Irene Rice Pereira's "Man and Machine #1" (1936) David Park's "Ethiopia" (1959) Sandy Skoglund's "Fox Games" (1989) Frank Stella's "Le Neveu de Rameau" from the Diderot Series (1974) Deborah Butterfield's "Rex" (1991) VISUAL ANALYSIS PAPER One of the more traditional assignments that students encounter in an introductory Art History class is to go to a museum to observe an object(s) and write a paper that details its stylistic features. Since the Lowe Art Museum on the University of Miami campus has a very fine collection of Renaissance to Rococo paintings, select one painting from this time span to concentrate on. Once having selected the painting from the Lowe’s collection, pay close attention to stylistic features (i.e., composition, color, use of light/shadow, perspective, figures, pose, gestures, et al). Describe the object and compare/contrast it to pieces we have studied in class, whether in the PowerPoint lectures or in the textbook. When selecting objects to compare the museum piece to, be discerning. That is, try to find objects that share more characteristics than not. The aim of this assignment is for students to develop an eye for style and to locate the subtle differences that distinguish one technique or tendency from another. Organize the paper, which should be five to seven (5-7) pages in length, into an introductory paragraph, body, and conclusion. The introduction may include some general information (e.g., historical, economic, cultural) about the object's specific time period, the technique utilized to create the object, etc. More importantly, the introduction should include a thesis statement about the object's overall aesthetic. Then organize the body in a logical, analytic fashion, and conclude the paper with some remarks about the significance of the object -- that is, how it fits into a larger Renaissance to Rococo art historical framework. Remember, this is NOT a research paper; however, if you quote a source (e.g., a placard or web site from the museum), be sure to cite it. JH Title: The Ship of Love Date: ca. 1500 Period: Renaissance Related People: Artist/Maker: Artist Unknown Attribution: Unknown Artist, Northern Italy Culture: Italian Medium: tempera on wood Dimensions: Sight: 25 x 29 1/2 in. (63.5 x 74.9 cm)  Framed: 34 x 38 3/4 x 4 in. (86.4 x 98.4 x 10.2 cm) Credit Line: Gift of The Samuel H. Kress Foundation Provenance: Donated to the Lowe Art Museum in 1961 by The Samuel H. Kress Foundation, New York, NY. Sold July 17, 1950 to Samuel H. Kress, New York, NY (as Ercole Roberti). Collection of Count Alessandro Contini Bonacossi, Rome-Florence, Italy. Collection of Otto Lanz, Amsterdam, The Netherlands by 1934. Description: The imagery of this painting is unparalleled among surviving secular works of the Italian Renaissance, however, a number of features suggest that it is an allegory about love and marriage. Cupid, the god.

1. Irene Rice Pereira's "Man and Machine #1" (1936)
David Park's "Ethiopia" (1959)
Sandy Skoglund's "Fox Games" (1989)
Frank Stella's "Le Neveu de Rameau" from the Diderot Series
(1974)
Deborah Butterfield's "Rex" (1991)
VISUAL ANALYSIS PAPER

2. One of the more traditional assignments that students encounter
in an introductory Art
History class is to go to a museum to observe an object(s) and
write a paper that details its
stylistic features. Since the Lowe Art Museum on the
University of Miami campus has a very
fine collection of Renaissance to Rococo paintings, select one
painting from this time span to
concentrate on.
Once having selected the painting from the Lowe’s collection,
pay close attention to
stylistic features (i.e., composition, color, use of light/shadow,
perspective, figures, pose,
gestures, et al). Describe the object and compare/contrast it to
pieces we have studied in class,
whether in the PowerPoint lectures or in the textbook. When
selecting objects to compare the
museum piece to, be discerning. That is, try to find objects that
share more characteristics than
not. The aim of this assignment is for students to develop an
eye for style and to locate the
subtle differences that distinguish one technique or tendency
from another.
Organize the paper, which should be five to seven (5-7) pages

3. in length, into an
introductory paragraph, body, and conclusion. The introduction
may include some general
information (e.g., historical, economic, cultural) about the
object's specific time period, the
technique utilized to create the object, etc. More importantly,
the introduction should include a
thesis statement about the object's overall aesthetic. Then
organize the body in a logical, analytic
fashion, and conclude the paper with some remarks about the
significance of the object -- that is,
how it fits into a larger Renaissance to Rococo art historical
framework.
Remember, this is NOT a research paper; however, if you quote
a source (e.g., a placard
or web site from the museum), be sure to cite it.
JH
Title: The Ship of Love
Date: ca. 1500
Period: Renaissance

