the course is Art. use the the two files I attached as a reference. you can find information about Mona Lisa on the 2nd file I attached, starting from page 14 and up and you can refer #3rd file, it help you with the second question about Propaganda image.
All papers must include a cover page, page numbers, an introduction, subsequent paragraphs and a conclusion. Write the paper as one continuous exploration of your subject. Proofread your paper carefully. All references must be documented with proper citations, MLA format, cite the book, the file I attached. no Wikipedia. Here is your topic: 1 -Choose an image from your museum visit. List the museum, title of the piece, the artist, date of the artwork and medium. This is the image I chose, Mona Lisa. I saw this image when I visited France in Louvre Museum, Paris. 2 -Then find a propaganda image from the last 30 years including current advertising images, mass media, public relations campaigns (including political campaigns). This is the propaganda Image I chose. You should write about the image. 3 -Finally, choose an image of yourself from the last few years, preferably one that you have used on a social media platform. Study your face in a mirror for at least fifteen minutes. Time yourself... make sure you stare for the entire fifteen minutes. (This will be difficult to do!) Study yourself with the same honesty as Rembrandt or Van Gogh did. Study yourself candidly. For the last five minutes, strike several different intentional poses. Consider the portraits of JR’s friends and the poses they struck. This is the picture I chose. I took this selfie during my visit in Louvre museum, Paris. Your Goal: Explain what propaganda is in your own words as well as explanations offered by scholarly sources. Compare all three images. What is being valued in each image? What are your personal responses and reactions? Discuss any emotional response you may have to each of the three images. Do you see the cultural myths of individualism (the autonomous individual) or love of technology reflected in any of these images? What about bipolar thinking? Do you feel victim or purveyor of these values in your own image? Can you honestly view yourself differently from how advertising presents how you should look or be? What specifically influences you in an advertisement? Discuss the functions of your chosen works of art, their methods of creation and focus on what is important or historical about them. Discuss how your selections reflect the cultures and the times in which they were created. This means that you must include quite a bit of history about the country/region in which it was created and a taste of the times. Include information about the stylistic movement with which each artwork is identified. Finish your essay with a general summary that includes a comparison of your three images and how they reflect the values we have studied all semester. Are their differences in the cultural values shown by the three images or are they the same? Identify and discuss historical and contemporary propaganda. Do you feel that one era delivered a message more artfully than another? Does your own image reflect specific propaganda? PLAGIARISM: This means NO cutting and pasting of information of any kind. Put data in your own words, then footnote every time you take information from any outside source. You should have dozens of footnotes for a paper of this size. If there is ANY plagiarism, you will get a ZERO on your paper without a chance to re-do the work. See page 3 of your syllabus for more information on plagiarism. QUOTES, BIBLIOGRAPHY and FOOTNOTES: Cite all written sources both in the footnotes and in the bibliography. Format Chicago style. (You can review this by a Google search of “Chicago Footnotes” or “Chicago bibliography”, etc. Your paper will most likely have at least five footnotes per page and your bibliography should have at least eight sources. Use a direct quote from a source only if you feel that there is no way that you could say it better. Quoted sentences should comprise no more than 5% of your paper. Chapter 3: Renaissance 1 The Renaissance Filippo Brunelleschi (1377-1446) publicly revealed his discovery of perspective in Florence, Italy, in 1425. The event was quite simple, almost playful. Brunelleschi brought a little painting based on his new ideas into the square in front of the cathedral. The original painting has disappeared, but accounts of it and how it was used in the demonstration survive. Despite scholarly dispute over details of the event, its main features are clear.1 Brunelleschi’s Experiment: The Duplication of Sight The scene in front of the cathedral on that August day in 1425 must have been puzzling. People were used to seeing Brunelleschi around the cathedral; its magnificent dome was then being constructed according to his design and under his supervision. But on that day he was not involved with the dome. A crowd of passersby stood in line. He gave each of them, one after the other, a small mirror and a small painting (3.1). What each one did with the painting and the 3.1 Experimenting with perspective. mirror seemed very strange. Each person put the back of the painting up to one eye and looked through a hole in the painting’s center, then held a mirror in front of the painting so that the painting