DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in Qpewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U'^iverSity M;crc!. rrs .:':err'a; orai A Be' & Howe' .'''•or"-3r or C oH rar-, 300 Ncr;r Zeec Roac Anr ArGor Ml AS-06-’ 3A6 3-3 751-4700 600 :2'-050C Order Number 9238208 The effects of art knowledge, pedagogical experience, and contextual information on art teaching Kowalchuk, Elizabeth Ann, Ph.D. The Ohio State University, 1992 UMI 300 N. Zeeb Rd. Ann Arbor. MI 48106 THE EFFECTS OF ART KNOWLEDGE, PEDAGOGICAL EXPERIENCE, AND CONTEXTUAL INFORMATION ON ART TEACHING DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Ann Kovalchuk, B. F. A., M. F. A. The Ohio State University 1992 Dissertation Committee: Approved by Judith S. Koroscik Arthur Efland Advisor Marilyn Johnston tment of Art Education Michael Parsons Copyright by Elizabeth Ann Kowalchuk 1992 To my parents, Jo and Tola Kowalchuk 11 ACKNOWLEDGEMENTS I began my studies at Ohio State without a clear picture of what getting a doctorate entailed. Oh, I had some ideas. I knew it involved something called research. But, I didn't know what research was, and I wasn't sure if I would like doing it. I didn't know that a doctorate was really about investigating ideas and problems, about inquiry. I didn't know it was about becoming a scholar. I owe my understanding of the nature of disciplined inquiry to the professors in the Department of Art Education. I owe my understanding of what it means to be a scholar to the members of my committee. I express sincere appreciation to my advisor, Judith Koroscik, for encouraging and guiding me through the doctoral process. I thank Michael Parsons and Arthur Efland as well. My friends and family have lived through this experience with me. I thank my mother for her unfailing patience and encouragement. I thank Sam Short, Mary Leigh Morbey, Lorrie Blair, Jeanie Auseon, Rina Shere, Eugenia Costa-Giomi, Candace Stout, and Bob Dalton for advice. 111 friendship and moral support. I thank Sue Carey for convincing the teachers in her district to participate in this study and for helping me to keep writing a dissertation in perspective. IV VITA March 18, 1958............. Born - Miami, Florida 1976-1980........... ...... B.F.A., The University of Georgia, Athens, Georgia 1980-1982................. M.F.A., The University of Illinois, Champaign-Urbana, Illinois 1982-1983, 1985-1988........ Elementary Art Teacher, School Board of Palm Beach County, Florida 1988-198 9................. University Fellow, The Ohio State University, Columbus, Ohio 1989-199 0................. Graduate Research and Teaching Assistant, Department of Art Education, The Ohio State University, Columbus, Ohio 1990-199 1................. Director, The Saturday Art Workshop, Department of Art Education, The Ohio State University, Columbus, Ohio 1991-Presen t .............. Assistant Professor, Buffalo State College University, Buffalo, New York FIELDS OF STUDY Major Field: Art Education TABLE OF CONTENTS ACKNOWLEDGEMENTS.................................. i ü VITA............................................. V LIST OF TABLES..................... xi LIST OF FIGURES..................... xii LIST OF PLATES...................... xiii CHAPTER PAGE I. STATEMENT OF THE PROBLEM...................... 1 Studying Teacher Understanding............. 3 The Problem of Teacher Understanding....... 6 Research Questions and Overview............ 7 II. LITERATURE REVIEW............................. 11 Current Conceptions of Learning............ 11 Domain Specific......................... 13 The Role of Prior Knowledge........... 15 Forms of Knowledge................... 16 Frames of Understanding.............. 18 Content frame................... 18 Problem-solving frame............ 19 Epistemic frame................. 19 Inquiry frame................... 19 Expert and Novice Comparisons......... 20 Domain specific expertise........ 21 Perception of meaningful patterns and multileveled knowledge structures.................... 22 Use of knowledge................ 24 Speed and accuracy.............. 25 Short and long term memory....... 26 Self monitoring skills........... 27 Constraints to Understanding Art...... 27 Naive concepts.................. 28 VI Underdifferentiated concepts..... 28 Garbled knowledge................ 29 Compartmentalized concepts....... 30 Applications of Learning Research to Art Education.......................... 30 Current Conceptions of Teaching............ 33 Subject Matter Knowledge for Teaching... 34 Content knowledge in art teaching.. 37 Pedagogical Content Knowledge......... 38 Dimensions of pedagogical content knowledge..................... 39 Expert-Novice Comparisons in Teaching... 41 Constraints to studying teaching expertise..................... 42 Knowledge structures of expert and novice teachers................ 44 Planning and presenting lessons.... 44 Research methods................ 