Transcript Slide 1

E. M. Forster
(1 January 1879 – 7 June 1970)

Edward Morgan Forster,
was an English novelist,
short story writer, essayist
and librettist. He is best
known for his ironic and
well-plotted novels
examining class difference
and hypocrisy in early 20thcentury British society.
Forster's humanistic impulse
toward understanding and
sympathy may be aptly
summed up in the epigraph
to his 1910 novel Howards
End: "Only connect".
Story vs. Plot
Best Defined by Forster
in Aspects of the Novel

a series of lectures on
the English language
novel, delivered by E.
M. Forster at Trinity
College, Cambridge, in
1927. In this book, he
discusses seven
aspects he deems
universal to the novel:
story, characters, plot,
fantasy, prophecy,
pattern, and rhythm.




Story: "The king
died and then the
queen died.”
Plot: "The king died
and then the queen
died of grief."
Chronology vs.
causality
Reshuffle the cards
Rhyming scheme 146




Van Gogh and Co’rot and Michelange’lo
masculine: a rhyme in which the stress is on
the final syllable of the words. (rhyme,
sublime)
feminine: a rhyme in which the stress is on
the pe’nultimate (second from last) syllable of
the words. (picky, tricky)
Dac’tylic: a rhyme in which the stress is on
the antepe’nultimate (third from last) syllable
(ca’cophonies, Aris’tophanes)
Michelangelo 146
di Lodovico Buonarroti Simoni
(6 March 1475 – 18 February 1564)

commonly known as
Michelangelo, was
an Italian
Renaissance
painter, sculptor,
architect, poet, and
engineer.

his versatility in the
disciplines he took up
was of such a high
order that he is often
considered a contender
for the title of the
archetypal
Renaissance man,
along with his rival and
fellow Italian, Leonardo
da Vinci.
Self portrait
Michelangelo

Self portrait as
the head of
Holo’fernes from
the ‘Sistine
Chapel ceiling
the beheading of Holo’fernes
by Judith

The account of the beheading of
Holofernes by Judith is given in the
deuteroca’nonical book of Judith, and is
the subject of numerous depictions in
painting and sculpture.
Holo’fernes

an invading general of "Nebuchadnezzar".
"Nebuchadnezzar" dispatched Holofernes to
take vengeance on the nations of the west
that had withheld their assistance to his
reign. The general laid siege to Bethulia,
commonly believed to be Meselieh, and the
city almost surrendered. It was saved by
Judith, a beautiful Hebrew widow who
entered Holofernes's camp and seduced him.
Judith was left alone in the tent, with
Holofernes stretched out on the bed, for he
was overcome with wine (Judith 13,2)...
Sistine Chapel Ceiling

The Sistine Chapel ceiling, painted by
Michelangelo between 1508 and 1512, at the
commission of Pope Julius II, is one of the most
renowned artworks of the High Renaissance. The
ceiling is that of the large Papal Chapel built within
the Vatican between 1477 and 1480 by Pope Sixtus
IV after whom it is named the Sistine Chapel. The
chapel is the location for Papal Conclaves (secret
meetings, or an assembly or gathering, esp. one
that has special authority, power, or influence )
and many important services.
a larger scheme of decoration

The ceiling's various painted elements
comprise part of a larger scheme of decoration
within the Sistine Chapel which includes the
large fresco The Last Judgment on the
sanctuary wall, also by Michelangelo, wall
paintings by a team of the most highly
regarded painters of the late 15th century
including Botticelli and Perugino, and a set of
large tapestries by ‘Raphael, the whole
illustrating much of the doctrine of the Catholic
Church.
The Last Judgment
(Michelangelo, 1534-1541 )
The Last Judgment

The work is massive and spans the
entire wall behind the altar of the Sistine
Chapel. It was executed from 1537 to
1541. The Last Judgment is a depiction
of the second coming of Christ and the
a’pocalypse, a prophetic revelation. The
souls of humans rise and descend to
their fates, as judged by Christ
surrounded by his saints.
Creation of Adam

