3rd part: Analysis and Interpretation (20%)

History of Art

St. Lawrence, Fall 2016

Stéphane Beaudoin

DUE

Monday, December 5th, 2016 (10% penalty/day late: max of 3 days)

LENGTH

1200 words (provide a word count; -5% penalty)

ASSIGNMENT

This third part concerns the analysis and interpretation of the art work itself. The understanding of the work

starts with observation (this is not part of the essay) and the notes and ideas that it inspires. Then the art

work is described; the description is in essence the transfer from the visual domain to the written one using

pertinent vocabulary (e.g. texture, light). From the description, analysis is made in view of bringing to light

formal (e.g. color, composition) and iconographical elements (e.g. symbolism) of the painting. Finally,

interpretation attempts to set forth the significance of the work in light of the gathered information and

prevailing context of creation. This is the most essential point.

Clearly divide the paper into 5 sections (-5% penalty): Introduction-Description-Analysis-Interpretation-

Conclusion.

Here are traditional ways to analyse:

1) Formal (composition, light, palette, etc.) and iconographical (symbolism) analysis of the work itself;

2) Comparative analysis with another work of the artist (younger or more mature work), or with another

artist’s work (same period, or same theme);

3) Relying on written texts (from the artist or from another’s analysis);

4) What the critics liked and disliked when it was offered to the world.

EVALUATION

Consult the rubric found on Turnitin.com.

ADDITIONAL INFORMATION

MLA format and a bibliography; double-spaced (-5% penalty)

Do not try to take into account all the elements stick to those pertinent to your research supporting

your main claim;

Be careful of Bla Bla;

Use the literary present tense when appropriate: “The author says”; “The artist paints” (there is no

penalty if you don’t);

Provide the images used for your research (images are placed in an annex added after your

bibliography with the form: Fig. X: Name of artist, Title, date (e.g. Fig. 1: Caravaggio, The

Entombment, 1603-04);

Send your paper to Turninit.com (-10% per day late/day late: max of 3 days); no paper copy needed;

Form for web sources: Editor, author, or compiler name (if available). “[Title of article]”. Name of

Site. Web. Date of access. ‹http://owl.english.purdue.edu/owl/resource/747/08/›; failure to follow this

form will be penalized;

Construct a plan; Have someone else reread your essay.

A n a l y s i s a n d I n t e r p r e t a t i o n P a g e | 2

David’s Death of Socrates

Here are the divisions for this section on the art work.

Introduction

(…)

My interest is to see how David’s Socrates helped him overshadow his rival, Peyron. In this sense, I

anticipate that David showed a better understanding of Winckelmann’s thesis in producing his painting.

You are thus invited, dear reader, to a comparative analysis between the Socrates’ of both artists…

Description

The Death of Socrates (Fig. 1) presents a man, presumably Socrates, half naked, draped in white, sitting on

a bed, one leg on the floor, the other spread on the bed, amidst 12 other men. His right hand hovers over a

cup held by a young slave, back turned to the viewer, wearing a red tunic; his left points to the heavens.

Next to Socrates and in the forefront sits a man wearing orange – let us assume it is Crito – who

has a hand on Socrates’ lap, suggesting friendship. Behind Crito, to the left of Socrates are 5 men,

seemingly in a state of profound grief…

Analysis

Typical of David, the colors are clearly defined and easily read. Two figures wear white: Plato and

Socrates. This suggests that they share a relationship; actually that of master and student. The orange of

Crito’s tunic echoes the red and yellow of the figures behind him, probably because he speaks in their name

to Socrates. Orange is also the color of loyalty and friendship, elements that are confirmed by Plato’s

dialogue…

Interpretation

The idea of associating Socrates and Christ is not new, but it is very well rendered by David. In Plato’s

dialogue, there are more than 20 figures surrounding Socrates; in David’s painting, 12, the number of

apostles for the Last Supper…

(...)

Plato’s slumping shoulders suggests that he is saddened by the coming loss of his master, but also that he

feels the weight of the responsibility of keeping alive the teachings of Socrates for humanity (which he

does by writing his dialogues) …

Conclusion

(...)

This paper shows how David’s Socrates permitted him to prevail against Peyron (Fig. 2), the Royal painter.

If his Oath confirmed David’s talent, his Socrates put him at the forefront of the Neoclassical movement…

A n a l y s i s a n d I n t e r p r e t a t i o n P a g e | 3

Fig. 1: David, Death of Socrates, 1787

Fig. 2: Peyron, Death of Socrates, 1787

Second part: Context of Creation (15%)

History of Art

St. Lawrence, Fall 2016

Stéphane Beaudoin

DUE

Wednesay, October 19th, 2016 (10% penalty/day late; max of 3 days)

LENGTH

800 words (provide a word count; -5% penalty)

ASSIGNMENT

Using the sources highlighted in the annotated bibliography along with other sources, the team writes an

essay on the historical context of the chosen art piece. The point is to situate it in its context of creation:

historical, cultural, artistic, intellectual, literary contexts, etc. In short, everything that went into the creative

process itself. Think of this section as a commented list of ingredients needed for creating your painting.

Here are some of the notions to be researched:

1) Situating the work in the artist’s artistic formation and production (e.g. an early or mature work);

2) Recognising the principle sources – artistic, literary, intellectual, etc. – that influenced the artist (in this

sense, it is a good thing to explain whether he is following or breaking with artistic tradition);

3) Knowing the ‘manual’ creative context of the work: working conditions, commission, experimentation,

etc.;

4) Presenting the artistic (e.g. artistic movement; this is a necessary point), cultural (e.g. values), historical

(e.g. important events), and social context (e.g. family background) of the work;

5) Highlighting public and critical reception of the work;

6) Understanding and stating the acquired importance of the work in the history of art (citing the artists that

have been influenced by the chosen art work is a good idea).