45 Implications of Teaching Research for Art Education.............................. 46 III. METHODOLOGY................................... 48 Phase One: Lesson Plan Writing............. 48 Design.............................. 48 Participants......................... 49 Materials............................ 51 Key artwork..................... 51 Supporting artworks.............. 53 Lesson plan folders..... ....... 53 Optional reference materials..... 67 Procedures: Phase One................ 67 Phase Two: Lesson Presentation and Follow-up Interview.............................. 70 Design..................... 70 Participants......................... 70 Materials........................... 71 Procedures: Phase Two................ 71 Phase Three: Content Knowledge Interview 72 Design.............................. 72 Participants and Materials............ 72 Procedures: Phase Three............... 73 Art content understanding........ 73 Pedagogical decision-making...... 74 Pedagogical content knowledge..... 75 Vll IV. ANALYSIS OF DATA.............................. 76 Analysis Procedures for All Phases......... 76 Analysis Procedures for Specific Phases.... 80 Phase One: Lesson Plan Writing........ 80 Phase Two: Lesson Presentation and Follow-up Interview................ 81 Lesson presentation.............. 81 Follow-up interview.............. 82 Phase Three: Content Knowledge Interview......................... 82 V. RESULTS AND DISCUSSION........................ 83 PART ONE.................................... 83 Phase One: Lesson Plans................... 83 Range of Ideas....................... 84 References to formal meanings.... 84 References to descriptive meanings. 86 References to historical meanings.. 89 References to interpretive meaning. 91 Reinforcing Learning: The Studio Activity.......................... 93 Understanding or Making: The Use of Artworks in Lessons................ 96 Effects of contextual information..... 98 Direct effects of fragmented contextual information......... 99 Direct effects of integrated contextual information......... 100 Indirect effects................. 102 Summary........................ 107 Phase Two: Lesson Presentation and Follow-up Interview.............................. 108 Teaching Contexts.................... 109 Beginning art education students...109 Intermediate art education students...................... 109 Student teachers................. 110 Experienced teachers............. 110 Carry-over of Ideas: Historical Information in Lessons.............. Ill Missed Opportunities to Deepen Art Understandings..................... 117 Incomplete Explanations............... 119 Influence of contextual information.... 122 Fragmented contextual information..122 Integrated contextual information..123 Vlll Summary.............................. 126 Phase Three: Content Knowledge Interview 128 Art Knowledge........................ 129 Grouping and seeing relationships..129 Understanding Manet.............. 132 Distinguishing between simple and complex ideas.................. 137 Pedagogical Decision Making........... 141 Pedagogical Content Knowledge..........144 Summary............................ 147 PART TWO.................................... 148 Combining Phases: A Comparison of Novice and Expert
Load more

Recommended publications
  • Dillonsd2014.Pdf (377.0Kb)
    UNIVERSITY OF CENTRAL OKLAHOMA DR. JOE C. JACKSON COLLEGE OF GRADUATE STUDIES Edmond, Oklahoma Hemingway: Insights on Military Leadership A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree Of MASTER OF ARTS IN ENGLISH By Shawn Dillon Edmond, Oklahoma 2014 Abstract of Thesis University of Central Oklahoma Edmond, Oklahoma NAME: Shawn Dillon TITLE OF THESIS: Hemingway: Insights on Military Leadership DIRECTOR OF THESIS: Dr. G.S. Lewis PAGES: 86 The literature of Ernest Hemingway is rich with military lessons derived from his lifetime of proximity to war and his understanding of soldiers and leaders at all levels as presented through his characters. Hemingway wrote two significant military works that treat deeply the psyche and behavior of soldiers in war: For Whom the Bell Tolls presented a guerilla band led by an American professor named Robert Jordan, and exposed the different types of junior and senior leaders, as well as an ideal soldier in Anselmo, the old, untrained partisan. Across the River and Into the Trees was equally rich in military insights, at a much higher level of command, through the bitter musings of Colonel Cantwell. Hemingway’s fiction represented and reproduced the detailed awareness he had of soldiers and leaders, good and bad. He was born with the natural instinct to lead, and through his proximity to men performing humanity’s most vaunted of tests, he produced a body of fiction that can serve collectively as a manual for understanding soldiers, terrain, and military
    [Show full text]
  • Van Gogh Museum Journal 2002
    Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh.