Central to the ceiling decoration are nine
scenes from the Book of Genesis of
which the Creation of Adam is the best
known, having an iconic standing
equaled only by Leonardo da Vinci's
Mona Lisa, the hands of God and Adam
being reproduced in countless imitations.
Their Fingers not Touching

The iconic image of
the hand of God
giving life to Adam.
The Creation of Adam
Michelangelo Year c. 1511
Creation of Adam


God is depicted as an elderly bearded man wrapped in a
swirling cloak while Adam, on the lower left, is completely
naked. God's right arm is outstretched to impart the spark
of life from his own finger into that of Adam, whose left
arm is extended in a pose mirroring God's, a reminder
that man is created in the image and likeness of God
(Gen 1:26).
Another point is that Adam's finger and God's finger are
not touching. It gives the appearance that God, the giver
of life, is reaching out to Adam and Adam is receiving.
The pink backdrop behind God is in the shape of a
human brain.
About Painting

Di’agonal or vertical
lines suggest motion
and energy

Horizontal lines
suggest tranquility
Pietà/pity (Michelangelo) 1499
it balances the Renaissance ideals of
classical beauty with naturalism.

This famous work of art depicts the body of
Jesus on the lap of his mother Mary after the
Crucifixion. The theme is of Northern origin,
popular by that time in France but not yet in
Italy. Michelangelo's interpretation of the
Pietà is unique to the precedents. It is an
important work as it balances the
Renaissance ideals of classical beauty with
naturalism. The statue is one of the most
highly finished works by Michelangelo.
Jean-Bap’tiste-Ca’mille Co’rot 146
(July 17, 1796– February 22, 1875)


a French landscape
painter and
printmaker in
etching.
http://dictionary.refe
rence.com/browse/
Corot+
Roger Fry
(14 December 1866 –
9 September 1934)


was an English
artist and art critic
Roger Fry (1928
self-portrait)
Formal analysis vs. associated ideas

He (Roger Fry) was the first figure
to raise public awareness of
modern art in Britain, and
emphasized the formal properties
of paintings over the "associated
ideas" conjured in the viewer by
their depicted content.
Two approaches
to viewing paintings/pictures



Professional
Disciplined
Compositional
approach



Amateur
Associative
approach
Self-indulgent in
wild imagination as
Forster has
admitted (with
modesty)
What is a Pre’della?

A predella is the platform or step on which an altar
stands (predalla It. = kneeling stool). In painting,
predella refers to the paintings or sculptures running
along the frame at the bottom of an altarpiece. In
later medieval and Renaissance altarpieces, where
the main panel consisted of a scene with large static
figures, it was normal to include a predella below
with a number of small-scale narrative paintings
depicting incidents from the life of the dedicatee,
whether Christ, the Virgin Mary or a saint. Typically
there would be three to five small scenes, in a
horizontal format.
Example of a Predella 146

Altarpiece by
Carlo Crivelli. The
predella has
scenes from the
Passion of Christ.
St. George Slaying the Dragon 146


Painting by Gustave
Moreau depicting
Saint George
slaying the dragon.
Gus’tave Mo’reau
(6 April 1826 – 18
April 1898) was a
French Symbolist
painter
St. George Slaying the Dragon

Moscow has
probably more
sculptures of St.
George slaying the
dragon than any
other city.
Saint George
(ca. 275/281 – 23 April 303)

a Roman soldier and priest in the Guard of
Dio’cletian (emperor of Rome 284–305), who
is venerated as a Christian martyr. In
hagi’ography, (the writing and critical study of
the lives of the saints; hagiology), Saint
George is one of the most venerated saints
in the Catholic (Western and Eastern Rites),
Anglican, Eastern Orthodox, and the Oriental
Orthodox churches. He is immortalized in the
tale of Saint George and the Dragon and is
one of the Fourteen Holy Helpers.
St. George Slaying the Dragon

