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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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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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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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In this black and white picture, we can see three main characters, two men and a woman，one is obvious an officer. And others in the background. The woman was hugged and lifted violently. From the background and the guards we know the place is Buckingham Palace. There is probably an event around cause there are a lot of people running behind.

The picture is probably captured by the photographer in chaos. Cause no one is looking or even noticing the camera, as the scene is going messy and unpredictable. The officer had her controlled in an offensive way while she was struggling hysterically. The whole image was having this strong contrast as people mostly wear black and the sunlight is very strong.

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The image above is a comic book cover of the dark knight returns comic series. It shows the character of Batman in ripped clothes and badly injured, the ripped clothing was most likely caused during a fight, While it is not unusual for Batman to get the occasional rip or cut on his suit, he very rarely has his suit damaged to such an large extent. Frank Miller the author of the comic wanted the audience to see and understand  the more violent heavy side of Batman as a character and as a vigilante. The damage to Batman’s suit is a high indicator that batman could possibly be struggling with old age. The author and illustrator wanted to clearly show the audience that even a strong and competent hero like Batman can succumb to old age.

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Modular clothing designer.

She believes that artworks without audience interaction cannot be called artworks. At the same time, she also tries to find ways to extend the product life of clothes and make them sustainable fashion.

So she created a collection of modular clothing. The garments can be assembled and layered in endless ways.

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What-This is Russia movie"The fisherman'sdaughter». The image look like combine the people and animals. How-The blurring the boundaries of obiects makes them look like they are one. Meaning-The Grotesque aestheticmanifestation was blur theirteatures.

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Spoon flower _ Designer Milatoo from Newyork

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Spoon flower _ Designer Milatoo from Newyork

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Paul Sebastian Vasileff is the founder of Paolo Sebastian. Paolo Sebastian is Australia's top wedding dress brand. It is mainly based on hand-made custom wedding dresses with high cold and fairy spirit. The clothing technology is complicated, the details are exquisite, and a lot of embroidery techniques are used.

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His design is often full of criticism of society, dark and charming, exciting. I like contradictory design, and his design often shows the arrogance and elegance of female charm in gothic minimalism. His clothes tend to give a sense of the end of the world. He usually USES an architectural silhouette, not to scale the layered structure and body design to show a calm, internal and crazy sense of rock. He said:In the face of adversity we have to pull ourselves up.

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Jiaqi Deng                                     ——Olivier Theyskens Spring 2023 Ready-to-wear

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Jiaqi Deng                                     ——Olivier Theyskens Spring 2023 Ready-to-wear

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A white model with black paint running down her head and face, the designer did not use a real person to show the clothes in this collection, the model wore a patchwork split high neck long top and black straight leg leather trousers, in the vogue runway, editor Nicole Phelps said that these patchwork pieces are fabrics that Olivier Theyskens has accumulated over two decades The pieces were in silk. lace and velvet. The model stands straight up on a square stone block with a recessed carved wall in the background, like a medieval carving.

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This image is a Indian vintage wall hanging, home decor. This art shows the embroidery of Gujarat with some bright colours and animal motifs all are hand embroidered. There’s a mirror work also which show the traditional art of Kutch, Gujarat. It is a 70-80 year old wall art from 1930s come from the Kutch region of Gujarat. This textile can be used in many different ways like runner and wall hanging. We can also use this to make a range of products like yoga mats, cushions, purses and bags. It is old art work so it is expensive to by I saw this on Etsy website and the cost is £134.29.