    [Show full text]
  • Realism Impressionism Post Impressionism Week Five Background/Context the École Des Beaux-Arts
    Realism Impressionism Post Impressionism week five Background/context The École des Beaux-Arts • The École des Beaux-Arts (est. 1648) was a government controlled art school originally meant to guarantee a pool of artists available to decorate the palaces of Louis XIV Artistic training at The École des Beaux-Arts • Students at the École des Beaux Arts were required to pass exams which proved they could imitate classical art. • An École education had three essential parts: learning to copy engravings of Classical art, drawing from casts of Classical statues and finally drawing from the nude model The Academy, Académie des Beaux-Arts • The École des Beaux-Arts was an adjunct to the French Académie des beaux-arts • The Academy held a virtual monopoly on artistic styles and tastes until the late 1800s • The Academy favored classical subjects painted in a highly polished classical style • Academic art was at its most influential phase during the periods of Neoclassicism and Romanticism • The Academy ranked subject matter in order of importance -History and classical subjects were the most important types of painting -Landscape was near the bottom -Still life and genre painting were unworthy subjects for art The Salons • The Salons were annual art shows sponsored by the Academy • If an artist was to have any success or recognition, it was essential achieve success in the Salons Realism What is Realism? Courbet rebelled against the strictures of the Academy, exhibiting in his own shows. Other groups of painters followed his example and began to rebel against the Academy as well. • Subjects attempt to make the ordinary into something beautiful • Subjects often include peasants and workers • Subjects attempt to show the undisguised truth of life • Realism deliberately violates the standards of the Academy.
    [Show full text]
  • Manet and Modern Beauty
    Tyler E. Ostergaard exhibition review of Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Tyler E. Ostergaard, exhibition review of “Manet and Modern Beauty ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.15. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ostergaard: Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Manet and Modern Beauty Art Institute of Chicago, Chicago May 26, 2019–September 8, 2019 Getty Center, Los Angeles October 8, 2019–January 12, 2020 Catalogue: Scott Allan, Emily A. Beeny, and Gloria Groom, with Bridget Alsdorf, Carol Armstrong, Helen Burnham, Leah Lehmbeck, Devi Ormond, Catherine Schmidt Patterson, and Samuel Rodary, Manet and Modern Beauty: The Artist’s Last Years. Los Angeles: J. Paul Getty Museum, 2019. 400 pp.; 206 color and 97 b&w illus., 1 table; bibliography; index. $65 (hardcover) ISBN: 978–1606066041 How are we to classify Manet’s last paintings? This question drives the new exhibition Manet and Modern Beauty, which ran at the Art Institute of Chicago from May 26, 2019 to September 8, 2019, and then at the Getty Center, Los Angeles from October 8, 2019 to January 12, 2020. Organized by curators Scott Allan, Emily A. Beeny, and Gloria Groom, Manet and Modern Beauty focuses on Manet’s production—hardly just paintings—from the mid-1870s until his death on April 30, 1883, at age fifty-one.
    [Show full text]
  • Manet, Inventeur Du Moderne
    André Dombrowski exhibition review of Manet, inventeur du Moderne Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Citation: André Dombrowski, exhibition review of “Manet, inventeur du Moderne,” Nineteenth- Century Art Worldwide 11, no. 1 (Spring 2012), http://www.19thc-artworldwide.org/spring12/ manet-inventeur-du-moderne. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Dombrowski: Manet, inventeur du Moderne Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Manet, inventeur du Moderne Musée d’Orsay, Paris April 5 – July 17, 2011 Catalogue: Manet, inventeur du Moderne/Manet: The Man Who Invented Modernity. Ed. Stéphane Guégan, with contributions by Helen Burnham, Françoise Cachin, Isabelle Cahn, Laurence des Cars, Guy Cogeval, Simon Kelly, Nancy Locke, Louis-Antoine Prat, and Philippe Sollers. Paris: Musée d’Orsay and Gallimard, 2011. 336 pages; 280 illustrations; key dates; list of exhibited works; selected bibliography; index. Available in French and English editions. € 42. ISBN: 978 2 35 433078 1 Once you actually managed to stand in front of most of the Manet paintings gathered at the Orsay this summer, the rewards were endless (fig. 1).[1] In painting after painting, you were reminded what made him one of the nineteenth century’s most gifted and nuanced artists. The bravura with which he applied paint lends his world an elegant ease that emerges less as reality than as fraught dream and wish. The unusually stark contrasts in light and dark color he employed to destroy centuries’ old rules of academic decorum morph into social distinctions as much as aesthetic ones (struggles over visibility and invisibility, identity and non-identity, subjectivity and objectivity, order and disorder, hierarchy and chaos).