Saint George is one of the most popular of Christian
saints and is the patron saint of England. He was also
a favorite subject of Renaissance artists, who depicted
him slaying the dragon. According to legend, this
monster infested a marsh outside the walls of a city
and, with his fiery breath, could poison all who came
near. In order to placate the dragon, the city furnished
him with a few sheep every day. But when the supply
of sheep was exhausted, the sons and daughters of
the citizens became the victims. The lot fell one day on
the princess, and the King reluctantly sent her forth to
the dragon. Saint George happened to be riding by
and, seeing the maiden in tears, commended himself
to God and transfixed the dragon with his spear.
Plesio’saurus 146

(Greek:
πλησιος/plesios, near
to + σαυρος/sauros,
lizard) was a large
marine sauropterygian
reptile that lived during
the early part of the
Jurassic Period, and is
known by nearly
complete skeletons
from the Lias of
England and Germany.
Hie’ronymus Bosch
c. 1450 – August 9, 1516

an Early painter of
Netherland (for
Lowland). His work
is known for its use
of fantastic imagery
to illustrate moral
and religious
concepts and
narratives.
The Garden of Earthly Delights is Bosch's most
widely known triptych
a set of three pictures or panels, usually hinged so
that the two wing panels fold over the larger central
one: often used as an altarpiece

Three Worlds/an artistic Dante
Paradise/Earthly Delights/Hell

This painting, depicts paradise with Adam
and Eve and many wondrous animals on the
left panel, the earthly delights with numerous
nude figures and tremendous fruit and birds
on the middle panel, and hell with depictions
of fantastic punishments of the various types
of sinners on the right panel. When the
exterior panels are closed the viewer can
see, painted in grisaille, God creating the
Earth.
Contrast
Hie’ronymus Bosch

These paintings—especially the Hell panel—
are painted in a comparatively sketchy
manner which contrasts with the traditional
Flemish style of paintings, where the smooth
surface—achieved by the application of
multiple transparent glazes—conceals the
brushwork. In this painting, and more
powerfully in works such as his Temptation of
St. Anthony (Lisbon), Bosch draws with his
brush.
The Last Judgment
Hie’ronymus Bosch
The Seven Deadly Sins and the
Four Last Things
Hie’ronymus Bosch
The Seven Deadly Sins and the
Four Last Things

Four small circles, detailing "Death of the
sinner", "Judgement", "Hell", and "Glory",
surround a larger circle in which the seven
deadly sins are depicted: wrath at the
bottom, then (proceeding clockwise) envy,
greed, gluttony, sloth, extravagance (later,
lust), and pride in scenes from everyday life
rather than allegorical representations of the
sins.[1]
"Beware, Beware, God Sees"

At the center of the large circle, which
is said to represent the eye of God, is a
"pupil" in which Christ can be seen
emerging from his tomb. Below this
image is the Latin inscription Cave
Cave Deus Videt ("Beware, Beware,
God Sees").
The Wayfarer
Hie’ronymus Bosch
Going forward; looking backward
Claudia Lyn Cahan and Catherine Riley
(1980). Bosch~Bruegel and the Northern
Renaissance. Avenal Books.
ISBN 0-517-30373-6.

This character in this painting is strikingly
similar to The Path of Life, which is the
outside of The Haywain Triptych.
Interpretations of the character include the
suggestion that he is choosing between the
path of virtue at the gate on the right or
debauchery in the house on the left, or that
he is the prodigal son returning home from
the world.
Gior’gione’s [jawr-’joh-nee]
Castelfranco Madonna 147


Giorgione (born
Giorgio Barbarelli da
Castelfranco;
c. 1477/8 – 1510) was
an Italian painter of the
High Renaissance in
Venice. Giorgione is
known for the elusive
poetic quality of his
work.
Gior’gione’s [jawr-’joh-nee]
Castelfranco Madonna 147

executed around
1503, it is housed in
La Pala of the
Cathedral of
Castelfranco
Veneto, Giorgione's
native city, in
Veneto, northern
Italy.
the Sacred conversation

