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Bendiner, K. (2004)  ‘Ward, Edward Matthew (1816–1879)’. Oxford Dictionary of National Biography. Oxford University

Press. Available at http://www.oxforddnb.com/view/article/28683 (Accessed: 1 June 2016).

Croker, J.W. (1853) History of the Guillotine. London: J. Murray.

Gelbart, N.R. (2004) ‘The Blonding of Charlotte Corday’. Eighteenth-century studies 38.1, pp.201-221.

Gullickson, G.L. (2014) ‘Militant Women: representations of Charlotte Corday, Louise Michel and Emmeline Pankhurst’.

Women’s History Review 23.6, pp.837-852.

Hilger, S. (2010) ‘The Murderess on Stage: Christine Westphalen’s Charlotte Corday (1804)’. In: Bielby, C. and Richards, A.,

eds., Women and Death 3: Women's Representations of Death in German Culture Since 1500. New York: Camden House.

Kindleberger, E.R. (1994) ‘Charlotte Corday in text and image: A case study in the French Revolution and women's

history’. French Historical Studies, pp.969-999.

Korshak, Y. (1987) ‘The Liberty cap as a revolutionary symbol in America and France’. Smithsonian Studies in American

Art 1.2, pp.53-69.

Ward, E.M. (1869) ‘The Last Toilet of Charlotte Corday’ [engraving]. London. British Museum Collection Online. Available at

http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx  (Accessed: 1 June 2016).

Yarrington, A. and Everest, K. eds. (1993) Reflections of Revolution: Images of Romanticism. London and New York:

Routledge.

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Example of a descriptive and analytical paragraph

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Example of a descriptive and analytical paragraph

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The central focus of this black and white engraving is Charlotte Corday sitting in a prison cell, a seemingly unlikely place for a beautiful woman like that. She is clad in an elegant white dress, which stands out in the darkness of the surroundings creating a jarring and intriguing portrait that evokes threatened innocence and virtue. Her hands are clasped on her knee, implying modesty and anxiety. A man in a conical cap, popular in mid-nineteenth century, is cutting her hair – symbol of her femininity – while she’s looking longingly at a painting on the easel to her left. The shearing is a humiliating ritual and her eyes look alert, creating an impression of determination in the face of indignity. An artist is watching her, perhaps looking for approval of his portrait, as he is packing up his paints on the table. Other objects in the cell include a palette knife in the right hand corner, which hints at a possible crime Corday committed, and a quill pen on the left that symbolises the power of written word, as well as a heap of dark fabric at the foot of the woman. The mood is sombre and anticipating as she will soon be walked off to her execution.

Plain text: descriptive writing
Highlighted text: analytical

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Reveal the image

How/ What do you know?

What is the title of it? Who made it?

The Last Toilet of Charlotte Corday by E.M Ward

When was it created?

c.1869, in London

Who was Charlotte Corday?

The assassin of Jean-Paul Marat, a French Revolutionary journalist (1793)

What historical event is it related to?

The French Revolution, 1789-1799

What else would you need to know in order to produce a complete analysis?

e.g. about Charlotte Corday, Jean-Paul Marat, the Revolution in general, this execution in particular, women’s representations in art, Corday’s representations, etc.

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Example of a critical and evaluative paragraph (with references)

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Example of a critical and evaluative paragraph (with references)

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The central focus of this black and white engraving is Charlotte Corday sitting in her prison cell, a seemingly unlikely place for a beautiful woman like that. It was created by E.M. Ward, English historical painter and illustrator (Bendiner, 2004) and published in London in 1869 (The British Museum), seven decades after the event it represents.  As the famous assassin of the French revolutionary Jean-Paul Marat during the terror stage of the French Revolution, in 1793, Corday quickly became a subject of not only multiple paintings, engravings and cheap illustrations but also plays, novels, short stories and historical narratives (Kindleberger, 1994, p.971). In this representation, she is clad in an elegant white dress, which stands out in the darkness of the surroundings creating a jarring and intriguing portrait that evokes innocence and virginity, which her post mortem confirmed much to the chagrin of her critics (Gelbart, 2004, p.205). Her hands are clasped on her knee, implying modesty and anxiety. A man in a conical cap, also called a Phrygian cap or a liberty cap as it was a Roman symbol of freedom (Korshak, 1987), is cutting her hair – symbol of her femininity – while she’s looking longingly at a painting on the easel to her right. Her ultra-feminine portrayal could be seen as a response to the contemporary negative representations of her as an unattractive, embittered and man-hating militant (Gullickson, 2014). The shearing is a humiliating ritual and her alert eyes create an impression of determination in the face of indignity. The artist whom she requested to paint her portrait, possibly Jean Jacque Haure (Gelbart, p.204), is watching her, perhaps looking for approval of his portrait, as he is packing up his paints on the table. Other objects in the cell include a palette knife in the right hand corner, which hints at the crime Corday committed when she plunged a kitchen knife into Marat’s heart killing him instantly, and a quill pen on the left that symbolises the power of written word, which is what Corday acknowledged by assassinating the journalist whom she saw as instigating hatred and representing the ‘tyranny of the mob’ (Yarrington and Everest, 2016, p. 7). The mood is sombre and anticipating as she will soon be walked off to her execution at the guillotine, the preferred method of decapitating the enemies of state during the Reign of Terror in Revolutionary France (Croker, 1853). Following her political act, Corday became a mythical figure, a symbol of the French revolution, to which visual representations such as this one significantly contribute (Hilger, 2010, p.71).