    [Show full text]
  • The Collections of the Nelson-Atkins Museum of Art
    French Paintings and Pastels, 1600–1945 The Collections of The Nelson-Atkins Museum of Art Aimee Marcereau DeGalan, Editor 4525 Oak Street, Kansas City, Missouri 64111 | nelson-atkins.org Edouard Manet | The Croquet Party, 1871 The Nelson-Atkins Museum of Art | French Paintings and Pastels, 1600–1945 Edouard Manet, The Croquet Party, 1871 Artist Edouard Manet, French, 1832–1883 Title The Croquet Party Object Date 1871 Alternate and Variant The Croquet Party at Boulogne-sur-Mer; La partie de croquet Titles Medium Oil on canvas Dimensions 18 x 28 3/4 in. (45.7 x 73 cm) (Unframed) Signature Signed lower right: Manet Credit Line The Nelson-Atkins Museum of Art. Gift of Marion and Henry Bloch, 2015.13.11 doi: 10.37764/78973.5.522 the croquet lawn outside the casino at Boulogne-sur- Catalogue Entry Mer, in northern France. On the far left is Paul Roudier, the artist’s childhood friend and a central member of Manet’s social circle; he is the only figure in the scene to Citation address the spectator directly.1 Alongside him is Jeanne Gonzalès (1852–1924), a talented young painter who Chicago: would enjoy recognition at the Paris Salon from the late 1870s (Fig. 1).2 Jeanne was the younger sister of the Simon Kelly, “Edouard Manet, The Croquet Party, painter Eva (1849–1883), who was Manet’s favorite 1871,” catalogue entry in Aimee Marcereau DeGalan, female pupil. Jeanne, too, received artistic lessons from ed., French Paintings, 1600–1945: The Collections of the Manet and frequented his studio.3 She looks toward Nelson-Atkins Museum of Art (Kansas City: The Léon Leenhoff, Manet’s stepson (and, possibly, his Nelson-Atkins Museum of Art, 2021), biological son) and a favorite model for the artist.4 To the https://doi.org/10.37764/78973.5.522.5407 right is Léon’s mother—Manet’s wife, Suzanne Leenhoff MLA: —who raises her mallet to hit a croquet ball alongside an unknown partner.
    [Show full text]
  • Impressionism
    IMPRESSIONISM Eugène Boudin (1824 – 1898) was one of the first French landscape painters to paint outdoors. Boudin was a marine painter, and expert in the rendering of all that goes upon the sea and along its shores. His pastels, summary and economic, garnered the splendid eulogy of Baudelaire; and Corot called him the "king of the skies.” He opened a small picture framing shop in Le Havre and exhibited artists working in the area, such as Jean-François Millet, and Thomas Couture who encouraged young Boudin to follow an artistic career. Boudin, The Beach at Villerville 1864 In 1857/58 Boudin befriended the young Claude Monet, then only 18, and persuaded him to give up his teenage caricature drawings and to become a landscape painter, instilling in the younger painter a love of bright hues and the play of light on water later evident in Monet's Impressionist paintings. They remained lifelong friends and Boudin joined Monet and his young friends in the first Impressionist exhibition in 1873. Boudin, Sailboats at Trouville 1884 Johan Jongkind (1819 – 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism, introducing the painting of genre scenes from the tradition of the Dutch Golden Age. From 1846 he moved to Paris, to further his studies. Two years later, he had work accepted for the Paris Salon, receiving acclaim from critic Charles Baudelaire and later on from Émile Zola. Returning to Rotterdam in1865 he moved back to Paris in1861, where he rented a studio Jongkind, in Montparnasse, the following year meeting in View from the Quai d'Orsay 1854 Honfleur Sisley, Boudin and the young Monet.