In art, the Sacred conversation, sacra
conversazione (the Italian original), or
"Holy conversation" refers to a depiction
of the Virgin and Child (the Virgin Mary
with the infant Jesus) amidst a group of
saints in a relatively informal grouping,
as opposed to the more rigid and
hierarchical compositions of earlier
periods.
Description of the painting

The picture, a typical sacra
conversazione, shows the Madonna
enthroned with the Child with St. Francis
and, on the left, St. Nicasius. The latter,
an armored figure, has also been
identified as the fighting saint St. George
or St. Liberalis, patron of Castelfranco.
Lightened up

The traditional scheme of composition is
lightened by the novel use of such
elements as the throne and the
landscape, which takes up a good
portion of the background. Noteworthy is
also the absence of any reference to
ecclesiastical elements of architecture.
painting without drawing


The technique of painting is an example
of what Vasari called pittura sanza
disegno (painting without drawing).
This was a new approach to painting
which revolutionized the Venetian school
and is famously used in The Tempest.
Titian, a pupil of Giorgione, later became
one of the most important exponents of
this style.
Titian
(c. 1488/1490 – 27 August 1576

Recognized by his
contemporaries as "The
Sun Amidst Small
Stars" (recalling the
famous final line of
Dante's Paradiso),
Titian was one of the
most versatile of Italian
painters, equally adept
with portraits,
landscape
backgrounds, and
mythological and
Pie’tà Italian for pity
a representation of the Virgin Mary mourning
over the body of the dead Christ, usually
shown held on her lap
Pie’tà Italian for pity

The picture represents, over the background
of a larger niche in Mannerist style, the
Madonna supporting the body of Christ, with
the help of a kneeling Nicodemus. The latter
is probably a self-portrait of Titian,
represented as if he saw his also upcoming
death in the Christ's face. On the left,
standing and forming an ideal triangle, is
Mary Magdalene.
Mary ‘Magda’lene



Mary of Magdala, whom Jesus healed of
possession by devils,
Luke 8:2:
traditionally identified with the repentant
woman whom Jesus forgave. Luke 7:37–
50.
Joseph of ‘Arima’thea

According to the
Gospels, the man
who donated his
own prepared tomb
for the burial of
Jesus after Jesus'
Crucifixion. He is
mentioned in all four
Gospels.
Diego Velázquez
(June 6, 1599 – August 6, 1660)

a Spanish painter
who was the leading
artist in the court of
King Philip IV. He
was an
individualistic artist
of the contemporary
Baroque period,
important as a
portrait artist.
1656 painting by Diego Velázquez

The work's complex
and enigmatic
composition raises
questions about reality
and illusion, and
creates an uncertain
relationship between
the viewer and the
figures depicted.
Because of these
complexities, Las
Meninas has been one
of the most widely
analyzed works in
Western painting.
http://en.wikipedia.org/wiki/Fil
e:Velazquez-Meninas-key3.jpg
Frames/Internal Frames
Natural Framing
Functions of Frames


A frame serves numerous purposes:
1. It gives the image depth and helps to
give the perception to viewers of it that
they’re looking at something that is
more than 2 dimensions.
Functions of Framing


2. Use correctly, framing can draw the
eye of the viewer of an interest to a
particular part of the scene.
3. Framing can bring a sense of
organization or containment to an
image. This won’t work with every shot
– but if you’re after a more ordered or
formal feel it can be useful.
Functions of Framing

4. Framing can add context to a shot. A
photo of the woman in the first shot (left)
without the window frame would tell you
less than the shot you see with the rustic
looking window frame around her.
Read more: http://www.digitalphotography-school.com/frame-yourimages#ixzz12PM4xUMH
Forms of Framing



Frames can take many forms – from an
overhanging tree, a window, a bridge, arch or
even part of another person etc. When using
this technique, look for a frame that has a
similar shape to the main subject that you’re
framing.
Frames can also be in the foreground or
background of images (although more often
than not they’re in the foreground).
Natural framing

Natural framing is a photography technique
where items being photographed are used as
internal frames. These photographed frames
can be natural such as trees, vines, or caves.
They can also be man made such as
doorways or actual picture frames.
Bank Shot or Combination Shot
Indirect/leverage

A combination shot
is any billiard shot
sequence where the
cue ball strikes one
object ball, and that
object ball rolls
forward to hit the
target object ball or
several more
additional balls.