Here’s what not to do: summary of artist’s life or description and analysis of the art work itself.

EVALUATION

Consult the rubric found on Turnitin.com.

ADDITIONAL INFORMATION

MLA format (including a bibliography – but not annotated – and no title page); double-spaced (-5%

penalty);

Do not try to take into account all the elements stick to those pertinent to your research (e.g. those

that are linked to the interpretation you intend to support);

Be careful of Bla Bla (“It would rather appear clear that in the spirit of…”);

Use the literary present tense: “The author says”; “The artist paints” (there is no penalty if you don’t);

Send your paper to Turnitin.com (-10% per day late/ day late; max of 3 days); no paper copy needed;

Form for web sources: Editor, author, or compiler name (if available). “[Title of article]”. Name of

Site. Web. Date of access. ‹http:// owl.english.purdue.edu/owl/resource/747/08/›; failure to follow this

form will be penalized;

Construct a plan;

Have someone else reread your essay.

C o n t e x t o f C r e a t i o n P a g e | 2

This can be used as an example for this paper.

David’s Death of Socrates

Here are the possible divisions for this art

work.

Political, cultural, and social contexts

the French Revolution and the values,

namely fraternity and equality, that

‘announced’ it

explaining the growing power of the

intellectuals due notably to a greater

confidence in human reason (started at

the Renaissance)

in this light, the mass, being pushed to action by intellectuals, wants to take a greater part in its

government which implies major social changes

The figure of Socrates

showing how and why Socrates was such a popular figure in the 18th century

demonstrating how he was perceived and ‘recreated’ in the works of Voltaire, Rousseau, and Diderot

Creative context of the painting

the allegiance and role of Monsieur de Trudaine, commissioner of the work, on the political scene

the Socrates is a work of maturity

Neoclassicism

Principle theoretical source for the work

establishing the theories of Winckelmann and their influence on David’s Socrates

the importance of having allegorical narration in Neoclassical painting

Principal literary source

Plato’s Phaedo is consulted to see how loyal David was to the narration, namely the number of

‘friends’ actually present at the time of Socrates’ death

Principle artistic sources of inspiration

an anonymous work, but heavily influenced by Caravaggio, seems to have inspired David

David’s own drawings (done as research for other works); they will also provide a hint as to how the

master worked

Situation of the work in the artist’s production

David’s Socrates is the culmination of his Neoclassical artistic experiments instigated by his reading of

Winckelmann started in earlier works, especially the Oath

after this work, David steers slightly away from his Neoclassical style in favor of more political works,

like his Marat

Public and critical reception

a work immediately acclaimed by the public and the art critiques, although a bit more timidly than the

Oath or his Brutus

The importance of the work in the History of art

David’s Socrates permitted for all to see the extent of the artist’s genius in his technique as well as his

mastery of allegorical narration (both elements to be seen in the next part)

the Socrates served to place David at the head of the Neoclassical movement at the expense of Pierre

Peyron, a rival who was nothing less than the Royal painter

1st part: Annotated Bibliography (10%)

History of Art

St. Lawrence, Fall 2016

Stéphane Beaudoin

DUE

Monday, September 12th, 2016, for both copies (10% penalty/day late: max of 3 days)

LENGTH

5 sources (6 pages, including Title page; -10% penalty)

ASSIGNMENT

The first part of the term work consists in preparing an annotated bibliography on the

chosen art work in view of the second part (its historical situation), the third part (its

analysis and interpretation), and fourth part (an oral presentation of the major elements that

make it an important art work in the history of art).

An annotated bibliography offers insights as to why a particular source was selected for

the chosen art work. Write one or two paragraphs (see example) per source to explain the

reasons why you believe it is relevant. Sources may be on the artist, on the chosen art work,

on the period when it was done, on the movement to which it belongs, on the conditions of

work, on the artist's world view, on iconography, on the artist’s education, etc. Your

interpretation should determine which of these topics you write about.

Present each source on one page, including the photocopied first page of text (introduction

or first chapter, but no forewords, acknowledgements, etc.) of the source (no websites).

Hand in the paper in class (paper version) AND on Turnitin.com (-10% per day late).

EVALUATION

Each source: 1 point for header (0,5 pt) and correct photocopy (0,5 pt)

2 points for commentary

-0,1 for each mistake, including form

MLA format (except for the title page; an example of this is on the website;

see section 10C of the Pocket Keys for Writers)

GRADING REMARKS

TS Too short BB Bla bla

UN Unclear, or vague R Unnecessary repetition

M Meaning, definition !/!! Very good/excellent

C Contradiction i Interesting

P Pertinence L Link

W Wording B Paragraph or sentence break

S Support missing ± More or less; weak

A n n o t a t e d B i b l i o g r a p h y P a g e | 2

Author: Vaughan, William and Helen Weston, ed.

Title: David’s The Death of Marat

Place of publication: Publishing house: New York: Cambridge University Press

Year: 2000

Location and Call#: Laval University, ND 553 D249 J19 2000

The two art historians have gathered an impressive amount of essays on David’s Marat: Marat’s

bibliography (the man as well as his political legacy), its importance for David, the method and material

used, the influence of the art work on other artists (Munch, Picasso), etc.

The interest of this source in the analysis and interpretation of David’s Socrates resides in David’s

active political life. His Socrates puts forth antic values while his Marat underlines the death of a political

martyr; both are linked. In this sense, the political theme of David’s Marat helps to better understand this

dimension of David’s Socrates.

Note: for an article, replace ‘Place of publication… house’ by ‘Title of magazine and Vol. #’

(First page of text photocopied, either introduction or first chapter, but no forewords, acknowledgements,

etc.)

0,5/0,5

2/2

0,5/0,5

3/3