itself was seen (through the hole) reflected in the mirror. After looking through the painting at the reflected image of the painting in this way, each person inevitably lowered the mirror and stared at the building beyond—the ancient Baptistry of Chapter 3: Renaissance 2 Florence—then, with obvious eagerness, raised the mirror and looked at the painting reflected in it again at least once more before reluctantly handing both mirror and painting to the next person in line. Everyone was obviously pleased and excited, especially Brunelleschi, who continually shrugged and laughed in enjoyment at the questions and comments surrounding his little experiment. Brunelleschi wanted to demonstrate that his newly discovered rules of linear perspective could reproduce the exact “look” of things to the eye—the illusion of three-dimensional space on a two-dimensional surface. To show this, he had painted a small picture of the Baptistry on a wooden panel precisely according to his newly developed method. After painting the building on the panel, he covered the area of the painting above the Baptistry with highly reflective silver leaf to produce a mirror-like surface. Then he drilled a hole in the painting. A person looking through the hole in the back of the painting at its reflection in the mirror held in front of it could then see more than the precisely painted image of the Baptistry: reflected in the silver-leaf surface surrounding it would be the sky and the moving clouds. The scene seemed miraculously real! And its reality could be tested: by lowering the mirror while still looking through the hole in the painting, one could see the Baptistry itself— from exactly the same angle that Brunelleschi had drawn and painted it. The real Baptistry looked exactly the same as the painted Baptistry. The moving clouds were a dramatic touch of genius. A miracle, indeed, but a “miracle” of particular importance, because it fused art and science in a common achievement: an image that approximated how the world appears to the human eye. Chapter 3: Renaissance 3 Art historian Elton Davies called Brunelleschi’s painting of the Florence Baptistry a “milestone” in cultural history and compared it “to the Wright Brothers’ first flying machine.”2 Psychologically, the little painting did create a change as revolutionary as flight. It began the process of turning attention from God and eternity as the basic reality in art and life to the individual self and human perception as the basic reality. Davies summarizes this impact in the following terms: “Medieval art…had its center in the images of God, the saints, and the devil… These were fixed, changeless beings to be viewed by spectators who were moving about. But for Brunelleschi’s painting (the first known use of perspective) the human spectator was the motionless center, and so was the spot on the earth’s surface where he sat.”3 Viewers of Brunelleschi’s linear perspective painting were convinced that the drawing was a real duplication of the building because the linear perspective formulation created the more “real” images anybody had ever seen. They were completely convinced of the realism. It is hard for us to imagine today what an impact seeing the first perspective images must have had. Human perception is a fluid, changing experience. Few of us today would mistake the painting of a building for the real thing. To better understand how things can look quite different to different audiences, try viewing a horror film from the 1950s like the original Invasion of the Body Snatchers (1956, US, Don Siegel). It may be hard to believe the special effects that look corny today actually frightened audiences of the past—but they certainly did! As technology advances in Western culture, more and more “real” images are made possible. Audience expectations and responses evolve with the advances. The Perspective Age Begins: The World Conforms to the Human Eye Chapter 3: Renaissance 4 3.2 Uccello, perspective of a chalice. We can look at two images from the history of art to understand the impact of Brunelleschi’s discovery on Western art and culture. The first image, completed within ten years of the introduction of perspective, is a drawing by Paolo Uccello (1397-1475), a Florentine artist who was a friend of Brunelleschi. Uccello’s drawing shows how perspective could picture manmade and natural forms with a proportional and measurable sense of objectivity (3.2). The second image was made some four hundred years later. It shows an anonymous couple proudly holding a photograph of their friends or relatives in their hands as they pose for a photograph of themselves (3.3). The photographic process that was first patented in 1839 grew directly out of artistic and scientific applications of perspective images begun in the early Renaissance. Photography is the mechanization of perspective. 3.3 Anon., “Couple holding Photo,” 1850. No one foresaw the artistic and cultural changes symbolized by these images. Between 1425 and 1839, perspective replaced the cosmic geometry of the Parthenon and the sacred geometry of Chartres with an art whose basic realism was justified by human perception itself. Chapter 3: Renaissance 5 Perspective’s Essential Ingredient: The Vanishing Point Linear perspective as developed by Brunelleschi is the scientific, mathematical