The intent of a
combination shot is
to send the final
object ball in
sequence to it's
intended target.
Combination shot
Bank shot/off the glass
in playing basketball

a shot that relies on the ball bouncing off the
backboard and into the basket. It is
frequently used for mid-range jump shots
from an angle (usually at the elbow) and
layups. It is not commonly used for longrange shots or shots from the middle. The
purpose of using the backboard is to try to
hit the backboard at an angle, thus slowing
the speed of the ball and increasing its
chances of falling into the hoop.
Bank shot
The Steerage by Alfred Stieglitz. This
version was published in 291 in 1915.
a gangway bridge division/frame

The Steerage is a
photograph taken by
Alfred Stieglitz in 1907.
It has been hailed as
one of the greatest
photographs of all time
because it captures in a
single image both a
formative document of
its time and one of the
first works of artistic
modernism.
Technique/Philosophy in Taichi
“Taijiquan Treatise”
by Wang Zongyue


English Translation
by Barbara Davis in
Taijiquan Classic
published by North
Atlantic Books
Berkeley, California,
2004
Examine these
words: "four liang/
ounces deflects one
thousand
jin/500kilograms."
Clearly, it is not
force that conquers
[an opponent].
When one sees an
old man able
The Natural Way/Taoism
The foundation
is in "giving up
the self to
follow others.“
 How to cut up
or debone an
ox?



“The Secret of
Caring for Life”
http://uwch4.humanities.was
hington.edu/~WG
/~188/188%20Te
xts/Zhuangzi_So
urce%20Book.pdf
Figures in the Painting
Las Meninas

(1) Margarita Teresa of Spain, Infanta Margarita
(Spanish: Infanta Margarita Teresa de España) (2)
doña Isabel de Velasco (3) doña for honorific María
Agustina Sarmiento de Sotomayor (4) the dwarf
German, Maribarbola (Maria Barbola) (5) the dwarf
Italian, Nicolas Pertusato (6) doña Marcela de Ulloa,
the infanta’s chaperon, dressed in mourning (7)
unidentified bodyguard (guardadamas) (8) Don José
Nieto Velázquez, the queen's chamberlain (9)
Velázquez, the artist himself (10) King Philip IV
reflected in mirror (11) Mariana, queen of King Philip,
reflected in mirror
Figures in the painting
(1-3)



1. Infanta Margarita;
2. doña Isabel de Velasco,poised to
curtsy to the princess,
3. doña María Agustina Sarmiento de
Sotomayor who kneels before Margarita,
offering her a drink from a red cup, or
bucaro, that she holds on a golden tray
Figures in the Painting
(4-7)


To the right of the Infanta are two
dwarfs: the achondroplastic German,
Maribarbola (4) (Maria Barbola), and the
Italian, Nicolas Pertusato (5), who
playfully tries to rouse a sleepy mastiff
with his foot. Behind them stands doña
Marcela de Ulloa (6), the princess's
chaperone, dressed in mourning and
talking to an unidentified bodyguard
(or guardadamas) (7).
Figures in the Painting 8


To the rear and at right stands Don José
Nieto Velázquez (8)—the queen's
chamberlain during the 1650s, and head
of the royal tapestry works.
Detail showing Don José Nieto
Velázquez at the door in the background
of the painting
Coming or Going?