    [Show full text]
  • Girl With!A Camera
    GIRL WITH!A CAMERA 1 GIRL WITH!A CAMERA GIRL WITH!A CAMERA Margret Bourke-White: America’s Groundbreaking Photojournalist AN IMPRINT OF HIGHLIGHTS Honesdale, Pennsylvania Margaret Bourke-White perches with her camera on a Chrysler Building gargoyle 4sixty-one floors above the streets of New York City Text copyright © 2017 by Carolyn Meyer Cover illustration copyright © 2017 by TK For Vered and Giovanny All rights reserved. For information about permission to reproduce selections from this book, contact [email protected]. Although this work is based on the life of Margaret Bourke-White, it is a work of fiction. However, some names, characters, and incidents are products of the authors’ imagination and are used to enhance the story. Calkins Creek An Imprint of Highlights 815 Church Street Honesdale, Pennsylvania 18431 Printed in the United States of America ISBN: 978-1-62979-584-3 (HC) ISBN: 978-1-62979-800-4 (e-book) Library of Congress Control Number: TK First edition The text of this book is set in xxxx. Design by Anahid Hamparian Production by Sue Cole 10 9 8 7 6 5 4 3 2 1 Prologue Sometime a!er midnight, a thump—loud and jarring. A torpedo slams into the side of our ship, flinging me out of my bunk. The ship is transporting thousands of troops and hundreds of nurses. It is December 1942, and our country is at war. I am Margaret Bourke-White, the only woman photographer covering this war. The U.S. Army Air Forces has handed me a plum assignment: photographing an Allied a"ack on German troops in North Africa.
    [Show full text]
  • Edouard Manet
    Edouard Manet Edouard Manet (mah-NAY) 1832-1883 French Painter Edouard Manet was a transitional figure in 19th Vocabulary century French painting. He bridged the classical tradition of Realism and the new style of Impressionism—A style of art that originated in Impressionism in the mid-1800s. He was greatly 19th century France, which concentrated on influenced by Spanish painting, especially changes in light and color. Artists painted Velazquez and Goya. In later years, influences outdoors (en plein air) and used dabs of pure from Japanese art and photography also affected color (no black) to capture their “impression” of his compositions. Manet influenced, and was scenes. influenced by, the Impressionists. Many considered him the leader of this avant-garde Realism—A style of art that shows objects or group of artists, although he never painted a truly scenes accurately and objectively, without Impressionist work and personally rejected the idealization. Realism was also an art movement in label. 19th century France that rebelled against traditional subjects in favor of scenes of modern Manet was a pioneer in depicting modern life by life. generating interest in this new subject matter. He borrowed a lighter palette and freer brushwork Still life—A painting or drawing of inanimate from the Impressionists, especially Berthe Morisot objects. and Claude Monet. However, unlike the Impressionists, he did not abandon the use of black in his painting and he continued to paint in his studio. He refused to show his work in the Art Elements Impressionist exhibitions, instead preferring the traditional Salon. Manet used strong contrasts and Color—Color has three properties: hue, which is bold colors.
    [Show full text]
  • Allusions in Ernest Hemingway's the Sun Also Rises
    EDMONDSON, SYLVIA NELSON. Allusions in Ernest Hemingway's The Sun Also Rises. (1971) Directed by: Dr. Roberto. Stephens. Pp.HT2. The Sun Also Rises represents Ernest Hemingway's first serious endeavor as a novelist. For that reason alone, an extended study is meaningful. However, in this novel, Hemingway has made extensive and effective use of the technique of allusion, a literary device seemingly at odds with his characteristic simplicity of style. The allusions are so numerous and varied that they almost defy categorization. Some highly creditable studies have been made but have been limited to a particular allusion or a set of related allusions. No comprehensive study has been made, and this work is an attempt to meet that need. The use of allusion is first related to Hemingway's literary aims, showing it to be a device well suited to his method of saying much while adhering to his self-imposed simplicity and restraint. The allusions are then organized as they relate to tone, structure, characterization, setting, and meaning in The Sun Also Rises. Here the allusions are identified, explained in context, and related to the development of each of these elements. As many of the allusions serve multiple roles, some repetition has been unavoidable. A close study of the allusions in The Sun Also Rises negates many criticisms of this work. Rather than nihilistic, Hemingway's tone is shown to be irony and pity. Instead of lacking structure, the novel's architecture is multiple, interrelated, and meaningful. The characteriza- tion is unconventional, as Hemingway uses "real people" rather than creat- ing caricatures to populate his novel.