4. Related People:
Artist/Maker: Artist Unknown
Attribution: Unknown Artist, Northern Italy
Culture: Italian
Medium: tempera on wood
Dimensions: Sight: 25 x 29 1/2 in. (63.5 x 74.9 cm)
Framed: 34 x 38 3/4 x 4 in. (86.4 x 98.4 x 10.2 cm)
Credit Line: Gift of The Samuel H. Kress Foundation
Provenance: Donated to the Lowe Art Museum in 1961 by The
Samuel H. Kress Foundation, New York, NY. Sold July 17,
1950 to Samuel H. Kress, New York, NY (as Ercole Roberti).
Collection of Count Alessandro Contini Bonacossi, Rome-
Florence, Italy. Collection of Otto Lanz, Amsterdam, The
Netherlands by 1934.
Description: The imagery of this painting is unparalleled among
surviving secular works of the Italian Renaissance, however, a
number of features suggest that it is an allegory about love and
marriage. Cupid, the god of love, stands on the bow of the ship,
guiding it under the protection of Fortune, represented by a
statuette atop the canopy of the throne. Inscribed on the canopy
is the Latin phrase: “Poems are praised, but costly gifts are
sought; so he [the lover] be wealthy, even a barbarian pleases.
Now truly is the age of gold: by gold comes many an honor, by
gold is affection gained” (Ovid’s Ars Amatoria, 2.277-78). The
sleeping maiden dreams of love, whereas her older companion
understands the realities of marriage in the Renaissance Italy:
she holds a covered chalice symbolizing constancy and
faithfulness, and leans upon the arm of the throne decorated
with a relief sculpture of a putto bridling a hybrid monster
representing the restraint of lust. The origins of the Ship of
Love are unknown, but it probably was part of the lavish
furnishings of a bedchamber, antechamber, or study of a
patrician’s palace.
Place Made: Italy

5. Title: Judith with the Head of Holofernes
Date: ca. 1670-1680
Period: Baroque
Related People:
Artist/Maker: Pietro Dandini
Attribution: Pietro Dandini, Italy, 1646-1712
Culture: Italian
Medium: oil on canvas
Dimensions: Sight: 53 x 39 in. (134.6 x 99.1 cm)
Framed: 61 1/2 x 47 1/2 x 3 in. (156.2 x 120.7 x 7.6 cm)
Credit Line: Gift of George Farkas
Provenance: Donated to LAM in 1951 by George Farkas, New
York, NY.
Description: The biblical story of Judith, the Jewish widow who
saved the Israelites by beheading the Assyrian general
Holofernes, was an enormously popular subject in European
literature and art beginning in the Middle Ages. In addition to
her importance as a heroine and defender of her people, Judith
was considered a precursor of Christian triumphs, a
prefiguration of Christ’s victory over death, a prototype of the
Virgin and the Church, and the embodiment of many sterling
virtues. Judith with the Head of Holofernes illustrates the
immediate aftermath of the gruesome slaying. Judith holds the
bloodied sword with which she has decapitated Holofernes, but
she has not yet given the general’s head to her maidservant,
Abra, to be placed in a basket in preparation for leaving the
enemy camp. The heroine’s beauty, fine clothing, jewels, and
bared breast remind the viewer of the sexual entrapment that
lead to the downfall of Holofernes, whose lifeless head appears
less threatening than the grotesque gargoyle on the stool where
Judith is seated.
Place Made: Florence
Title: Turquoise Vessel
Date: 1984

6. Period: Contemporary
Related People:
Artist/Maker: Lino Tagliapietra
Attribution: Lino Tagliapietra, Italy, b. 1934
Culture: Italian
Medium: blown glass
Dimensions: Overall: 9 3/8 x 12 1/2 in. (23.8 x 31.8 cm)
Credit Line: Promised gift of Myrna and Sheldon Palley
Provenance: Lent to LAM in 2005 by Myrna Palley, Miami, FL
as a promised gift.
Place Made: Italy
Title: Untitled
Date: 1958
Period: Modern
Related People:
Artist/Maker: Guido Llinás
Attribution: Guido Llinás, France (born Cuba), 1923-2005
Culture: Cuban
Medium: oil and paper on canvas
Dimensions: Sight: 28 x 20 5/8 in. (71.1 x 52.4 cm)
Framed: 30 1/4 x 22 7/8 x 1 7/8 in. (76.8 x 58.1 x 4.8 cm)
Credit Line: Donation from the Cuban Museum of the Americas,
Bequest of the Rafael Casalins Estate
Provenance: Donated to LAM in 1999 by the Cuban Museum of
the Americas, Miami, FL. Bequeathed to donor by Rafael
Casalins.
Place Made: France