Plain text: descriptive
Highlighted text: analytical
Bold text: academic writing

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Stage 1: Description  -(observation)

Stage 2: Analysis  (interpretation)

Stage 3: Critical analysis (support

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What does it mean?

Why?
How?
So what?
What next?

Example:

•Innocence and revolution

•Unlikely place for a woman

•Humiliating ritual

•Modesty

•Hint at a crime

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How to describe, analyse and critically evaluate this image?

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How to describe, analyse and critically evaluate this image?

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Stage 1. Description     Example of a descriptive paragraph:

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Stage 1. Description     Example of a descriptive paragraph:

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In this black and white engraving, a woman is sitting in a dark room, clad in an elegant white dress, with hands interlaced on her knee. A man in a conical cap is cutting her hair while she’s looking longingly at a painting on the easel to her left. Her eyes look alert. An artist is watching her as he is packing up his paints on the table. Other objects in the room include a palette knife in the right hand corner and a quill pen on the left, as well as a heap of dark fabric at the foot of the woman.

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Activity:                                              

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Activity:                                              

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1- Choose one jewellery piece , object, design or work created by your competitor.

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How to write art history (chapter 2)  -Formal Analysis

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Why is it important to consider visual images? Why is it important to be critical about visual images? Why it is important to reflect on that critique?

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Why is it important to consider visual images? Why is it important to be critical about visual images? Why it is important to reflect on that critique?

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Directly communicate the concept in multiple ways, pictures, sculptures, installations

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Visual elements are not always understood by the audiences

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Critical analyse through combining our own knowledges and aspects from lived experiences

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•What is the viewpoint suggested by the work?

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• Does the sculpture visually lead the viewer to move around it and view it from different angles, or does it seem to guide the viewer to one position?

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•What materials are used?

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•How do they contribute to the work’s form? Do the materials make open spaces within the sculpture possible, or do they require a more blocklike form?

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•Does the sculpture emphasize a sense of volume, of three- dimensional form or of flatness?

•

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•Does the sculpture use the play of light over the surface to create a pattern of lights and shadows?

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•Does this emphasize the three-dimensional form or flatness? Does it create a sense of drama or movement?

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•If the surface of the sculpture is coloured, how does that affect the viewer’s perception of the work?

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•Does colour serve to emphasize certain features of the work? Does it make the work seem more or less three-dimensional?

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•What is the texture of the surface? Is it smooth or rough, dull or shiny?

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•How is colour used?

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•Are colours saturated?

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•Where are the brightest colours? The darkest colours?

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•Is there a wide range of colours or a narrow range of colours?

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•Do the colours contrast or blend?

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•Do the colours create a sense of calm or a sense of drama and excitement?

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•Are they used to emphasize certain forms or elements in the work?

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Terhi Tolvanen is a Dutch jewelry designer. She uses a wide range of materials, like pearls, wood, and cement. A lot of her work reflects organic shapes and forms found in nature.

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Salma Rahmouni- Dior et Moi high jewellery ring with a purple pearl. Bright colours, create a sense of excitement, the colours blend

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Shadow of Opportunity – Silver and Enamel, Grace Horne

Gabriel GP

The viewpoint suggested is being held in palm or folded up and laid on the side.

The viewer would examine the shape, and the delicate enamel on the handle, it encourages the viewer to look at how it sits in one’s hand.

Silver and Enamel.

The materials allow the enamel to rest where the silver would be, it also allows the metal to be marked easier than steel, due to its malleability.

The item emphasizes flatness, a kind of subtle, swift elegance as well as delicacy within a utility tool.

Horne uses contrast between the silver and the black to invoke thoughts of shadows and discovery.

The knife is polished silver, contrasted with the flatter, black enamel on the handle seems to wear off at parts where the wear would be.

Monotonal piece, brightest on the blade, darker on the handle.

The colours contrast, with the black bleeding into the silver.

It emphasizes where the handle would be used the most, maybe as not to crack the enamel.

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what is the viewpoint suggested by the work?  The front view, a framed piece of paper. Looks like paper print folded together

Does the sculpture visually lead the viewer to move around it and view it from different angles, or does it seem to guide the viewer to one position?  It’s flat and the paper is covered, only the front of the paper is visible, so it seems that it’s mainly appreciated from the front

What materials are used? Golden looking metal with a clear layer as a frame, a piece of paper print folded together, some orange golden threads underneath. This suggests that it’s sacred and delicate.

How do they contribute to the work’s form? Do the material make open spaces within the sculpture possible, or do they require a more block-like form? It looks like a box, or a photo frame, which suggest that it evokes memory of something like a photo, or that it contains a narrative

Does the sculpture emphasise a sense of volume, of three-dimensional form or of flatness? Flatness, which makes it look small, delicate and precious rather than loud and bulky.

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[Rubies on the Soles of My Shoes ] by Philip Saject

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The material that Philip Saject used are rubber, rubies and gold. The rubber piece was inspired from the tongue-shaped heels. Which make the wearer and the viewer considering the contrast of the values between the material of shoes sole and gold.

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Avital Avital is a ceramic artist. Her made a lot of colourful porcelain works normally formed as wild flowers, skeletal branches and voluptuous fruit. Show a passionate approach to a three-dimensional intersection of practical and conceptual art.

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The materials being used here are silver and leather

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This viewpoint of the presentation interested me to know how it looks like at the back motivates me to turn the piece around and see if there is any hidden detail at the back.

The contrast of the colour is also a visual element to stands out the piece I think

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Visual analysis. Jewellery and Objects in Depth pptx