    [Show full text]
  • Madame Manet in the Conservatory a Comparison Between Two Versions
    MADAME MANET IN THE CONSERVATORY A COMPARISON BETWEEN TWO VERSIONS RESEARCH FORUM PAINTING PAIRS COLLABORATION BY DIANA M. JASKIERNY AND SAMANTHA ROBERTS ACKNOWLEDGMENTS Our thanks go to the following for their constant and overwhelming support for our research throughout the duration of this project: Aviva Burnstock (Courtauld Institute of Art) Elisabeth Reissner (Courtauld Institute of Art) Karen Serres (Curator, Courtauld Gallery) Maureen Cross (Courtauld Institute of Art) Thierry Ford (Conservator, Nasjonalmuseet for kunst, arkitektur og design, Oslo) Laura Homer (Conservator, Nasjonalmuseet for kunst, arkitektur og design, Oslo) Juliet Wilson Bareau Mary-Anne Stevens Kim Muir (The Art Institute of Chicago) Vivien Green (Curator, Guggenheim, New York) Gillian McMillan (Conservator, Guggenheim, New York) Lois Oliver (Courtauld Institute of Art) The Courtauld Institute of Art 1 Table of Index Page List of Figures 3 I. Introduction 5 II. History 6 Provenance 6 Material placement within the 19th Century 8 III. Composition 11 Technical examination of technique and changes in 11 the composition Changes found in other Manet paintings 15 IV. Materials 18 Pigments and their uses 18 Comparative analysis with a Manet found in the 21 Pushkin The significance of drawings 25 V. Conclusion 28 VI. References 29 2 LIST OF FIGURES Figure 1: Mme Manet in the Conservatory, Édouard Manet, c. 1879, The National Museum of Art, Architecture, and Design Oslo, Norway Figure 2: Mme Manet in the Conservatory, Unknown artist, c. 1875-1895, Private Collection Figure 3: Cross section from privately owned version in regular light showing the presence of one ground layer Figure 4: Cross section from privately owned version in Ultraviolet light showing the presence of one ground layer Figure 5: Scanning X-Ray Fluorescence map - Mercury Figure 6: Scanning X-Ray Fluorescence map - Chrome Figure 7: Series of images illustrating how infrared imaging of the Oslo version can show how the bench posts originally extended to the edge of the canvas.
    [Show full text]
  • Copyright Material for Reference Only
    1841–77 Chapter 1 1841–77 Renoir to age 36; a Bohemian Leader among the Impressionists; Model Lise and their Secret Children, Pierre and Jeanne In November 1861, when he was only twenty, Renoir made one of the most fortuitous decisions he ever took: to study in the Parisian studio of the Swiss painter, Charles Gleyre. A photograph around this time reveals that Renoir was a serious, intense young man. Gleyre’s studio was simply one of many that fed into the École des Beaux-Arts (the government-sponsored art school in Paris), where students learned anatomy and perspective through drawing and paint- ing. Te men Renoir met at Gleyre’s would become some of the most important companions of his life. About a year after he arrived, first Alfred Sisley in October, then Frédéric Bazille in November and lastly Claude Monet in December 1862 became fellow students.1 On 31 December 1862, the four were already close friends when they met at Bazille’s home in Paris to celebrate the New Year together.2 Trough these friends, Renoir met Paul Cézanne and Camille Pissarro, studying nearby at the Académie Suisse. Tese artists would not only become lifelong friends, but would also be of critical importance for Renoir’s artistic Renoir, 1861. Photographer unknown development. In his early twenties, Renoir also made the acquaintances of Édouard Manet and Edgar Degas. Trough them, he later met the two women of his training: ‘Not having rich parents and wanting to be a painter, began by artists, Berthe Morisot and Mary Cassatt. By the early 1870s, all of these painters way of crafts: porcelain, faience, blinds, paintings in cafés.’3 Despite his artisan would form the core of the Impressionist movement.
    [Show full text]