Medieval Art class I wrote about a Byzantine Mosaic called Separation of Sheep and Goats. The story is a well-known passage from the Bible and the center figure is recognizable as Jesus. I was most intrigued by the angels on either side of him. I wondered who they were and if there was any significance to their colors. If you click the image to go to the collection page you will notice that there is no object description, so I had to start my search from scratch. This can be an intimidating way to start a paper, but I was up for the challenge. Learn how to tackle this kind of paper with next week’s entry Part 2: How to Write a Research Paper When There is No Info on the Artwork. 

Thursday, August 13, 2015

Disney's Twelve Principles of Animation

So, as you may or may not know, the Disney convention, D23 Expo, is this weekend. I did some research on Disney for my senior thesis, so I figured I would share some of what I learned. 

The Real-Life Models Behind Your Favorite Disney Characters 
During the early years of animation most cartoon shorts depended on pantomime and gag humor. But, just as audiences began to grow weary of this formula, Walt Disney entered the animation industry with a passion for more than visual gimmicks. He focused on narrative and character development with an energy that inspired his animators. They competed against each other, but also shared their struggles and successes. In the early 1930s, the trials of the animators developed into the Twelve Principles of Animation, which would become the industry standard for superior animation.

The Twelve Principles of Animation are outlined in The Illusion of Life: Disney Animation by Frank Thomas and Ollie Johnston. Here is my quick interpretation of the principles:

1. Squash and stretch
Addresses the effects of movement on fleshy objects. Any non-rigid object will squash on impact, bunch up in preparation for a movement, and extend or stretch while in action.

2. Anticipation
States that an audience must be able to expect an upcoming action in order to enjoy and understand its execution.

3. Staging

Actions and characters must be staged to provide an understandable story. In Disney’s earliest black and white animations, all of the action had to be staged in profile because if Mickey’s black arm moved in front of his black body, it would disappear. Even after the addition of color, animators learned that silhouetted profile actions were the most clearly understood, and thus visually preferred over frontal action.

4. Straight Ahead Action and Pose to Pose
A Straight-ahead Action is drawn frame by frame from beginning to end. In Pose to Pose, the animator first draws the key poses and then fills in the frames needed to connect the poses.

5. Follow Through and Overlapping Action
Considers that the parts of a character need to catch up to the main body after it has stopped moving. For example - the way loose jowls flap after a character finishes shaking its head.

6. Slow In and Slow Out
Alters the speed at which the frames change in order to create more lively action.

7. Arcs
Arcing motions appear more natural than movements along a linear path.

8. Secondary Action
A smaller action that helps to support or accentuate the main action. For example - the quiver of a lip before a frown.

9. Timing
Often used to convey emotional meaning or environmental characteristics, such as the resistance of a body to the wind on a windy day.

10. Exaggeration
Developed when the animators realized that a caricature or stylistic rendering of reality was more believable in animation than trying to 100% copy reality.

11. Solid Drawing
Refers to the technical skills of portraying weight and volume, which is just as important in animation as it is in observation drawing. Without solid drawing, none of the other principles would be possible.

12. Appeal
The likability or interest of a character which is often achieved through the combination of visual character design and the personality created through voice and body language

If you are interested in a more detailed explanation of the Twelve Principles of Animation, check out these tutorial videos by Alan Becker. The first video is embedded below, and you can navigate to the rest from there.



Resources:
Frank Thomas and Ollie Johnston, The Illusion of Life: Disney Animation (New York, NY: Abbeville Press, 1981)
Bob Thomas, Disney's Art of Animation #1: From Mickey Mouse, To Beauty and the Beast (New York, NY: Hyperion, 1991)

Thursday, August 6, 2015

The Unicorn Tapestries

This weekend is fantasy weekend at the Sterling Renaissance Festival and I've decided to go as a personification of the Red Bull from the movie The Last Unicorn. The movie has been a favorite of mine since I was a little kid. I can remember renting the VHS from Blockbuster and watching it every day until it was due back. Perhaps my obsession with the movie is the reason The Unicorn in Captivity (from the Unicorn Tapestries) is one of my favorite artworks of all time. If you watch the opening song of the movie, you'll see that it is heavily styled from the Unicorn Tapestries.


In March 2014 I visited the Met's Cloisters specifically to see the Unicorn Tapestries - and the room was under construction! You can see a picture of my devastation on my About page. Luckily, I could at least get into the room, but I was blocked from getting close to my favorite tapestry of the collection. 


The Unicorn Tapestries tell a story on three levels. The first is the most obvious, the hunt of a unicorn. Secondly, the story is a metaphor for the pursuit of a spouse. Lastly, the tapestries mimic the story of Jesus being hunted for his crucifixion, killed, and then alive again like the unicorn in the final (and most famous) panel.


This final panel features several symbols that play to both the story of courtship and of Christ. During the Medieval era, unicorns were associated with virginity. Virginity was upheld as an important quality in a bride. Myth also stated that only virgins could tame a unicorn, so unicorns were often included in female portraiture to show their purity. The connection to virginity also gives a nod to the virgin Mary. Mary is also referenced by the white sword lilies in the garden. White represents virginity, while it was believed that Mary said Jesus' death was like a "sword through [her] heart."


The red splatters on the unicorn are not blood, but rather juice from the pomegranate tree above it. Pomegranates were a symbol of fertility and fidelity. The multitude of seeds in a pomegranate are also a symbol for the wide reach of the Christian Church. In the lower right hand corner of the tapestry is a frog. Because of their noisy mating, frogs were a symbol of reproduction (within the sanctity of marriage.) 

The unicorn is captured, but the fence is low and it could easily escape. This represents being content within the confines of marriage. It is possible that the tapestry was a gift for a marriage. The patrons of the tapestry are noted by the "A" and "E" above the unicorn, though their full identity is lost to us now.

Resource:
Doot Bokelman, "Medieval Art" (lecture, Nazareth College, Rochester, NY, Spring 2014).