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This is a comparative paper wherein you will address one of five topics: Families, Nudes, Movement/Gesture, Consumption, or Working Life/Labor. Each topic consists of three paintings at the Met. You are to compare and contrast the three works in order to highlight the distinctive qualities of each in terms of style and treatment of their shared subject matter or theme. You may want to do MINOR research on artists and artistic trends as you see fit, but this is NOT a research paper, and you will not be given extra credit for research: this is an exercise in looking, analyzing, and writing about original works of art. If you do research of any kind that you apply to the paper, you MUST cite your sources, using the standard footnote or endnote formula. This includes internet research! If you appropriate language from a source without credit, it will be plagiarism, a serious offense that must be dealt with at the level of the NYU deans i.e. don’t plagiarize. The Metropolitan Museum has a collection of many of the greatest paintings in the world, and this is your opportunity to look at the real things and discuss what you see.
In writing your analysis you will want to consider some or all of the following questions and criteria: to what extent is mimesis or reproduction of visual fact key to the work, or, to the contrary, has the artist abstracted or simplified the subject to a great extent? Is the work large or small and does this affect your experience of it? How has the artist organized the composition? Is spatial depth or perspective indicated or important? Has the subject been placed close, or not, to the picture plane (Are you brought close to the subject or kept at a distance, and why?) Is the scene a vast one or an intimate detail? Is it a colorful work? Does color have a purely descriptive function or an emotional, metaphorical one? What may some of the grander implications be? Are the tonal contrasts extreme or subtle? Is there a discernable mood to the work, and if so what is it? How is the paint applied? Are you made aware of the brushstrokes or not at all? What is the function of the work? Is the title important to understanding the work? For what kind of audience do you think it was made? Does the work strike you as highly subjective? (Has the artist conveyed his or her opinion of the subject, or has he/she worked to create the illusion of objectivity?) There are, of course, many ways in which you might analyze the paintings beyond these suggestions, and do so as you see fit.
Format: no fewer than eight and no more than ten pages in length, double-spaced (12 pt. font, Times New Roman). All titles of works of art should be in italics or underlined. Proof-read your paper carefully for grammar, spelling, and consistency. Your paper should include an introduction and conclusion.
Please follow the questions and criteria.
For this paper, write topic one, "Family". Here are the paintings:
TOPIC #1: FAMILIES
Raphael (Raffaello Sanzio or Santi) (Italian, 1483-1520)
Madonna and Child Enthroned with Saints, altarpiece, ca. 1504
Oil and gold on wood
This important early altarpiece by Raphael was painted for the small Franciscan convent of Sant Antonio in Perugia and hung in a part of the church reserved for nuns. According to Vasari, it was the nuns who asked Raphael to depict the Christ Child and infant Saint John the Baptist fully clothed. The frame, readapted and heavily repainted, is of the period but not original to the altarpiece. The azurite blue of the Virgins mantle has darkened and the haloes have been regilt.
Location: European Paintings, Room 609
Honor Daumier (French, 1808-1879)
The Third Class Carriage, ca. 1862-64
Oil on canvas
As a chronicler of modern urban life, Daumier captured the effects of industrialization in mid-nineteenth-century Paris. Images of railway travel first appeared in his art in the 1840s. This "Third-Class Carriage" in oil, unfinished and squared for transfer, closely corresponds to a watercolor of 1864 (Walters Art Museum, Baltimore).
Location: 19th- & Early 20th-Century European Paintings and Sculpture Galleries, Room 802
Auguste Renoir (French, 1841-1919)
The Daughters of Catulle Mends, Huguette (1871-1964), Claudine (1876-1937), and Helyonne (1879-1955), 1888
Oil on Canvas
Location: 19th- & Early 20th-Century European Paintings and Sculpture Galleries, Room 821
Hoping to recapture the success he had achieved with an earlier family portrait, Madame Georges Charpentier and Her Children, Renoir asked his friend Catulle Mends for permission to paint his three daughters. Mend’s was a well-known writer and publisher of Symbolist poetry; his companion Augusta Holms, a pianist and composer, was the mother of these girls. Although initially considered a critical disaster, the painting has since emerged as one of Renoirs most impressive works, realized in his new, aggressive coloristic style. In the fluid brushwork and treatment of theme, the portrait pays homage to Fragonard and other eighteenth-century genre painters.
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