Snyder suggests that
Nieto appears in the
doorway so that the
king and queen might
depart. In the context of
the painting, Snyder
argues that the scene is
the end of the royal
couple's sitting for
Velazquez and they are
preparing to exit,
explaining that is "why
the menina to the right
of the Infanta begins to
curtsy."
Figures in the Painting 9

Velázquez himself (9) is pictured to the left of
the scene, looking outward past a large
canvas supported by an easel. On his chest
is the red cross of the Order of Santiago,
which he did not receive until 1659, three
years after the painting was completed.
According to Palomino, Philip ordered this to
be added after Velázquez's death, "and
some say that his Majesty himself painted it".
From the painter's belt hang the symbolic
keys of his court offices.
Comments on
Las Meninas


Las Meninas has long been recognised as
one of the most important paintings in
Western art history. The Baroque painter
Luca Giordano said that it represents the
"theology of painting", while in the 19th
century Sir Thomas Lawrence called the
work "the philosophy of art".
More recently, it has been described as
"Velázquez's supreme achievement, a
highly self-conscious, calculated
demonstration of what painting could
achieve, and perhaps the most searching
comment ever made on the possibilities of
the easel painting".
Inside/Outside view
Center Decentered




With its multiple frames within the
painting, a philosophical questions
arises: how to define inside/outside
perspectives?
Where is the center/focal point?
267-272 Frames of Mind
578
The Allegory of Age Governed
by Prudence (c. 1565–1570)

is thought to depict
Titian, his son
Orazio, and a young
cousin, Marco
Vecellio.
an oil painting by the Italian
master Titian. It is in the
National Gallery, London.

The picture portrays three human
heads, facing different directions,
hanging over three animal heads,
depicting (from left) a wolf, a lion and a
dog. The three human heads represent
an allegory of the "Three Ages of Man"
(youth, maturity, old age), like in the
famous enigma of the Sphynx and as
later described by Aristotle.
Andrew Marvell
(31 March 1621 – 16 August 1678)

an English
metaphysical poet,
Parliamentarian,
and the son of a
Church of England
clergyman
“Green thought” 148
The Garden by Andrew Marvell


Published ‘posthumously in 1681
“Meanwhile the mind, from pleasure less,
Withdraws into its happiness :
The mind, that ocean where each kind
Does straight its own resemblance find ;
Yet it creates, transcending these,
Far other worlds, and other seas ;
Annihilating all that's made
To a green thought in a green shade.”
Worksheet Question 1
What could color our judgment
when looking at a picture?
General appeal embodied
in specific examples







Mind/Eye Split
Imagination
Undisciplined
Associations
Past experience
Preconceived
conceptions
Desires
Prejudice—partial
information




Positive/negative
functions and
consequences:
imagination/past
experiences: self vs.
the other
There are two sides
to everything.
Claim/Evidence/
Warrant/
Worksheet Question 2
Larger point: Illusion vs. Reality
embodied in a specific example




Textual evidence: a mismatch between
the title and the focal point
Las Meninas means the “maids of
honor”
Contention for attention;
Philosophical dimension
Larger point:
Inside/Outside View
Artist’s presence in his work



Peale Family
To fit the theme of
family life
Harmonious
presentation of
family life;



Las Meninas
More complicated
The relationship
between the artist
and the royal couple
echoes the
relationship
between the young
infanta and her
maids;
Worksheet Question 3
Center decentered
Political dimension





Infanta vs. her
maids of honor
Textual Evidence
Cultural dimension
Historical dimension
Evidence/Claim




The royal couple vs.
his subjects
Textual evidence
The royal couple
physically absent
from the picture, all
is left is a reflection
in the mirror;
Declaration of
Democracy…
Worksheet Question 4
Compositional approach vs.
Associative approach


Compositional
approach:
disciplined,
Art critics


Associative
approach: fills the
gap with fancy and
imagination
Forster’s humor and
humble attitude
Worksheet Question 5
Functions of art
Larger Point to Make
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Benefits derived
from looking at
artworks
Make our mind
supple
Stiff practice
Regardless of
context
“Super-Ego” in
Freudian term;
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Consequences of
not looking at
pictures
Inclusive vs.
exclusive practice
It is harmful to hunt
for a formula—John
Canaday
Ways of Seeing
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Look vs. See
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Mind vs. Eye