Can you write these 2 art history questions? I uploaded 2 pictures for this question

 

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Can you write these 2 art history questions? I uploaded 2 pictures for this question

 

 

 

I uploaded two pictures, see the picture files and focus on only this pic that is the topic of this art.

 

And all answers are should be separated!!

 

 

 

The words should be 50-120 words each section. No plagiarism!

 

 

 

 

1. Equestrian portrait of Charlemagne or Charles the Bald (picture for chapter 11)

 

 

 

1. Description–  describe what you see- imagine that the person you are describing it to is not there or is blind.  How will you make the work of art visible through verbal description?

 

 

 

 

 

 

 

2. Summary this text – summarize this text what i wrote on this question!! you think are the most important pieces of information that you gleaned from the textbook- read the book closely and put it in your own words.

 

 

 

 – Summary this -> 

 

Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France, ninth century. Bronze, originally gilt, 9 12 high. Louvre, Paris.

 

The Carolingian emperors sought to revive the glory and imagery of the ancient Roman Empire. This equestrian portrait depicts a crowned emperor holding a globe, the symbol of world dominion.

 

 

 

EQUESTRIAN STATUETTE The portrait of Theodoric may have been the inspiration for a ninth-century bronze statuette (FIG. 11-12) of a Carolingian emperor on horseback. Charlemagne greatly admired Theodoric, the first Germanic ruler of Rome. Many scholars have identified the small bronze figure as Charlemagne himself, although others think it portrays his grandson, Charles the Bald (r. 840–877). The ultimate model for the statuette was the equestrian portrait (FIG. 7-59) of Marcus Aurelius in Rome. In the Middle Ages, people mistakenly thought the bronze statue represented Constantine, another revered predecessor of Charlemagne and his Carolingian successors. Both the Roman and the medieval sculptor portrayed their emperor as overly large so that the ruler, not the horse, is the center of attention. But unlike Marcus Aurelius, who extends his right arm in a gesture of clemency to a foe who once cowered beneath the raised foreleg of his horse, Charlemagne (or Charles the Bald) is on parade. He wears imperial robes rather than a general’s cloak, although his sheathed sword is visible. On his head is a crown, and in his outstretched left hand he holds a globe, symbol of world domin. 

 

 

 

3. Research– go online and find additional information about the image and provide the links for that information for your peers. Make sure to summarize and do not simply cut and paste or give us just the URLs.

 

 

 

 

 

4. Contemporary Culture– relate the theme to something that you find in our current visual vernacular on popular culture-  Why is this image relevant today?

 

 

 

 

 

 

 

Second question.

 

 

 

2. Saint-Étienne, Caen, Franc (picture for chapter 12)

 

 

 

 

 

1. Description–  describe what you see- imagine that the person you are describing it to is not there or is blind.  How will you make the work of art visible through verbal description?

 

2. Summary this text – summarize this text what i wrote on this question!! you think are the most important pieces of information that you gleaned from the textbook- read the book closely and put it in your own words.

 

<summary this>-

West facade of Saint-Étienne, Caen, France, begun 1067. The division of Saint-Étienne’s facade into three parts corresponding to the nave and aisles reflects the methodical planning of the entire structure. The towers also have a tripartite design.

 

 

 

SAINT-ÉTIENNE, CAEN Most critics consider the abbey church of Saint-Étienne at Caen the masterpiece of Norman Romanesque architecture. Begun by William of Normandy (William the Conqueror; see page 333) in 1067, work must have advanced rapidly, because he was buried there in 1087. Saint-Étienne’s west facade (FIG. 12-30) is a striking design rooted in the tradition of Carolingian and Ottonian westworks, but it reveals a new unifiedthe weight shift that is the hallmark of classical statuary. Yet the sculptor’s conception of this prophet is unmistakably rooted in Greco-Roman art. Comparison of the Fidenza David with the prophet on the Moissac trumeau (FIG. 12-11), who also displays an unfurled scroll, reveals how much the Italian sculptor freed his figure from its architectural setting. Other sculptors did not immediately emulate Antelami’s classical approach to portraying biblical figures in stone. But the idea of placing freestanding statues in niches would be taken up again in Italy by Early Renaissance sculptorsdesign. Four large buttresses divide the facade into three bays that correspond to the nave and aisles. Above the buttresses, the towers also display a triple division and a progressively greater piercing of their walls from lower to upper stages. (The culminating spires are a Gothic addition.) The tripartite division extends throughout the facade, both vertically and horizontally, organizing it into a closeknit, well-integrated design that reflects the careful and methodical planning of the entire structure.

 

 

 

 

 

3. Research– go online and find additional information about the image and provide the links for that information for your peers. Make sure to summarize and do not simply cut and paste or give us just the URLs.

 

 

 

 

4. Contemporary Culture– relate the theme to something that you find in our current visual vernacular on popular culture-  Why is this image relevant today?

 

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