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Are the terms “irregular, bizarre, uneven, strange, and awkward,” PowerPoint Presentation
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Are the terms “irregular, bizarre, uneven, strange, and awkward,”

Are the terms “irregular, bizarre, uneven, strange, and awkward,”

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Are the terms “irregular, bizarre, uneven, strange, and awkward,”

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  1. Are the Wölfflinian principles really “a set of stylistic qualities?” (p. 14, col. 1) linear/painterly plane/recession closed/open form multiplicity/unity absolute/relative clarity Are the terms “irregular, bizarre, uneven, strange, and awkward,” sufficient and satisfactory when we come to identifying from what we see works which are said to belong to the Baroque? (p.13, col.1) What is the difference between “symptom” and “syndrome?” Invent a modern-day example of each. (p. 15, col.2)

  2. This is the endddsfsf sdf sdf sdff sdf sdf sdf dsfg df df fgd tg dfg sd g h h ed dfs gh h h hj jnjn Dsfgghfgl dfgpok sfdgpko povg pfd kd fd fg hj k g h kj yk l ; gr er r g g fdsfg dfg dfg dfg df dfg Dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg df gdf g dfg dfgdfg dfg dfg Ddfgd dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfg dfgdfg df Dfgdfg dfgdfg dfgdfg dfgdfg dfgdfg dfgdfg dfgd fgddfg dfg dfgd fg dfg dfg dfg dfg dfg dfg df dfg What “rhetorical devices” can you see in Picasso’s Guernica? (p. 17, cols. 1 & 2) asdf af asdf Asdf asdf asdf asdfasdf asdfasf asdfasdf asdfasdf asfasdf asfdasdf asdfasdf asdfasdf asdf a Asdf asdf asdf asdf asdf asdf asdfasdf asdfasdf asdfasdf asdfasf asdf asdf asdf asdf asdff Asdf asdf asdf asdf asdf asdf asdf asdf asdfasdf asdf asdf asdf asdf asdf asdf asf asdf asdff Dfg dsg dsg dsfgsdfg sdfgdsfg dsfgdsfg dsfgdsfg dsfgdsfg dsgdsfg dsgdsfg dsg sdfg

  3. Does a hierarchy of genres exist today? If you think so, make a prioritized list. (p. 19, col. 2) allegorical*, folk art, genre painting, graffiti, landscape, literary*, military*, mythological*, performance, portraiture, religious*, seascapes, still life *traditionally grouped as “history” What do you understand (from Minor’s admittedly sketchy discussion) the word “concetto” to mean? (p. 20, col. 2)

  4. Fggg F F F F F F F F F F F F F F F F Hhjhjhjhjh Hjhjhjhjjhj jkjkjkjkj What do you understand to be the concetto behind Rembrandt’s Danae? Behind Kienholtz’s State hospital?

  5. Explain how a Baroque time-traveler might see as “marvelous” the “shock and awe” intended to result from the (unprovoked) invasion of Iraq. (p. 22, col1). The collapse of the twin towers on 9/11.

  6. Monumental canvases were featured in "E-werk," a 1994 exhibition. “In This Town,” Lukacs depicts young workers with trademark shaved heads momentarily pausing from their backbreaking work. Although interpretable as a social commentary on the state of political affairs in post-unified Germany, the grimy, fleshy youths are presented in such a way that the gay male viewer may linger with an erotic gaze on their labor formed pectorals and sweat covered limbs. To what extent would our time-traveler agree that Attila Richard Lukacs’s work exemplifies the Baroque concept of spectacle? LOVE IN UNION: “Amorous meeting,”1992, oil on canvas, 118.8 x 79 inches From “E-werk” series, exhibited 1994

  7. Do both these details from the Sistine Ceiling include quadri Riportati? A quadro riportato is a painted Illusion which looks like a real framed two-dimensional painting glued to the ceiling.

  8. Do you agree that both ceilings show the use of “quadro riportato” (transported picture)? Ceiling by Baciccio (painting) and Antonio Raggi and Leonardo Retti (stuccoes),1679, Church of the Gesù, Rome Ceiling fresco, 1597-1602, Fresco, Palazzo Farnese, Rome